Rosebery's Auctioneers

THE GEORGE FARROW COLLECTION

TUESDAY 4 JUNE 2024

THE GEORGE FARROW COLLECTION

Tuesday 4 June, 2024 at 10am

VIEWING

Thursday 30 May 9.30am – 5pm

Friday 31 May 9.30am – 5pm

Sunday 2 June 10am – 4pm

Monday 3 June 9.30am – 5pm

SPECIALISTS

Peter Greenway, Anna Evans, Alice Bailey, Bill Forrest, Jack Wallis Michael Bateman, Georgina Agnew, Kate Lacey

Please note the conditions of sale at the back of this catalogue Buyer’s Premium - 26% up to £20,000 (31.2% inclusive of VAT), 25% from £20,001 - £500,000 (30% inclusive of VAT), 20% from £500,001 thereafter (24% inclusive of VAT).

Condition of items: a catalogue description does not state the condition of the item

BUYING AT ROSEBERYS

The following is intended to serve as a useful quick reference to buying at Roseberys. Prior to bidding, please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.

Viewing

All lots are available to view in person in our West Norwood auction rooms.

Alternatively, lots are listed and illustrated at www.roseberys.co.uk

Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.

New Bidders

New buyers are required to register as a client before bidding. This can be done by creating an account on our website through the Register/Login button. Two forms of ID including a photographic ID and proof of address are required. You may be required to leave a refundable deposit. Roseberys cannot accept bids from unregistered buyers.

Methods of bidding

• In person: at the auction room.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer's premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software and are not visible to the auctioneer.

• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform. RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk.

There is no charge to use this service. Alternatively, online bidding is available through www.the-saleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to bid online. You will be asked to complete the registration process prior to approval.

• Telephone bidding: Phone lines are available for bidders. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line.

Buyer’s Premium

The buyer shall pay the hammer price together with a premium thereon of:

26% up to £20,000 (31.2% inclusive of VAT)

25% from £20,001 - £500,000 (30% inclusive of VAT)

20% from £500,001 thereafter (24% inclusive of VAT)

The premium price is subject to VAT at the standard rate.

VAT

VAT is not charged on the hammer price unless it is stated that there is 'VAT applicable on the hammer price' at the end of the description. Buyer's premium is subject to VAT.

(ARR) – ARTIST’S RESALE RIGHT

Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a resale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with a hammer value over £1,000 as follows:

0 to £50,000 - 4%

£50,000.01 to £200,000 - 3%

£200,000.01 to £350,000 - 1%

£350,000.01 to £500,000 - 0.5%

Exceeding £500,000 - 0.25%

ARR is capped at £12,500

Payment

Payment is required within five working days after the auction and can be made in the following ways.

• UK & International Debit & Credit card: Visa and Mastercard (up to a maximum of £10,000 online or £1,000 over the phone, to make a larger payment please visit the auction house in person or make a bank transfer)

• Bank transfer: payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.):

Natwest Bank PLC, Bloomsbury Parrs branch Sort Code 60-30-06, Account number 36952613 Swift code NWBKGB2L Iban GB80NWBK60300636952613

We are unable to accept Cash or Cheque payments.

Clearance of Goods

Roseberys requests all lots are collected within five working days following the auction. After this, all uncollected lots are subject to storage charges of £5 per day per lot plus VAT plus an additional transfer charge of £10 plus vat per lot should the items be moved to our offsite storage warehouse. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.

The majority of lots are located within our West Norwood auction rooms, with the exception of Furniture & Rug lots that will be transferred to our warehouse following the auction, please check prior to collection the location of your lots.

Warehouse Address: 13 Beadman Street, London SE27 0DJ

Delivery

Roseberys is unable to pack and ship items. A full list of suggested providers can be viewed on our website www.roseberys.co.uk/buy-sell/delivery-information

In order to release to a third party carrier, you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk

Export of goods

Buyers intending to export goods should ascertain whether an export licence is required before bidding. Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on +44 (0)161 934 4317. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

“Art for some unknown reason even from the age of ten fascinated me beyond belief – the skills, the dedication and ‘labour’ input that went into the creation of a masterpiece was to me a miracle.”

George Farrow

An Introduction by Huon Mallalieu, Art

Market Writer

The hugely prolific and popular thriller writer Edgar Wallace was derided by intellectuals from Arnold Bennet to Leon Trotsky by way of Dorothy Sayers, but few writers can ever have been paid such a compliment as is represented by George Farrow’s collection. Although born over 40 years apart, Wallace and George shared a similar working-class upbringing in south-east London. Wallace’s foster and adoptive father was determined that the boy should be well educated, while Farrow’s parents encouraged his early fascination with art by taking him on bank holiday outings to the South Kensington museums, of which his favourite was the V&A, where he really looked and learned.

At twelve George was a passionate reader of Wallace’s detective stories, and in one he came across a sentence that was to determine the rest of his life, when a character entering a flat found himself with: “his feet sinking into the deep pile of Persian carpets, and viewing with interest a superb collection of Corots”. George determined that “somehow I would make money, big money, to be in a position to own those elusive two ‘Cs’, carpets and Corots”. Just as Wallace had begun by selling newspapers at Ludgate Circus, he earned his first shillings with a local newspaper round and other odd jobs. One of his first purchases, at 30 shillings (£120 today), was what he thought was a large Kangxi charger. Unfortunately it is actually Japanese, but as lot 1 in this sale it is estimated to £1,500. He left school at 16, but as well as an eye for art he had a remarkable head for figures, and while working in the building trade he took evening classes to qualify as a

Picture courtesy of Jersey Evening Post/Jersey Heritage.

chartered accountant. This led to war service in logistics for the RAF South-Eastern Command, which bore the brunt of the Battle of Britain.

After the war he acquired a small building development company, which he turned into Peachey Property Corporation, one of London’s, and indeed Britain’s, largest leasehold residential landlords. This career did indeed make him the money for his two Cs, although in fact he began his serious collecting with European bronzes. There were also Oriental ceramics and jades, French furniture, and increasingly tapestries and carpets. When he retired on doctor’s orders, collecting came to the fore but paintings lost their allure as the textiles competed for space in home and heart. He became fascinated by the history of the Silk Road, and with Leonard Harrow wrote a valuable monograph on Persian silk rugs and the master weaver Hagop Kapoudjian (1993).

In 1966 he, his wife and their youngest son moved to San Remo to enjoy the climate and opera, his other great passion. Although a fluent Italian speaker, Italian regulations on the import and export of antiques hampered his collecting, and they moved to Monaco. In 1970 the promise of sun combined with a more British lifestyle brought them to Jersey. They bought and demolished an old farmhouse commanding Anne Port beach, and built a superb Italianate villa, which became at least as much a gallery as a home. Luckily his wife was not also bitten by the bug, but was a talented organiser and entertainer, as many people came to see his collections. George Farrow would surely be both amused and honoured to see his personal collection offered as a single owner sale at Roseberys auctioneers in South London, where it all began.

Hunt Estates | Christie’s International Real Estate.

1

A massive Japanese porcelain charger, Meiji period, late 19th century, Finely painted with birds on flowering magnolia branches issuing from rockwork, on a pale blue ground, 62cm diameter

Provenance: With Louis Joseph paper label verso.

In his catalogue entry for this charger, George Farrow remarks that ‘I purchased this piece with my entire savings in 1928 when I was 12 years old for 30 old shillings’.

£2,000 - £3,000

2

Three Flemish tapestry border fragments, 17th century, Woven in wools and silks, depicting flying native and exotic birds, the largest panel centred by an owl, the borders with replaced end panels, all later mounted, largest - 43 x 222cm and 43 x 111cm (3)

£2,000 - £3,000

3

A large Chinese porcelain famille rose jardinière, Late Qing dynasty, Finely painted to the exterior with cranes amid rockwork issuing chrysanthemum, peonies, and prunus, 47cm high, 55cm diameter

£2,000 - £3,000

4

After Claude Michel, called Clodion, French, 1738-1814, a pair of French bronze models of child fauns, Late 19th century, Each with cast signature Clodion, on later variegated squaresection marble bases, the bronzes - 27cm and 29cm high; overall33cm and 35cm high; together with a pair of gilt-bronze mounted variegated marble pedestal columns, late 19th century, displayed inverted with the foliate capitals as bases, later plateaux, 67cm high (4)

£1,200 - £1,800

5

A pair of French bronze models of the Apollo Belvedere and Diana the Huntress, After the Antique, second half 19th century, The rotating bases on breccia and black marble plinths, the bronzes - 49cm and 50cm; overall - 60cm and 61cm high; together with a pair of gilt-bronze mounted variegated marble pedestal columns, late 19th century, displayed inverted with the foliate capitals as bases, later plateaux, 67cm high (4)

£4,000 - £6,000

6

A pair of French gilt-bronze mounted rouge griotte marble ewers, Of Louis XVI style, mid-19th century, Each with shell spout with a winged putto-dolphin, above female masks and fluted neck with beaded swags and rope-twist tassels, the baluster shaped bodies with ram head and grape vine mounts, on socles with upswept acanthus leaves, on canted square base, 34cm high (2)

£2,000 - £3,000 7

A pair of French gilt-bronze eight-light candelabra, In the manner of Clodion, third-quarter 19th century, With fruiting vine branches with stiff leaf nozzles and beaded foliate drip-pans supported by an infant satyr standing beside a tree stump and a putto seated on a rocky outcrop, on fluted white marble columnar bases mounted with ribbon-tied floral swags above a laurel wreath on a canted square foot, impressed mark to underside B+J, 65cm high (2)

£2,000 - £3,000

8

A Louis XV ormolu-mounted kingwood parquetry serpentine commode, By Guillaume Schwingkens, second quarter 18th century with later mounts, Two short drawers over two long drawers, with foliate handles, the angles mounted with female busts, stamped G Schwingkens to back, 81cm high, 106cm wide, 57cm deep

Note: Guillaume Schwingkens was a cabinetmaker of German origin, and was active from 1745 to 1760. A marquetry commode by Schwingkens is in the Louvre, Paris (OAR 146).

£2,500 - £4,000

A pair of large Chinese copper red glazed baluster vases, Qing dynasty, late 18th century, With early 19th century French ormolu mounts, 64cm high (2)

£5,000 - £8,000 10

A Chinese ormolu mounted flambé-glazed vase, hu, 18th century, The vase moulded with butterfly form handles to the shoulders, the rim mounted with ormolu decorated with corner scrolls and leafy swags, 48cm high

£6,000 - £8,000

A Regence giltwood console table, First quarter 18th century, The marble top above carved frieze centred by a mask, on legs with mask caps and hoof feet, joined by X-frame stretcher with plateau, 82cm high, 145cm wide, 62cm deep

£5,000 - £8,000

12

A Franco-Flemish millefleurs tapestry, Early 16th century,

A noblewoman stands to centre reading a scroll in front of ducks swimming in a stream, three male figures and a female attendant stand in the field of flowers around her, some areas of reweaving, later backed, 233 x 242cm

£2,000 - £4,000

13

A French bronze model of the Dancing Faun,

After the Antique, late 19th century, Holding a cymbal in each hand and pumping a scabellum with his right foot, on a rectangular base, 30.5cm high

Note: The Dancing Faun or Faun with the Clappers, was housed in the Tribuna of the Uffizi and was considered to be one of the most beautiful marble sculptures remaining from antiquity. It is not known precisely when the ancient marble reached Florence, or indeed where or when it was originally excavated, but it swiftly established itself in the popular imagination, and enjoys a prominent situation in Zoffany’s celebrated painting of the Tribuna of the Uffizi in the Royal Collection.

£400 - £600

14

An Italian bronze model of a Faun with the Infant Bacchus,

After the Antique, first half 19th century, Depicted standing with Bacchus about his shoulders, formerly with cymbals, now lacking, rectangular base, 46cm high, 19cm wide, 12cm deep

Note: This bronze is cast after an Antique group of a Satyr with the Infant Dionysus in the collection of the Museo Archeologico Nazionale in Naples, formerly part of the Farnese Collection which was moved to Naples in 1787. The main figure was probably inspired by the Faun with Clappers also known as the Dancing Faun, now in the Uffizi, Florence. The present lot lacks the ‘clappers’ or cymbals sometimes seen on this model.

£800 - £1,200

15

A pair of North European tapestry panels, Second half 17th century,

Woven in wools and silks, each central square reserve with sprays of pomegranates and tulips above a winged cherub head on a dark blue ground, within a border of flowers and foliage on a cream ground, later framed, 55 x 53.5cm (2)

£500 - £800

16

A monumental Japanese cloisonné baluster vase, Meiji period,

Decorated to the waisted neck with a fierce dragon above chrysanthemum to the body on a dark blue ground, 148cm high

£300 - £500

17

An Italian velvet and metal thread embroidered canopy fragment, 18th century,

Reassembled into an altar frontal, with foliate strapwork on a green ground, later backed, 188 x 101cm

£300 - £500

20

A pair of large Italian figural andirons, 19th century, in the manner of Girolamo Campagna, 1550-1623, One modelled as Mars with plumed helmet and holding a club, the other with Venus depicted standing with her right hand covering her left breast, with Cupid by her left leg and resting her left hand on his head, each supported on ornate triform bases with putti, grotesque masks and addorsed dolphins headed by lion masks, with scroll iron billet bars, 91cm high, 41.5cm wide, 30cm deep (2)

Note: During the 16th and 17th century andirons became more sculptural with allegorical figures and elaborate designs. Girolamo Campagna and Tiziano Aspetti were at the centre of this vibrant community of foundries and artists. The present lot are an impressive revival of the ambitious designs of earlier andirons.

£1,500 - £2,500

18

A pair of Italian giltwood and gesso marginal mirrors, Second half 18th century, Each with cresting centred by quatrefoils, with c-scroll and foliate borders, 109 x 57cm (2)

£1,500 - £2,500

19

A pair of Louis XIV giltwood console tables, Last quarter 17th century, With shaped breccia marble tops above finely carved military trophies, acorns and leaves, 66cm high, 55cm wide, 28cm deep (2)

£1,000 - £1,500

21

A brass-mounted steel fire-grate, Of Victorian style, second half 20th century, The serpentine basket front with scroll supports and flambeau finials, the cast-iron back with shell cresting, 64.5cm high, 47cm wide, 25.5cm deep

£200 - £300

22

A large cast-iron fire-back, Late 19th / 20th century, With central armorial shield flanked by scrolling foliage, above spears, halberd, foliate motif and Medusa head, with spurious date 1692, 82.5 x 87cm

£300 - £500

23

A pair of French bronze busts of playwrights Racine and Corneille, Late 18th century, the mounts later, On gilt-bronze mounted bleu turquin marble plinths with original plaques RACINE and CORNEILLE respectively, 31.5cm high, 12.5cm wide, 10cm deep (2)

Note: Jean Racine (1639-1699) and Pierre Corneille (16061684), along with Moliere (1622-1673), are considered to be the three great playwrights of 17th century France.

£1,000 - £1,500

24

After Vincenzo Grandi, Italian, 1493-1577, an Italian marble portrait relief of Aristotle, 16th century,

Inscribed in ancient Greek characters Aristotle A Man from Stagira, mounted in a stepped giltwood and walnut frame, the marble - 37.5cm high, 30cm wide; overall64.5cm high, 48cm wide

Note: The present lot is a copy of an anonymous, Florentine bronze relief of the fifteenth century from the estate of Gustave Dreyfus (1837-1914) and now part of the Samuel H. Kress Collection at the National Gallery of Art, Washington (K1379). The relief was known in Venice in the first half of the 16th century and various versions are known in marble, always paired with one of Plato. The finest example, in the episcopal palace in Trento, has been attributed to the sculptor Vincenzo Grandi. Other examples appear in the Prado (E000314), and in collections in Munich and Paris. There are further similarities with a portrait relief possibly by Valerio Belli in the Victoria & Albert Museum, London (A.4-1932).

£4,000 - £6,000

25

A pair of French gilt-bronze single-light wall appliques, 20th century,

Each with urn-shaped back-plate, berried terminal and scroll arm mounted with a female bust, 15.5cm high (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£200 - £300

A pair of massive Chinese export famille rose fishbowls, Qing dynasty, Qianlong period, Finely enamelled to the body with two large floral reserves in famille rose enamels on a gilt painted blue ground, 60cm diameter, 38cm high, on 18th century carved giltwood stands (4)

Note: This remarkable pair of fish bowls exemplify the zenith of Chinese export porcelain production during the reign of Emperor Qianlong. Technically advanced, and wonderfully decorated, objects like these were in high demand in Europe in the 18th century. Compare with a single fish bowl sold at Christie’s, London, 9 March 2016, lot 65.

£30,000 - £50,000

27

A pair of massive Japanese Imari chargers, 17th century,

Each decorated with an ikebana display to the central reserve inside a border of alternating panels, 58cm diameter (2)

£2,000 - £3,000

28

A Chinese rosewood square jardinière stand, Late Qing dynasty, The rectangular top inset with burl wood panel above reticulated boxwood dragon panels raised on square supports, 119cm high

£1,000 - £1,500

29

A pair of Chinese hongmu square jardinière stands, Qing dynasty, 19th century, The square marble inset top above reticulated archaistic frieze decorated with archaic dragons, raised on rounded supports united by stepped stretchers, 105cm high (2)

£800 - £1,200

A Chinese hongmu nest of three occasional tables, Qing dynasty, 19th century, Each with reticulated scroll frieze on rounded stretchered supports, 49cm - 65cm high (3)

£200 - £400

31

A pair of Spanish wrought-iron floorstanding andiron/candlesticks, Of Gothic style, 19th century, Each with wrythen uprights mounted with stylised serpent heads on scrolled bases, 80cm high, 43cm wide, 27cm deep (2)

£800 - £1,200

32

A Spanish wrought iron floor-standing pricket candelabrum, In the Gothic style, some elements possibly 15th century, With spiral twist stem and tri-form base, 154.5cm high, 46cm diameter

£300 - £500

33

A French cast iron figural fountain, Late 19th century, Depicting a Bacchic faun holding two amphora, on naturalistic base, 114cm high

£500 - £800

34

An English lead figure of Mr Punch, Probably by Crowther, early 20th century, Depicted with bicorn hat standing holding his club with his hands on his hips, on an associated stone base, figure - 100cm high, overall - 118cm high

Note: The traditional English Punch and Judy show, featuring the antagonist Mr Punch, originates from the 16th century Italian Commedia dell’Arte character Pulcinella and was first introduced in England in the 17th century, quickly becoming a popular feature of English entertainment.

£2,500 - £4,000 33

An Italian carved marble garden bench, Late 19th century,

The seat with foliate carved border on twin lion supports, 51.5 cm high, 143.5cm wide, 42cm deep

£1,500 - £2,500

36

After Bertel Thorvaldsen, Swedish, 1770-1844, an Italian marble figure of Venus with an Apple, Early 20th century,

The nude goddess leaning against a drapery-covered tree stump looking at the apple held in her right hand, 108cm high

£3,000 - £5,000

After Giambologna, Italian, 1529-1608, a pair of large bronze figures of Mercury and Fortuna, Neapolitan, c.1900,

The Messenger of the Gods depicted with his winged helmet and sandals and holding the caduceus, standing on a gust of wind emanating from the mouth of a mask representing Zephyr, Fortuna depicted standing on a wheel with her robes flowing behind her and holding a cornucopia, both on stepped circular bases, 189cm and 169cm high (2)

£5,000 - £8,000

38

After Claude Michel, known as Clodion, French, 1738-1814, a French bronze group of a Bacchante and Satyr, Late 19th century,

The seated satyr with a dish of grapes, an amorino at their feet, on a naturalistic vine strewn base, the reverse cast Clodion 1780, with a later velvet covered plinth, the bronze47cm high, with pedestal - 62cm high

£1,000 - £1,500

39

A French bronze model of a Classical man wrestling a stag, possibly the labour of Hercules subduing the Ceryneian hind, Second quarter 19th century, On an associated black marble plinth, the bronze30cm high, 32cm wide; overall - 34cm high, 34.4cm wide

£600 - £800

40

After Franco Bargiggia, Italian, 1888-1966, a bronze figure of a nude boy, Mid-20th century,

Depicted standing holding a lizard to his chest, inscribed to the base Franco Bargiggia and with foundry plaque, on a green marble plinth, the bronze - 42cm high; overall45cm high (ARR)

£600 - £800

41

A French bronze figure of David, Mid-19th century,

Depicted standing with the torso of Goliath and helmet to the base, 25cm high, 14cm wide, 10cm deep

£400 - £600

A Flemish marble relief of the Rape of the Lapith women by the centaurs at the marriage of King Peirithous, Attributed to Gérard van Opstal, Flemish, 1594-1668, mid-17th century,

Carved in high and low relief, depicting a centaur clasping a woman and with four other women fleeing to the right, with a man to the left brandishing a dagger, 39cm high, 54cm wide

Provenance: Christie’s, The Property of the Right Honourable Earl of Pembroke, Wilton House, 2 June 1964, lot 83, 168 guineas.

Note: This dynamic sculptural relief depicts a famous scene drawn from Ovid. Pirithous, King of the Lapiths, invited the centaurs to celebrate his marriage to the beautiful Hippodamia. The drunken centaurs became out of control and the centaur Eurityon tried in vain to abduct Hippodamia. King Pirithous assisted by Theseus, later took revenge on the centaurs in a battle known as the Centauromachy, a scene depicted throughout art history, from the Parthenon to Piero di Cosimo and Peter Paul Rubens.

Gérard van Opstal was registered as apprentice to the Brussels artist Niklaas Diodone in 1621. He later collaborated with his father-in-law, the sculptor Hans van Mildert (c.1588-1638) in Antwerp. At the invitation of Cardinal Richelieu, in about 1642, van Opstal moved to Paris, where he produced architectural carvings and worked under Sarazin on the decorations of the Louvre and the Tuileries, and later on the Hôtel Carnavalet. He specialised in low-relief friezes of mythological subjects, depicting tritons, nereids, and centaurs, for numerous palaces and hôtels particuliers in and around Paris. In 1648 he helped found the Academie Royale de Peinture et de Sculpture.

£6,000 - £8,000

A Flemish marble relief of Tritons, Nereids and putti, Attributed to Gérard van Opstal, Flemish, 1594-1668, mid-17th century,

Carved in high and low relief, centred by a hippocamp surrounded by Tritons pursuing Nereids, further carved with putti, 36.5cm high, 59cm wide

Provenance: Christie’s, The Property of the Right Honourable Earl of Pembroke, Wilton House, 2 June 1964, lot 82, 126 guineas.

Note: A similar panel by Van Opstal is in the Louvre, Paris (MR2472) and five further marble reliefs are held in the Getty Museum, Los Angeles. The present lot and these museum examples demonstrate Van Opstal’s mastery in carving low-relief friezes of Classical mythological subjects such as tritons, nereids, and centaurs that decorated the many palaces and hôtels particuliers in and around Paris.

£6,000 - £8,000

44

An Italian marble octagonal relief, Probably Rome, in the manner of Alessandro Algardi, 1595/98-1654, mid-17th century,

Carved with a putto blowing a conch shell seated on a hippocamp, 45cm high, 45cm wide

Note: The present lot is conceived in the manner of the leading Baroque sculptor Alessandro Algardi. The putto bears close comparisons to a bronze by Algardi where a putto blows two conch shells which itself derives from an early 16th century bronze in The Walter Art Gallery in Baltimore of a putto on a hippocamp by Bartolommeo Ammananti (54.465B). Another version of the bronze exists as part of a set of four putti playing musical instruments at the Wallace Collection in London (S204).

£2,000 - £4,000

45

A North Italian marble relief of Marcus Curtius, First half 17th century,

The figure wearing a helmet and with flowing drapery, 36cm high, 38cm wide

Note: According to the mythological story of Marcus Curtius, in 362 B.C. a flame or flaming pit opened in the Roman Forum as the result of an earthquake. The indominable Curtius leapt into the flames, which ceased thereafter, thereby saving the city.

£1,000 - £1,500

46

An Italian marble bust of Melpomene, Muse of Tragedy, After the Antique, late 18th / early 19th century, Inscribed to base Melpomen, on a cylindrical marble socle, 66cm high

Note: In her earliest incarnation Melpomene was known as the muse of singing. She was, however, later transformed into the ancient Greek muse of tragedy. The antique prototype upon which the present lot is based is the full-length 1st -2nd century AD Roman marble - itself a copy of an ancient Greek original - in the Museo Pio Clementino in the Vatican. In this full-length form she is represented holding a tragic mask and a dagger in each hand and wearing a crown of cypress leaves. Discovered in the Villa di Cassio near Tivoli in 1774, the statue appears to have achieved instant fame and inspired various copies by neoclassical sculptors active in the Eternal City, including Bertel Thorvaldsen. As here, she is often represented with abundant hair garlanded with vines, referencing the Dionysiac origin of the art form and the exaggerated masks worn by tragic actors.

£3,000 - £5,000 46

47

An Italian marble profile relief of Attila, 20th century,

With inscription ATTILA B?e degli Unni Flagellum Dei (Attila of the Huns Scourge of God), 41cm high, 30cm, 4cm deep

£600 - £800

A pair of Italian marble portrait reliefs, Late 17th / early 18th century, Depicting Christ and the Virgin, in 18th century French giltwood oval frames, the reliefs - 17.2cm high, 20cm wide; overall - 38cm high, 31cm wide (2)

£3,000 - £5,000

49

Louis-Maximilien Bourgeois, French, 1839-1901, four French allegorical terracotta plaques of the seasons, Dated 1876-78,

Each relief depicting a cherub with seasonal plants, symbols and star signs, inscribed MAX BOURGEOIS, summer and autumn dated 1876, winter and spring 1878, in later walnut frames, 27.5cm diameter (4)

£500 - £800

50

After Denys Pierre Puech, French, 1854-1942, a French marble group entitled ‘La Seine’, Dated 1902,

The recumbent nymph depicted transforming into a river with reeds wrapped around her body and her hair disappearing into the flowing water, the coat of arms of the City of Paris is partially concealed in the bulrushes and the facades the city’s skyline including Notre Dame and Pont Neuf carved in low relief to background, surmounted by shells, signed and dated D Puech 1902, 23.5cm high, 73cm wide, 13.5cm deep

Provenance: David Hughes, London, label to underside.

Note: Denys Puech was a late 19th century French sculptor who trained at the École des Beaux-Arts in Paris and apprenticed under artists such as Jouffroy, Falguière and Chapu. He exhibited regularly in the Parisian Salons of the early 20th century and won numerous awards and medals, including the prestigious Prix de Rome in 1884. He created ‘La Seine’ when he was a student at the French Academy in Rome in 1886, and it was sent back to France as part of his first envois de Rome, which was a requirement of students at the academy to show evidence of their artistic development. It was shown at the École des Beaux-Arts in Paris in 1886.

This marble represents the mythological creation of the river as recounted by French author Jacques-Henri Bernardin de SaintPierre (1737-1814) in his L’Arcadie, Bernardin de Saint-Pierre. The nymph Seine, daughter of Bacchus, was granted control of the bodies of water in Northern France for her role in assisting in the search of Persephone there with Ceres. After being pursued by an infatuated Neptune, she appealed to Bacchus to turn her into a flowing river to save her from her plight. The river running through Paris bears her name to this day.

