Woolley & Wallis Auctioneers

THE JUDITH HOWARD COLLECTION Tuesday 4th February 2020

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

VALUATIONS FOR INSURANCE & PROBATE 424507 446964

Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA Amanda Lawrence (PA)

424505 446955

MARKETING

424509 424598 424509

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

Sally Trench Megan Corbett

446959 446960

ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424506 +44 (0)7812 601098 424571 424591

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ACCOUNTS Janice Clift (Office Manager)

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

411854 339161 446974

SALEROOM MANAGER Matt Hill

CASTLE GATE MANAGER JAPANESE ART Alexandra Aguilar Sarah Lopez-Ferreiro

David Jordan 424583 424591

CASTLE GATE RECEPTION Sally Litherland

JEWELLERY Marielle Whiting FGA Jonathan Edwards FGAA (Consultant) Charlotte Glyde FGA

424595 424504 424586

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

446961 446962 446970

BOARD OF DIRECTORS John Axford MRICS ASFAV Chairman Clive Stewart-Lockhart FRICS FRSA Deputy Chairman Natalie Milsted FCCA Managing Director Paul Viney ASFAV Non-Executive Director

ASSOCIATE DIRECTORS SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

339752 446980

424500

Janice Clift Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Rupert Slingsby Marielle Whiting FGA Mark Yuan-Richards

424500

THE JUDITH HOWARD COLLECTION Tuesday 4th February 2020 at 10.00am at our Castle Street Salerooms, SP1 3SU VIEWING IN LONDON (HIGHLIGHTS ONLY) 17 Clifford Street, 2nd Floor, W1S 3RQ Wednesday 22nd January

1.00pm – 7.00pm

VIEWING IN SALISBURY Saturday 1st February

10.00am – 1.00pm

Monday 3rd February

10.00am – 4.00pm

Tuesday 4th February

8.30am – 10.00am

ENQUIRIES LIVE BIDDING PLEASE NOTE, WE NOW OFFER OUR OWN LIVE ONLINE BIDDING SERVICE, FREE OF CHARGE.

Clare Durham 01722 424507 cd@woolleyandwallis.co.uk

LIVE bid.woolleyandwallis.co.uk Please register by 5pm on Monday 3rd February BUYER’S PREMIUM

Hollie Morrison 01722 446964 hm@woolleyandwallis.co.uk

Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Monday 3rd February.

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Castle Gate office on Monday 10th February.

If you are collecting items on or after this date please contact the department on 01722 424507.

All accounts to be settled prior to collection.

Payment is still made at Castle Street.

Our Castle Gate address details and map are at the back of this catalogue.

ILLUSTRATIONS Front cover Lot 35 Back cover Lot 2 Catalogue £12.00 (£15.00 by post)

Judith Howard - Collector, Curator and Bon Vivant “My mother caught the antiques bug early. When she was about six, an antiques dealer saw she was enthusiastic and said if she could guess what factory a cup was she could keep it; she cleverly spotted it as Caughley.”

In this vignette, Charlotte Howard captures perfectly the precocious talent of her mother Judith, a well-liked and hugely respected scholar, dealer and collector, who sadly died after a long illness in January 2019 aged 73.

A pupil at North London Collegiate, Judith was a very bright child, “but she was quite lazy, as her journals show,” says Charlotte.

“Throughout her O and A Level years she kept writing about working at the V&A, but she didn’t really revise and instead seemed to spend a lot of time going to the pub and watching TV.” Diversions from her school work they may have been, but when it came to her professional ambition, there was no stopping Judith.

The V&A was the only place she wanted to work and, eschewing university, she applied for a job there at 18.

“In those days they never took applicants without a degree, but by sheer force of personality and determination, she persuaded them to make an exception in her case and she joined the textile department,” explains Charlotte.

This led to a number of notable experiences, including helping Cecil Beaton to mount exhibitions. Later, she put the expertise she gained here and in business towards helping launch London Fashion Week.

Despite bypassing university for the V&A, once there she returned to her studies, successfully completing a diploma in the humanities at London University in 1966.

While textiles gave her a start at the V&A, she always wanted to work in porcelain and soon transferred to the ceramics department where she helped Svend Eriksen with his research, leading to a lifelong passion for Sèvres.

Promoted to research assistant, it fell to Judith to act as guide to Sir Geoffrey de Bellaigue (Surveyor of the Queen’s Works of Art) while he inspected the V&A’s collection for his book about Sèvres.

She also developed a passion for collecting, which inevitably led to dealing as she scoured the markets at Portbello, Grays, Alfie’s

and Antiquarius, where she struck up a friendship with Simon Wilson of Butler and Wilson. She also bought from Monty Don when he designed costume jewellery and sold it in his shop in Beauchamp Place.

Continental porcelain was her passion and she was soon recognised as an authority on antiques.

Leaving the V&A to conduct research and try her hand at dealing, she found herself with Arthur Negus as an expert on the popular TV programme Going for a Song. She later became the curator of the Bowood House Museum – “the exhibition she created there is pretty much extant to this day” says Charlotte – and lectured at Christie’s and Southampton College, as well as on a freelance basis across the south of England.

When Judith married Alvin they moved to Wiltshire. He was an architect and there she dabbled in antique dealing.

“She didn’t have a lot of money, so she would have to sell to buy and that’s really how she first developed as a dealer,” says Charlotte. “If she saw a beautiful opal ring she wanted, she would sell a couple of cameo brooches to buy it. Then she started dealing properly and that’s where her obsession came from.”

In the end her collection numbered nearly 800 pieces of Sèvres.

“Her collection was incredibly varied,” says Charlotte. “She didn’t have a massive budget, but she did have a sixth sense when it came to finding the gems among the dross. She was a magnet for rare antiques where you would least expect to find them. For instance, she once found a Josephine sugar bowl from the Egyptian service in one junk shop and a Louis XV Sèvres plate, mislabelled as Minton, in another junk shop in Marlborough.”

When it came to organising her collection, Judith’s experience at the V&A proved a godsend.

“She was very creative – a designer as well as a collector and very organised thanks to her museum background. She kept every receipt and wrote the catalogue number on the back – a curator’s dream. I think it partially came from her upbringing with a very strict mother and father, as well as from her education.”

That organised mind also led to two books, written while Judith was still in her twenties: Carolian Fabrics and William and Mary Fabrics.

Despite all this, Charlotte says: “My mother always felt that she hadn’t achieved greatness, but I wish she were alive now to see and hear what people are saying.”

For those who first met her, Judith’s most striking aspect was her sheer charisma.

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“She always wore bright colours and was immaculately dressed, with perfect nails and lots of beautiful 18th century jewellery, which she always wore when she visited the big antiques fairs to make everybody jealous.”

“Shopping was her greatest passion and she was on eBay all the time. She bought some awful things from the Franklin Mint and other places, but she didn’t care if she liked it. And she also found some treasures.”

Judith adored the Grosvenor House Art and Antiques Fair and, latterly, Masterpiece. She would also visit the Sunday fairs in London, at the Rembrandt and Mayfair.

Summing up her mother’s life, Charlotte says: “Looking back, she is what we would call a Renaissance woman, with the most eclectic tastes when it came to collecting, and she was a great writer and photographer.”

Clearly a champion of glamour, then, but also, as it turns out, a genius when it came to thrift. In the dark days of the three-day week in the 1970s as the economy suffered and things looked particularly bleak, Judith and Alvin became stars.

In 1975, the BBC decided to launch a competition to find the nation’s most successful couple at making something out of nothing. Titled the Nationwide Supersave Couple of Great Britain, entrants were given £15, on which they had to survive for a week, throw a dinner party, make clothing and also make a piece of furniture.

The Howards won and soon became household names, with Judith even securing a weekly column in Woman’s Own on how to save money and being sought out for tips and advice by the newspapers.

“Remember, there were only three channels on TV then and, with an appearance on Blue Peter and other programmes they became famous quickly. When The Good Life came out a year later, my mother said it must be based on them.”

“She would have loved it if her Sèvres collection could have gone to a museum, but that wasn’t really an option for us,” explains Charlotte. “However, she would have been delighted with the fact that two of her pieces have gone to the Rothschild Collection at Waddesdon, where they are displayed with her name alongside.”

The Waddesdon connection, especially, would have struck a chord: “She used to say that if her life had been different, she would have ended up running the Wallace Collection, but she was no diplomat. She loved people who were fun and eccentric, but couldn’t stand bores.”

Charlotte’s favourite piece from her mother’s collection is lot 258 a Sèvres biscuit figure of a lady at a dressing table having her hair done.

It’s the piece that reminds me of her the best,” she says.

Written by Ivan Macquisten

The legacy of this belt-tightening experience was Judith’s enduring passion for a maximalist interior decoration style, with her collections filling every bit of wall space and available nook and cranny.