£4,000 - £6,000

51

Four plaster and composition relief wall plaques, Second half 20th century, Comprising: Bellerophon killing the Chimera, after Waldo Story, with cast signature WALDO STORY ROME 1883, in a blue painted frame, plaque - 64 x 86cm; Aphrodite and Adonis, within Greek key border, 63 x 121cm; and two processions of soldiers and horses, both 59 x 86cm (4)

£500 - £800

52

After Charles Antoine Coysevox, French, 1640-1720, a French bronze model of the Crouching Venus, Second half 19th century,

The partly draped figure modelled seated on a turtle, on a later marble plinth, 25cm high overall, 19cm wide; 13cm deep

£400 - £600

53

After Giambologna, Italian, 1529-1608, a French bronze model of the Crouching Venus, 18th or early 19th century,

The nude figure modelled kneeling, on a rouge griotte marble plinth, 37cm high overall, 14cm wide, 12cm deep

£800 - £1,200

54

A pair of French gilt-bronze candlesticks, Of Louis XV style, late 19th century, Each cast with scrolling foliage, flowers and insects, 27cm high (2)

£300 - £500

55

A pair of French gilt-bronze figural candlesticks, In the manner of Corneille van Cleve, late 19th century, One modelled with a seated and draped male figure holding a cornucopia, the other with a female figure holding a foliate and ribbon-tied floral cornucopia, with shaped drip-pan and urn socket, above a gadrooned spreading base with entrelac and rosette border, 33.6cm high (2)

Provenance: Purchased from Kraemer, Paris, 1950s.

Note: These candlesticks are a variant of the celebrated model by Corneille van Clève (16461732). The original drawings were once originally attributed to Charles Le Brun (1619-1690) but are now thought to be by van Clève and are held in the Staatliche Museen zu Berlin. The strapwork and entrelac bases of these candlesticks are identical to those on a pair of early 18th Century candlesticks in the Wallace Collection, illustrated in F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, pl. 20, F22.

£800 - £1,200

56

A French bronze model of a reclining female nude, In the manner of Jean-Jaques Pradier, late 19th century, Depicted wearing a turban, on an oval base with impressed foundry stamp SUSSE FRES, 10.5cm high, 15.2cm wide

£400 - £600

57

An Italian bronze model of Venus, Late 19th century, after Titian’s painting Venus of Urbino, The nude figure shown reclining on a day bed, 16.5cm high, 36cm wide, 13.5cm deep

£800 - £1,200

After Frédéric Auguste Bartholdi, French, 1834-1904, a French allegorical bronze of Asia from the monument to Admiral Bruat, Early 20th century,

The partially draped female figure depicted reclining on a tiger skin with an elephant headdress, with cast signature A. BARTHOLDI, 32.5cm high, 47cm wide, 19cm deep

Note: Frédéric Auguste Bartholdi was a French sculptor and painter renowned for designing the famous Statue of Liberty in New York. The present allegorical figure of Asia is a reduction of one of the four monumental marble statues representing the Quatre parties du monde sculptured by Bartholdi for the monument to Admiral Bruat in Colmar, the artist’s native city.

Bartholdi exhibited the constituent parts of the memorial at the Salon of 1863, and the project as a whole was unveiled in 1864, with the bronze figure of Bruat on a stone pedestal and the continents carved in stone. The original monument was destroyed during the invasion of 1940 and was replaced in 1958, although the stone heads of the reclining figures survive in the Musée Bartholdi, which has a room dedicated to the monument.

Armand Joseph Bruat (1796-1855) was a distinguished French Admiral. After joining the navy during the height of the Napoleonic Wars in 1811, he fought in the Battle of Navarino in 1827 and was promoted to Commander of the French fleet in the Black Sea during the Crimean war, distinguishing himself in the relief of Kinburn. He died of cholera in 1855 and was honoured as a national hero.

£3,000 - £5,000

59

After Francois Alexandre Devaux, French, 1840-1904, a French bronze model of a seated lady, Last quarter 19th century,

Depicted seated on a naturalistic base with large blossoming flower, with cast signature DEVAUX to base, 33cm high, 33cm wide, 19cm deep

Note: Francois Devaux exhibited at the Salon from 1870.

£300 - £500

60

After Pierre-Alexandre Schoenewerk, French, 1820-1885, a French bronze model of a maiden, Late 19th century,

The young lady depicted kneeling in diaphanous robes picking flowers, with a basket of flowers to her right on a naturalistic base, with cast signature SCHOENEWERK sculpt and foundry inscription L Marchand ed., 26cm high, 24.5cm wide, 12.7cm deep

£400 - £600

61

After Claude Michel, called Clodion, French, 1738-1814, a French bronze group of a Bacchante and Satyr, Late 19th century,

The female figure riding on the shoulders of a satyr while holding a thyrsus aloft, with cast signature CLODION, on an associated circular verde antico marble base, bronze - 38cm high, overall40.5cm high

£600 - £800

62

After Claude Michel, called Clodion, French, 1738-1814, a French bronze group of a Bacchante and Satyr, Late 19th century,

The female figure riding on the shoulders of a satyr while holding a thyrsus aloft, with cast signature CLODION and THIEBAUT FRERES FONDEURS PARIS cachet, on stepped circular variegated marble base, bronze - 38cm high; overall - 43cm high

£500 - £800

63

A gilt-bronze salt cellar, French or Italian, late 19th century, Modelled with Neptune astride a dolphin and holding a hinged lidded shell-shaped well, flanked by two scallop shells, on a rococo style pierced and scrolling foliate base, with incised L to underside, 17cm high, 25cm wide

£300 - £500

64

A French gilt-bronze mounted blue glass urn and cover, Third quarter 19th century, The removeable cover with lanceolate leaf clasped berried finial, above a gadrooned neck and baluster shaped body with fruiting vines suspended from Bacchic mask handles, the acanthus clasped waisted socle with laurel border on a square marble base with beaded rim, 27cm high; together with the mounts and base of another matching example, lacking glass body, mounted on a wood panel (2)

Note: A similar pair of vases sold at Christie’s, New York, Chicago Classical: A Private Collection, 19 November 2021, lot 108.

£200 - £300

65

A pair of French gilt-bronze and cobalt blue glass candlesticks, Of Louis XVI style, late 19th century, Each modelled as an urn issuing rose branches surmounted with single sconce, the urn with four tapering fluted foliate handles on acanthus support above laurel wreath on a square base, 39cm high (2)

£400 - £600

66

A North European tapestry panel, Swedish or Danish, late 17th / early 18th century, Woven in wools and silks, depicting a kneeling queen interceding with a enthroned king beneath a pendant of strawberries amidst a wreath of flowers and foliage, possibly the Old Testament story of Esther and Ahasuerus, later framed, 53 x 52cm

Note: A similar example at Sotheby’s, London, 8 November 2023, lot 166.

£800 - £1,200

68

A Scandinavian biblical tapestry panel, Probably Swedish, second half 18th century, Woven in wools and silks, centred with an octagonal vignette of a man with a halo kneeling before a woman amongst flowers, possibly Jesus before the Woman of Samaria, within a border with flowerheads, foliage, birds and unicorns, later framed, 49.8 x 50cm

£600 - £800

67

A North European tapestry panel, C.1700

Woven in wools and silks, the central roundel depicting two figures wearing floral crowns standing in a landscape with sheep, within floral border on a blue ground, later framed, 51 x 51cm

£700 - £1,000

69

A North European tapestry panel, Possibly Dutch, c.1700, Woven in wools and silks, the central roundel depicting a figure kneeling before an enthroned figure wearing a turban, with figures to background, within floral border on a dark blue ground, later mounted and framed, 50 x 50cm

£600 - £800

70

A North European biblical tapestry panel, Possibly Dutch, c.1700,

Woven in wools and silks, the central roundel depicting figures before a flame, possibly the priests Nadab and Abihu, sons of Aaron, being consumed by a column of fire sent by God, within a floral border on a dark blue ground, later framed, 51 x 51cm

£600 - £800

72

A North European biblical tapestry panel, Possibly Dutch, c.1700,

Woven in wools and silks, the central roundel depicting Jesus bending down in front of a woman about to be stoned for adultery, while the Pharisees and scribes stand in the background, within a floral border on a dark blue ground, later framed, 51.5 x 55.5cm

Note: The story depicted in this lot appears in the Gospel of John, chapter 8. A woman who had been caught in adultery is brought to Jesus in the Temple by the Scribes and Pharisees. Meaning to test him so that they may bring charges against him, they tell him of her crime and that the Law of Moses commands them to stone such a woman, and asked him what he has to say. Jesus bends down and writes with his finger on the ground, and when questioned again he stands up and says to them: ‘’Let any one of you who is without sin be the first to throw a stone at her.” As Jesus stoops down to continue writing in the ground, one by one the Pharisees depart, leaving Jesus alone with the woman, who doesn’t condemn her to be stoned for her sin, but commands her to leave her sinful life behind.

£600 - £800

71

A North European biblical tapestry panel, Possibly Dutch, c.1700, Woven in wools and silks, the circular roundel depicting King David watching Bathsheba bathing from a balcony, within a ribbon-tied floral border on a dark blue ground, later framed and mounted, 50 x 50cm

£600 - £800 72

73

A near pair of North European biblical tapestry panels, Possibly Dutch, c.1700, Woven in wools and silks, each with a central roundel within floral borders with later metal thread trim, one depicting Joseph and Potiphar’s wife, the other Abraham turning away Hagar and her son Ishmael, later framed, panel - 53.5 x 55.5cm and 55 x 56cm (2)

£400 - £600

74

A North German allegorical tapestry panel, Possibly Hamburg, first half 17th century, Woven in wools and silks, depicting two angels holding palm leaves amidst flowerheads and foliage, within a foliate border and cream-coloured outer slip, later framed, 59 x 54cm

£600 - £800

75

A North European tapestry panel, Possibly Flemish, mid-17th century, Woven in wools and silks, depicting the Virgin and Child flanked by figures including a soldier carrying a cross and chalice and with angels flying above, within border of flowers, fruits, animals and figures, later mounted, 58.5 x 56.5cm

£1,000 - £1,500

76

A North German tapestry panel, Possibly Hamburg, dated 1649, Woven in wools and silks, with Samson and the lion in a roundel to centre flanked by angels holding palm leaves amidst foliage and dated 1649, within border of fruit and flowers, later framed, 54.5 x 46.5cm

£800 - £1,200

77

A North German biblical tapestry panel, Possibly Hamburg, first half 17th century, Woven in wools and silks, with Samson and the Lion in a roundel to centre flanked by angels holding palm leaves amidst flowerheads, foliage and a dog pursuing a hare, within a foliate border with two armorial shields, later framed, 53.5 x 49cm

Note: A similar example was sold at Christie’s, Amsterdam, Property from the Gutmann Collection, 13 May 2003, lot 32.

£400 - £600

78

A pair of North German biblical tapestry panels, Possibly Hamburg, second half 17th century, Woven in wools and silks, both with Samson and the lion in a roundel to centre flanked by angels holding palm leaves amidst flowerheads, foliage and a dog pursuing a hare, within borders with crowned figures, flowers and fruit, later framed, 52 x 52cm (2)

£2,000 - £3,000

79

Circle of Damián Forment, Spanish, c.1480-1540, a polychrome and parcel-gilt model of Saint Roch, Saragossa, c.1520-30,

The bearded figure depicted lifting his tunic to show his plague wound, with gilt lettering to the fringe of the tunic, on a later crimson velvet-covered plinth with iron rod support, 70cm high, overall - 79cm high

Literature: G. Weise, Die Plastik der Renaissance und des Frühbarock im Nördlichen Spanien, Tubingen, 1957, I, pls. 31-37.

Note: The present lot recalls the work of artists active in the north of Spain in the second quarter of the 16th century. In particular, the somewhat square face, mournful expression and shortened body type recalls the work of the sculptor Damián Forment, who moved from Valencia to Saragossa in 1509. Saint Roch of Montpellier has, for centuries, been revered as a healer of the sick, especially those stricken by the plague.

£2,000 - £3,000

80

A Pair of Spanish walnut and chestnut demi-lune console tables, Last quarter 17th century, The shaped supports with iron stretcher, 81cm high, 128cm wide, 60cm deep (2)

£1,000 - £1,500

81

A French gilt-bronze eight-light chandelier, Of Regence style, early 20th century, The baluster stem supporting foliate scroll branches with bearded mask mounts, 72cm high, 73cm diameter

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£1,000 - £1,500

82

An English ormolu-mounted kingwood parquetry bureau plat, Of Louis XV style, last quarter 19th century, The inset leather writing surface above three frieze drawers and three dummy drawers, with corner foliate clasps and masks to each side, 76cm high, 138cm wide, 74cm deep

Provenance: reputedly supplied by Gillows, according to vendor records.

£2,000 - £4,000

83

A pair of French walnut fauteuils, Of Regence style, first quarter 19th century, Each with carved frame and shaped back, with tan leather upholstery, on cabriole legs to scroll ends, joined by X-frame stretcher (2)

84

Follower of Rosalba Carriera, Italian, 1673/75-1757, portrait of a lady in Eastern dress, Portrayed half-length, wearing a turban and gold-embroidered costume, pastel on paper, laid to canvas, 59.5cm high, 44.1cm wide (portrait), 80 x 75cm overall including carved and giltwood Louis XV style frame

£1,500 - £2,000

85

A French gilt-bronze bouillotte lamp, Early 20th century, With three branches, acorn finial and adjustable paper shade, 57cm high

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£200 - £300

86

A Flemish millefleurs tapestry fragment of St. Cecilia, First half 16th century, Woven in wool, the patron saint of music depicted kneeling before an organ with flowing robes, a scroll above with indistinct Latin text, later mounted, 134 x 108cm

£800 - £1,200

87

A French kingwood bombe commode, Of Louis XV style, last quarter 19th century, With shaped marble top above two drawers, on curved legs, 81cm high, 72cm wide, 40cm deep

£400 - £600

88

A Louis XV giltwood fauteuil, By Mathieu Bauve, third quarter 18th century, With carved floral crest and blue silk floral upholstery, on cabriole legs, stamped Bauve

£200 - £300

89

An English needlework panel, Mid-18th century, Worked in wools and silks, depicting Christ and the Woman from Samaria at the well, in a wooded landscape with buildings beyond, the foreground with sheep, a dog and a cow, later mounted, 38 x 41cm

£400 - £600

90

An English needlework panel, Early 18th century, Depicting Christ and the woman from Samaria at the well, in a wooded landscape with buildings beyond, the foreground with a butterfly, caterpillar and a rabbit, later framed, 62.5 x 52.5cm

£500 - £800

91

An English kingwood and inlaid ormolu mounted bombe bureau de dame, By Edwards & Roberts, of Louis XV style, third quarter 19th century, The fall front revealing fitted interior, on curved legs, with makers plaque EDWARDS & ROBERTS WARDOUR ST. 126, PICCADILLY, 532, OXFORD ST. LONDON., 85cm high, 80cm wide, 46cm deep

£1,000 - £1,500

92

A pair of French inlaid kingwood bedside tables, First quarter 20th century, With brass galleried top above single drawer on slender cabriole legs united by a lower shelf, 74cm high, 45cm wide, 34cm deep (2)

£300 - £500

93

A pair of Tannoy walnut speaker cabinets, Retailed by Bianco of London, last quarter 20th century, Each with grille front and cabriole legs, together with a matching TV cabinet (3)

£400 - £600

A Franco-Flemish tapestry fragment, Late 16th / early 17th century, Depicting the Old Testament story of Tobias and the Archangel Raphael leaving Tobit and Anna, possibly cut and re-joined with verdure end panels, within a bead-and-reel border, later mounted, 51 x 151.5cm

£500 - £800

95

A pair of Regence giltwood fauteuils, First quarter 18th century, The frame carved with shells and acanthus leaves, on cabriole legs with shell caps (2)

£2,500 - £4,000

96

A French kingwood and marquetry inlaid kidney shape side table, In the manner of Charles Topino, last quarter 19th century, With brass galleried top above two drawers and lower shelf with brass gallery, on slender curved legs, 81cm high, 58cm wide, 37cm deep

£400 - £600

97

A French gilt-bronze mounted kingwood bijouterie table, Of Louis XV style, last quarter 19th century, The hinged top revealing velvet lining, on cabriole legs, 75cm high, 65cm wide, 40cm deep

£400 - £600

98

An Italian maiolica istoriato crespina, Second half 19th century,

Painted with the story of the Judgement of King Midas, with Pan and Apollo playing instruments near a shore, Midas with donkey’s ears, with distant buildings and mountains beyond, 25.8cm wide

Note: This footed dish, or crespina, is decorated with the story of the musical contest between Pan and Apollo. Pan was foolish enough to challenge Apollo to a contest. Although Pan’s music played on pipes was more rustic than Apollo’s music played on the lyre, Midas, who worshiped Pan, objected to Apollo being declared the winner. As a punishment for his depraved ears and judgment, Apollo gave him donkey’s ears. The author of this dish appears to have confused the myth, depicting Pan with a lyre, and Apollo with pipes.

£1,500 - £2,500

99

A Continental istoriato maiolica charger, Probably second half 19th century,

Painted with the conversion of Saul, with Saul in Roman armour, lying on the ground with his hand raised to shade his eyes, his companions astonished and in disarray, God appearing from clouds above, surrounded by cherubs, the reverse with concentric ochre bands, the centre with remains of an armorial wax seal, 46.4cm diameter

£3,000 - £5,000

100

A Castelli maiolica large istoriato rectangular plaque, First half 18th century,

Painted with a shepherd in a blue robe, praying while seated by a tree with a dog at his side, a hut and a herd of pigs nearby, before distant classical ruins by a sea shore, 33.8 x 42.2cm

£1,500 - £2,500

Georges Stein, French 1864-1917, Flower market, Quai de l’Horlage, Paris, Oil on canvas, signed and inscribed lower left Georges Stein Paris, 36.5 x 44.4cm

£3,000 - £4,000

Marcel Dyf, French 1899-1985, La Seine à Vernon (Île-de-France), Oil on canvas, signed lower right ‘Dyf’, 46.2 x 55.2 cm (ARR)

Provenance: with Frost & Reed, London, no.633, registered no.45758, hand-numbered F.R.701 (label attached to the reverse of the stretcher).

Note: Born in Paris, Dyf moved to Arles and set up a studio painting the countryside around him. Early in his career, he exhibited at the Salon des Artistes Francais, Salon d’Autumne and Salon des Tuileries. After the war, he would travel seeking inspiration but always returning home to Brittany. Taking inspiration both from the Impressionists, particularly Pierre-Auguste Renoir, and the Old Masters, his landscapes expertly capture the beauty of his home country. In 1956 he met art dealer Sir Christopher Wade in London who was instrumental in showing his work at the gallery Frost & Reed in the UK and the United States. He also exhibited at the important Galerie Petrides in Paris, which showed the work of Maurice Utrillo.

£3,000 - £5,000

103

A suite of French walnut low tables, Three 18th century and two 19th century, With verde antico tops, comprising: a long low table, 40cm high, 153cm wide, 60cm deep; a pair of square tables, 45cm high, 44cm wide, 44cm deep; and another pair of square tables, 42cm high, 54cm wide, 44cm deep (5)

£600 - £800

104

An English mahogany kidney shape writing table, Of George III style, last quarter 19th century, The tooled leather writing surface above single drawer and lower shelf, on square legs to castors, 74cm high, 92cm wide, 48cm deep

£300 - £500

105

An impressive Victorian silver twin-handled bowl and cover, London, 1899, Elkington & Co., Raised on a lobed circular foot with decorative laurel band border, the halflobed body designed with foliate banding and a gadrooned border to angular handles with mask shoulders and bud drop decoration in relief, the lobed cover with fruiting bud finial, 34.5cm high (inc. finial), approx. weight 137ozt

£1,000 - £1,500

106

A set of ten Elizabeth II silver-gilt plates, London, 1970, Collingwood & Co., Of shaped circular form, designed with shell and scroll decoration to gadrooned borders, 29.5cm diameter, total weight approx. 234.9ozt (10)

£2,000 - £3,000

107

A small group of silver, silver plate and metalware, Various dates and makers,

The group including: a Scottish silver napkin ring, Edinburgh, 1978, Francis Howard; a cocktail straw, stamped 925, 19.5cm long; a pair of silver sugar tongs; a silver salt spoon; two plated metal tortoise design boxes/cruets; and various items of silver plated and metal flatware, total weighable silver approx. 5.7ozt (lot)

£100 - £200

108

A group of silver and silver plated oddments, Various dates and makers,

The group comprising: a silver paperknife with openwork trailing vine handle, Birmingham, 1975, Warwickshire Reproduction Silver, 19.8cm long; a George IV Fiddle pattern silver butter knife, London, 1827, Clement Cheese, 18.1cm long; an Onslow pattern sauce ladle, Sheffield, 1905, Thomas Bradbury & Sons, 13cm long; a pair of silver sugar nips; a small silver butter knife; a George IV silver spoon; a silver belt buckle, marks indistinct; an Israeli decanter label with Hebrew inscription, stamped 925; and an Elizabeth II silver decanter label with Hebrew inscription, Birmingham, 1959, Harman Brothers; together with a small group of silver plated and metal oddments including a footed caviar dish and a sauce ladle, total weighable silver approx. 9.1ozt (lot)

£150 - £250

110

An Elizabeth II silver cruet set, London, 1968, Collingwood & Co.,

The set comprising: a pair of salt cellars, a pair of mustards and a pair of pepper casters, each raised on three paw feet to lion mask shoulders and designed with gadrooned borders, the mustards with foliate thumbpieces to double scroll handles, the salts with gilded interiors; together with a pair of King’s pattern salt spoons and a pair of mustard spoons, London, 1968, Nayler Brothers, the peppers - 13.8cm high; the mustards - 7.8cm high, the salts - 5.5cm high, total weighable weight approx. 47.7ozt (6)

£600 - £800

109

An ornate four piece Victorian silver tea set, London, 1851, Joseph Angell II, Of octagonal baluster form, the set comprising a coffee pot, teapot, sugar and milk, all designed in the Gothic Revival style, with angular handles and engraved masks and scrolling designs to bodies, the bases with applied scrolling borders and low bracket feet, each engraved to one side of body with an owl crest and motto to convex oval cartouches, the teapot and coffee pot with ivory insulators to handles and domed lids with knopped and pointed finials, the sugar and milk jug with gilded interiors, coffee pot - 29.5cm high; teapot - 22.5cm high, total weight approx. 81.7ozt (4)

Ivory submission reference: BPUR18FE

£1,500 - £2,500

111

A silver milk jug decorated with pastoral scenes, Marked only with lion passant and maker’s mark E.F.,

Raised on a shaped foot with scroll border, the body repousse decorated with goats and a dog at play among trees and pagoda-style houses, the stylised bifurcated foliate handle to a shell and mask support, 10.5cm high, 14.2cm long (inc. handle), approx. weight 7.3ozt

£100 - £200

112

A Victorian silver mounted cut glass ewer, London, 1883, Charles Edwards, The rounded and cut glass body to a foliate scroll decorated collar and a domed hinged lid with flame finial, 27cm high; together with a silver plate mounted glass ewer, of tapering squared form, 29.5cm high; a third ewer with metal mount, the tapering circular body etched with ears of barley and stars; a silver plated kettle on stand (with burner); and a silver plated wine cradle (5)

£400 - £600

114

A silver box with hunting scene to cover, London import marks, 1960, JR & Co., Of rectangular form, the lid repousse decorated with a lady riding side saddle jumping a hedge alongside a gentleman, the forefront of the scene depicting two hounds bounding ahead, 6.8 x 9.4 x 1.8cm, the box designed with scroll-decorated sides, a flat base and hinged cover opening to a gilded interior, approx. weight 4.5ozt

£100 - £200

113

A French silver box by Boin-Taburet, Paris, 20th century, Of rectangular form, the engine turned sides to a hinged cover with a foliate border framing a scene of birds, flowers and a flaming torch, signed Boin Taburet a Paris, the gilded interior with curved base, 950 standard, 5.8 x 9.2 x 2.6cm; together with a silver cigar box with engine turned lid and woodlined interior (damaged), Birmingham, 1921, maker’s mark rubbed, 13.3 x 18.3 x 7cm, weighable silver (Boin-Taburet box only) approx. 6.7ozt (2)

£200 - £400

112

113 114

116

Three floral decorated silver boxes, London import marks,1960, JR & Co., Each designed with a repousse cluster of flowers to hinged lid surrounded by flowerheads and foliage within a scroll border, the sides with conforming decoration and the larger pair of boxes with vacant cartouches to front and back, all with hinged covers and gilded interiors, one box with some gilding to exterior, the larger boxes - 6.5 x 9.8 x 4cm; the smaller example - 9.7 x 7 x 1.8cm, total weight approx. 15.9ozt (3)

£200 - £400

115

Six place card holders designed as apples, The plated metal apples designed with gilded stems, unmarked, 3cm high; together with a small metal basket with woven sides and twisted handle, 5.5 x 7.9cm, 10cm high (inc. handle) (7)

£100 - £200

117

A collection of objects of vertu and silver, Comprising: an early Edwardian silver rattle, Birmingham, 1901, Cornelius Desormeaux Saunders & James Francis Hollings Shepherd, with bells dependent and a mother of pearl hoop, 10.2cm long; a small silver pill box in the form of a book, London import marks, 1960, J R & Co., 3.3cm, 3.9cm wide; a small silver pill box designed with shilling coins to lid and base, Birmingham, date letter indistinct, S. J. Rose & Son, 2.4cm diameter; a modern Lalique model of seated cherub, signed Lalique France to base, 7cm high; a Halcyon Days enamel trinket box inscribed Love and congratulations, 5.2cm wide; a Staffordshire enamel trinket box inscribed Grow old along with me, The best is yet to be., 4.4cm wide; a pair of bronze mice, 6.1cm wide; a gilt-brass mounted lapis lazuli reliquary of St Christopher, 5.7cm high, 4.2cm wide; a small circular cloisonné enamel box and cover, 5cm diameter; and others (lot)

£200 - £400

Lucien Falize, a keyless wind fob watch and chatelaine, Late 19th century,

Cylinder movement with gilt three arm balance, white enamel gothic dial with red Roman arcaded chapter and floral and foliate decoration to the centre, gold box form case, the sides embossed with hunting dogs and Celtic entrelac decoration, case covers and chatelaine with cloisonné polychrome enamel mythical birds against an ivory enamel ground and with blue counter enamel, the chatelaine surmounted by fire breathing mythical creatures and lotus flower border

Timepiece 33 x 39mm, length 11.5cm

Literature: Katherine Purcell, ‘Falize: A Dynasty of Jewellers’, Thames and Hudson Ltd, 1999, page 94 for an illustration of the watercolour design for this dial

£3,000 - £5,000

Pierre Latreille, a very fine gold and enamel open face pair case cylinder watch, made for the Turkish market, C.1840,

Cylinder movement with three arm balance, white enamel dial with Turkish numerals and outer five minute indication, gold beetle and poker hands, polychrome enamel gold and enamel cuvette secured to the case by two screws, within polychrome enamel hinged inner case, with scalloped and foliate decorative bands surrounding a rural sailing sunset scene, within similarly decorated outer case, with floral edges, red enamel ground, alternative floral and musical themed oval lozenges surrounding another rural waterside and ship sailing into the sunset, dial signed Diameter 47mm

£4,000 - £6,000

120

Bovet Fleurier, a silver gilt, enamel and pearl-set open face centre seconds duplex watch, C.1840,

Signed and engraved silver and gilt movement with duplex escapement, raised barrel, possibly later glazed exhibition cuvette, white enamel dial with elongated Roman numerals and fine blued steel hands, bezels, pendant and bow set with seed pearls, the back of the case decorated with polychrome enamel depicting summer flowers against a turquoise colour ground, movement signed, case back and edges with matching numbers

Diameter 57mm

£5,000 - £8,000

121

A Swiss gold and polychrome enamel pocket watch, Mid-19th century,

Cylinder bar movement with gilt three arm balance, silvered sunburst dial and centrally printed Roman chapter, winding to the front at 2, florally engraved and enamelled stylised tulips and roses on alternate pink and black ground, similarly decorated bow, unsigned

Diameter 41mm

£800 - £1,200

122

A Swiss full hunter minute repeating chronograph pocket watch, Late 19th century,

Movement with jewelled Swiss lever escapement, two steel hammers repeating on gongs, fly ball governor, numbered 251692, white enamel dial with black Arabic numerals, outer chronograph track, subsidiary seconds at 6, polished case stamped with 0.585 and the outside with engraved gold cuvette with 1896 engraved medals, olive shaped chronograph button, repetition button at 6

Diameter 59mm

£1,000 - £1,500

American Waltham Watch Co., an 18ct gold hunter pocket watch, C.1880,

‘Royal’ grade, stamped 18k, keyless wind lever movement with bi-metallic cut and compensated balance, numbered 1,877234, white enamel dial with black Roman numerals and outer five minute track, subsidiary seconds dial, blued steel spade hands, gold cuvette with personal inscription, case with black enamel decoration and an enameled village scene to the front cover, geometric scalloped band, Jurgensen style bow, dial and movement signed Diameter 45mm

£1,200 - £1,800

123

Hall & Co, Manchester, an 18ct gold full hunter pocket watch, London hallmark for 1884, 3/4 plate English lever movement, bi-metallic cut and compensated balance, numbered 10403, white enamel dial with black Roman numerals, subsidiary seconds dial, blued steel spade hands, gold cuvette, plain polished case with engraved monogram to the front cover and crest with motto to the back, movement signed Diameter 48mm

£800 - £1,200 125

Charles Harwood, London, a gilt metal horn pair cased verge fusee pocket watch, C.1745, Gilt full plate movement with pierced and engraved balance cock, silvered regulation, signed Chas. Harwood and numbered 6726, white enamel dial with Roman numerals and outer Arabic five minute chapter, matched gilt fleur-de-lys hands, gilt metal inner hinged case within painted horn outer decorated with rural fishing scene, movement signed Diameter 52mm

£400 - £600

126

Frères DeRoches, Geneva, a gilt metal, enamel and paste set open face pocket watch, C.1780,

Full plate gilt movement with centrally mounted pierced and engraved balance bridge, silvered regulation, white enamel dial with painted Arabic hourly numerals, pierced fancy hands, winding hole at 2 through the dial, gilt metal case with applied paste set bezels, the centre polychrome enamel scene depicting two women, dial signed Diameter 60mm

£400 - £800

127

Abraham Bernard, Bristol, a silver pair case pocket watch, London hallmark for 1782, Gilt full plate movement with pierced and engraved balance cock, squared baluster pillars, verge escapement, enamel dial with arcaded Roman chapter, later hands, silver hinged inner case, unmarked repoussé outer, movement signed Diameter 49mm

£150 - £250

128

Frères Esquivillon & De Choudent, Geneve, a gilt metal and enamel verge pocket watch, C.1830,

Signed gilt full plate movement with centrally mounted balance bridge, signed enamel dial with blued steel hands, winding aperture at 2, gilt metal case with enamel scene depicting a young male artist and a female figure, dial and movement signed Diameter 52mm

£300 - £500

129

Thomason Fitter, London, a gold pair case repoussé pocket watch, C.1760,

Gilt full plate fusee verge movement, pierced and engraved balance cock, silver regulation, white dial enamel dial with black Roman numerals and outer five minute chapter, steel beetle and poker hands, gold inner case, with repoussé outer case with five piece hinge, depicting a classical scene possibly of the reception of Alexander the Great, together with gilt metal chain and chatelaine, movement signed Diameter 47mm

Note: Thomason Fitter was the son of Thomas Fitter, also a watchmaker.