“When people have had it tough like that, they crave a bit of luxury and plenty, and this reflected that, I think,” says Charlotte. “She would be quite put out if visitors didn’t compliment her on how the house looked.”

Keeping everything spick and span was another matter. “She used to dust once a year and we would all have to leave the house for the whole day. She hated that chore but it had to be done.”

When ill health confined Judith to a wheelchair in her later years, it restricted her ability to visit her favourite antiquing haunts, so she turned to the internet.

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1.

A Vincennes lobed plate (assiette à cordonnet), c.1752, painted in puce camaieu with a reclining putto with arms outstretched towards a bird in flight, after François Boucher with gilt detailing to the cavetto and rim, blue interlaced Ls mark enclosing a dot, small rim chips, 24.5cm. £300-500 The assiette à cordonnet shape is first recorded at Vincennes in October 1752 when 242 examples were sold, 64 of them decorated ‘à enfants camayeux’, like the plate in this lot.

2.

A Vincennes sucrier and cover, date code for 1754-55, the slightly waisted form painted by Jean-Louis Morin in puce camaieu to two sides with a putto amidst flowers, with further small scattered flower sprays, the cover with musical instruments and military motifs around an open flower finial, gilt dentil rims, interlaced blue Ls mark and date code B, painter’s mark M, 8.3cm high. (2) £600-1,000 Provenance: acquired from Malcolm HeygateBrowne, 11th November 1986.

Cf. Bonhams, 26th November 2014, lot 289 for a similar cup and saucer.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

A Vincennes or early Sèvres vase (vase à oreilles), c.1754-56, decorated possibly at a later date with blue camaieu panels of a putto 3. writing on a tablet amidst clouds and of instruments and other trophies, within gilt foliate panels on a yellow ground, blue interlaced Ls mark, £300-500 21.5cm.

Provenance: purchased from Jean Sewell, 2nd July 1970.

The veracity of this vase has been a source of some conjecture for Judith since she bought it. Correspondence with Dame Rosalind Savile in 1987 confirms that no examples of this vase are listed in the sales records with a yellow ground. However, it had previously been thought that the decoration was genuine. The vase has a special resonance as it is the first piece of Sèvres that Judith bought.

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4.

A Vincennes liqueur decanter cooler (seau à liquer rond), c.1752, painted in purple camaieu with scenes of gardening implements including a broom, baskets, sickle and rake, and two Sèvres glass coolers (seaux à verre ordinaire) with date codes for 1758 and 1780, each painted with polychrome flower sprays within narrow blue and gilt borders, varying blue interlaced Ls marks enclosing date codes, painter’s marks, two extensively damaged and repaired, 13cm high max. (3) £250-350 Cf. Adrian Sassoon, stock no. 8970 for a similar pair of Vincennes coolers.

Provenance: the Vincennes cooler and one other acquired in Edinburgh on 18th November 1989, formerly in the collection of the Drummond family, the Earls of Perth.

5.

A Vincennes or early Sèvres large flared cup (gobelet à la Reine), c.1754-55, decorated possibly at a later date in puce camaieu with Cupid amid clouds within a gilt scroll border, another large Sèvres cup (gobelet calabré), c.1770, painted perhaps by Jacques Fontaine with Cupid en grisaille holding a dove, within a berried laurel border on a blue oeil de perdrix ground, and a Sèvres saucer of deep flared form, painted in puce with a putto seated on clouds within a rich yellow border, varying gilt and blue interlaced Ls marks, date letter L for 1764 to the saucer, some wear, retouching to the saucer’s rim, 13.8cm max. (3) £150-250 Provenance: the saucer purchased from John Whitehead, 5th December 1989. The gobelet calabré from Cumberland Hotel Ceramic Fair, 28th January 1990. The gobelet à la Reine from Woolley and Wallis, 24th February 2015, lot 281.

6.

Two Sèvres cups and saucers, date codes for 1763 and 1773, a gobelet calabré et soucoupe painted in puce camaieu with putti amidst clouds with scattered flower sprays beside, and a gobelet bouillard et soucoupe painted with flower sprays in puce camaieu, gilt dentil rims, and a Sèvres saucer painted

by Claude Couturier with long-tailed pheasants in puce camaieu, varying interlaced Ls marks, minor faults, 15.3cm max. (5) £300-400

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

7.

A large Sèvres bough pot (caisse à fleurs unie), date code for 1756, painted with a young boy fishing on a riverbank beside a fountain and Classical ruins, the reverse with a girl carrying water away from a well, with a gilt dentil rim, blue interlaced Ls mark enclosing date letter D, painter’s mark of a caduceus, broken and repaired, 29.5cm. £200-300 Provenance: purchased from Klaber & Klaber, 25th October 1991.

Formerly in the Hector Binney Collection.

8.

Two Sèvres cups and saucers (gobelets Hébert et soucoupes), date codes for 1757, 1758 and 1765, the smaller painted by André-Vincent Vielliard in blue with polychrome detailing, the cup with a girl with a bunch of grapes, the saucer with a boy blowing bubbles, blue interlaced Ls marks enclosing date letter E, the larger cup and saucer associated but both painted with figures in landscape scenes within blue monochrome leaf borders, the larger cup cracked, 13.3cm max. (4) £500-800 Provenance: the smaller cup and saucer purchased from Marlborough Antique Centre, 18th May 1996. The larger cup and saucer formerly in the Hector Binney Collection.

9.

A Vincennes or early Sèvres wine glass cooler (seau à verre échancré), c.1750-60, of six-lobed form with small scroll handles, painted in green camaieu with flower sprays, traces of blue interlaced Ls mark, a chip to the footrim, 10.5cm high. £600-1,000 Provenance: purchased from George Archdale, 4th August 1984.

This rounded lobed shape is recorded at Sèvres in the 1750s and is found in the service produced for Madame du Barry in 1771. The unusual green monochrome decoration, which copied Meissen porcelain of the 1740s, can be seen on other Vincennes pieces, including a sucrier in the Victoria and Albert Museum.

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10.

Two Sèvres miniature teabowls, date code for 1760, both painted by Nicolas Catrice in puce camaieu with bands of flowers entwining a narrow line, and a miniature matched coffee can and saucer (gobelet litron et soucoupe) painted in puce camaieu with flower sprays, gilt dentil rims, varying interlaced Ls marks enclosing date letters D, E and H, minor faults, 9.7cm max. (4) £100-200

11.

A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1771, probably later decorated in the manner of Boucher, in blue camaieu with polychrome detailing, the can with a young girl watering plants, the saucer with a boy seated on a grassy tussock with a bunch of grapes, blue interlaced Ls marks enclosing the date letter S above painter’s mark D, and a cup and saucer (gobelet convert et soucoupe) with date code for 1763, painted in blue camaieu with putti among clouds on a bleu nouveau ground with gilt oeil de perdrix decoration, some later decoration, two chips to one saucer, 13.7cm max. (4) £200-300

12.

A Vincennes oval tray (plat ovale), date code for 1754-55, painted by Mutel in blue camaieu with figures walking in a rural landscape, a bridge stretching over a river to a building beyond, reserved on a bleu lapis ground with four gilt floral sprays, blue interlaced Ls mark enclosing date letter B above a painter’s mark, a restored crack, 24.8cm. £500-800 Provenance: purchased from Klaber & Klaber, 26th August 1994.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

13.

A Sèvres cup and saucer (gobelet calabré et soucoupe), date code for 1761, the cup painted in the manner of François Boucher with a winged putto before clouds, holding a floral wreath and a flaming torch, the saucer with a similar putto placing an arrow in his bow, reserved on a bleu lapis ground with gilt caillouté decoration, blue interlaced Ls mark enclosing date letter I above unidentified painter’s mark of a dot inside a circle, 15cm. (2) £400-600 Provenance: purchased September 1988, lot 135.

from

Phillips,

London,

7th

14.

A Vincennes miniature teapot and cover (théière calabré), date code for 1754-55, painted probably by AndréVincent Vielliard with scenes of wine-making reserved within gilt floral borders on a bleu lapis ground, blue interlaced Ls mark enclosing date letter B, broken and restuck, 10.7cm across. (2) £300-500

15.

A Vincennes or early Sèvres sucrier (pot à sucre Hébert), date code for 1756-57, painted with two panels each containing a putto among clouds, one with a bird, the other with a quiver of arrows, reserved within gilt floral and foliate borders on a bleu lapis ground, with a later Sèvres cover painted with panels of chickens on a bleu lapis ground, the sucrier with blue interlaced Ls mark enclosing date letter D, painter’s mark of two dots possibly for Tandart, a chip to the cover, a repaired chip to the sucrier, 9cm high. (2) £250-350 Provenance: the sucrier purchased in Bradford-on-Avon, c.1978.