£1,000 - £1,500

130

Leroy, Palais Royal, a gold and emerald set open face key wound pocket watch, No. 114, c.1820,

Gilt brass full plate verge movement with centrally mounted pierced and engraved balance bridge, gilt metal engine turned dial with Roman numerals, blued steel hands, three colour gold embossed case, the floral decoration set with emeralds, movement signed Diameter 43mm

£500 - £800

131

Guex, Paris, an enamel and pearl set open face pocket watch, C.1790, Gilt full plate verge movement with pierced and engraved continental balance bridge, silver regulation, engine turned silvered dial with Roman numerals, blued steel hands, polished gold case with rose cut diamond set sheaf of corn decoration over blue enamel blue ground (one diamond lacking), alternate enamel and seed pearl bands to the case back and bezel, movement signed Diameter 41mm

£1,500 - £2,500

132

Viner & Co., New Bond Street, an 18ct three colour gold and turquoise open face pocket watch, London hallmark for 1824, Gilt brass cylinder movement with standing barrel, plain steel three arm balance, blued steel flat balance spring, index regulator, three colour gilt dial with Roman numerals with floral centre, engine turned gold cuvette, heavily embossed three colour gold florally decorated case set with turquoise stones throughout, case and cuvette both stamped L.C for Louis Comptesse

Diameter 46mm

£600 - £1,200

133

A Swiss three colour gold, turquoise and pearl set open face pocket watch, C.1820, Gilt full plate movement with pierced and engraved balance bridge, engine turned dial with polished Roman numerals, three colour case with musical instruments, birds, flowers set with turquoise stones, seed pearl bezels front and back, unsigned Diameter 40mm

£400 - £800

134

A Continental gold vinaigrette, Early 20th century, unmarked, Oval form, engine turned decoration, the hinged cover set with a cabochon dyed green agate, the interior with a pierced grille, width 3.2cm

£300 - £600

135

A set of three Elizabeth II silver serving platters, London, 1970, Collingwood & Co., Of shaped oval form and of graduating size, each designed with fan and scroll decoration to shaped border, the largest - 40.9 x 54.8cm; the smallest - 34.2 x 45.5cm, total weight approx. 194.6ozt (3)

£2,000 - £4,000

136

A set of twelve Elizabeth II silver side plates, London, 1962, Collingwood & Co., Of shaped circular form, decorated with shell, scroll and fan motifs to foliate borders, 18.3cm diameter, total weight approx. 124.8ozt (12)

£1,500 - £2,500

137

A set of eight silver butter dishes and knives, Birmingham, 1961, J. B. Chatterley & Sons, Of shaped circular form, designed with foliate and fan decoration to gadrooned borders, 11.5cm diameter, the knives also Birmingham, 1961, J. B. Chatterley & Sons, 11.2cm long, total weight approx. 27ozt (16)

£300 - £500

138

A set of ten Elizabeth II silver soup plates, London, 1970, Collingwood & Co., Of shaped circular form, designed with shell and scroll decoration to gadrooned borders, 25cm diameter, 3.2cm high, total weight approx. 179.1ozt (10)

£1,500 - £2,500

139

A George V silver salver, Sheffield, 1919, Stevenson & Law, Of shaped circular form, the plain flat base raised on four pad feet, 30.8cm diameter, approx. weight 26.7ozt

£250 - £350

140

A pair of novelty miniature beakers, Stamped with French marks to bases, The spirally fluted bodies designed with slightly flared rims chased with a wave border, raised on shallow circular feet, the undersides stamped with two (different) maker’s marks and French gros charge mark for Paris (1762-1768), 4.9cm high, total weight approx. 2.4ozt (2)

£200 - £300

141

A pair of George IV silver wine coasters, Sheffield, 1821, S.C. Younge & Co., Designed with lobed sides to applied floral scroll borders, the turned wooden bases with silver discs to centre engraved with recumbent lion crest, 16.6cm diameter (inc. border), base diameter 13cm, 5cm high (2)

£800 - £1,200

142

A pair of silver sauce boats with stylised dolphin handles, London, 1930, Richard Comyns, Each designed with a shaped border and raised on three shell feet with mask shoulders, the dolphin handles modelled with scales and tail fins, 20.6cm long, 11.5cm high (inc. handles), total weight approx. 37.1ozt (2)

£500 - £800

143

A pair of George V silver toast racks, London, 1914, Elkington & Co., Designed with seven bars to a gadrooned and floral decorated rectangular base raised on four paw feet, the stylised foliate loop handles surmounting vacant oval cartouches, 10.5 x 16cm, 12.8cm high (inc. handles), total weight approx. 19.4ozt (2)

£200 - £400

144

Three Victorian silver mounted cut glass scent bottles, Various dates and makers, Designed with globular hobnail cut glass bodies to rounded silver caps, the largest example Birmingham, 1887, John Grinsell & Sons, with a hinged cover and cut glass stopper with elongated drop, 11.4cm high; the second largest example Birmingham, 1900, William Devenport, with hinged cover and short cut glass stopper, 9.7cm high; and the smallest bottle London, 1894, William Harrison Walter, with screw cap, 9cm high; together with a silver mounted glass vanity jar, London, 1899, William Comyns, the cover repousse decorated with scrolls framing a scene of a woman collecting flowers, 11cm high (4)

£200 - £300

145

A boxed set of Victorian silver dessert knives and forks, Sheffield, 1847, John Oxley, The twelve each King’s pattern dessert knives and forks in a fitted wooden box, handles filled, box - 26cm high, 34.3cm wide, 6.5cm deep

£200 - £400

146

A set of Victorian silver fish knives and forks, London, 1875, Francis Higgins II, The set comprising: eighteen fish forks and eighteen fish knives, the blades of the knives and the tines of the forks pierced and chased with fish and foliate designs, handles filled; together with an associated wooden box, one shelf deficient so only fitted for six forks and six knives, box - 26cm high, 34.5cm wide, 8.9cm deep (lot)

£500 - £800

147

A harlequin part set of King’s pattern silver flatware, Various dates and makers,

The set comprising: 12 tablespoons including four London, 1832, Benjamin Davis, ten with diamond heel, 24 table forks including five London, 1839, William Theobalds & Robert Metcalfe Atkinson, all with diamond heel; 12 dessert spoons including three London, 1850, Charles Lias, all with diamond heel; 11 dessert forks including four London, 1843, William Eaton, some with diamond heel; 10 teaspoons including three London, 1833, William Theobalds, all with diamond heel; a pair of King’s Hourglass pattern diamond heel sauce ladles, London, 1822, William Eley I & William Fearn, engraved with monogram to terminals; 12 silver-gilt coffee spoons, London, 1962, Collingwood & Co.; a small silver-gilt ice cream/cheese spoon, Sheffield, 1980, Garrard & Co.; 15 King’s Hourglass pattern silver-handled dessert knives, London, 1961, C.J. Vander; 12 King’s Hourglass pattern silver-handled table knives, London, 1961, C.J. Vander; and a small selection of silver handled carving and serving implements, total weighable silver approx. 184.4ozt (a lot)

£2,000 - £3,000

148

A George III silver ladle, London, 1800, Stephen Adams II, The Old English pattern handle engraved with crest to terminal, 33.5cm long, together with a Victorian silver Fiddle pattern ladle, London, 1856, Elizabeth Eaton, 32.9cm long; an unmarked white metal toddy ladle with turned wooden handle and Charles II crown inset to bowl, 48.5cm long; and a silver plated ladle, total weighable silver (two silver ladles only) approx. 12.4ozt (4)

£200 - £300

149

An Art Deco silver twin-handled tray, London, 1936, Carrington & Co., Of shaped rectangular form, the angular handles to shaped corners and the plain flat base raised on four bracket feet, 41.4 x 65.5cm (inc. handles), approx. weight 122.3ozt

£1,000 - £1,500

150

A pair of George IV silver gilt grape scissors, London, 1828, George Pizey, Designed with stylised fruiting vine handles, 19.3cm long; together with three Old English pattern Victorian silver table spoons, London, 1890, Francis Higgins III and William Gibson & John Lawrence Langman, engraved with crest to terminals, 21.3cm long; and a silver plate, Birmingham, 1932, Adie Bros., 18.6cm diameter, total weight approx. 20.2ozt (5)

£200 - £400

151

Channel Islands interest. A novelty miniature silver bachin, Guernsey, late 20th / early 21st century, Bruce Russell & Son, Of traditional form, the lightly planished body to an everted rim, 10.9cm diameter, 3.1cm high; together with a George V silver basket with pierced border, Sheffield, 1917, Levesley Brothers, raised on four ball feet, designed with crossover reeded design to scalloped border and a fixed handle (damaged), 18.5cm high (inc. handle); and a shallow George V silver dish with pierced border, London, 1912, maker’s mark rubbed, 3.7cm high, 23.8cm wide (inc. handles), total weight approx. 23.6ozt (3)

£300 - £500

152

Four late Victorian silver mounted scent bottles, Various dates and makers, The group comprising: a pair of globular cut glass bottles with scroll and floral decorated silver caps and collars, London, 1897, Charles Henry Dumenil, both with hinged caps and glass stoppers, 14.6cm high; a smaller pair of globular glass bottles, London, 1899, William Comyns, decorated with repousse scene of a lady picking flowers to hinged caps, both with glass stoppers, 12.3cm high; together with a cylindrical hobnail cut glass jar with silver cover, Birmingham, 1899, Henry Matthews, the pull off cover repousse decorated with trelliswork, flowers and scrolls, 10cm high; an Edwardian rounded hobnail cut glass jar with silver cover, Birmingham, 1902, Levi & Salaman, 8cm high; and a single cover (no jar), Sheffield, 1907, Walker & Hall, 7.8cm diameter, total weighable silver approx. 3.8ozt (7)

£100 - £150

153

A George V silver hot water pot, Sheffield, 1926, Jenkins & Timm, The faceted baluster body to a wooden handle and hinged cover with wooden finial, 22.4cm high (inc. handle); together with a silver sugar caster with knopped finial, Sheffield, 1929, James Dixon & Sons, 17.5cm high; and a cut glass caster with domed silver cover, marks rubbed, 14.5cm high, total weighable silver approx. 28.4ozt (3)

£250 - £350

154

An English needlework table carpet, 17th century,

Worked in wools and silks, centred with an oval reserve with a traveller walking by a tree with a village to background, within foliate border with Bacchic masks, on a floral and foliate ground punctuated by cartouches enclosing fruiting trees and foliage, the outer border with bouquets of fruit and flowers centred by two coat of arms, later backed, 185 x 272cm

£2,000 - £3,000

155

A Spanish iron-mounted crimson velvet wood domed casket, 15th century,

Bound with straps terminating in scallop shells, the lid with a pierced gothic frieze, converted to a humidor, 36cm high, 50cm wide, 32cm deep

Note: A Gothic chest of this form, but lacking the shells and strapwork mounts, is in the Hispanic Society Collection (S58), illustrated and discussed in G.H. Burr, Hispanic Furniture, New York, 1964, pp. 122-123, pl. 119. Leather examples are also found, and often smaller in scale.

£1,500 - £2,500

156

A pair of French bronze six-light candelabra, In the manner of Barbedienne, late 19th century, Each cast with fruiting vine nozzles on shaped branches on a central fluted column, supported by tri-form base with mythical beasts and palmettes, 64cm high (2)

£600 - £800

157

A set of ten French walnut dining chairs, 17th century,

With stuffover backs and seats, later leather upholstery, on scrolling legs and stretchers (10)

£800 - £1,200

158

A French carved limestone table, Of 17th century style, 19th century, With lion monopodia united by an Xstretcher with rope-twist central boss, with a later verde antico marble top, 72cm high, 247cm wide, 117.7cm deep

£2,000 - £3,000

159

An Italian specimen marble and micromosaic table, Attributed to Giacomo Raffaelli, early 19th century, the base late 19th century, The white marble top inset with a central circular micromosaic depicting a chaffinch guarding its nest of eggs from an inquisitive mouse, surrounded by one hundred and sixty radiating specimens arranged in concentric tapering bands edged in Marmo Nero, samples include: porfido verde serpentino antico, Egyptian alabaster, porphyry, black granite, labradorite, amazonite, rhodonite, bloodstone, malachite, lapis lazuli, amethyst and various jaspers and agates, within a verde antico border on a Regency style polychrome decorated faux marble base with triform foliate scroll supports, overall - 74.5cm high, 134cm diameter; the micromosaic - 26.3cm diameter

Literature: Anna Maria Massinelli, Giacomo Raffaelli (1753-1836), Maestro di stile e di mosaic, Florence, 2018, pp.230-231, pp. 297-298, figs. 256 a, b, 353, 354.

Note: Giacomo Raffaelli (1753-1836) trained as a sculptor and painter but by 1775 he was already known for his work in micromosaic, a medium which he is credited with advancing. Through the work of the chemist Alessio Mattiloi, Raffaelli was able to create tiny tesserae made from spun enamel of extremely fine quality which allowed for the creation of complex compositions. Working from both his studio in the Piazza di Spagna and the Vatican workshops in Rome, his gallery became a place of pilgrimage for sophisticated European aristocrats on their Grand Tour.

Following the French occupation of Rome in 1797, Raffaelli transferred his workshop to the Milanese Court of Eugene Bonaparte. However, the collapse of the Court in Milan saw Raffaelli return to Rome between 1815-20, and set up his flourishing workshop in the via del Babuino. Alongside his intricate and acclaimed micromosaics, Raffaelli was also fascinated with the mineral world and was a highly accomplished lapidary artist, using sophisticated combinations of marbles, jaspers and semi-precious stones such as lapis lazuli, amethyst and malachite to create stunning table tops. The present lot can be almost certainly be attributed to Raffaelli combining as it does his genius in the techniques of both micromosaic and hardstone in a beautiful, harmonious design.

The central circular scene in the micromosaic of the present lot with a chaffinch guarding its nest of eggs from a mouse can be directly compared with one of a pair of panels by Raffaelli sold by Sotheby’s, Pelham, The Public and the Private, 8 March 2016, lot 142, with provenance to Hamilton Palace, showing an identical scene alongside a second panel with a goldfinch and a serpent. Further comparisons can also be drawn to a plaque in the Hermitage Museum, St Petersburg, and another in the Palazzo Borromeo, Borromeo Islands. In all three of these panels the tree is lacking a further trunk on the far left which is part of the design of the present lot. In addition, there is an inkwell in the Wallace Collection, London, which includes a medallion of the same picture but lacking the nest of eggs. Close examination reveals in all these examples, including the present lot, Raffaelli’s trademark device to outline his birds and animals with white, rectilinear tesserae.

The rich range of specimen marbles in the present lot can be compared with a table by Raffaelli sold Sotheby’s, Kentshire, New York, 18 October 2014, lot 156, with provenance to The Hon. John and Lady Augusta Kennedy-Erskine; and also a table at Trinity College, Cambridge, Fitzwilliam Museum (Massinelli op.cit p. 298). A further table, not fully attributed to Raffaelli, is at Ickworth House, Suffolk, and displays the same arrangement of specimen marbles surrounding a central micromosaic of The Doves of Pliny (NT 850351). The outer border with a band of verde antico marble in both the Kennedy-Erskine and Ickworth House table tops are identical to the present lot. While the base of the current table appears to be a later association, the ornamental scheme of the top combining a stunning lapidary palette with the intricate micromosaic can be attributed to the distinctive production of Raffaelli.

£25,000 - £35,000

160

A French bronze group of the Laocoön, After the Antique, late 19th century, Depicting the Trojan priest and his two sons being attacked by snakes, on a stepped rectangular base, with cast signature F. BARBEDIENNE. FONDEUR. and stamped with A. COLLAS BREVETTE REDUCTION MÉCANIQUE cachet, 45.5cm high, 31.8cm wide, 15.8cm deep

Note: This sculpture is a reduced bronze version of the Laocoön, which is one of the most iconic marble statues from Roman antiquity. It depicts a scene in Book II of Virgil’s Aeneid, where the Trojan priest Laocoön and his two sons are attacked by snakes sent by the goddess Minerva after he warned the people of Troy not to bring the Greek’s gift of the wooden horse into the city walls. The original was discovered near the church of Santa Maria Maggiore in Rome on 14 January 1506, and has since been the subjection of extensive artistic reproduction. It is mentioned in Pliny the Elder’s Natural History as a ‘work superior to any painting and any bronze’ - [Natural History 36.37]. It attracted the attention of Renaissance artists including Michelangelo and his contemporaries and it greatly influenced future works. Upon its discovery, Pope Julius purchased the statue and transferred it to the Cortile Belvedere and it is currently on display in the Vatican’s Pio Clementino Museum.

This version was produced by the foundry of Ferdinand Barbedienne, 1810-1892, whose workshop in Paris specialised in bronze reductions of famous sculpture from the Antique, Renaissance and Baroque periods.

Achille Collas, 1795-1859, was a French engineer and inventor who developed processes to reproduce bronzes at a smaller scale, known as the ‘réduction méchanique’, transforming the bronze industry by enabling the recreation of smaller scale reproductions of famous sculptures.

£1,500 - £2,500

161

A French bronze model of The Wrestlers, After the Antique, late 19th century, Depicting two nude male figures on a naturalistic base, stamped with A.LE COLLAS REDUCTION MECANIQUE

cachet, ink inscription to underside, 19.5cm high, 23cm wide, 13.5cm deep

£400 - £600

162

A French bronze model of the Dying Gaul, After the Antique, late 19th century, Depicted slumped on his shield holding his right leg and with a sword puncture wound to his chest, beside him lays his belt, trumpet and sword with lion-head hilt, on a later oval black marble base, bronze - 17cm high, 33cm wide, 15cm deep; overall - 21cm high, 36cm wide, 17.8cm deep

Note: The Dying Gaul has been referred to as the Dying Galatian and the Dying Gladiator throughout history. A Roman marble sculpture in the Capitoline Museum is itself a copy of a bronze sculpture thought to have been commissioned by Attalus I of Pergamon in 230-220 BC to celebrate his victory over the Galatians. The marble was found in the excavations of Villa Ludovisi, Rome and was first recorded in archives in 1623.

£300 - £500

161

162

163

A pair of French bronze models of the Belvedere Antinous and Bacchus,

After the Antique, late 18th / early 19th century, Each depicted standing with tree trunk behind, mounted on ormolu bases with scrolls and foliage, 44cm high, 18cm wide, 19cm deep (2)

Note: The antique marble statue of Antinous Belvedere was first mentioned in 1543 when Pope Paul III purchased it for the Belvedere garden. It quickly became highly admired and was subsequently copied in many materials throughout the following centuries.

£2,000 - £3,000

164

A large bronze figure of the Venus de Milo, After the Antique, early 20th century, The standing figure shown partially draped, 85cm high, 25cm, wide, 25cm deep

£600 - £800

165

A bronze model of Hercules, French or Italian, first half 19th century, Depicted nude holding a club in his left hand with lion pelt draped over his arm and the golden apples of the Hesperides in his right hand, on circular base, 24.5cm high

£300 - £500

166

A French bronze model of the Faun with Kid, After the Antique, early 20th century, The naked figure shown standing with the goat about his shoulders, on a cipollino marble plinth, 37cm high; 13.5cm wide, 18cm deep

£200 - £300

165

167

A pair of Italian gilt-bronze models of Furietti Centaurs,

After the Antique, second half 18th century, The first depicting a bearded figure with arms bound behind his back, the second depicting a youth raised in celebration, on a modern plinth, the front foot of one centaur is broken and detached, 52.5cm and 45.5cm high (2)

Literature: F. Haskell and N. Penny, Taste and the Antique - The Lure of Classical Sculpture 1500-1900, London, 1981, pp.178-179, figs. 91 and 92.

Note: The original marble versions of these bronzes were discovered during excavations in 1736 by Monsignor Furietti at Hadrian’s Villa. Their decorative qualities offered copyists great possibilities for production in small-scale bronzes. Thus the latter part of the 18th century and the start of the 19th saw them produced in large numbers, both as miniature bronzes and life-size marble and plaster versions. The desirability of the originals was so great that in 1763 Pope Benedict XIV offered Furietti a Cardinal’s hat for them, while in 1765 the English offered vast sums before they were finally secured by the Capitoline Museum, Rome, where they are currently housed (Haskell and Penny, loc.cit.).

£10,000 - £15,000

168

A bronze group of a lion attacking a horse,

After the Antique, South German or North Italian, 17th century,

On a rough hewn marble plinth, 27cm high overall, 36cm wide, 21cm deep

Provenance: Berwind Collection, Newport, Rhode Island, according to vendor records.

Note: This model varies slightly from the model by Giambologna, more commonly copied, with the horses’ head more violently arched back towards the lion. It is close to the Antique marble, now in the Palazzo dei Conservatori, Rome, which was restored in 1594 by Ruggiero Bescap with the horse’s head bowed forward in surrender.

£2,000 - £3,000

169

An Italian bronze group of Pan and Apollo, After the Antique, 19th century, The figures shown seated on a plinth, 34cm high, 19cm wide, 13cm deep

Literature: F. Haskell and N. Penny, Taste and the AntiqueThe Lure of Classical Sculpture 1500-1900, New Haven and London, 1981, pp. 286-8, fig. 151.

Note: The present group, traditionally identified as Pan and Apollo, is a reduction of one of the most celebrated ancient marbles, of which the best known version is in the Museo delle Terme in Rome (Haskell and Penny, loc. cit.). It and another, formerly in the Farnese Collection and now in the Museo Nazionale in Naples, were both recorded as early as the mid-sixteenth century, and inspired numerous amorous adaptations.

£500 - £800

171

After Edme Dumont, French, 1761-1844, a French bronze model of Milo of Croton, Mid-19th century,

The figure shown splitting a tree trunk, on a rouge griotte marble plinth, 42.5cm high overall, 21cm wide, 22cm deep

Note: Milo of Croton was a legendary athlete of the 6th century B.C. whose pride in his own strength caused him to attempt to wrench an oak tree apart with his bare hands. The original marble version is now in the Louvre, Paris.

£600 - £800

170

A French bronze model of Spinario, After the Antique, third quarter 19th century, Shown seated removing a thorn from his foot, foundry inscription

F. BARBEDIENNE FOUNDEUR and A. COLLAS BREVETE REDUCTION MECANIQUE cachet, numbered to the underside 19, 23.5cm high, 13cm wide, 18cm deep

Provenance: Mary Wise, Grosvenor Antiques, label to underside.

Note: The life-size antique bronze of the Spinario, now in the Capitoline Museum, Rome, was extremely highly thought of during the Renaissance. It was one of the first antique models to be copied.