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16.

A Vincennes mustard pot and cover (moutardier ordinaire), date code for 1754-55, the barrel shape painted with a panel of flowers including pink and yellow roses, reserved within a gilt floral and foliate scroll border on a bleu lapis ground, the cover with a gilt circlet of flowers around a floral knop, blue interlaced Ls mark with date letter B beside, the handle broken and reattached, 7.5cm. (2) ÂŁ300-400 Provenance: purchased from John Whitehead, 24th July 1987.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

17.

A Vincennes cup and saucer (gobelet calabré et soucoupe), c.1750-55, painted with colourful birds in flight, passing leafy branches between their beaks, within gilt floral and trellis borders on a bleu lapis ground, blue interlaced Ls mark possibly enclosing date letter A to the cup, the cup and saucer probably associated, 13.3cm. (2) £500-800 Provenance: purchased from Monaco, 7th December 1987.

18.

A Vincennes dish or stand (plateau ovale), c.1752, painted with two panels containing colourful birds in flight, two holding leafy branches in their beaks, within elaborate gilt floral borders reserved on a bleu lapis ground, blue interlaced Ls mark, with a later ormolu mount raised on four shell feet, broken and restuck, 25.8cm. £100-200 Provenance: formerly in the collection of Hector Binney. Purchased from Sotheby’s, 28th November 1989, lot 1123.

19.

A Vincennes cup and saucer (gobelet bouillard et soucoupe), c.1750, painted with colourful birds in flight, one holding a leafy branch in its beak, reserved within gilt foliate scroll borders on a bleu lapis ground, and a Vincennes sucrier, c.1752-3, with similar decoration, blue interlaced Ls marks, 13.3cm. (3) £500-800

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20.

A Vincennes cup and saucer (gobelet à la Reine et soucoupe), dated 1753, the flared shape painted possibly by Antoine Caton with delicate polychrome flower sprays within gilt floral borders on a bleu lapis ground, and a later Sèvres cup and saucer painted with scenes of exotic birds within gilt trellis borders on a bleu nouveau ground, blue interlaced Ls marks, damages and repairs, 12.7cm max. (4) £100-200 Provenance: the Vincennes cup and saucer formerly in the Hector Binney Collection. The later cup and saucer with a paper label inscribed ‘Salisbury and South Wilts Museum, Loan Collection 1871, Mr Ford Proprietor’.

21.

A Vincennes toilet pot (pot à pommade), c.1750-53, decorated with gilt flower sprays within floral and foliate scroll borders reserved on a bleu lapis ground, blue interlaced Ls mark, the cover lacking, 6cm. £100-200 Provenance: purchased from Hall’s, Shrewsbury, 30th September 2009, lot 97.

22.

A Vincennes two-handled cup with stand and cover (gobelet à lait et soucoupe), date code for 1755-56, painted by Mutel with small figures in rural landscape panels within gilt foliate borders on a white ground, the saucer with gilt birds in flight to the well, blue interlaced Ls marks enclosing date letter C, and an early Sèvres butter dish stand, date code for 1757-58, the rim painted with panels of figures at rural pursuits including horse-riding and hunting, reserved within gilt floral borders on a pink ground (fond rose), damages, 20cm max. (4) £300-500 Provenance: the cup formerly in the Hillingdon Collection. Purchased from Adrian Sassoon, 6th June 2003. The butter dish sold at Christie’s, New York, 18th May 1989, property from an East Coast Institution, lot 215.

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

23.

A Sèvres cup and saucer (gobelet bouillard et soucoupe), dated 1758, finely painted with delicate flower sprays within foliate gilt borders on a pink ground (fond rose) within gilt dentil rims, blue interlaced Ls mark enclosing date code F above an unidentified painter’s mark of the numeral 3 flanked by dots, a hairline crack to the cup, 13.6cm. (2) £1,000-2,000 Provenance: purchased from Errol Manners, 26th March 1992.

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24.

A Sèvres milk jug (pot à lait à trois pieds), c.1765, painted with two exotic birds perched on leafy branches, within a gilt scroll cartouche with puce shadows, reserved on a pink ground (fond rose), the decoration possibly later, 10cm. £150-250

25.