£400 - £600

172

A pair of Chinese gilt-metal and cloisonné goose-form incense burners, Daoguang period (1821-1850),

Each modelled with legs tucked beneath their bodies, decorated with archaic motifs on a turquoise ground, 22.5cm high (2)

£800 - £1,200

173

Two Chinese bronze duck form censers, Ming dynasty, 17th century, Each with neck raised and mouth open, 26.5cm and 22cm high (2)

£2,000 - £3,000

174

A pair of Chinese bronze duck form censers and a similar parcel gilt censer, Qing dynasty, 18th / 19th century, Each modelled with head raised and mouth open, the parcel gilt censer modelled standing on one leg, 22.5cm - 27cm high (3)

£1,500 - £2,500

175

A pair of Chinese silver and gold inlaid bronze censers, Late Ming dynasty,

179

Each modelled as a bearded sage riding on a duck, 20cm high (2)

£600 - £1,000

176

A pair of Chinese gilt-metal and cloisonné bird form incense burners, Daoguang period (1821-1850),

Each modelled standing with head turned backwards, 19cm high (2)

£600 - £1,000

177

A Japanese bronze hand mirror in painted lacquer case, Meiji period,

The mirror cast with trees in a landscape, the case lacquered with flowering leafy tendrils, 31cm long

£300 - £500

178

A Japanese black lacquer picnic set, sagejubako, Meiji period,

With four-tiered stacking food boxes, sake flask with box beneath, and small tray, decorated with gold and silver hiramaki-e with prunus and ferns, 31cm high, 32cm wide

£600 - £800

Two similar Japanese cloisonné small vases in the manner of Namikawa Yasuyuki, Meiji period,

Each decorated to the body with alternating panels of phoenixes and dragons, 15.5cm high (2)

£300 - £500

180

Two Japanese emerald green cloisonné-enamel baluster vases, By the Ando Jubei Company, Showa period, 20th century, Each decorated to the shoulder in shizumi enamel with floral scrolls, the bases with inlaid Ando company marks, 25cm and 31cm high, on hardwood stands (2)

£100 - £200

181

A Japanese lacquer box and cover, Meiji period,

Decorated in gold, red, and silver with bamboo and cherry blossom, 26cm long, 10cm wide

£300 - £500

182

A Japanese Imari stick stand, Meiji period, late 19th century, 61cm high

£100 - £150

183

A Japanese cloisonné globular vase, Meiji period,

Decorated with chrysanthemum and butterflies on a dark blue ground, unmarked, 11cm high

£150 - £250

184

A large Japanese bronze sectional incense burner, Meiji period,

The upper bowl decorated with a phoenix in flight, raised on a column cast with a figure supporting the bowl, an entwined dragon, birds and foliage, all on a grotesque beast base, 158cm high

£800 - £1,200

185

A Japanese bronze figure of a crane, Meiji period,

The plumage with traces of gilt, 47cm high

£200 - £400

186

A Japanese bronze incense burner and cover, Meiji period,

With dragon handles, cast to the body with panels of birds and foliage, on integral bronze stand, 43.5cm high

£300 - £500

187

A Japanese bronze globular incense burner and cover, Meiji period,

Standing on three short bracket feet, cast in relief to the body with birds in flight, the cover with clouds beneath a Buddhist lion finial, 24cm high

£200 - £400

188

A Japanese bronze crane, Meiji period, late 19th century, Modelled with head bowed, traces of gilt to plumage, 32cm high

£500 - £800

189

A Chinese famille rose figure of Budai and a Japanese painted plaster figure of Hotei, Republic period and 20th century, The famille rose figure clad in colourful robes, the base with impressed seal mark Zhu wan shun zao 朱萬順造, 26.5cm high, wood stand; the Japanese figure reclining against his red sack, clad in dark green robes, 31cm wide (2)

£400 - £600

190

A Sino-Tibetan gilt copper-alloy figure of Padmapani Avalokiteshvara, 18th / 19th century, Poised in abhanga with hips thrust to the right, with finely engraved robes wearing large hoop earrings and a crown set with turquoise cabochons, wood stand, 32cm high

£2,000 - £4,000 190

186

191

A large Sino-Tibetan copper alloy figure of Padmapani, 20th century,

Cast with hips gently swaying, the right arm by the waist, the left hand clutching a flowering lotus stem, 84cm high

£300 - £500

192

A Sino-Tibetan gilt-bronze ‘jewelled’ figure of Tara, 20th century,

Cast seated in lalitasana on a lotus base with her pendant foot resting on a lotus flower, her hands in varada and vitarka mudra, her hair in a high chignon, her headpiece and jewellery set with turquoise, the figure with a lotus mandorla, 20.5cm high

£1,200 - £1,800

193

A massive Tibetan copper alloy figure of Tara, Early 20th century,

Seated in lalitasana on a pierced lotus throne, 85cm high

£2,000 - £4,000

A rare and large Chinese carved black lacquer painting table, 18th century,

Decorated to the top surface with an oval reserve depicting exotic birds amid flowering foliage inside a border of archaic scrolls and meandering lotus and chrysanthemum stems, the rectangular top above waisted frieze and stepped apron decorated with archaic motifs, raised on square supports to carved foliate feet, 91cm high, 183cm wide, 74cm deep

Note: The production of lacquer tables such as this was a long and arduous process; a layer of lacquer was applied over hemp covering the wood structure. Once this layer of lacquer dried, it was polished, and another layer was applied. This process was repeated several times to build up a significant thickness, so the decoration could be meticulously carved into the surface in varying degrees of depth, and finally polychrome painted to accentuate the depictions. The time and skill required to make this table suggest it was produced either for use at the Qianlong imperial palace complex or an extremely wealthy dignitary connected to Qianlong’s court. The shape and style of decoration on this table are derived from Ming prototypes, though Ming tables of this nature are far smaller, and considered to have been made as tables on which one would play a guqin, an ancient Chinese instrument used in ritual ceremonies.

Cf. Compare a guqin table similar in form and material sold at Bonhams Paris, 25 October 2022, lot 68.

£30,000 - £50,000

195

A pair of Louis XVI Aubusson tapestry panels, Late 18th century,

Woven in wools and silks, each centred with a ribbon-tied wreath with floral swags enclosing a pheasant and cockerel respectively, within a laurel border, later mounted, 52 x 49cm (2)

£800 - £1,200

196

A Flemish verdure tapestry fragment, 17th century,

Woven in wools and silks, depicting a heron before a bridge in a river within a woodland landscape, within a later tasselled braid border, later framed, tapestry - 48 x 57cm; overall - 58 x 67cm

£400 - £600

197

A large Chinese yellow-ground famille verte fish bowl, Qing dynasty, mid-19th century, Enamelled to the exterior with birds and butterflies amid floral sprays on a yellow ground, the interior with angel fish swimming amongst pond weeds, 48cm diameter, 42.5cm high

£1,000 - £2,000

198

An Aubusson tapestry fragment, Second half 18th century, Woven in wools and silks, depicting a winged cherub on a hay bale, within foliate surround, 40 x 41cm

£300 - £500

199

A French bronze group of Hercules and the Cretan Bull, Late 19th / early 20th century,

The standing figure shown holding the bull by a horn, on a naturalistic base, 30cm high, 31.5cm wide, 15cm deep

£1,000 - £1,500

200

After Claude Michel, called Clodion, French, 1738-1814, a French bronze group of a female faun with two of her young, Late 19th century,

The female figure seated on a rocky outcrop holding a cup above one young faun laying on the floor with the other leaning on her leg, on a naturalistic base, on circular variegated rouge and black marble base, 44cm high overall

£500 - £800

201

After Claude Michel, called Clodion, French, 1738-1814, a French bronze Bacchic group, Late 19th century,

The figures and infants shown standing on a naturalistic base, on an oval siena marble plinth, 41cm high, 26cm wide, 20cm deep

£500 - £800

202

A provincial Louis XV mahogany commode, Second quarter 18th century, With three long drawers, on hoof feet, 83cm high, 128cm wide, 64cm deep

£1,200 - £1,800

203

A North Italian dorsal tapestry depicting an allegory of Fortitude, Probably Mantua, dated 1528, The central field with the figure of Fortitude standing full length and holding a fasces, to the left side with Saint Peter standing beside the kneeling figures of a Pope, possibly Clement VII or Paul III, and Cardinal Ercole Gonzaga, identified by the Gonzaga coat of arms hung by a tree nearby, the right side with the horned figure of Moses presenting the tablets of the law to further kneeling figures, set within an expansive undulating landscape with birds flying above, worked and dated HOC OPUS F F E DECA MDXXVIII, within a tablet above the lower edge, later backed, approx. 175 x 585cm

Provenance: Sotheby’s, London, 19 December 1969; C. John Antiques, London, acquired by the present owner, before 1985.

Published: G. Delmarcel, C. M. Brown and A. Lorenzini, Tapestries for the Courts of Federico II, Ercole, and Ferrante Gonzaga, 1522-63, p. 33, 43, fig. 5.

Note: The present tapestry was probably manufactured for Cardinal Ercole Gonzaga, who is depicted within the scene. Ercole Gonzaga was made Cardinal by Pope Clement VII in 1527 and was the younger son of Ferdinand II Gonzaga and Isabella d’Este. The Gonzaga commissioned many tapestries from the workshop of the Flemish emigré weaver Nicolas Karcher, who is known to have arrived in Mantua around the date woven into the present tapestry. A tapestry by Karcher with a similar ‘tripartite’ scene, to a cartoon by the Florentine painter Bacchiacca, is in the Uffizi Gallery, Florence.

£15,000 - £25,000 202

204

A near pair of French walnut fauteuils, Of Louis XV style, last quarter 19th century, With yellow silk damask upholstery, on cabriole legs (2)

£200 - £300

205

A pair of French beechwood fauteuils, Of Louis XV style, last quarter 19th century, With carved flowerhead cresting and apron, yellow silk damask upholstery, on cabriole legs (2)

£500 - £800

206

A French walnut fauteuil, Of Louis XV style, last quarter 19th century, With yellow silk damask upholstery, on cabriole legs

£150 - £250

207

An English Classical tapestry of Alexander the Great visiting Diogenes in his barrel, Possibly Soho, 18th century, after designs by Salvator Rosa, Diogenes sits by his barrel gesturing to Alexander and his soldiers, a group of togate philosophers approach to the right, set within an Arcadian landscape with architectural ruins, lacking borders, approx. 210 x 424cm

Provenance: Christie’s, London, 5 July 1973, lot 135;

The Collection of Sir David Evans-Bevan.

Note: The meeting between Alexander the Great and Diogenes is the last in a series of scenes from Mortlake’s Life of Diogenes, manufactured during the late 17th and early 18th centuries. Several examples survive, including in the Royal Collection (RCIN 27903). The present tapestry shows the composition in reverse, and the designer has lengthened the scene by adding a group of philosophers to the right, which does not feature in the known Mortlake examples. A Soho mythological tapestry depicting a similar scene of Alexander visiting Diogenes after an etching by Salvator Rosa was sold Christie’s, London, 2 May 2002, lot 241.

£8,000 - £12,000

208

A provincial Louis XV walnut commode, First quarter 18th century,

Two short over three long drawers above shaped apron, on block feet, 93cm high, 122cm wide, 61cm deep

£300 - £500

209

A pair of provincial French beech bergeres, Of Louis XV style, first quarter 20th century, With green vinyl upholstery (2)

£300 - £500

207

210

Two French needlework fragments, First half 18th century, Worked in wools and silks, one depicting a young woman receiving a gallant with her two attendants behind her, the other with four young women picking flowers in a landscape, both later framed, 47.5 x 53.5cm and 47 x 49.5cm (2)

£600 - £800

211

After Jean Jacques Pradier, French, 1790-1852, a French bronze model of ‘La Poésie Légère’ (Nimble Poetry), Late 19th century,

The nude maiden holding a harp with a floral garland in her hair and flowing veil, on a stepped circular base, with cast signature J. Pradier. and foundry stamp A.D.

DELAFONTAINE, 52cm high

£1,200 - £1,800

212

After Jean Jacques Pradier, French, 1790-1852, a bronze figure of Phryne, Late 19th century, A semi-nude lady draped in flowing robes in front of an urn, on a stepped breakfront plinth base, with cast signature Pradier and impressed foundry stamp SUSSE FRES, 41.5cm high

Note: Phryne, c.371-316 B.C., was a Greek courtesan from Thespiae in Boeotia who was active in Athens and became one of the wealthiest and most famous women in Greece and modelled for artists such as Apelles and Praxiteles. When she was accused of impiety she was defended by the orator Hyperides and when the verdict seemed to be going against her, she is reputed to have torn her dress and bared her breasts and was subsequently acquitted by the jury.

£1,200 - £1,800

213

A set of four Flemish allegorical tapestry panels, Possibly Brussels, early 18th century, Each with a cherub emblematic of the harvest, within borders of flowers, fruit, vegetables, female and satyr masks and zoomorphic heads, later backed, largest 87 x 68cm overall (4)

£2,500 - £4,000

214

After Laurent-Honoré Marqueste, French, 1848-1920, a French bronze group of Hebe and Jupiter’s Eagle, Late 19th century, Depicted nude standing on a rocky outcrop holding a pitcher and cup of ambrosia with the eagle behind, the circular naturalistically-cast base with cast signature Marqueste and inscribed F. BARBEDIENNE. FONDEUR. PARIS, 77.5cm

£1,500 - £2,500

215

After Alexandre-Joseph Falguière, French, 1831-1900, a French bronze model of Diana of Huntress, Early 20th century, Depicted poised to shoot her bow, on naturalistic base inscribed A Falguière and stamped THIEBAUT FRERES FONDEUR PARIS, 77.5cm high

£1,500 - £2,000

213

216

After Guillaume Coustou, French, 1677-1746, a large French gilt-bronze model of Marie Leczinska, Queen of France, as Juno, Mid-19th century,

Depicted standing on a cloud in classical robes being presented with her crown into her left hand by a putto, her right hand holding a shield, a peacock to her right observing the presentation, stamped with ACHILLE COLLAS Foundry, REDUCTION MECANIQUE cachet, 65cm high

Note: The life-size marble version of the present group was commissioned in 1725 and is now in the Louvre Museum (inv. MR 1813). The commission came from the Surintendant et ordonnateur général des Bâtiments du roi, the Duc d’Antin (1665-1736), who wished to create a pair with the Louis XV as Jupiter (inv. MR 1811) by Nicolas Coustou for his garden at the Château de Petit-Bourg. The choice was a representation of Queen Marie Leczinska (1703-1768) as Juno. Placed in Versailles in 1776, the group entered the Louvre in 1850.

£5,000 - £8,000

217

A French bronze model of a reclining Bacchante, In the manner of Clodion, third quarter 19th century, Shown reclining with an amphora on a naturalistic ground, mounted on a rouge griotte marble plinth, 15cm high overall, 19cm wide, 9.5cm deep

£250 - £350

218

A French bronze group of a mother and child, In the manner of Jean-Jacques Pradier, late 19th century, The standing figure playing affectionately with the infant on a fountain, on a stepped rectangular base, with impressed foundry stamp SUSSE FRES, 50cm high, 35cm wide, 13.7cm deep

£800 - £1,200

219

A pair of French gilt-bronze and cut-glass hanging ceiling lights, Of Empire style, second half 20th century, The bowl shade hung with three chains on swan supports, above pine cone finial, approx. 56cm high, 35.5cm diameter (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£200 - £300

220

A pair of French ormolu twin-light wall appliques, In the manner of Jacques Caffiéri, possibly third quarter 18th century,

Each backplate of naturalistic form issuing scrolled entwined branches terminating in rocaille nozzles and drip-pans, the backplate - 39cm high (2)

Note: Designed in the Louis XV ‘pittoresque’ style popularised by Juste-Aurèle Meissonier and Nicolas Pineau, these wall-lights are in the manner of the sculpteur, fondeur et ciseleur du roi Jacques Caffiéri (1678-1755).

£400 - £600

221

A French gilt-bronze candlestick converted to a lamp, In the style of Juste-Aurèle Meissonier, French, 1695-1750, late 19th century, The spirally-cast stem with asymmetrical C-scrolls, the base with flowers and rocaille, later adapted with woven shade, 45cm high excl. fitment

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

Note: The lively and sinuous model for this candlestick was the work of JusteAurèle Meissonnier, one of the leading Rococo designers. Born in Turin, Meissonier moved to Paris in 1715 and rapidly gained a reputation as a prominent tastemaker in the rocaille style. In 1726 Meissonnier was named dessinateur to the king, which provided him with a sizable income until his death and positioned him to influence taste at the French court.

£500 - £800

222

A French gilt-brass mounted cut-glass table lamp, Second half 20th century, With hobnail-cut body on foliate support, 45cm high excl. fitment; together with a French gilt-brass mounted cut-glass wall clock, by Charles Hour, first half 20th century, the circular case with hobnail-cut glass and foliate chased mounts, the white enamel dial with Roman and Arabic numerals, marked MADE IN FRANCE, the eight day timepiece movement signed CH. HOUR FRANCE, 20.5cm diameter (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.

£100 - £150

223

A large Chinese monochrome blue glazed jardinière, Qing dynasty, 19th century, Gilt painted to the exterior with two confronting dragons pursuing a flaming pearl amid clouds and flames, 45cm high, on wood stand

£4,000 - £6,000

224

A Chinese copper red bottle vase, tianqiuping, Qing dnasty, mid-19th century, Covered in an even red glaze thinning to cream around the rim, rough footrim, unglazed base, 40cm high

£800 - £1,200

225

A Chinese hardwood carving of Hotei, a hardwood figural lamp, and a square jardinière stand, Qing dynasty,

The square stand with carved and pierced frieze raised on square supports, 104cm high, hardwood carvings - 45cm and 47.5cm high (3)

£600 - £800

226

Four Chinese wood carvings figural carvings, Late 19th - early 20th century, One finely carved as Budai with five climbing boys, 21cm - 37cm (4)

£200 - £300

227

A pair of Chinese hongmu scholar’s stands, Qing dynasty, 19th century,

Each formed as a kang table carved with scroll motifs to the frieze, 61cm wide, 30cm deep (2)

£300 - £500

230

228

A Chinese spinach jade Qianlong-style ‘marriage’ bowl, 20th century,

With flat broad rim carved with lotus flowers, the interior incised ‘yu shang’ (御賞), apocryphal Qianlong seal mark to base, 30cm wide

£400 - £600

A large Chinese green hardstone carving of a rearing caparisoned horse, 20th century,

Carved with head raised and one front leg raised, 39cm high

£200 - £400

231

A pair of Chinese spinach jade table screens and a similar archaistic vessel and cover, fang ding, Late 20th century,

The screens carved in relief with Daoist immortals amid clouds above crashing waves, 30cm high, 20.5cm wide, on wire inlaid wood stands, the vessel carved in high relief to the body with chilong dragons raised on pierced and carved phoenix form legs, 26cm high (3)

£600 - £1,000

232

A large Chinese celadon-glazed jar and cover, Late 20th century,

The baluster-form vessel and cover covered overall in a thick, widely crackled glaze, 86.5cm high

£300 - £500

233

Three Chinese hardstone seals, 20th century,

Two carved with archaistic dragons and one carved with a ram’s head, 7.5cm10cm high (3)

£150 - £250

229

A pair of large Chinese spinach hardstone bowls, 20th century,

Each carved in relief to the exterior with a band of archaic motifs, 25cm diameter, on softwood stands (2)

£600 - £800

234

A Chinese green hardstone carving of a horse, 20th century,

Carved with head raised, 35cm long, on wood scroll form stand (2)

£100 - £200

235

A Chinese magnifying glass with jade dragon belt hook handle and silver jade-inset rim, Late Qing dynasty / Republic, The jade belt hook carved from a pale green stone with cloudy-white inclusions, mounted with a reticulated silver mount of bats, prunus and bamboo, inset with eight small apple green jadeite roundels carved and pierced with cash motifs, 18.5cm long

£300 - £500

236

A Chinese pale green jadeite bowl, Early 20th century,

The translucent stone with speckled dark green inclusions, 17cm diameter, on carved wood stand

£150 - £250

237

A Chinese Ming style grey jade figure of a recumbent horse, Republic period,

Carved with head turned toward its back, with carved mane and tail, 14cm long, on wood stand

£100 - £200

238

A Chinese bronze ‘Liu Hai’ censer, Ming dynasty, 17th century, The censer cast as a three-legged toad, the cover cast as Liu Hai standing on clouds, 29cm high

Note: Liu Hai is the Daoist Immortal associated with commercial success. He is almost always depicted together with his three-legged toad and cash, and conveys a wish for prosperity. Whilst there are many versions of the story of Liu Hai and his toad, the essential elements remain that as a reward for his friendship, the toad revealed the secret to eternal life. Holding the toad allowed Liu Hai to travel anywhere in the world instantaneously.

£1,000 - £1,500

239

A Chinese bronze ‘boy on buffalo’ censer, 17th / 18th century,

Modelled as a boy seated playing a flute atop a buffalo, 28cm high

£1,000 - £1,500

240

A large and impressive Chinese bronze ‘Guanyin’ censer, Ming dynasty, 17th century,

Modelled as an elephant, the cover cast as Guanyin seated in lalitasana holding a ruyi sceptre, 50cm high

£8,000 - £12,000

241

A Chinese bronze Tang-style figure of Guanyin standing, Early 20th century,

Cast standing on a lotus base, 42cm high

£200 - £300

A rare pair of large Chinese coral ground blue and white enamel painted octagonal lobed jardinières, Shendetang Zhi marks, Daoguang period,

Each finely painted to the exterior with alternating panels of lotus blooms issuing leafy scrolls and a bat in flight above a Buddhist chime amid leafy scrolls, painted in gilt to the rim, raised on four moulded ruyi-form feet, the base and interior in turquoise glaze, iron-red hallmark to base, 17cm high, 32cm diameter (2)

Provenance: Formerly in the collection of Alfred Morrison (1821-1897), Fonthill House (with paper labels to base Fonthill Heirlooms, no. 603).

Note: The Shendetang (‘Hall of Prudent Virtue’) was a residence within the Yuanmingyuan commissioned by the Daoguang Emperor, completed in 1831. Daoguang pieces bearing the Shendetang Zhi mark are therefore attributable to the two decades between 1831 and 1850.

The presence of the label ‘Fonthill Heilooms’ is also significant. This refers to a collection assembled by Alfred Morrison MP. He acquired the most extraordinary collection of Chinese ceramics and works of art from Lord Loch of Drylaw in 1861, who had brought them to England from the Yuanmingyuan (Old Summer Palace) in 1860. Lord Loch had been Aide de Camp to the leader of the Allied Expeditionary Force, Lord Elgin.

A pair of porcelain bowls bearing the same hallmark to the base were sold here at Roseberys for £67,000 (including buyer’s premium) on 9 November 2021, lot 42. Compare with a pair of famille rose jardinières of a similar size, bearing the same marks, sold at Christie’s, New York for $62,500 (including buyer’s premium) on 13 September 2019, lot 1105.

£20,000 - £30,000

243

A fine and rare Berlin Chinoiserie tapestry of ‘The Emperor’s Banquet’ from the Grossmogulenfolge series, Attributed to the workshop of Jean II Barraband and Charles Vigne, second quarter 18th century, after designs by Guy-Louis Vernansal, Jean-Baptiste Belin de Fontenay and Jean-Baptiste Monnoyer,

Depicting a Chinese Emperor and other richly attired courtly figures around an elaborate dining table surrounded by servants and attendants, within an ornate pavilion setting adorned with garlands, dragon finials and lambrequins, the elaborate borders with scrolling foliage, Chinese blue and white porcelain services, birds, wing spandrels and vertical vignettes with figures in Chinese dress, approx. 322 x 397cm

Provenance: Purchased from C. John, London, 1969.

Published: Apollo, October 1986, p. 21.

Note: This elaborate banqueting scene is part of a cycle depicting the daily life of a Chinese Emperor, possibly KangXi (1661-1721), and reflects the early 18th century European aristocracy’s fascination with Chinese architecture and design. Originally known as ‘L’Histoire du Roi de Chine’, the series was designed for the French Royal Tapestry Manufactory of Beauvais by Guy-Louis Vernansal (d. 1729), Jean-Baptiste Belin de Fontenay (d. 1715) and Jean-Baptiste Monnoyer (d. 1699), but soon gained popularity in Germany too. The series was abandoned at Beauvais in 1732, with the cartoons being so worn that they were no longer useable. The first examples by a Berlin manufactory are recorded as early as 1713, when Prince Alexander von Donha ordered a full set from the French weaver Jean II Barraband, whose father Jean I Barraband had arrived in Germany from Aubusson in 1685 and who originally set up the family’s tapestry workshop in Berlin, next to Charlottenburg Palace. The present panel is thought to date from the years after Jean II Barraband’s death in 1725, when Charles Vigne took over his workshop. The Berlin Grossmogulenfolge are distinguished from the Beauvais originals by their borders featuring groups of blue and white porcelain.

Another tapestry from the Grossmogulenfolge with a similar border sold at Christie’s, Robert de Balkany Rome & the Côte d’Azur, 23 March 2017, lot 30.

£100,000 - £200,000

Picture courtesy of Jersey Evening Post/Jersey Heritage.

244

A Persian silk rug sample, By Arto Keshishian, third quarter 20th century, Inscribed The George Farrow collection of Kum Kapu rugs, 19 x 36cm

£100 - £200

245

A Persian silk Heriz rug, Second half 19th century,

The central field with floral medallion surrounded by stylised floral motifs, contained by floral borders, on beige, blue, cream and terracotta ground, 207 x 140cm

£2,000 - £3,000

246

A Persian silk Kirman rug, Third quarter 19th century,

The central field with stylised tree design, on an ivory, beige and blue ground, contained by floral border, 193 x 121cm

£1,000 - £1,500

247

A Persian silk Kashan ‘Mohtasham’ rug, Last quarter 19th century,

The central field with floral medallion surrounded by floral motifs and swags, on an ivory and purple ground, contained by floral border, 216 x 148cm

£1,500 - £2,500

248

A pair of Persian silk Kashan rugs, Last quarter 19th century,

The central field with a vase of flowers, on a green ground, contained by Arabic script border, 113 x 68cm (2)

£700 - £1,000

249

A Persian silk Kashan ‘Mohtasham’ rug, Last quarter 19th century,

The central field with vase of flower design and stylised motifs, contained by stylised floral border, 202 x 134cm

£300 - £400

250

A Persian silk Tabriz prayer rug, Last quarter 19th century,

The mihrab field with central wreath flanked by two columns, on a terracotta and turquoise ground, contained by stylised floral border, 162 x 121cm

£2,500 - £3,500

251

A Persian silk Kashan ‘Mohtasham’ rug, Last quarter 19th century,

The central field with stylised geometric floral medallion and motifs, on an ivory and mauve ground, contained by floral border, 210 x 130cm

£300 - £400

252

A Turkish rug, Last quarter 19th century,

The central field with tree and zoomorphic motifs, on a cream, red and green ground, contained by floral border, 223 x 143cm

£600 - £800

253

A Persian silk Kashan ‘Mohtasham’ rug, Last quarter 19th century, The central field with quatrefoil medallion surrounded by stylised floral motifs and stylised floral border, on an ivory and terracotta ground, 203 x 133cm

£2,000 - £4,000

254

A Turkish silk Kayseri rug, Central Anatolia, last quarter 19th century, The central field with three floral medallions surrounded by stylised floral motifs, the floral border with panels of calligraphy, on a blue and ivory ground, 182 x 120cm

£500 - £700

255

A Persian silk Tabriz rug, Last quarter 19th century, The central field with floral medallion surrounded by floral motifs, on an ivory and terracotta ground, contained by floral border, 164 x 122cm

£300 - £400

256

An Indian silk rug, Probably Deccan, last quarter 19th century, The central field with stylised floral motifs, on a rouge ground, contained by stylised geometric border, 241 x 147cm

£500 - £700

257

A Persian silk Fereghan rug fragment, Last quarter 19th century, With geometric floral design, on a cream ground, 97 x 62cm

£400 - £600

258

An East Caucasus Seychour long rug, Last quarter 19th century, The central field with three X medallions surrounded by geometric motifs, on a cobalt blue ground, contained by corresponding border, 327 x 122cm

£1,500 - £2,000

259

A Persian silk Tabriz prayer rug, Last quarter 19th century, The mihrab field with central wreath flanked by two columns, on an ivory and blue ground, contained by stylised floral border, 169 x 120cm

£1,500 - £2,000

260

A Persian silk Kashan mat, Signed, last quarter 19th century, The central field with floral design, on an ivory, blue and mauve ground, contained by floral border, 85 x 74cm

£800 - £1,200

261

A Persian pictorial Tabriz border fragment, Last quarter 19th century, With kneeling figures amongst birds and scrolling foliage, on an ivory and terracotta ground, 99 x 60cm

£300 - £500

260

262

Two fragments of a Persian Feraghan runner, 19th century,

Together with one other small fragment and four various rugs (7)

£200 - £300

263

A Persian silk Kashan narrow runner, First quarter 20th century,

The central field with floral design, on a beige ground, contained by floral border, 154 x 34cm

£600 - £800

264

A Persian Karabagh carpet, First quarter 20th century,

The two long fields with geometric vase of flower motifs surrounded by stylised flowers, contained by geometric borders, on a blue ground, 416 x 212cm

£300 - £500

265

A Persian silk Kashan rug, First quarter 20th century,

The central field with floral medallion surrounded by floral swags and motifs, on an ivory, blue and purple ground, contained by zoomorphic and tree motif border, 194 x 130cm

£1,000 - £1,500

266

A fragment of a Turkish silk Koum Kapi rug, First quarter 20th century, With stylised floral design, 90 x 65cm

£1,000 - £2,000

267

A Persian silk Kashan rug, First quarter 20th century, The central field with vase of flower design and bird motifs, on a beige, blue and maroon ground, contained by zoomorphic border, 202 x 129cm

£800 - £1,200

268

A Turkish silk and metal thread Koum Kapi rug, First quarter 20th century,

The central field with floral and bird motifs, contained by stylised floral border, on a blue and maroon ground, 122 x 91cm

£3,000 - £4,000

269

A Persian silk Kashan ‘Mohtasham’ rug, First quarter 20th century, The central floral medallion surrounded by foliate motifs, on a terracotta and turquoise ground, contained by stylised floral border with large paisley motif to each corner, 218 x 132cm

£3,000 - £5,000

268

270

A Persian silk Tabriz narrow runner, First quarter 20th century, The central field with geometric floral motifs, on an ivory ground, contained by floral border, 192 x 30cm

£800 - £1,200

271

A Persian Tabriz carpet, Second quarter 20th century, The central field with floral medallion surrounded by floral and zoomorphic motifs, on a beige and cobalt blue ground, contained by floral border, 408 x 300cm

£600 - £800

272

A Persian silk Qum rug, Second quarter 20th century, With paisley design on a back and terracotta ground, contained by floral borders, 208 x 132cm

£500 - £700

270

271

273

A Chinese silk Peking rug, Second quarter 20th century, The central field with floral medallion surrounded by bat, butterfly and vase of flower motifs, on a blue ground, contained by multicoloured border, 275 x 183cm

£200 - £300

274

A Persian Mahal runner, Second quarter 20th century, The central field with stylised floral motifs, on a red ground, contained by floral border, 434 x 97cm

£300 - £500

275

A Persian Kashan rug, Second quarter 20th century, The central field with floral medallion surrounded by corresponding motifs, contained by floral border, on a blue and terracotta ground, 210 x 135cm

£400 - £600

276

A Turkish silk Hereke prayer rug, Signed, third quarter 20th century, The mihrab field with floral and swag design, a small section of metal thread, on an ivory and beige ground, contained by floral border, 152 x 102cm

£300 - £500

277

A Persian silk mat, Signed, third quarter 20th century, The central field with floral medallion, signed to centre, on a midnight blue ground, contained by floral border, 54 x 45cm

£200 - £300

278

278

A Turkish silk Hereke rug, Signed AK for Arto Keshishian, third quarter 20th century, The central field with floral medallion surrounded by floral and zoomorphic motifs, on a cream, green and red ground, contained by floral borders, signed with initials A.K to each corner, 153 x 99cm

£3,000 - £5,000

279

A Prado Orient Keshan super wool carpet, Last quarter 20th century, With tile design having various motifs, contained by floral border, on a brown and mustard ground, 346 x 247cm

£60 - £80

280

A silk and velvet embroidered panel, Safavid Iran, c.1750, With repeated boteh design in red interspersed with repeating cross potent or botonée, 128 x 95cm

£2,000 - £4,000

281

A framed and glazed worn gilt-metal thread embroidered velvet panel, Safavid Iran, 17th century, A dense floral field with scattered silver thread cloud, within a crenelated border, wide border with similar motifs, 61 x 41cm

£1,000 - £1,500

A courtly figural silk and two colours velvet panel, Safavid Iran, c.1600, the silk surround, Qajar Iran, 19th century, Probably a royal commission, of rectangular form, the silk ground worked with a repeated motif of a grotesque perched in a tree inhabited with birds, flanking the tree sit two naked moustachioed figures, floral borders above and below, panel - 47 x 80cm; overall - 98 x 67cm

Published: ‘A Tale of Three Velvets’, Hali 72, December 1993 / January 1994, p.69.

Note: A very similar panel is in the L. A. Mayer Memorial Museum, Jerusalem (T 432) published in Rachel Hasson, ‘A Tall Tale’, Hali 69, June/July 1993, pp.96-7). It was described at some length, the iconography identified as coming from the Persian writer Al-Qazwini’s ‘Aja’ib al’Makhluqat wa Ghara ‘ib al-Mawjudat (Wonders of Creation), and catalogued as Safavid. Its appearance drew out two further examples, the present panel, and a fragment with the dealer Erol Kazanci in Istanbul. Rachel Hasson, when she published the George Farrow example in a subsequent Hali article, identified it as a Royal commission, being the most complex example of the three, and containing one extra row of figures (‘A Tale of Three Velvets’, Hali 72, December 1993 / January 1994, p.69).

There are a number of related velvets which are generally dated to the later Safavid period, each of which has rows of figures, usually arranged in symmetrical groups. Two are in the Keir Collection (Friedrich Spuhler, Islamic Carpets and Textiles in the Keir Collection, London, 1978, nos.112 and 114. A velvet that at one stage was in the Kelekian collection provides an earlier version of the design (Arthur Upham Pope, A Survey of Persian Art, Oxford, 1938, pl.1038a). Scattered with staggered figures and trees, including a kneeling piper, it shows how the present very formalised design had its roots in a different earlier aesthetic.

£15,000 - £20,000

283

A Zand velvet panel with confronting birds, Iran, 18th century,

The unusual square panel with flowering vase to centre and bird either side, facing each other, on a red ground, within a repeating border, 50 x 52cm

Exhibited: The International Exhibition of Persian Art, London 1931.

£4,000 - £6,000

284

An embroidered panel, Possibly Caucasus, late 18th century, Interspersed diagonal bands of repeating floral design, framed and glazed, 66cm square

£500 - £700

285

A rectangular silk velvet panel, Possibly Kashan, Iran, 19th century, With repeating vertical band of houndstooth-like pattern interspersed within thin floral crimson and blue margins, backed, mounted, 140 x 48cm

£2,000 - £3,000

286

A composite embroidered silk on velvet panel, Safavid or Zand Iran, c.1750, The field embroidered with repeating serrated botehs interspersed with serrated leaves, the borders with lotus flowers, roses and green parakeets, backed, mounted, 82 x 58cm

£1,000 - £1,500

287

Two embroidered Rescht panels, Rescht, Qajar Southeast Iran, 19th century, Fine polychrome silk on a felt ground, each panel with birds flanking a floral spray rising form a footed vase, the borders with large floral blooms, each backed, 50 x 62cm (2)

£1,000 - £1,500

An Ilkhanid style lustre painted cobalt and turquoise moulded pottery tile, Qajar Iran, 19th century,

Of rectangular form, the main lower register with scrolling vine around the powerful figure of a simurgh with outstretched wings, a band of bold palmette vine above and simple band below, probably intended as a replacement tile for the architectural complex of Takht-i-Sulaiman (c.1270AD), the summer royal palace of the Ilkhanid ruler Abaqa (r.1265-82), located in north-western Iran, 35.5 x 37cm

Note: An almost identical tile with a depiction of a simurgh is in the David Collection, Copenhagen. The original tiles made for this complex in 1270 would have been lustre-painted. As the tiles became worn and broken over the years they were replaced with a modified variation of the scene on the original tile. After the Mongol conquest of Persia in the thirteenth century, an extensive trade network opened from China to the Mediterranean, allowing goods to move more freely than in prior centuries. As the objects in this case demonstrate, Ilkhanid period artists readily adopted imagery from Chinese iconography, including lotus flowers, deer, dragons and other mythical creatures. This image of a soaring simurgh with crested head and elaborate trailing plumage exemplifies the adaptation of Chinese imagery by Persian artists.

See the following Lot notes for additional information.

£3,000 - £4,000

289

An Ilkhanid style lustre painted cobalt and turquoise moulded pottery tile, Qajar Iran, 19th century,

Of rectangular form, the main lower register with scrolling vine around the powerful figure of a dragon with head turned over its shoulder, a band of bold palmette vine above and simple band below, probably intended as a replacement tile for the architectural complex of Takht-Sulaiman (c.1270AD), the summer royal palace of the Ilkhanid ruler Abaqa (r.1265-82) located in north-western Iran, 35.5 x 37cm

Note: A further example was sold from the collection of Charles Gillot at Christie’s, Paris, 4 March 2008, lot 4. A very close example to the tile the above was modelled on was sold at Christie’s 5 October 2010, Lot 116 and a partial tile with the same design is in the David Collection Copenhagen (Inv. no. Isl 191).

£3,000 - £4,000

291

An engraved copper or copper-alloy begging bowl (kashkul), Iran, 19th century,

Of typical form, on tapering base, with lobed medallions consisting of interlocked floral and vegetal tendrils, flanked with swaying serrated botehs, with dragon head terminals either end, 23cm long

£50 - £80

290

A large near square fuschia silk and gold embroidered panel, Mughal India, 18th century, With a quincunx of repeating large dots, 71 x 62cm

£2,000 - £2,500

292

A Qajar openwork brass torchstand, Iran, 19th century,

On raised circular foot, the stem consisting of three cylindrical sections interspersed with bulbous sections, rising to a flaring finial worked as a lidded cup on tapering foot, the the figural decoration consisting of seated figures within lobed medallions amidst dense scrolling foliated vines, 142cm high

£300 - £500

293

A pair of hexagonal metal and glass hanging lamps, 20th century, Tiered, with openwork domes and panes, each with suspension chains, 39cm high each (2)

£300 - £500

294

An openwork copper or copper alloy lamp stand, Turkey or Iran, 19th century, Of typical form, the ringed cylindrical shaft with calligraphic and geometric roundels, 172cm high

£1,000 - £1,500

295

A silver inlaid brass mosque lampstand, Syria, late 19th century / early 20th century, On circular domed base, the ringed shaft with Quranic inscriptions, possibly part of sura XXIV (al-Noor), 154cm high

£1,000 - £1,500

296

A large polychrome figural pottery tile panel, Qajar Tehran, Iran, late 19th century, Depicting a banqueting scene, under a cusped and pointed arch, the spandrel with dense floral and vegetal decoration, the borders with elegant interlocked swaying floral tendrils, fitted in freestanding wooden frame, panel - 84.5 x 71cm; mounted - 114cm high, 85.5cm wide, 26cm deep

£3,000 - £5,000

297

297

A large polychrome pottery tile panel, Qajar Iran, late 19th century, The blue and turquoise blue, yellow, green, pink and black decoration consisting of a large rising split palmette amidst dense swaying floral tendrils, on white ground, fitted in freestanding wooden frame, 75 x 56cm; mounted - 84 x 61cm

£800 - £1,200

298

A large framed hemispherical moulded polychrome figural pottery tile, Tehran, Qajar Iran, c.1860, An interpretation of the Safavid ruler Shah Abbas, 1571-1629, receiving the Mughal ambassador Khan Alam in 1618AD, flanked by two standing courtiers, rows of seated courtiers in the foreground, the border with tight scroll works, on white ground, framed, 43cm high, 53cm wide

£1,500 - £2,000

299

A large polychrome ochre and cobalt blue moulded pottery tile, Tehran, Qajar Iran, c.1880, Depicting Bahram Gur showing off his prowess by pinning the hoof of a gazelle to its ear with an arrow, watched by Azadeh, the borders with dense black scrollwork, on white ground, 33.5 x 46.5cm

£2,500 - £3,500

300

A large moulded and polychrome figural pottery tile roundel, Isfahan or Tehran, Iran, c.1880, Depicting the Armenian princess Shirin bathing and washing her hair while the disguised Persian prince Khosrow Parviz observes her, the borders with swaying foliate tendrils, 40cm diameter

£2,000 - £3,000

301

Four square moulded figural pottery tiles, Qajar Iran, c.1880 and later, Each representing a mounted hunter hawking, amidst floral and vegetal motifs, a palace or fortified city in the background, three tiles - 15cm square; the fourth15.5cm square (4)

£600 - £800

302

A square moulded polychrome pottery tile in the Iznik style, Qajar Tehran, Iran, c.1890, The blue, turquoise blue, aubergine, pink and yellow painted decoration consisting of a central serrated foliate medallion in bloom issuing wide scrolling floral tendrils, on white ground, 32 x 34.5cm

£1,200 - £1,500

303

A near square moulded pottery tile in the Iznik style, Qajar Tehran, Iran, c.1860, The decoration consisting of an oversized floral spray composed of blue tulips, carnations and roses, on white ground, 34 x 31cm

Note: A comparable tile panel is in the Islamic Arts Museum Malaysia (2008.3.1)

£1,200 - £1,500

304

A square moulded polychrome pottery tile, Tehran, Qajar Iran, c.1880,

A seated ruler flanked by attendants, within a strapwork medallion, amidst a dense floral field, on white ground, 21.5cm square

£600 - £800

305

A moulded and figural pottery tile, Qajar Iran, late 19th / early 20th century, Perhaps Rustam on Rakhsh or Bahram Gur, a mounted knight brandishing a khanjar fights a dragon within an aubergine lobed medallion and geometric margins, each spandrel with a floral cluster, 21.5cm square

Note: In various illustrations found on detached folios of the Shanamah both Rustam Barham Gur encounter a dragon (The British Museum, inv.1975,0523,0.5 ; The Walters Art Museum, inv. W.608.174A; the Aga Khan Museum inv. AKM100 and 80). Rustam is often depicted fighting it on foot and helped by Rakhsh, his trusted steed such as on an illustration of Safavid Shirazi manuscript, dated circa 1430, at the Bodleian Library ( MS Ouseley add. 176, f.68v) while Bahram Gur is often seen engaging it with his bow and sometimes mounted as seen on a folios kept at the University of Michigan Museum of Art (inv. 1963/1.70) and at the British Library (Add. 25900, f.161) attributed to Behzad, Herat,1492-3 AD.

A similar tile of the same dimensions as this lot is published in de Guise L. (ed.), Qajar Ceramics, Bridging Tradition and Modernity, IAMM Publications, 2019.

£300 - £500

An embroidered panel, Rescht, Southeast Persia, c.1850, Of square form, applied and embroidered in coloured silk on felt, with central lobed medallion on a floral ground, outer border of floral sprays connected by an undulating white band on a black ground, 180cm square

Note: During the 19th century Rescht (Rasht) was a major entrepot and export outlet through its port Enzeli (Bandar Irani). From there there were steamer links to Russia at Baku where rail links conveyed goods to Istanbul, Moscow and St Petersburg and from there into Europe. This was a principal route for Persian fabrics and rugs to enter Europe.

£5,000 - £7,000

307

Five figural, polychrome moulded pottery tiles, Qajar Iran, c.1890,

The first of rectangular form depicting a crowned ruler holding his bull-headed mace sitting in a palace interior; the second of rectangular form depicting two standing lovers in a garden, the woman playing a stringed instrument; the third of rectangular form, depicting a mounted falconer; the fourth of rectangular form depicting a mounted young man holding an umbrella; all scenes beneath a raised floral register; the fifth of square form, a galloping horseman with his hound, largest - 23 x 16.5cm (5)

£1,200 - £1,500

308

Two Dome of the Rock cobalt and turquoise blue, black and white border pottery tiles, Palestine or Jordan, first half 20th century, Mounted as one panel, possibly meant as restoration tiles, three flowers blooms on a swaying tendril, within a lobed cartouche, thin turquoise blue rule above and below, visible - 17.8 x 36.4cm; framed - 23.2 x 42.2cm

Note: An earlier 16th century tile of the same design from the Dome of the Rock is in the Victoria and Albert Museum (access. no. 449-1901). The present example is a replacement tile as its glazed rather than cuerda seca.

£600 - £800

309

Two rectangular figural pottery tiles, Iran, 20th century,

Each painted with a mounted rider in a landscape feeding a simurgh, one against a green field, the other against a light blue field, on white ground, 32 x 23 each (2)

£300 - £400

310

Two rectangular figural pottery tiles, Iran, 20th century,

The first depicting a prince on horseback holding a parasol, his hound following; the other with a female musician entertaining a courtier by playing a stringed instrument, 31 x 22cm and 37 x 24cm (2)

£400 - £600

311

Five figural polychrome moulded pottery tiles, Qajar Iran, c.1890,

The first of rectangular form depicting a dancing girl flanked by musicians with a raised floral register above; the second of square form depicting a seated prince meeting two courtiers; the third of rectangular form depicting a mounted courtier holding an umbrella amidst floral sprays, a raised floral register above; the fourth of square form depicting a galloping horseman with his hound; and the fifth depicting two standing and embracing lovers, the woman playing a stringed instrument, her lover holding a staff with a coiled snake, largest 24 x 16.5cm (5)

£1,000 - £1,500

312

Two rectangular polychrome pottery tiles, Iran, 20th century,

A mounted hunter carrying an antelope on his back returns from the hunt, one in green garb, galloping in a mountainous landscape, the other in blue garb, amidst oversized floral motifs, 24.5 x 37.5cm each, not illustrated (2)

£200 - £300

313

An Ikat velvet panel, Uzbekistan, 19th / 20th century,

A lattice filled with botehs, the composite border consisting of green lobed medallions on garnet ground, tassels possibly added later torn, marked fold marks, 190 x 122cm

£700 - £1,000

314

An Ikat velvet panel, Uzbekistan, early 19th century, Of rectangular form, with central red and orange diamond and lozenges on a pale green ground, within a repeating border, 166 x 130cm

£1,000 - £1,500

315

A moulded polychrome and figural pottery tile, Qajar revival style, 20th century,

An enthroned ruler and his courtiers feasting, flanked with attendants, the border with simplified strapwork, restored, 21.5cm square

£200 - £300

316

A calligraphic quatrain, Qajar Iran, late 19th century,

On paper, 4ll. of diagonal nasta’liq script in black ink within cloud bands, against gold floral field, arranged within two rectangular panels, against deep blue field with floral scrolling tendrils, within thin pink borders, black rules and wide pale green margins with bold white scroll works, mounted, framed and glazed, 30 x 20cm

£400 - £600

317

A polychrome pottery tile panel depicting a hunt, Iran, 20th century,

Depicting two hunters stalking deer, the first kneels and shoots an arrow while the second mounted hunter gives chase, within a border of repeating fish, mounted, 70cm square, not illustrated

£300 - £500

318

A rectangular polychrome pottery tile panel with hunting scene, Iran, 20th century,

Depicting a mounted hunter brandishing his shamshir chasing a zebra and deer in a hilly landscape, mounted, 46.5 x 70.5cm

£300 - £500

319

A polychrome moulded equestrian pottery tile, Tehran, Qajar Iran, c.1880,

The rider reaching for and feeding a simurgh, amidst floral sprays, buildings in the background, a raised floral register above, mounted, 33.8 x 24.5cm

£1,000 - £1,500

320

A pyriform polychrome pottery vase, Qajar Iran, c.1880, Loosely inspired by Iznik pottery, on splayed circular foot, the body rising to an elongated tapering neck, the polychrome painted decoration consisting of leaves and floral tendrils, the neck base with simplified lotus flowers within niches, floral twigs rising from tufts of grass and willows to the neck above, 47cm high

£800 - £1,200

321

A shallow polychrome and figural pottery bowl, Tehran, Qajar Iran, c.1880, Of squat rounded form, the interior with two lovers in a grove, the exterior with a male and female courtiers each within cusped medallions against a floral field, on white ground, 24.7cm diameter; mouth - 23cm diameter

£500 - £700

322

A figural pottery vase, Qajar Iran, c.1880, Of baluster form, on plain base, the painted decoration consisting of banqueting youths under cusped pointed arch, the spandrels with floral decoration, the rounded shoulders with scrolling floral vine, on white ground, chips to rim, 38cm high

£400 - £600

323

An Iznik-style polychrome pottery tile panel, Kutahya, Turkey or Europe, 20th century, Mounted in pairs, a simplified flower within a blue, light blue and bole red eight pointed star, a foliate lobed medallion above and below, on a field with scrolling tendrils bearing red tulips, green saz leaves, hyacinths, on white ground, mounted, 20 x 40cm each (2)

£300 - £500

324

A framed polychrome Iznik-style pottery four tile panel, Metin Cini, Hakki Cinicoglu, Kutahya, Turkey, 20th century,

An intertwined strapwork forming two cusped medallions highlighted with red loud-like bands on a dense floral field, on white ground, the reverse with maker’s marks, framed, visible38.5cm square; framed - 41.6cm square

£200 - £300

325

An Iznik-style pottery tile, Kutahya, Turkey or Europe, 20th century,

A floral spray rising from a squat baluster vase under a cusped pointed arch, on white ground, framed, visible - 19.5cm square; framed - 23.4cm square

Note: The floral spray rising from a cusped vase seen on our tile is inspired from tiles produced in 17th century Iznik such as the example now kept in the British Museum, sourced from Cairo, under inventory number OA+.10771.1-4 and another offered at Sotheby’s London, 23 October 2019, lot 279.

£200 - £300

326

Three square pottery tiles, Kutahya, Turkey or Europe, 20th century, The first with a large serrated foliate medallions bearing flowers, the second with a circular strapwork forming two central swaying drop shaped leaves picked out in red, the third with a blue tulip and a white saz leaf amidst half lobed medallions and a spiralling tendril, against a light blue field, each 30cm square (3)

£200 - £300

327

A large figural and floral embroidered silk panel, Greek Islands in the Ottoman style, late 18th century, Of rectangular form, A dense stylised floral field under a plain pointed arch inhabited by moustachioed figures, the pillars with a broken line against a tessellation of red, green and blue squares, the borders with repeating crosses interspersed with geometric shapes, a wide band of simplified floral scrollwork to the perimeter, backed, mounted, 149 x 88cm

£5,000 - £7,000

328

An embroidered silk prayer arched niche (mihrab) panel, Banja Luka, Ottoman Balkans, late 18th / early 19th century, The embroidered and applied decoration on garnet ground with a large floral spray rising from a squat bulbous vase, within a cusped and pointed niche of scrolling floral tendril, its spandrel with dense floral decoration including tulips, framed with further floral sprays rising from similar vases, the borders with floral scrollwork, 181 x 117cm

£3,000 - £5,000

327

328

329

329

A rectangular red velvet panel, Kutahya, Turkey, 19th century,

With repeating bulbous motif, with rising and hanging palmettes above and below, on red ground, composite, repaired, backed, with suspension pressure buttons to reverse, 161 x 80cm

Note: The motif of this velvet can be linked with the cruciform egg shape which appears in Kutahya pottery produced from the late 17th century.

£1,000 - £2,000

330

A framed Iznik style pottery tile panel, Kutahya, Turkey or Europe, early 20th century, The cobalt blue, turquoise blue and red painted decoration consisting of curled leaf medallions issuing swaying serrated leaves, hanging palmettes above and below, on a white ground, visible74.5 x 43.5cm; framed - 83 x 52.5cm

£500 - £700

331

A Qajar European-style silk velvet panel, Iran, c.1890, Of rectangular form, with a series of ogival shapes enclosing floral sprays and leafy tendrils, on a crimson ground, within a repeating floral border, mounted, 256 x 57cm

£1,000 - £2,000

Two voided crimson velvet and silk çatma panels, Ottoman Bursa or Istanbul, 17th century, Each woven with large offset floral roundels within repeating serrated bulbous medallions, amidst a field of tulips, pomegranates and saz leaves, four large flowers above and below, each containing a circular floral garland with cintimani motif, each 139 x 62.5cm (2)

Note: Of the many arts patronised by the Ottoman court, silk textiles represent some of the finest examples. From the 15th century onwards, with the introduction of sericulture (silk production) to Turkey, weaving centres sprang up around Istanbul and the imperial court. ‘Voided’ velvets woven from silk-velvet pile and thread of silver or gold were among the most impressive and sought-after pieces. The velvet pile is ‘voided’, or contrasted, against areas of no pile, in which the precious metal-threads are exposed, producing the much-admired contrast between the metallic sheen of the thread and the rich hue of the velvet.

This panel is formed of two cushion covers, or yastik yüzü. In 17th century Bursa, home of the Ottoman silk industry, yastik were usually woven in pairs or in fours. Rarely however, do they survive together as ours do. They would decorate low benches – or sofa – that lined the walls of Ottoman interiors. The walls would themselves probably have been covered with brocade, adding to the atmosphere. Ottaviano Bon, a Venetian living in Istanbul between 1604 and 1607 wrote of the Sultan’s private rooms, ‘The floors…with their sofas…are about half a cubit from the ground…all covered with the richest Persian carpets…and the quilts for sitting on and the cushions to lean against were all of the finest brocades in gold and silk’ (quoted in Jennifer M. Wearden, Turkish Velvet Cushion Covers¸ London, 1986, p.1). This pair of fine Ottoman velvet yastik give an insight into the rich world of the Ottomans that Bon would have encountered on his travels.

£20,000 - £30,000

An Ottoman voided silk velvet and metal thread panel, Bursa or Istanbul, Turkey, late 16th / early 17th century, The crimson velvet ground worked with staggered rows of silver seven-petalled carnations each issuing from a tulip flowerhead, and flanked by paired everted leaves, overlaid by a narrow stripe border, slight wear, particularly a couple of areas of the metal thread, 150 x 145cm

Note: These large çatma panels, typically with a narrow geometric inner frame and an endless repeating design which extends beneath this frame, are thought to have been used either as wall hangings, curtains or as covers for divan. Two close examples in design with the plain seven petalled carnation, and the same slight variation in the sepal and calyx design incorporating a small tulip motif and three foliate stem, are two-loom width panels, from Bursa, first half seventeenth century, one in the Mevlana Museum Konya, 156 by 125cm (Inv.no.615 –originally offered as a gift to the shrine of Mevlana Jalal al-din Rumi in Konya), and another of the same date, in the National Museum, Cracow, 169 by 125cm (Inv.no.XIX-4525). Another was sold Sotheby’s 27 October 2020 Lot 450.

£7,000 - £10,000

A framed set of four polychrome Kutahya pottery tiles, Kutahya, Turkey, early 20th century, Each tile of square form mounted as a larger square, the overall design with two bole red floral medallions flanked by rising vines bearing serrated blooms, framed, 47.2cm square

£500 - £800

A framed square cobalt and turquoise blue Iznik style pottery tile, Kutahya, Turkey or Europe, 20th century, The painted decoration consisting of a central serrated leafy medallion bearing three flowers flanked with rising saaz leaves, on white ground, framed, visible - 24.2cm; framed28cm square

£200 - £300

Ten Ottoman voided velvet cushion covers “yastik”, Turkey, mid-19th century, Of various patterns, glazed and framed, largest - 117 x 59cm; smallest - 91 x 50cm (10)

£800 - £1,200

337

A rectangular embroidered silk and metal-thread on velvet panel, Ottoman Turkey, 19th century,

A lobed medallion within a thin border of floral tendrils, the spandrel with a rising or hanging and swaying tulip above a rosette, backed, mounted on board, 77.5 x 41cm

£3,000 - £4,000

338

A gilt-metal thread embroidered panel, Qajar Iran, c.1790,

A central star motif within a large cusped and lobed cartouches against a dense leafy field, rising and hanging palmettes above and below, the star and hanging palmettes with inscriptions in black nasta’liq script, 140 x 94cm

£2,000 - £3,000

339

A large rectangular framed polychrome geometric pottery tile panel, Turkey, 20th century,

Formed of three tiles, with a tessellation of star motifs and central red polygon, framed, visible59.5 x 19.5cm; framed - 65.5 x 25cm

£200 - £300

340

A framed geometric polychrome pottery tile panel, Turkey, 20th century,

In the zelij style, four polygons with twelve radiating branches, each with foliated palmettes and central polygons, the field with white stars, framed, visible - 39.4cm square, framed - 45cm square

£200 - £300

341

A clear glass huqqa base, 20th century,

With white metal drip tray and openwork and embossed wind screen, velvet hold and amber mouth piece, 40cm high approx.

£600 - £800

342

A turquoise and cobalt blue floral tile panel, Multan, North India, 19th century, The painted decoration consisting of a large elegant floral spray under a floral lobed arch, the spandrels with large flowers, on white ground, old inventory label to lower edge reading MUL88 084B, mounted, 63 x 20.4cm

£300 - £400

343

A moulded turquoise and cobalt blue glazed tile panel, Multan, North India, late 18th / early 19th century, Two tiles, each with a decoration consisting of large trefoil painted with elegant floral lobed medallions, the spandrels with leafy motifs, on white ground, mounted end to end to form a central floral quatrefoil, inventory label to edge reading MUL88 080, inscription in pencil to the reverse, 25.5 x 66cm

£300 - £400

344

An openwork carved darkwood Qur’an stand (Kursi), India, late 19th / early 20th century, Of typical shape, the feet either side of a cusped arch, the spandrels with floral scrolling vines, the book panels with quatrefoils within an elegant lattice border, does not fold, 65cm high

£300 - £500

345

An openwork carved wooden Qur’an stand (Kursi), India, 20th century, Of typical form, the openwork upper register with floral sprays and two figures either side of a central vine, the feet worked as arches with confronting elephants, the upper border with flower head and vine, 70cm long folded

£1,000 - £1,500

346

Five rectangular blue and white calligraphic pottery border tiles, Multan, India, c.1880, The loose nasta’liq script against a blue field between thin white and light blue border, one tile broken, largest40 x 28.5cm (5)

£800 - £1,200

A turquoise and cobalt blue border tile, Multan, North India, 19th century, A swaying floral tendril intertwined with a strapwork bearing serrated leaves forming inverted pointed arches, on white ground, mounted, 15.5 x 31cm

£200 - £300

348

A copper alloy standing figure of Bahubali, South India, Karnataka, 19th century or later, On circular base, in two parts, in body-abandonment (kayotsarga) posture with vines growing up his limbs, 42cm high with base

£600 - £800

349

A large copper alloy figure of dancing Ganesha, Possibly Thailand, mainland southeast Asia, 20th century, Cast holding his tusk, a goad (ankus), a lotus flower and another attribute, 71cm high, 41cm diameter

£2,000 - £3,000

350

A copper alloy figure of Shiva Nataraja, India, 20th century, Performing tandava while trampling Apasmara the dwarf of spiritual ignorance, within a ring of primeval fire (prambha mandala), 47cm high, 42cm diameter

£1,000 - £2,000

351

Eight polychrome pottery tiles, Qajar Iran and later, 19th / 20th century, The first, moulded, a mounted hunter draws is bow, framed; the second, square, a ruler and courtiers enjoying a garden; the third and fourth, square, moulded, near similar, a ruler flanked by two courtiers sit on a terrace, his attributes in front of him or holding his mace of power; the fifth and sixth, rectangular, moulded, near similar, a standing couple in a garden, the lady playing a stringed instrument or holding a cup and a bulbous bottle, each repaired and restored, the tile with the music player with inventory tag numbered 10196 taped to reverse; the seventh, square, the blue, aubergine, green painted decoration consisting of a floral rosette within an eight pointed serrated star shaped motif, cursory strapwork forming further half palmette to each corners, on white ground; the eighth, rectangular, moulded, a mounted hunter, his quarry on his back, gallops back from the hunt amidst a floral landscape inhabited by birds, inventory number 3658 inscribed in black to reverse, largest (8th) - 24 x 37.5cm (8)

£200 - £300

Two brass elements,

The first, parts of a larger piece, now fashioned in a candlestick manner, engraved in a loose cursory Indo-Persian style, with animals and flowers inhabited hemispherical sections, the field with scrollworks, with bulbous stem rising to a removable drip tray-like recipient, notches to the base; together with a rounded recipient, on spayed foot, with waisted bulbous body, the rivetted loop handle with bosses, the brass elements - 53cm high (3)

£50 - £70

A large French carved limestone group of George and the Dragon, Late 15th century,

The saint depicted on horseback thrusting a lance into the mouth of the struggling dragon below, on an integral rectangular base, with associated wood lance haft, 100cm high, 64cm wide, 31cm deep

Note: A similar example sold Christie’s, 500 Years: Decorative Arts Europe, New York, 23 November 2010, lot 472. £10,000 - £15,000

354

After Giambologna, Italian, 1529-1608, a bronze model of a pacing bull, Late 19th century, On a later associated verde antico base, bronze22.4cm high, 27.5cm wide, 7cm deep; overall - 24.9cm high, 33.6cm wide, 16cm deep

£400 - £600

355

A pair of French gilt-bronze mounted amethyst threelight candelabra, Of Louis XVI style, mid-19th century, Each with naturalistic branches, the bodies with bearded satyr masks and floral swags, 33cm high (2)

£2,500 - £4,000

356

A Flemish biblical tapestry fragment, 17th century, Woven in wools and silks, depicting Samson and Delilah, with an attendant cutting his hair while she holds the sleeping figure, within a landscape with fruiting foliage, figures, male masks and a lion mask, within foliate border, 88 x 69cm

£250 - £350

357

An Italian embroidered velvet joined orphrey panel, First half 17th century,

With six oval reserves worked in silk and metal thread depicting Biblical figures including Mary and Joseph with the Christ Child on a donkey, possibly St Jude or St Matthew, St Paul, the Coronation of the Virgin, and St James of Compostela, on a crimson ground with applied repeating motifs of flowering urns and foliate scrolls, later framed, 254 x 22.2cm

£800 - £1,200

358

An incomplete Italian embroidered orphrey panel, First half 17th century, The central panel worked in silk and metal thread on a red satin ground, with three roundels depicting Biblical figures, comprising the Virgin Mary with Christ Child, and St Peter and St Francis, linked by foliate scrollwork, mounted on later red velvet, later framed, 121.3 x 29.7cm

£400 - £600

359

An incomplete Italian embroidered orphrey panel, 16th century,

With five reserves worked in silk and metal thread depicting five scenes of the life of Jesus Christ, comprising the Last Supper, His arrest in the Garden of Gethsemane, the blindfolding of Christ, His trial before the Sanhedrin, and the Crucifixion, later framed, 119.5 x 18.5cm

£600 - £800

360

A pair of Flemish oak relief panels of the Last Supper, Of 17th century style, 19th century, The Apostles seated at a table with Christ to the centre, each in egg-anddart frames, one with a canopy cresting, the other with winged angel heads and swagged drapery, 96 x 53cm (2)

£1,500 - £2,500

361

Two Flemish oak relief panels depicting the Adoration of the Magi and Christ on the Road to Calvary, First half 17th century and later backed,

The Adoration scene beneath a canopy held by winged angels, above two camels and scrolling foliate carving; the Calvary with Christ staggering under the cross, a soldier behind, two figures, possible Magi on horseback above, with Veronica holding the sudarium to the top, 78 x 25cm and 85 x 24.5cm (2)

£1,500 - £2,500

362

360

362

A Spanish polychrome wood model of two figures, possibly Nicodemus and Joseph of Arimathea, Of Gothic style, 19th century and re-decorated, Depicted seated by a tomb, mounted on a later velvet covered stand, 22.5cm high, 15cm wide, 4.5cm deep; overall - 28cm high, 19.5cm wide, 9.5cm deep

£300 - £500

363

A pair of French entre fenêtre, Possibly Beauvais, late 18th / early 19th century, Each panel decorated with birds flanking urns issuing scrolling foliage, vases of flowers and fruit, coiling snakes and Bacchic faun masks on a red ground, within green ground borders with foliate motifs, later backed, 366 x 46.5cm (2)

£2,000 - £3,000

364

A pair of large Chinese cloisonné and gilt metal Buddhist lions, 20th century, Each modelled seated with one paw raised, on floral decorated rectangular plinths, 74cm high, on wood bases (2)

£2,000 - £3,000

365

A Chinese hongmu marble inset table, Qing dynasty, Daoguang period,

The rectangular top above carved frieze decorated with lotus blooms above a carved and pierced apron, 102cm long, 46cm high, 60cm wide

£2,000 - £3,000

366

366

A Japanese bronze okimono of a lion attacking a tiger, By Seikoku, Meiji period,

The two powerful felines cast with their fangs open, the lion pouncing on the tiger, signed to underside cast by Seikoku, 46cm long

£500 - £800

367

A cut velvet panel, Late 19th century, With an ogival lattice voided to ivory silk, later backed, 343 x 61cm

£100 - £150

368

A Japanese lacquered cabinet, Edo period, 18th century, Decorated to the pair of doors with a coffee pot and a prunus bonsai, with copper mounts, lacking interior, 89cm high, 91cm wide, 52cm deep

£800 - £1,200

369

After François-Joseph Bosio, French, 1768-1845, a French bronze group of Hercules fighting Acheloüs metamorphosed into a snake, Third quarter 19th century, Hercules is depicted nude fighting the river-god Acheloüs in the form of a snake with his left hand holding the snake while he raises a rock in his right hand above his head ready to strike, on a naturalistic base with his lion pelt draped on the ground, cast initials G. / VPS, 30cm high, 23cm wide, 10.4cm deep

Note: The story appears in Ovid’s Metamorphoses (Bk IX:1-88), with Hercules fighting the river-god Acheloüs for the hand of Deianeira, daughter of Oeneus, the King of Calydon. Acheloüs turned into a snake but was defeated by Hercules.

This model is after the original sculpture by François-Joseph Bosio and cast by Auguste Carbonneaux in 1824 for the Tuileries Garden in Paris, which is now housed at the Louvre Museum in Paris (no. LL325). A bronze replica cast by Charles Crozatier sits in The Pond in The Botanical Gardens at Kew and has been part of the Royal Collection since it was acquired by King George IV in 1829.

£800 - £1,200

370

A French bronze Bacchic group, Late 19th century,

Depicting a satyr and a goat fighting, on a naturalistic base, the underside with ink number 2124 and further indistinct numbering, on later broken marble plinth, 19cm high overall, 30.5cm wide, 13cm deep

£300 - £500

372

A French bronze group of Europa and the Bull, Late 19th century,

The Phoenician princess depicted perched upon the kneeling bull, both with floral garlands in their hair, on an oval base with ribbon tied laurel wreath border, 30cm high, 29.3cm wide, 20cm deep

Note: The story of the meeting of Europa and Zeus appears in Ovid Metamorphoses (Bk 2, verses 833875). While strolling on a beach in Sidon, the beautiful Phoenician princess Europa encounters Zeus, who transforms himself into a bull in order not to draw attention to his wife Hera. Europa approaches the impressive animal to stroke it and it kneels and entices her to climb onto its back. The Bull then carries her off to the Island of Crete, where their union results in the birth of Minos, Rhadamanthus and Sarpedon. The iconography was popular in the Ancient world, depicted in wall paintings, mosaics and vases, and was painted by artists such as Titian in 1559-1562, Rubens in 1628 and Rembrandt in 1632.

£1,000 - £1,500

371

A French bronze model of the infant Hercules, Early 19th century,

Modelled seated wrestling two snakes, on a siena marble base, bronze - 14cm high, 13cm wide, 8.5cm deep; overall - 17cm high, 16cm wide, 9.3cm deep

£250 - £350

373

A pair of French gilt-bronze six-light chandeliers, Late 19th century, With stiff leaf surmount and knopped stem issuing scrolling foliate branches, 32cm high, 41cm diameter (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£600 - £1,000

374

A pair of Louis XVI ormolu-mounted onyx urns and covers, Late 18th century, Each with berried finial on a domed cover above female Bacchic masks and twin handles, the tapering body on a leafwrapped fluted socle and canted square base, 26cm high, 16cm wide (2)

£800 - £1,200

375

A pair of French ormolu and patinated bronze urns, Early 19th century, Each with twin beaded and scrolling foliate handles and stiff-leaf cast neck and socle, on a square base with pierced frieze of ribbon tied oak branches, 24cm high (2)

£1,000 - £1,500

A pair of Italian bronze models of the Furietti Centaurs, After the Antique, first half 19th century, On later verde antico marble plinths, the bronzes - 35cm and 29.5cm high; overall - 47cm and 42.5 cm high, 27.5cm wide, 15cm deep (2)

Note: The 1st century bronze originals of this pair of centaurs, which were themselves copies of a 2nd century B.C. Hellenistic pair, were found together at Hadrian’s villa in Tivoli by Monsignor Giuseppe Alessandro Furietti in 1736. After his death they were sold by the family and have been in the Capitoline Museums since. Following their discovery, the centaurs became highly popular and were widely admired by affluent collectors and especially by Grand Tour travellers, who commissioned reproductions of smaller sizes in various media.

£4,000 - £6,000

377

A pair of French bronze models of pacing lions, Second half 19th century, Each shown pacing with tails entwined about hind legs, on later marble plinths, formerly chenets, 21.5cm high overall, 27.5cm wide, 12cm deep (2)

£2,000 - £3,000

378

A pair of French bronze figural groups of children taunting a swan,

In the manner of Clodion, late 19th century, Each with three young figures grappling with the struggling birds on naturalistic base, on gilt-bronze mounted siena marble base, overall - 26cm high, 26.3cm wide, 21.6cm deep and 28cm high, 26.3cm wide, 21.6cm deep (2)

£1,000 - £1,500

379

After Giambologna, Italian, 1529-1608, a bronze group of Nessus abducting Deianira, Continental, 20th century,

The centaur depicted rearing with the female figure held across his back, on an serpentine stepped marble plinth, bronze - 33.5cm high, 26.5cm wide, 15.5cm deep; overall - 43.5cm high, 26.7cm wide, 15.8cm deep

£400 - £600

380

A pair of French gilt-bronze figural candlesticks converted to lamps, Late 19th century, Each modelled as a child holding aloft cornucopia, one with a dove in his left hand the other holding his chin, the bases with fruiting vines, fluted waist and lion paw feet, 36.5cm high excl. fitments (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£300 - £500

381

A pair of French gilt-bronze four-light candelabra, Of Louis XV style, second half 19th century, Each with foliate and scroll cast foot and stem supporting a detachable candelabrum with conforming drip-pans and nozzles, 55cm high (2)

£400 - £600

After Giambologna, 1529-1608, a bronze group of Hercules and the Erymanthian boar, Second half 19th century, Depicted nude holding the boar over his left shoulder and a club in his right hand, on a later black marble plinth base, bronze - 41.8cm high; overall - 44.3cm high

£1,000 - £1,500

382

382

383

An Italian bronze group of Hercules and Cerberus, Late 19th century,

Depicted standing with two figures suspended from his club, the three-headed hound below, 28cm high, 22cm wide, 15cm deep

£500 - £800

384

After Stefano Maderno, Italian, 1575-1636, a French bronze group of Hercules and Antaeus, Late 19th century,

The naked figures shown wrestling, the shaped base signed Lepotre, on a siena marble plinth, 47cm high overall, 25cm wide, 17.5cm deep

£1,000 - £1,500

386

A pair of French gilt-bronze mask mounts, Of Regence style, second half 19th century, Cast as satyr masks surmounted with ribbon-tied cherub mask above scrolling acanthus leaves, with shell terminal, 50.5cm high, 14cm wide (2)

£600 - £800

385

A pair of French ormolu mask mounts, 19th century, Cast as satyr masks with scrolling foliate surmount and fruit and foliate terminal, 17.2cm high (2)

£400 - £600

387

A pair of French gilt-bronze urn table lamps, Of Louis XVI style, late 19th century, Each with fruiting vines suspended from Bacchic mask handles, on a gadrooned body and foliate socle on a stepped circular plinth base with beaded borders, 39cm high excl. fitment (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£500 - £800

388

A pair of French gilt-bronze vases, Of Louis XVI style, late 19th century, Of ovoid outline with fruiting vines suspended from Bacchic masks, 30cm high (2)

£700 - £1,000

389

A Continental needlework panel, 19th century,

Worked in wool, silk and metal thread, depicting a Medieval boar hunt with a courting couple and chaperon to foreground, a dog handler with his hounds by a seated boar and leader of the hunt, a falconer standing in a river holding a bird, a chateau and fruiting trees beyond, within a continuous floral border, later mounted, 204.5 x 66cm

£1,000 - £1,500

390

An English needlework panel, Early 18th century style, largely reworked, Worked in wool, with central ribbon tied rose surrounded by various flowers including daffodils and carnations, later framed, 53 x 62.5cm

£250 - £350

391

An English needlework fragment, C.1730s and later, Worked in wools, the central cartouche with blossoming flowers within a foliate border on a yellow ground, trimmed with later metal braid and mounted on board with black velvet border, panel - 45 x 36cm; overall - 51 x 42.5cm

£300 - £500

392

A pair of English giltwood stools, Of Regence style, second quarter 19th century, Carved with acanthus capped cabriole legs and hoof feet, covered in 18th century Savonnerie tapestry, 47cm high, 100cm wide, 47cm deep (2)

£1,000 - £1,500

393

An English needlework panel, Early 18th century,

Worked in wools and silks, depicting a shepherdess holding a staff and flanked by two dogs in a landscape setting with fruiting trees, birds and rabbits, within a continuous floral border, later framed, 65 x 51.5cm

£500 - £800

395

Two French needlepoint fragments, 18th century,

Worked in wools and silks, comprising: an example with two birds amongst blossoming flowers and foliage on a blue ground, 34 x 39cm; and a fragment with a central cartouche with blossoming flowers within a later reworked foliate border, 57 x 41cm, both later framed (2)

£200 - £300

396

Two French oval needlework fragments, 18th century,

Worked in wool, both with blossoming flowers and foliage on a yellow ground, later mounted and framed, 61.5 x 50.3cm and 54.5 x 58cm (2)

£150 - £250

397

A near pair of French rosewood crossbanded walnut and marquetry oval side chests, Last quarter 19th century, Each with brass galleried top above three central drawers raised on cabriole legs united by an under tier, 80cm high, 50cm wide, 36cm deep (2)

£400 - £600

394

An English needlework panel, Mid-18th century,

Worked in wools and silks, the central cartouche depicting a courting couple seated under a tree with a chaperone holding a fan behind, within a border of blossoming flowers and foliage, later framed, 55.5 x 58cm

£400 - £600

393

394

397

398

A Charles II needlework panel of The Sacrifice of Isaac, Second half 17th century, Worked in wool and silk, with Abraham depicted holding a dagger aloft while an angel above stays his hand, within a woodland landscape with servants waiting by a donkey, later mounted and framed, 28.5 x 29.7cm

£600 - £800

399

A Charles II biblical needlework panel, Third quarter 17th century, Worked in wools and silks, depicting various biblical scenes, including King Solomon giving judgement under a canopy, Hagar and Ishmael banished from the Home of Abraham, the princess of Egypt finding the baby Moses in the river, and various other figures and animals in the landscape, in later glazed walnut frame, 31.6 x 43.2cm

£500 - £800

400

A Charles II needlework panel of The Sacrifice of Isaac, Second half 17th century, Worked in wool and silk petite point, with Abraham holding his dagger aloft while an angel above stays his hand, in a woodland landscape with animals, the sun observing from above, later framed, 25.6 x 30.8cm

£600 - £800

401

An English needlework fragment, Possibly late 19th century, Worked in wool cross-stitch, depicting fruiting vines, later mounted and framed, 61.7 x 51.7cm

£150 - £250

402

A Flemish armorial tapestry, Possibly Brussels, 17th century, Woven in wools and silks with the coat of arms of an archbishop in a cartouche suspended from tasselled cords tied to golden rings, the shield surmounted by a hat with ten tassels to each side and quartered with the arms of Beaumont, Ayala, Figueroa and Pacheco, with a wooded landscape below, possibly with remnants of weavers initials to bottom right corner, with later guard stripe and backing, 241 x 204cm

£2,000 - £4,000

403

An English armorial tapestry fragment bearing the Coat of Arms of the Raleigh family,

Late 16th / early 17th century, Woven in wools and silks, the shield divided into 16 quarterings, flanked by wolf supporters, surmounted by four helms with crests of fleur-de-lis, a stag’s head caboshed with a fleur-de-lis between the attires, a mitre with feathered plume, and a stag statant, and inscribed with their family motto AMORE ET VIRTUTE to the border above, later framed, 44.5 x 63cm

Note: An engraving of the Raleigh coats of arms by Theodor de Bry (1528-1598) features in Hariot, T., A briefe and true report of the new found land of Virginia: of the commodities and of the nature and manners of the naturall inhabitants, London: Johann Wechel, 1590. The example in the engraving lacks the fourth helm with crest and has an additional quartering in the arms.

A seal-matrix of Sir Walter Raleigh is in the British Museum (1904,0113.2), and features the arms of Raleigh, with five fusils in a bend, which are located in the top left corner of the shield in this tapestry. There is also a helmet, two wolf supporters, a stag crest and the above motto, which all appear in this tapestry.

Amore et Virtute is the motto of the family of Sir Walter Raleigh (1554-1618), and Amor et Virtute is inscribed on a painting of Raleigh by an unknown artist, dated 1588, that is currently in the National Portrait Gallery (NPG 7).

A silver-gilt casket believed to have been owned by Sir Walter Raleigh bears an almost identical coat of arms, although it only has three helms with crests, lacking the helm with mitre with feathered plume - Christie’s, London, 21 September 2005, lot 274. The casket is currently housed at Museu da Farmácia, Lisbon, Portugal (Inv. 13612).

£1,000 - £1,500

404

A pair of Dutch giltwood console tables, In the Manner of Daniel Marot, first quarter 18th century, Each with male caryatid supports with military trophy breast plates, the elaborate friezes with scrolls and cartouches, with x-stretched and shaped variegated marble tops, with some restorations, 85cm high, 120cm wide, 73cm deep (2)

Note: This pair of console table belongs to a group of tables inspired by French prototypes, which represent a new phase in Dutch furniture making reflecting characteristics of the mutual artistic influence between France and the Netherlands during the reign of Louis XIV. The revocation of the Edict of Nantes in 1685 had the consequence of driving French Huguenots out. Daniel Marot (Paris 1663-the Hague 1752) fled north to settle in the Hague. Marot, an architect, furniture designer and engraver brought the fully developed Louis XIV court style to the Netherlands and later to London. In the end, the English style, which is loosely called “William and Mary” owed much to his manner. He is associated with designing interiors in the palace Het Loo, William III of England’s beloved hunting palace near Apeldoorn.

The present tables demonstrate some of the characteristic elements of Marot’s designs which broke away from traditional Dutch or nament and introduced a fashion for architectural furniture. These include front legs in a broken S-shape, the helmeted warriors and the curved shaped X-stretcher with bun feet. These tables can be easily dismantled, each leg terminates in a block, into which the top frame and the bun feet can be fitted, while the aprons are fixed to the frame. This particular form of construction could both help the gilder and allow for their transportation from house to house.

£8,000 - £12,000

405

A fine silk and metal thread needlework panel, Possibly Italian, 17th century,

With a central fountain and canopy flanked to each side by rampant lions, four fruiting trees and satyrs with club, trumpet and attendant dog, the foreground with further animals and insects, later mounted and framed, 237 x 41.5cm £10,000 - £15,000

406

A Florentine giltwood and painted cassone, Possibly early 16th century and incorporating later elements, the panels from the circle of Niccolò Giolfino, Italian, 1476-1555, The central circular panel with two putti carrying a coat of arms, flanked by two further panels depicting a battle scene with soldiers on horseback and a boar hunt respectively, the sarcophagus form body decorated with grotesques and fish-scale motifs overall, the sides inset with two further pokerwork roundels painted with putti and armorials, raised on a stepped base, 77cm high, 173cm wide, 52cm deep

Note: The present panels strongly recall the works of Niccolò Giolfino (Italian, 1476-1555) and his circle, who, through the incorporation of lifelike, muscular figures and naturalistic, expansive landscapes, modernised the 15th-century tradition of painted cassone panels for a 16th-century audience. Giolfino received his training in the Veronese workshop of the renowned painter and miniaturist Liberale da Verona (1445-1526), and stayed in that city throughout his career, receiving commissions for religious works from the local churches.

While Giolfino’s meticulous and refined compositions echo those of his master, the artist also appears to have been heavily inspired by the works of other North Italian painters including Andrea Mantegna (1431-1506) and the Venetian Lorenzo Lotto (1480-1556). The impact of Mantegna’s works in particular can be discerned in the present cassone panels, particularly in the stocky and muscular figures of the soldiers populating the battle scene, and the statuesque amorini flanking the armorials on either side of the chest. The boar hunting scene, with its strongly delineated architectural background, is reminiscent of Giolfino’s panel depicting St Roch, which sold at Christie’s London, 6 July 2018, lot 187 (£12,500).

Cassone or wedding chests first appeared in the late fourteenth century in the republics of Florence and Siena and were used to store the bride’s dowry received on her marriage. They were considered luxury goods and made in specialist workshops, often in pairs, to be paraded through the streets to celebrate the weddings of wealthy families. The present lot with a curved front profile and flat angled end brackets can be compared to an example in the Museo del Prado (O000460) dated circa 1520 and another in the Rijksmusem (BK-16873) dated to 1500-1600.

£30,000 - £50,000

407

Two Flemish tapestry border fragments, Possibly Brussels, 17th century,

Woven wools and silks, each depicting putti amidst fruiting and flowering urns with squirrels and rabbits feeding, with later blue borders, both later mounted, 48.5 x 169.8cm (2)

£1,000 - £1,500

408

A French gilt-bronze eight-light chandelier, In the manner of André-Charles Boulle, by Lacarrière frères & Delatour, Paris, dated 1888, With Bacchic term figures flanking a vase above female masks and friezes depicting bows and quivers, supporting foliate scroll arms, signed Lacarrière frères & DelatourParis 1888, approx. 88cm high, 91cm diameter

Literature: Ottomeyer, H. and Pröschel, P., Vergoldete Bronzen, Vol. I, p. 52, fig. 1.6.6.

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

Note: The fonderie Lacarrière was first established in 1825 at 3 bis, rue Ste-Elisabeth, Paris, specialising in gas lighting fixtures. By 1875 the company had transformed to Lacarrière Delatour, et Cie., under which name they cast and chased a chandelier designed by Corboz for the new Opéra, Palais Garnier.

£4,000 - £6,000

407

409

A pair of large Venetian polychrome and giltwood figural torcheres, Late 19th century, Modelled as a male and female figure, each holding cornucopia to their mouths and seated on addorsed dolphins, on naturalistic bases with crustaceans and amphibians, signed to bases Antonio Fenci ?, 186cm high (2)

£3,000 - £5,000

410

A Continental tapestry fragment, Possibly Brussels, late 17th century, Woven in wools and silks, depicting the bare feet of a figure with flowing blue robes stood on a rock above the legs of a Roman soldier wearing greaves and sandals, with later border and backing, 59 x 151cm overall

£300 - £500

After Giambologna, Italian, 1529-1608, an Italian bronze model of Mercury, Mid-19th century,

Depicted wearing a winged helmet and standing with his left foot on Zephyr’s head, on a white marble and porphyry base with gilt-brass beading, the bronze - 55cm high; overall - 65cm high

Note: Giambologna’s bronze figure of Mercury is perhaps his most recognisable creation. The idea appears to have originated in the early 1560s as a commission from Pier Donato Cesi, the Bishop of Narni, for a bronze figure of Mercury intended to adorn a column in the centre of a courtyard of the University of Bologna. The bronze was never erected at the university, and may have been re-directed as a diplomatic gift from the Medici to the Holy Roman Emperor Maximilian II, whose sister Joanna was to marry Francesco de’ Medici. The present model more closely follows a slight re-working of the theme which was executed by Giambologna and erected at the Villa Medici by 1580. That bronze is housed today in the Bargello, Florence (illustrated in C. Avery, Giambologna –The Complete Sculpture, Oxford, 1987, no. 34, pp. 124-127, 130 and 256, pls. 14-15).

£1,500 - £2,000

411

A Louis XV ormolu cartel clock, Jean Moisy, Paris, third quarter 18th century, The rococo case surmounted by a putto sitting beneath a floral hung trellis, above flowering rose branches and scrolling acanthus leaves, the domed sides with pierced floral trellis, the base with a winged cherub holding a wreath the white enamel dial with Roman and Arabic numerals, signed MOISY A PARIS, with silvered pierced foliate hands, the twin train eight day movement with silk suspension and outside countwheel striking on a bell, signed to backplate Moisy A Paris and numbered No. 353, 84cm high

Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.

Note: Jean Moisy is recorded as working in Paris in 1753 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, London: N.A.G. Press, 2022, p.544.

£6,000 - £8,000

413

A large Chinese bronze figure of Li Tieguai atop a rocky outcrop, Ming dynasty, 17th century, Cast standing on pierced rockwork supported by a crutch in his right hand, with left hand raised clutching a gourd, 55cm high

Note: Li Tieguai is on of the eight Daoist Immortals and is identified by the iron crutch and double gourd he is usually depicted with. He is typically depicted as an emaciated man who walks with the assistance of his crutch as he is descended from the realm of the immortals by entering the body of a handicapped man. He is said to be a provider of medicine, which he carries in his gourd.

£3,000 - £5,000

414

A Chinese bronze Ming style incense burner, Qing dynasty, 19th century, Cast as a warrior on horseback, 22cm high

£200 - £300

415

A pair of Chinese bonze censers boy and buffalo censers, 19th century,

Each modelled with cover cast as a boy playing an instrument atop a buffalo, 19cm long (2)

£400 - £600

416

A Chinese hongmu square stand, Qing dynasty, 19th century,

The square marble inset top above carved lotus frieze and reticulated scroll apron on rounded square supports united by an undertier, 81cm high

£400 - £600

417

A pair of Chinese hardwood wire inlaid wood carvings, Early 20th century, Carved as immortals with glass inset eyes, wire inlaid throughout with floral motifs, 35cm high (2)

£100 - £200

418

A large Thai bronze figure of Buddha, Late 18th century, Cast seated in dhyanasana, the head with extended ushnisha, 57cm high

£300 - £500

419

A Burmese bronze figure of Buddha Nagaraja, 19th century,

Seated in dhyanasana beneath a three-headed naga, 47cm high

£200 - £300

420

A pair of Chinese hongmu barrel form stools, Qing dynasty, 19th century, Each top inset with burlwood panel, 48cm high (2)

£800 - £1,200

421

A pair of Chinese blue and white barrel-form stools, 20th century,

Pierced with cash motifs to the sides and decorated with a phoenix and dragon amid meandering flowering lotus, 46cm high (2)

£200 - £300

422

A Chinese Ming style celadon jade figure of a recumbent camel, 20th century,

Carved with its head turned back toward its body and with strands of hair over two humps and to the mane, the stone of even green tone with mottled brown patches to the head and hind leg, 17cm long, on fitted wood stand

£500 - £800

424

A group of Oriental items, 19th - early 20th century, Comprising: a pair of softwood carvings, 30cm high; a Japanese bronze champlevé enamel figure of Guanyin atop a Buddhist lion; a buffalo and boy carving, 19cm high; a bronze figure of Budai, 21cm high; two cloisonné vases, 19cm and 16cm high; and a domed box (8)

£400 - £600

423

A Chinese smoky quartz vase and cover, Late Qing dynasty, Carved with two chilong handles to the body and a chilong finial, 16.5cm high, on fitted wood stand

£300 - £500

425

A collection of Chinese jades and hardstones and a Japanese ginbari cloisonné-enamel box and cover, 18th century - 20th century, Comprising: a silver and white jade hand mirror, with white jade dragon belt hook shaft, with silver mount decorated with bats and the Eight Buddhist Emblems, inset with jadeite cabochons and carved tourmalines, the centre with white jade plaque carved in shallow relief with a boy carrying a vase of flowers on a raft boat, 22cm long overall; a white jade figure of a handler with a monkey on his shoulder, carved from a pale even stone, the details finely fleshed out, 7.5cm high; a soapstone ‘dragon’ belt hook, 10.7cm long; a spinach jade box and cover carved with butterflies and orchids, 11.8cm long; an agate baluster vase and cover, 16cm high, with wood stand; a rock crystal figure of a sage and deer, 9cm wide; a soapstone screen carved with a dragon and phoenix, 16cm high; and a Japanese ginbari cloisonné-enamel box and cover with silver and gold wire, decorated with a butterfly amongst hydrangea, unmarked, 7.6cm diameter (9)

£400 - £600

426

A Chinese soapstone carving of Xiwangmu and a rose quartz carving of Guanyin, 20th century,

Xiwangmu carved standing holding a basket of flowers beside a deer, 31.5cm high; the pink quartz Guanyin also standing wearing flowing robes, with rose quartz stand mounted as a lamp, 39cm high with stand (2)

£300 - £500

427

A Chinese archaistic hardstone ceremonial axe head, 20th century,

Of tapered form with curved edge and three holes, the stone of dark green tone with black inclusions, 18cm long

£300 - £500

428

A pair of Chinese archaistic bronze lamps, Late 20th century, Cast as ritual bronze vases, fangyi, 40cm high to fitment (2)

£500 - £800

429

A large Chinese archaistic bronze vase, hu, Late 19th century, 62cm high

£600 - £800

430

A large Chinese bronze archaistic tripod censer, Ming dynasty, 17th century, Decorated to the body with panels of figures in a landscape, with beast mask capped tripod cabriole legs, 28.5cm high, 26.5cm wide

£3,000 - £5,000

431

A large Chinese bronze figure of an immortal, Late 19th century,

Depicted standing holding a peach, wearing finely engraved flowing robes, 44cm high

£400 - £600

432

A Chinese enamelled paktong water pipe, Early 20th century,

Decorated with cajoling Buddhist lions, 40cm high

£200 - £300

433

An Italian silk embroidered fragment, 18th century,

With birds perching amongst blossoming flowers and scrolling foliage on a yellow silk embroidered ground, later mounted, 49.5 x 56.5cm

£300 - £500

434

A Flemish tapestry panel, 19th century,

Woven in wools and silks, depicting a man stood beside a well with a seated figure and dog, with a thatched tavern in the background, within scrolling foliate border, later backed, 70 x 66cm

£300 - £500

435

A group of eleven tapestry cushions, Mid-18th/19th century, Comprising: an Aubusson example with two deer in a wooded landscape; a pair of Aubusson panels of male and female peasants; three oval Aubusson cushions with floral motifs and tasselled fringes; four further oval cushions with floral designs; and a tapestry border fragment of rectangular form; 40 x 40cm and smaller (11)

£300 - £400

436

A Continental needlework fragment, 18th century and later, Depicting a stag being pursued by three hounds in a wooded landscape, within a foliate cartouche, later mounted and framed, 56 x 51cm

£300 - £500

437

An English needlework panel, Of 18th century style, early 20th century, Worked in wools and silks, depicting two couples on a seesaw in a garden setting, with a young woman playing a flute and a dog sat beside, later framed, 65 x 51.5cm

£300 - £500

438

A Victorian gilt-brass mounted walnut and amboyna card table, By Charles Nosotti, third quarter 19th century,

The crossbanded hinged top revealing green baize with tooled leather border, on fluted supports to splayed legs, with scroll ends and castors, joined by stretcher, 72cm high, 87cm wide, 50cm deep

Note: Charles Francis Nosotti (c.1831-1909) is listed as a carver, gilder, upholsterer and cabinetmaker at 2 Dean Street, Soho, from 1835 to 1840. Almost certainly born in Milan, his high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave’s drawing room at Strawberry Hill. By 1870 he was advertising himself as carver and gilder to His Imperial Majesty Napoleon III. He is probably best known for decorating the chapels of the Brompton Oratory. He later collaborated with the leading Victorian makers Howard and Sons.

£1,500 - £2,500

439

A Napoleon III rosewood bobbin-turned canterbury, Third quarter 19th century,

With four vertical divisions and a turned handle with an open shelf below, on brass capped horn castors, 49cm high, 42cm wide, 35cm deep

£100 - £200

440

A Flemish tapestry border fragment, Possibly Brussels, 17th century, Woven in wools and silks, depicting a four-horse chariot driven by Cupid, possibly a scene from the Triumphs of Petrarch, later framed and mounted, 46.5 x 75cm

£400 - £600

441

An Italian silk brocade panel, 18th century,

With palmette flowers on a red ground, later mounted, panel - 37 x 51.5cm, overall - 50 x 65cm

£200 - £300

442

A length of Italian silk velvet, 19th century, Brocaded with flowers in gilt thread, later backed, 298 x 58cm

£150 - £250

443

A Louis XV kingwood and ormolu-mounted vitrine, By André-Antoine Lardin, French, 1724-1790, third quarter 18th century,

With two glazed doors above drawer, on splayed front feet, stamped Lardin, JME multiple times, 213cm high, 166cm wide, 50cm deep

Note: André Antoine Lardin (1724-1790), maître in 1750.

£1,000 - £1,500

441

444

Two pairs of Continental cut-velvet cushions, Late 19th century,

Comprising: one pair with quatrefoil motifs and scrolling foliate design, 36 x 44cm; and a pair with crimson fleur-de-lys design with tasselled border, 30 x 40cm (4)

£200 - £300

445

A group of seven cushions, 18th-20th century,

Comprising: a ‘Nakhsh’ embroidered panel from Iran; an English needlework cushion worked in wool and silk with bold foliate motifs; a needlework cushion with diagonal bands of stylised flowers; a silk cushion with a pink embroidered border; a pair of modern cushions with exotic birds amid flowers on a dark ground; and a modern printed William Morris ‘Strawberry Thief’ pattern cushion (7)

£250 - £350

446

Eleven cushions made from Yamut tent bands, Various sizes, 49 x 39cm and smaller; together with a cushion made from a Turkoman torba, 50 x 26cm (12)

£250 - £350

447

A French walnut bow front credenza, Last quarter 19th century,

With veined marble top above two doors, on block feet, 93cm high, 179cm wide, 70cm deep

£200 - £400

444

445

446

Marcel Dyf, French 1899-1985, La Mauldre près de Beynes (Île-de-France), Oil on canvas, signed lower left ‘Dyf’, 46 x 55.2 cm (ARR)

Provenance: with Frost & Reed, London, no.631, registered no.45756, hand-numbered F.R.701 (label attached to the reverse of the stretcher).

£3,000 - £5,000

449

A French ormolu mantel clock,

By Charles Bertrand, Paris, last quarter 18th century,

The case surmounted with an urn above twin lion masks each with swagged handle in its mouth, on scrolling acanthus supports on an inverted break-front plinth base, the white enamel dial Roman and Arabic numerals signed Ch.les Bertrand A PARIS, with pierced gilt hands, the eight day twin train movement with an external countwheel striking on a bell on the hour and half hour, the backplate signed Chles Bertrand A Paris, with pendulum, 42cm high, 26cm wide, 15.2cm deep

Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.

Note: Charles Bertrand is recorded as working in Paris c.1780-c.1800Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, London: N.A.G. Press, 2022, p.67.

£1,500 - £2,500

450

A pair of French bronze models of infant musicians, Mid-18th century,

One playing a flute, the other a triangle, on naturalistic bases and further mounted on ormolu plinths with scroll feet, the bronzes28.5cm high; overall - 34cm high (2)

Note: The models for the present lot seem to have originated in Rome, in the circle of sculptors such as Alessandro Algardi (1595-1654) and François Duquesnoy (1597-1643), but these casts were almost certainly made, and mounted on their bases, in France in the middle of the eighteenth century. An identical pair of bronzes on different bases are in the Wallace Collection, London (S204).

£3,000 - £5,000

451

A pair of Louis XV beech framed fauteuils, Third quarter 18th century, With carved floral crest and yellow silk damask upholstery, on cabriole legs, both indistinctly stamped (2)

£300 - £500

452

A pair of French giltwood firescreens, Late 19th century,

Inset with 18th century Aubusson allegorical tapestry panels of a Classical man and woman within scrolling foliate cartouche, the frame with flowers and scrolling foliage on scrolling splayed legs, panels - 64.5 x 46.5cm; frame - 91cm high, 58.5cm wide, 31.5cm deep (2)

£300 - £500

453

After Charles Antoine Coysevox, French, 1640-1720, a French bronze model of Flora et l’Amour, Late 19th century,

The Roman goddess of flowers and spring is depicted seated on a tree stump holding a floral swag while Cupid stands behind her holding a wreath, with cast signature A. COYZEVOX. F. 1710, inscribed F. BARBEDIENNE. FONDEUR., and stamped with A. COLLAS BREVETTE REDUCTION MÉCANIQUE cachet, the underside inscribed AA / 42, 30cm high

£500 - £800

454

A pair of French gilt-bronze wall brackets, Of Regence style, late 19th century / early 20th century, Each with an associated breakfront shelf, above a pierced backplate centred by a satyr mask surrounded by rockwork and foliage with C-scrolls, 26.5cm high, 21.2cm wide, 11.5cm deep (2)

£800 - £1,200

455

After Albert-Ernest Carrier-Belleuse, French, 1824-1887, ‘Amazone Captive’, Third quarter 19th century,

A bronze figural group of a female warrior depicted contrapposto with tumbling locks of hair, chained to a tree with the instruments of war at her feet, with cast signature CARRIER, 56.5cm high

£800 - £1,200

456

A pair of French gilt-bronze wall brackets, Of Regence style, 19th century, Each with associated breakfront shelf above a satyr mask with scrolling foliage and flowers, adapted from furniture mounts, 26.7cm high, 22cm wide, 12cm deep (2)

£800 - £1,200

457

After Giambologna, Italian, 1529-1608, a bronze figure of the Cesarini Venus, 19th century, With foot raised on a triform pedestal, mounted on a gilt-bronze base, 29cm high, 10cm wide, 10cm deep

Note: The present bronze is based on the marble model of Venus drying herself by Giambologna that is also known as the Cesarini Venus. The prototype was commissioned from Giambologna in early 1580 by Giangiorgio II Cesarini, Marquis of Civitanova for the Villa Ludovisi, Rome. The statue still remains in the building to this day, which is now known as the Palazzo Margherita and serves as the American Embassy.

£800 - £1,200

458

A near pair of French gilt-bronze wall brackets, Of Louis XV style, 19th century, Each with a projecting associated shelf with foliate serpentine edge, above a dove perched amongst pierced and scrolling foliage, with spurious ‘C’ couronné poinçon stamp, 19.2cm high, 20cm wide, 12cm deep (2)

£500 - £800

460

A pair of giltwood wall brackets, Of Louis XV style, second half 20th century,

Each with a projecting shelf with foliate serpentine edge, above a dove perched amongst pierced and scrolling foliage, 19.5cm high, 17.7cm wide, 12.4cm deep (2)

£100 - £200

459

After Giambologna, Italian, c.1529-1608, an Italian bronze model of Venus after the Bath, Late 18th / early 19th century,

The standing figure towelling herself dry, on a later siena marble base, the bronze21.2cm high; overall - 25cm high

Note: The present lot is one of several versions of Venus after her bath by Giambologna and is one of his most sought-after compositions. Giambologna’s rendering of the female nude in a variety of poses are among the most admired in all of European sculpture. He reinterpreted classical statues in light of Michelangelo’s studies in contrapposto and figura serpentinata. The present lot demonstrates his desire to create models that could be admired from every vantage point. The beauty of the curving nude back of Venus is given equal attention to the front of the semi-nude.

£800 - £1,200

461

A pair of French ormolu figural three-light candelabra, After a model by François Rémond, of Louis XVI style, late 18th / early 19th century, Each modelled with a Classical maiden holding aloft carnation branches with flowers and buds, on white marble cylindrical plinths mounted with swags, 88cm high (2)

Provenance: From the David Weill Collection, according to vendor records.

Note: H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, Munich, 1986, vol. I, p. 283, fig. 4.14.4, cites a drawing for a candelabrum with classically draped maiden supporter holding a cornucopia from the catalogue of the marchand-mercier Dominique Daguerre from circa 1785. Differences in the drapery and pose of the figures demonstrate the popularity and diversity the design enjoyed through the late 18th and 19th centuries. A set of four related candelabra in the Wallace Collection have been attributed in part to the ciseleur-doreur François Rémond (F-142-5, F146-7).

£10,000 - £15,000

462

A French gilt-bronze mantel clock, Early 19th century,

The case surmounted by a flowering urn and supported on a fluted Corinthian column, with the Three Graces holding floral swags on a tulip base with recessed sides and foliate ormolu mounts on bun feet, the white enamel dial with Roman and Arabic numerals, signed Ragot A PARIS, the twin train eight day movement possibly associated, with outside countweel and coup perdu escapement striking on a bell, 80cm high

Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.

£3,000 - £5,000

463

A French ormolu-mounted kingwood and marquetry serpentine front commode,

Retailed by Edwards and Roberts, of Louis XV style, third quarter 19th century,

With shaped variegated marble top above two long drawers and two side doors, mounted with c-scrolls and female busts to the angles, stamped Edwards & Roberts to top drawer, 89cm high, 148cm wide, 67cm deep

£4,000 - £6,000

464

A pair of French gilt-bronze twin-light wall appliques, Of Louis XVI style, first half 20th century, Each with a ribbon-tie and swag backplate supporting a pair of fluted branches, the backplates - 77cm high (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£300 - £500

466

A pair of French bronze Chinoiserie figures, Mid-19th century, The male and female figures each shown standing, the lady with fan (both formerly with further attributes), on naturalistic gilt-bronze bases, 22cm high, 11cm wide, 11cm deep (2)

£600 - £1,000

465

A pair of French gilt-bronze twin-light wall appliques, Of Louis XVI style, late 19th century, Each with a ribbon-tied backplate issuing branches entwined with leaves and flower buds, the backplates - 57cm high (2)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£300 - £500

467

A North European armorial tapestry panel, 17th century,

Woven in wools, silks and metal thread, decorated with a winged seraph head above a two shields with a Star of David and a turnip, on a blue and green Gothic patterned ground, with yellow, red and black flowerhead spandrels, 54 x 49.5cm

£500 - £800

468

A North German armorial tapestry panel, Mid-17th century,

Woven in wools and silks, with an angel and two coats of arms amongst scrolling foliage to centre within a wreath with continuous band of fruit and angels, with a border of abundant fruiting foliage, later framed, 68.5 x 62.5cm

£500 - £800

469

An English mahogany pole screen with needlework panel, Mid-18th century and later stand,

The adjustable stand enclosing a needlework panel depicting a Chinese blue and white vase of flowers on a pierced giltwood base with a seated squirrel, with later extended border, backed with red damask, panel - 54.7 x 44.5cm; overall - 144cm high

£250 - £350

468

467

470

An English mahogany pole screen with needlework panel, 18th century and later,

The adjustable rectangular frame enclosing a needlework panel, first half 18th century, worked in wool, depicting an urn of blossoming flowers, on an associated mahogany stand with turned pole support on tri-form base with floral carving and scroll feet, panel - 36.5 x 27.2cm; overall - 120.5cm high

£250 - £350

471

An English allegorical needlework fragment, First half 18th century,

Worked in wools and silks, with a central cartouche depicting Venus and Cupid seated beneath a tree with two billing doves to the foreground, within stylised floral border, later framed, 31 x 26.5cm

£300 - £500

472

An English needlework fragment, 18th century,

Worked in wools and silks, depicting a fish seller serving a gentleman at her stall under a tree, within a cartouche with floral border, later mounted and framed, 50.7 x 47cm

£300 - £500

473

A modern printed tapestry replica of the 16th Netherlandish tapestry ‘Battle and Embarkation’,

Depicting characters from different eras with Cambyses of Persia leading the charge and the transfixed Assyrian Ninus pushing a series of historical and mythological figures towards a fleet in the background, including Aeneas and Queen Dido embarking despite the warnings of the soothsayer Calcas, 141 x 158cm

Note: The original tapestry is by an unknown artist, Netherlands, first quarter 16th century, and is on display at Musée de Cluny, Paris.

£100 - £150

474

Three Chinese marble-inset hardwood stools, Late Qing dynasty, Each with circular marble inset top above carved floral frieze and carved legs to claw feet, 47cm high (3)

£500 - £800

476

475

A large Japanese Imari charger, Meiji period, Painted with two panels, one depicting ladies beneath plum blossom, the other with an exotic bird and foliage, 54cm diameter

£400 - £600

A Japanese blue and white jardinière, Late 19th century, Decorated with a continuous scene depicting a tiger prowling through a wooded landscape, 42cm diameter

£200 - £300

477

A Japanese blue and white cylindrical vase, Meiji period, early 20th century, Finely painted with cranes in a continuous river landscape densely decorated with peony sprays, impressed seal mark to base, 32cm high

£300 - £500

478

A Burmese bronze figure of Shakyamuni, 18th / 19th century, Cast standing, with flame mandala behind his head, 32cm high

£150 - £250

480

A pair of large Japanese bronze champlevé enamel jars, Meiji period, 19th century, Decorated with butterflies amidst chrysanthemum blooms, 37cm high (2)

£500 - £800

481

A large Thai bronze head of Buddha, Early 20th century, 30cm high

£200 - £300

479

A pair of Japanese bronze pagoda lanterns and a pair of Chinese brass vases, Late 19th century, The vases decorated in relief with dragons, 29cm and 70cm high (4)

£200 - £300

482

A large Thai bronze head of Buddha, 20th century,

Cast with a serene expression, with inset pink hardstone to the forehead, 36cm high

£200 - £300

483

A pair of Japanese cloisonné baluster vases, Meiji period,

Each decorated with four alternating leaf shaped panels of phoenixes and dragons on a dark blue ground, 29.5cm high, on pierced wood stands (2)

£200 - £300

485

A pair of French gilt-bronze figures of infants, Second half 19th century,

Each shown seated on a tasselled cushion in front of a brazier, on fluted white marble plinths, 21.5cm high overall, 18cm wide, 12.5cm deep (2)

£500 - £800

484

A large Japanese champlevé-enamel bronze tripod censer, Meiji period,

Cast with lion handles and lion finial to the cover, the body decorated with court scenes, 40cm high

£200 - £400

486

After Jean-Baptiste Pigalle, French, 1714-85, a pair of French bronze figures ‘L’enfant a la cage’ and ‘La fillette a l’oiseau’, 19th century,

Each shown with a child seated with a birdcage and a bird respectively, on gilt-bronze plinths, 27cm high overall, 15cm wide, 17cm deep (2)

Provenance: Sotheby’s, 17 April 1964, according the vendor records.

£800 - £1,200

487

After Auguste Moreau, French, 1861-1906, a French gilt and patinated bronze of a child, Late 19th century,

Seated in front of a crab inside a shell with a stick raised in their right hand, on a naturalistic base with cast signature aug Moreau, on an oval breccia marble and bronze base, 12cm high, 11.2cm wide, 9.6cm deep

£200 - £400

488

A French bronze group of a Satyr and Bacchante, In the manner of Clodion, late 19th / early 20th century, The female figure shown seated with a wine cup to her raised right arm, on a naturalistic base, mounted on a variegated giallo marble plinth, 27cm high, 22cm wide, 15cm deep

£200 - £300

485

486

487

489

Follower of François Boucher, French, 1703-1770, portrait of a young woman holding a white dove, Portrayed half-length and wearing a light blue drape, the hair adorned with strands of pearls, pastel on paper, 77.1cm high, 61.6cm wide (portrait), 133cm high, 91cm wide overall including giltwood and gesso Louis XVI style frame

Note: The present pastel, which shows a young woman ‘en déshabillé’, rendered in soft clouds of pale, delicate colour, recalls the works of leading Rococo painter and draughtsman François Boucher. Known for his elegant portraits and genre scenes, which were often inspired by mythological characters and narratives, Boucher’s compositions were not only popular with his royal and noble patrons, including the King’s mistress, Madame de Pompadour (1721-1764), but also with larger audiences, as his compositions were widely circulated as prints and illustrations. The contemplative female subject depicted here is reminiscent of the central figure in Boucher’s ‘Toilette of Venus’, held in the collection of the Metropolitan Museum of Art, New York (20.155.9).

£1,500 - £2,500

490

Jean François de Sompsois, French, fl. c.17551797, portrait of a lady,

Portrayed half-length, wearing a blue dress and a powdered wig, signed De Sompsois lower left, pastel on paper, oval, 60.5cm wide, 49.2 cm high (portrait), 90cm high, 62cm wide overall including giltwood and composition Louis XVI style frame

Note: The son of a Swiss mercenary, Jean François de Sompsois was well-known for his pastel portraits, and also worked as a miniaturist. While he remained in his native France for most of his career, he spent several years in St Petersburg, where he was commissioned by Prince Pyotr Fedorovich and his wife, the future Empress Catherine II of Russia, to complete a series of allegorical portraits of the ladies-inwaiting of the court. Some sources suggest that while in Russia the artist might have combined his position as a painter to noble sitters with a double life as a secret agent.

Upon his return to France, De Sompsois continued to be popular with noble patrons, notably painting a portrait of Madame du Barry at her easel, which was sold at Sotheby’s, New York, 25 January 2017, lot 47.

£600 - £800

491

Follower of Nicolas de Largillière, French, 1656-1747, portrait of a lady holding a floral sprig,

Portrayed half-length, wearing a lace-trimmed light blue dress, the hair powdered and adorned with jewels and flowers, with armorial and inscription FRANCOISE D’AUBIGNE / MARQUISE DE MAINTENON upper right, oil on canvas, oval, 68.7cm high, 54.3cm wide (portrait), 94cm high, 79cm wide overall including gilded composition Lebrun style frame

£1,000 - £1,500

492

A French walnut framed bed, Of Louis XV style, first half 20th century, With carved floral crest

£200 - £300

493

A French carved fruitwood headboard, Of Louis XV style, second half 20th century, With matching bed throw

£200 - £300

494

A Flemish bronze relief of The Triumph of Silenus, Circle of François Duquesnoy, Flemish, 1597-1643, 17th century, Of octagonal form, depicting a procession centred by the Greek deity seated on a donkey surrounded by satyrs, bacchantes and putti, in later faded velvet frame, the bronze - 19.5cm wide, 19.5cm high

Note: Silenus is associated in mythology with wine, drunkenness, exuberance and the pleasures of life.

£800 - £1,200

495

After Claude Michel, called Clodion, French, 1738-1814, a French bronze Bacchic group, Mid-19th century,

The figures seated, Bacchus with a bunch of grapes to his raised arm, a cymbal and pipes to the shaped base, 35cm high, 35cm wide, 29cm deep

£500 - £800

496

After Etienne Maurice Falconet, French, 1716-1791, after François Boucher, a French bronze group of the drunken Silenus, Second half 18th century, Depicted in Bacchic revelry, with three nymphs and two putti playing with grapes, the naturalistic base with two upturned urns and a basket, 20cm high, 27cm wide, 22cm deep

Note: The current composition of the drunken Silenus was also made in biscuit porcelain at the Sèvres factory and the first copy delivered to Louis XV in 1759. The original terracotta is in the Musée de Céramique-Sèvres. Falconet based the model on an engraving by François Boucher.

£1,000 - £1,500

494

495

496

497

497

After Claude Michel, called Clodion, French, 1738-1814, a pair of French bronze Bacchic figures, Late 19th / early 20th century, Bacchus shown standing drinking from a wine sack, and a Bacchante with her foot on an amphora, each cast Clodion to the base, on black marble circular plinths with beaded borders, 30cm and 29cm high overall, 12cm diameter (2)

£800 - £1,200

498

499

A French bronze inkwell, In the manner of Clodion, late 19th century, Modelled with a Bacchic figure holding aloft a bunch of grapes and seated on a basket entwined with vines, 14.5cm high, 7.5cm wide, 7cm deep

£300 - £500

500

A French bronze model of Venus with Cupid, Second half 19th century, Venus shown kneeling with a rose-bud raised to her left hand, the base cast with pseudo armorial with arrow, 22.5 cm high, 13cm wide, 12cm deep

£300 - £500

498

A Paduan bronze inkwell, 16th century, With four infants supporting a lidded vase, on a square section base raised on paw feet, 23.5cm high, 18.5cm wide, 15.5cm deep

Note: The style and casting of the present lot points to Padua’s late Renaissance bronze production. The four infants or putti in particular recall the work of Niccolo Roccatagliata (1593-1636).

£800 - £1,200

501

A pair of French ormolu chenets, Of Regence style, 19th century, Each mounted with a dragon, probably associated and possibly earlier in date, on a shaped moulded base centred by oval portrait plaques of Apollo and Venus, on acanthus-wrapped scrolled feet, 29.5cm high, 26cm wide (2)

Note: With C scrolls, flowers, foliage and spread-winged dragons or chimera, the design of these chenets share ornamental elements and movement depicted in an engraving dated 1724-1750, by François Roumier (1701-1748), now in the Victoria & Albert Museum (E.2428-1909) as well as a design by Nicolas Pineau (1684-1754), in particular a drawing of a wall-light, in the Kunstbibliothek, Berlin, published in H. Ottomeyer and P. Pröschel, Vergoldete Bronzen, vol. I, Munich, 1986, p. 66, fig. 1.9.19.

£1,000 - £1,500

502

A English mahogany firescreen, Early 20th century,

Inset with an 18th century and later needlework panel, worked in wools and silks, with central cartouche depicting a lady holding a xylophone in a landscape, within a stylised ‘bizarre’ border, in a glazed mahogany stand on four splayed feet, panel - 101 x 59.5cm; stand - 127.5cm high, 71cm wide, 34cm deep

£300 - £500

503

A French giltwood firescreen, Early 20th century,

Inset with a piled wool picture of Aesop’s fable ‘The Wolf and the Lamb’, late 19th / early 20th century, within a scrolling foliate cartouche with floral swags, the frame with floral surmount above scrolling splayed legs, panel - 75.5 x 58cm; frame - 107cm high, 67cm wide, 41cm deep

£200 - £400

504

An English bamboo side chair, By Angrave’s, mid-20th century, With ‘Cockpen’ back and makers plaque ANGRAVE’S “INVINCIBLE” REG D. BROOK ST., THURMASTON, NR. LEICESTER.

£80 - £120

505

A pair of French ormolu chenets, After a model by Charles Cressent, French, 1685-1768, 19th century, Each with a sphinx partially covered by drapery and holding a cat and monkey respectively, on a pierced C-scroll and rocaille base with scallop shells and foliage, later iron billet bars, 39cm high, 38cm wide, 25cm deep (2)

Note: These chenets are identical to a well known model by Charles Cressent. They are described in an inventory of his stock drawn up in 1756 with a view to a forced sale meant to be held in 1757. A pair of chenets of identical design are in the J. Paul Getty Museum, Malibu (73.DF.63), and another pair are in the Wrightsman Collection in the Metropolitan Museum of Art, New York (F.J.B. Watson, The Wrightsman Collection, New York, 1966, vol. II, p. 368, no. 186 A and B).

£2,000 - £3,000

506

A French giltwood firescreen, Early 20th century, Inset with an 18th century Aubusson tapestry with central cartouche depicting two figures picking grapes within a border with foliate motifs and floral sprays, the moulded frame with foliate decoration on splayed scrolling legs, panel - 72 x 58cm; frame - 105cm high, 70cm wide, 42.5cm deep

£200 - £300

507

A French giltwood firescreen, Early 20th century, Inset with an 18th century Aubusson tapestry fragment depicting a shepherdess and her swain beneath a swagged canopy, the frame with two finials above four splayed legs, frame - 99cm high, 72.5cm wide; the tapestry - 72.5cm high, 61cm wide

£300 - £500

508

A pair of Victorian mahogany open armchairs, By Wright & Mansfield, of Hepplewhite design, third quarter 19th century, Each with shield-shape back, on fluted legs to spade feet, both with paper label Wright & Mansfield, 104 New Bond street, W., (2) £200 - £300

510

A Dutch bronze mortar, Dated 1676, Cast with exotic birds amid scrolling foliage, the rim inscribed AMOR VINCIT OMNIA (Love Conquers All) 1676, 10cm high

£200 - £300

512

A bronze mortar, Flemish or German, probably 19th century, The body cast with alternating Medusa masks and caryatids, 10cm high

£200 - £300

509

A bronze Spanish mortar, 16th century, With ring handles, 8.3cm high; together with three Spanish mortars and an associated pestle, 19th century, 8.5cm high and smaller (5)

£300 - £500

511

An Italian bronze mortar, 16th or 17th century,

The body cast with alternating baluster ornament and shields centred by rampant lions beneath Cardinal hats, 12cm high; together with a 17th century style bronze mortar, 19th century, 9.5cm high (2)

£200 - £300

509

511

513

Katie Denton, MRSS, British, b.1954, A bronze study of four flamingos, On a Perspex and wood base, overall - 31cm high, 30.5cm wide, 17.5cm deep (ARR)

£200 - £300

515

A set of four wrought iron three-light wall appliques, Made to order for George Farrow, second half 20th century, With tapering nozzles on foliate scroll wall mount, 58.8cm high, 14cm wide; together with a pair of similar wrought iron floor standing lamps, on knopped stem and tri-form base, 137cm (142) excl. fitment (114cm); and a metal floor-standing lamp stand, with detachable crown surmount on a knopped and twisted stem on a tri-form base, 166cm high (7)

It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use.

£300 - £500

514

Hardouin, Germain and Gillet, Homo anatomicus or zodiac man from the Book of Hours, in French, an illuminated manuscript page on vellum, Probably 16th century, With a depiction of the ‘anatomical man’ as a skeleton surrounded by information about the humours, the zodiac, and the best times for bleeding, 17 x 9cm

£200 - £300

516

Three gilt-brass mounted glass decanters and a pepper mill, Second half 20th century, The matching decanters with stoppers above collar with foliate chased band, the body with faceted shoulders, acid etched vine leave decoration and hobnail band above fluted base with star-cut underside, each with etched numbers to underside, 32cm high; the cut-glass pepper mill with gilt-brass finial and mounts, 29cm high (4)

£300 - £500

517

A Jaeger-LeCoultre Atmos clock, C.1970s,

Caliber 526-5, serial no.432926, the gilt-brass case with spirit level in base, the circular blue enamel chapter ring with alternating Arabic numerals and dagger markers, 22.3cm high, 17.8cm wide, 13.5cm deep

Please note that Roseberys do not guarantee the working order of any timepiece.

£600 - £800

518

A French lacquered brass repeating carriage clock, Late 19th century,

The case with swing handle above five bevelled glass panels, the white enamel dial marked by retailer JOHN HALL & Co. 56 KING STREET MANCHESTER Paris Make, the twin train movement striking on a gong, the backplate stamped FRENCH MAKE E.M. & Co for E Maurice & Co., 15cm high (excluding handle), 9.5cm wide, 8cm deep

Please note that Roseberys do not guarantee the working order or time keeping of any timepiece.

Note: E. Maurice & Co. are recorded as working in Paris (Rue Charlot) in 1889 - Loomes, Brian, Watchmakers and Clockmakers of the World, Complete 21st Century Edition, London: N.A.G. Press, 2022, p.520.

£300 - £500

519

René Lalique (1860-1945), “Victoire” Car Mascot, Marcilhac no. 1147, C.1928, Frosted glass, chromed metal, mounted on later wooden stand with internal light, moulded mark R LALIQUE, 17cm high, 24cm wide, 42.5cm high including plinth

£4,000 - £6,000

520

A giltwood convex mirror, Of Regency style, second half 20th century, The moulded frame with ball mounts, 71cm diameter

£200 - £300

522

A large French armorial charger, Samson, late 19th century, Decorated with an armorial crest encircled by floral sprays, 44.5cm diameter

£400 - £600

521

A Continental gilt-bronze mounted porcelain purple-ground hexagonal pot-pourri jar and domed cover, Possibly Samson, second half 19th century, Each side centred by a pierced turquoise fretwork shapedrectangular panel, the ground painted with black rosette and square ornament and reserved with stylised two-handled jars and ogival lobed panels with flowers, on a hexagonal gilt-bronze mount with scrolling feet, the neck with a foliate-scroll mount with pierced apertures, the cover mounted with a rococo-scroll gilt-bronze finial, 40.5cm high overall

£200 - £300

523

A pair of gilt-brass mounted Continental porcelain Kakiemon bottle-flasks and covers, 19th century,

Pseudo red hunting horn marks for Chantilly, probably Samson, each painted with the ‘flying squirrel’ pattern, with a yellow squirrel eating berries above bound bullrush fences issuing meandering branches and flowers, on square plinth bases with canted corners and circular garlands, the covers with down-turned stiff leaves below the finials and attached with chains to the neck mount, 21cm high overall (2)

£400 - £600

524

A Paris gilt-porcelain part coffee service, Of Empire style, second half 20th century, Comprising: ten cups and saucers; a coffee pot; milk jug; and sugar bowl, the coffee pot - 26cm high; together with a Paris (Edouard Honoré) porcelain bowl, first half 19th century, iron red printed mark, with gilt trellis decoration on a salmon ground and reserve decorated with a tulip, 22cm diameter (24)

£250 - £350

521

522

523

525

A pair of large Japanese Arita porcelain chargers, Meiji period, 19th century, Each painted with two carp inside a peony border, 55cm diameter (2)

£1,000 - £1,500

526

A pair of Chinese hongmu square stools, Qing dynasty, 19th century, The square marble inset top above carved lotus frieze and reticulated archaic apron, 45cm high, 42cm wide (2)

£1,200 - £1,800

527

A Chinese rosewood scroll table, Qing dynasty, Daoguang period, The rectangular top above reticulated interlocking frieze raised on straight supports insets with burl wood panels, 85cm high, 133cm wide

£3,000 - £5,000

526

527

A Chinese gilt-metal and cloisonné petal lobed jardinière, Mid-19th century, Decorated to the sides with alternating panels of birds and floral sprays, 33cm diameter

£1,000 - £1,500

529

A set of four Chinese kesi silk panels, 18th century, Depicting hunting scenes, each 102cm x 25cm, mounted in black lacquer glazed frames

£500 - £800

528

528

529

530

A Chinese wool carpet fragment, Last quarter 19th century, Decorated with two dragons and two phoenixes, on a cobalt blue ground, 172 x 89cm

£200 - £300

531

A Chinese hongmu demi-lune side table, Late Qing dynasty / Republic period, The top inset with burlwood panel, the frieze finely carved in low relief with archaic dragon scroll motif, 75cm high, 77cm wide

£800 - £1,200

532

A large Chinese hongmu square jardinière stand, Qing dynasty, 19th century, The square marble inset top above finely carved frieze decorated with fruiting vines and squirrels above reticulated archaistic apron, 92cm high

£1,500 - £2,500

533

A pair of Chinese blue and white sleeve vases and a blue and white rectangular tray, Late Qing dynasty,

The tray decorated with figures crossing a bridge within an expansive mountain landscape, 19.5cm long, 32cm deep; the vases decorated with birds amid floral sprays, 30.5cm high, on pierced wood stands (3)

£400 - £600

535

Four Chinese blue and white porcelain tea bowls and saucers, Qing dynasty, 18th century,

The saucers variously painted with a boat approaching a river shore with a bamboo grove, two scholars on a fenced terrace, and a sage accompanied by a boy attendant sheltering him with a parasol, each 11.5cm diameter, one of the cups matching the saucers with a boat approaching a river shore with bamboo grove, the others all variously painted with deer and cranes in fenced gardens, one fluted cup with alternating landscape and floral medallions, 7.3cm - 8.5cm diameters (8)

£400 - £600

536

Six Chinese blue and white saucers and three tea bowls, 18th century,

One saucer painted with two deer, two saucers painted with a fenced garden landscape, 11.5cm - 14cm diameter; the tea bowls - 4.5cm high (9)

£300 - £500

534

A pair of Chinese famille verte cylindrical vases, Late Qing dynasty, Finely enamelled with nine dragons writhing on a white sgraffiato ground, 28cm high (2)

£300 - £500

537

A pair of Chinese hardwood carved figural lamp bases, Early 20th century,

Each carved as Liu Hai holding aloft his three-legged toad from which hangs a string of cash, 39cm high (2)

£200 - £400

540

538

A French chinoiserie armorial punch bowl, Possibly Samson, mid-19th century, The heavily potted vessel raised on a straight foot rising to deep sides, painted to the interior with floral sprays below stylised bands, the exterior decorated with coat of arms and floral sprays, 35cm diameter

£200 - £300

540

A Chinese famille rose ‘Wu Shuang Pu’ hexagonal jardinière, Qing dynasty, mid-19th century, Finely painted to each side with a figure and inscription, the foot pierced with floral motif, the flat rim decorated with chrysanthemum amid an archaic scroll motif, 22cm high

Note: The Wu Shuang Pu 無雙譜 (‘Table of Peerless Heroes’) is a series of woodblock prints created by Jin Guliang ca. 1670. The album contains forty illustrations of forty famous historical figures from the Han dynasty to the Song dynasty, described by Jin as being ‘peerless’.

£2,000 - £4,000

541

539

A pair of Chinese famille verte plates, Late Qing dynasty, Painted with birds and foliage, 30cm diameter (2)

£300 - £500

A Chinese Canton famille rose hexagonal jardinière and stand, Mid-19th century, Painted to each side with a bird perched on blossoming foliage, 18cm high, 25cm wide

£500 - £800

542

A pair of Chinese horseshoe backed armchairs, quanyi, Early 20th century,

With central splat carved with archaic motif above solid seat raised on rounded supports, 100cm high (2)

£800 - £1,200

543

A Chinese wool carpet, Second quarter 20th century, Decorated with butterflies and floral sprays on a yellow ground, 246 x 158cm

£200 - £300

544

A Chinese silk embroidered panel, Late Qing dynasty, Decorated with fruit and butterflies, 53.5 x 24.5cm

£100 - £150

545

A set of three Chinese hongmu armchairs, Qing dynasty, 19th century,

Each with carved back panel depicting two lion dogs, the arms carved with fruit baskets, the solid seat above carved frieze raised on stepped stretchered supports, 96cm high (3)

£1,500 - £2,500

546

A pair of Chinese hongmu circular stools, Qing dynasty, 19th century,

The circular marble inset top above frieze carved in low relief with lotus blooms, 45cm high (2)

£500 - £800

547

A Japanese silk embroidered panel, 19th century,

With birds amongst flowers and foliage, within a floral border, 232 x 172cm

£300 - £500

545

546

548

A Chinese hongmu ‘prunus stool’, Qing dynasty, 19th century, Finely carved in low relief to the arms and legs with flowering prunus branches, 65cm high, 73cm wide

£600 - £1,000

549

A Chinese hongmu armchair, Qing dynasty, 19th century, With carved and pierced panels to back and arms, the back and seat with later silk panels, 93cm high

£600 - £800

550

A Chinese silk embroidered dragon panel, Late Qing dynasty, Decorated with a five-clawed dragon in metal covered thread, 84 x 58cm

£300 - £500

551

A Chinese hongmu quartetto of occasional tables, Qing dynasty, 19th century, Each with pierced scroll frieze raised on stretchered supports, 54cm - 64cm high (4)

£200 - £300 548

552

A large Chinese blue and white punch bowl, Qing dynasty, 19th century, Decorated to the exterior with artisans, vendors, and performers in a continuous garden landscape, unmarked, 41cm diameter

£300 - £500

553

A Chinese tianqi lacquer table, Late Qing dynasty / Republic period, The top surface decorated with two dragons pursuing a flaming pearl, finely painted and incised to the sides with meandering flowering lotus scrolls, 99cm wide

£300 - £500

554

A Chinese red lacquer rectangular table, Late Qing dynasty, The top surface painted and incised with three landscape panels, the sides painted with reserves of floral sprays, one side adapted with drawer, 122cm wide

£300 - £500

552

553

554

555

A Chinese hardwood carving of an emaciated Buddhist monk, Late Qing dynasty,

Carved with a rosary around his neck and a gnarled staff in his hand, the emaciated figure with long eyebrows and tattered robes, seated on a lotus pillow, the foliage finely detailed, 25cm high, with matching carved and pierced wood stand

£200 - £400

556

A pair of Chinese famille rose baluster vases converted to lamps, Mid-20th century,

Each painted to the body with flowering foliage, inscribed with red seals and artist’s colophon, 24cm high (2)

It is the buyer's responsibility to ensure that electrical items are professionally rewired for use.

£200 - £300

557

Five Chinese blue and white ‘prunus’ jars and covers, Late 19th - early 20th century,

Each decorated with blossoming prunus branches on a blue ground, 11cm - 18cm high (5)

£150 - £250

558

A large Chinese hardwood figural table lamp, Early 20th century, Carved as an immortal holding a ruyi sceptre, 63cm high

£100 - £200

556

557

558

559

A pair of Chinese hardwood figures of Shoulao, Late Qing dynasty / Republic period,

Each carved with the immortal holding his gnarled staff and a large peach beside an attendant, 54cm high (2)

£200 - £300

560

A pair of Chinese cloisonné-enamel vases, mounted as lamps, 20th century,

Each decorated with a bright red peony, 25.3cm high, with fixed wood stands (2)

£80 - £120

561

A pair of Chinese carved hardwood figural lamp bases, Early 20th century,

Each carved as an emaciated man supported by a crutch, 66cm high (2)

£300 - £500

562

A Chinese cloisonné floral lamp, Late 20th century, 29cm high to fitment

£200 - £300

563

A Chinese Ming style green hardstone figure of a duck with diamond set eyes, 20th century,

Carved with its head turned toward its back clutching a floral sprig in its beak, 11cm long, on wood stand

£80 - £120

564

A Chinese spinach jade leaf form dish, 20th century,

Carved as a lily pad, 20cm long

£300 - £500

565

A massive Chinese jade buffalo, 20th century,

The recumbent buffalo carved with legs tucked under its body, 44cm long, on wood stand

£300 - £500

566

A Chinese hongmu low table, kang, Late Qing dynasty, With pierced frieze raised on curved scroll supports, 23cm high, 45cm wide

£400 - £600

567

Four Chinese hardwood display stands, Early 20th century, Each of stepped rectangular form, 19cm wide (4)

£200 - £300

565

566

1. 'Peter Paul Rubens, Flemish 1577-1640'

* In our opinion, a work by the artist.

2. 'Attributed to Peter Paul Rubens, Flemish 1577-1640'

* In our opinion, probably a work by the artist.

3. 'Studio of Peter Paul Rubens, Flemish 1577-1640'

* In our opinion, a work likely to come from the studio of the artist or closely associated with the artist.

4. 'Circle of Peter Paul Rubens, Flemish 1577-1640'

* In our opinion, a work by an unidentified artist working in the artist's style and during the period of the artist's life.

5. 'Follower of Peter Paul Rubens, Flemish 1577-1640'

* In our opinion, a work by an unidentified artist working in the artists style, contemporary or near contemporary.

6. 'School of Peter Paul Rubens, Flemish 17th century'

* In our opinion, a work executed during this period and in the style associated with that artist.

7. 'Flemish School, 17th century'

* In our opinion, a work executed during this period and in the style associated with that location.

8. 'Manner of Peter Paul Rubens'

* In our opinion, a work by an unidentified artist working in the artist's style but at a later date, although not of recent execution.

9. 'Style of Peter Paul Rubens'

* In our opinion, a work by an unidentified artist working in the artist's style and of recent execution.

10. 'After Peter Paul Rubens, Flemish 1577-1640'

* In our opinion, a copy by an unidentified artist of a named work by the artist.

11. A picture catalogued with accompanying dates e.g. 1577-1640 relates to the identification of the particular artist and is not proof of attribution or indicative of authenticity.

12. The terms 'signed', 'dated', 'inscribed' means that in our opinion these are by the artist's hand.

13. The terms 'bears signature', 'bears date', 'bears inscription' means that in our opinion that these have been added by another hand other than the artist.

14. All references to signature, inscriptions and dates refer to the present state of the work.

15. Dimensions are given in centimetres, height before width and are measured from the edges of the work if these are visible and if not, from the front.

16. All pictures are framed, unless otherwise stated in the catalogue.

17. Catalogue and website images may not be a true representation of an item due to printing or photographing processes.

18. (ARR) – ARTIST’S RESALE RIGHT

Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with a hammer value over £1,000 as follows:

0 to £50,000 - 4%

£200,001 to £350,000 - 1%

Exceeding £500,000 - 0.25%

ARR is capped at £12,500.

£50,001 to £200,000 - 3%

£350,001 to £500,000 - 0.5%

Ian A. Cadzow Chairman & Managing Director iancadzow@roseberys.co.uk

Peter Greenway Director Professional Services & Valuations petergreenway@roseberys.co.uk

Marcus Grey Director Paintings & Prints marcugrey@roseberys.co.uk

Bill Forrest Associate Director Chinese, Japanese & South East Asian Art billforrest@roseberys.co.uk

Alice Bailey Associate Director Antiquities, Islamic & Indian Art alicebailey@roseberys.co.uk

Georgina Agnew FGA GD Silver georginaagnew@roseberys.co.uk

Mark Bowis FGA DGA FSA Jewellery & Watches markbowis@roseberys.co.uk

Nigel Dawson-Ellis Design nigeldawsonellis@roseberys.co.uk

Anna Evans Works of Art, Sculpture & Clocks annaevans@roseberys.co.uk

Ed Plackett Prints & Multiples edplackett@roseberys.co.uk

Charlotte Russell Old Master, British & European Pictures charlotterussell@roseberys.co.uk

William Summerfield Modern British & 20th Century Art williamsummerfield@roseberys.co.uk

Roseberys London 70/76 Knights Hill London, SE27 0JD

Complimentary valuations Monday to Friday: 9.30am to 5.00pm

+44 (0) 20 8761 2522 clientservices@roseberys.co.uk

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation. HEADS

TERMS OF CONSIGNMENT FOR SELLERS

These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission and Entry Fee.

(a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms.

(b) Vendors Commission: Is charged on each lot at 15%.

3. Photography Charge: Is charged on each lot at £20.

4. Loss and Damage of Goods

(a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the mid pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold. Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner.

(b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable.

(c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing.

5. Removal Costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate.

7.Reserves.

(a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected.

(b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing.

(c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8. Electrical Items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

TERMS OF CONSIGNMENT FOR SELLERS

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it.

11. Unsold Items. Unsold lots will be automatically re-offered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £5 + VAT per lot per day plus an additional transfer charge of £10 plus vat per lot.. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct form the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges.

12. Withdrawn Items.

(a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care.

(b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate.

(c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT plus an additional transfer charge of £5 plus VAT per lot. for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according to our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to Deduct Commission and Expenses and Retain Premium and Interest.

(a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £5 per item per day plus an additional transfer charge of £10 plus VAT per lot. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our websites and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly, if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. Please note a buyer’s premium is applied to all lots bought at auction. The buyer shall pay the hammer price together with a premium thereon of 26% up to £20,000 (31.2% inclusive of VAT), 25% from £20,001 - £500,000 (30% inclusive of VAT), 20% from £500,001 thereafter (24% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax.

6. (ARR) – Artist Resale Rights. Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over £1,000 as follows:

0 to £50,000 - 4%

£50,000.01 to £200,000 - 3%

£200,000.01 to £350,000 - 1%

£350,000.01 to £500,000 - 0.5%

Exceeding £500,000 - 0.25%

ARR is capped at £12,500

7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested.

Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

8. Electrical goods. These are sold as ‘antiques’ or ‘decorative’ items only and if bought for use must first be checked for compliance with safety regulations by a qualified electrician.

9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory.

11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

12. Commission bidding

(i) Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for leaving commission bids by telephone and email. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website. These bids are executed via the RoseberysLive software and there is no surcharge.

13. Live Online bidding

(a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale.

(b) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(c) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system.

(d) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

14. Methods of payment. Payment can be made by debit or credit card, maximum of £10,000 via the Roseberys website, £1000 over the phone, larger amounts can be paid in person or by bank transfer. International bank transfers are subject to a £25 administration fee. Cash and cheque payments not accepted.

15. Collection and storage

(a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £5 per lot per day + VAT plus an additional transfer charge of £10 + VAT per lot will be strictly enforced thereafter.

(b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website/s. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

CONDITIONS OF SALE

Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. Definitions

In these Conditions:

(a) “auctioneer” means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate;

(b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) “terms of consignment” means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents;

(e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2. Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid.

(b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believes there may be error or dispute, and take such action as they reasonably thinks fit.

(c ) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneers hammer whereupon the buyer becomes liable to pay the purchase price.

(d) Any post auction sales of lots offered at auction shall incorporate these conditions as if sold in the auction.

(e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. Increments

Bidding increments shall be at the auctioneer’s sole discretion.

4. The Purchase Price

The buyer shall pay the hammer price together with a premium thereon of 26% up to £20,000 (31.2% inclusive of VAT), 25% from £20,001 - £500,000 (30% inclusive of VAT), 20% from £500,001 thereafter (24% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5. Value Added Tax

Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6. Payment

(1) Immediately a Lot is sold you will:

(a) give to us, if requested, proof of identity, and

(b) pay to us the total amount due by debit, credit card or bank transfer or in such other way as is agreed by us.

(2) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. Title and Collection of Purchases

The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction.

(ii) Roseberys are unable to pack, post or delivery any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website/s. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

(b) No purchase can be claimed or removed until it has been paid for and payment has cleared.

(c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed.

(d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction. Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.

8. Remedies for Non-Payment or Failure to Collect Purchases

(1) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(a) to proceed against you for damages for breach of contract;

(b) to rescind the sale of that Lot and/or any other Lots sold by us to you;

(c) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs).

(d) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere;

(e) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(f) to retain that or any other Lot sold to you until you pay the total amount due;

(g ) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

(h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

CONDITIONS OF SALE

9. Third Party Liability

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly, neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf.

(a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms.

(b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made.

(c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids.

(d) Live Online bidding.

(i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale.

(ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms.

(iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. Any lots purchased via Drouot.com will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price.

(iv) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by:

(aa) any loss of connection to the auction being conducted online;

(bb) a breakdown or problems with the online bidding software or the web site service provider; and/or

(cc) a breakdown or problems with any internet connection, computer, mobile device or system.

(v) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11. Warranty of Title and Availability

The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12. Agency

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. Terms of Sale

The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. Description and Conditions

(a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”.

(b) Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(c) Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.

(d) Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

CONDITIONS OF SALE

15. Forgeries

Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

16. Online Only Timed Auctions

These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale.

(a) Right to Cancel

(i) If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason.

(ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot.

(iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendars days from the day on which you acquire the lot.

(iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you.

(v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than

(aa) 14 calendar days after the day we receive back from you any goods supplied, or

(bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement. We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest.

(b) Liability

Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by:

(i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or

(iii) a breakdown or problems with any internet connection, computer, mobile device or system.

General

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to:

(a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate;

(b) hold that specific individual liable for the cost of restoration where appropriate;

(c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.

19. (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting.

21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

22. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

23. English law applies to the interpretation of these Conditions.

These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

70/76 Knights Hill London, SE27 0JD

+44 (0) 20 8761 2522

clientservices@roseberys.co.uk

ABSENTEE BID FORM

PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS:

POSTCODE: EMAIL: BIDDER NUMBER: TELEPHONE:

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts. Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy.

I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I confirm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.