A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1776, painted by Jacques Fontaine with garden implements in rural settings, including a watering can, spade and wheelbarrow, reserved within gilt floral borders outlined in red, reserved on a pink ground (fond rose), blue interlaced Ls marks enclosing the date letter Y above painter’s mark, repairs to the can’s foot, 14.3cm. (2) £300-500

26.

A Sèvres bottle cooler (seau à demi-bouteille), c.1790-1800, painted possibly by Fallot with two oval panels enclosing posies of flowers tied with ribbon, on a pink ground (fond rose), and a triple salt (saliére à trois compartiments), the shape designed by Louis Masson, later decorated with polychrome flowers to the wells, reserved on a bleu celeste ground with a gilt trellis border, damages and repairs, 11cm max. (2) £150-250 The architect Louis Masson was commissioned by Louis XVI to design new shapes based on architectural forms for a service for Marie Antoinette.

The service became known as the Arabesque Masson service. It was kept in store until after the Revolution, and is recorded in the sales registers of 1795. Fewer than 20 pieces are recorded today.

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Heavenly Blue One of the main characteristics of Sèvres porcelain over its contemporaries is the use of bold ground colours. Starting with bleu lapis, the deep midnight blue that was used on the wares of Vincennes, probably to emulate the powdered blue grounds on Chinese porcelain, as the factory’s technical abilities improved so did the range of colours produced.

A delicate yellow ground (fond jaune) was also used at Vincennes, taking its inspiration from a ground used on early services at Meissen. The colour was not an easy one to produce and early wares tend to be mottled and pale. By 1756 a solid green ground was introduced, coinciding with the factory’s move from Vincennes to Sèvres. Another influence from Meissen, the ground was sometimes known as fond vert de Saxe and used copper oxide as its colourant. A pink ground followed by 1758 and, a decade later, a richer blue colour known as beau bleu or bleu nouveau.

Arguably the most celebrated of all the Sèvres grounds, however, is the rich turquoise colour known as bleu celeste or ‘Heavenly Blue’. Introduced in 1753, the ground uses a combination of copper and cobalt and was the most expensive ground colour produced at Vincennes and Sèvres in the 1750s. The ground was invented by the chemist, Jean Hellot, in 1753 specifically for an extensive dinner and dessert service ordered for Versailles by Louis XV. It was inspired by a similar ground colour on Chinese porcelain and would become a firm favourite with the Royal Court, including being used on later services for Madame du Barry. Much later, in 1776, a service using this ground was commissioned by Catherine the Great; taking six years to complete, the service was the most expensive ever produced at Sèvres and nearly resulted in the factory’s financial ruin. Despite new progressions into the production of hard-paste porcelain, the body was found to be unsuitable for the bleu celeste ground and so the traditional soft paste body persisted.

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27.

A Sèvres small shaped dish, date code for 1759, painted possibly by Jean-Baptiste Tandart with two putti playing with a group of hearts on a cloud, within an elaborate gilt foliate scroll border on a bleu celeste ground, blue interlaced Ls mark enclosing date letter G, broken and riveted, 18.8cm £100-200

28.

Two Vincennes or early Sèvres sucriers and covers (pots à sucre calabré), c.1750-60, the smaller painted by Jacques Fontaine with sprays of flowers including rose, bluebell and cornflower, the larger with similarly decorated panels, within differing gilt foliate borders reserved on a bleu celeste ground, each cover with a floral knop, blue interlaced Ls marks, the cover of the smaller broken and restuck, 9.5cm max. (4) £300-500

29.

A Sèvres egg cup (coquetier), c.1771, painted with two panels of colourful birds perched on and beside leafy branches, within gilt oak leaf borders reserved on a bleu celeste ground, indistinct blue mark, some gilt wear, 4cm.

The use of gilt oak leaves on a bleu celeste ground can be seen in the service made for Gustav III of Swede, known as the Prince of Rohan service. £300-500

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

30.

A Sèvres milk jug (pot à lait à trois pieds), date code for 1780, painted by Antoine-Toussaint Cornailles with a large panel of flowers including rose, hydrangea and convolvulus, within a gilt panel reserved on a bleu celeste ground, the rim with a scrolling gilt floral border, raised on three stalk feet, blue interlaced Ls mark enclosing date letters CC beside painter’s mark, 13cm. £300-500

31.

A Sèvres salad bowl (saladier), date code for 1773, painted by Bertrand and Mereaud with large polychrome flower sprays within feuille de choux gilt borders enclosing bleu celeste panels, blue interlaced Ls mark enclosing date code U above painter’s marks, probably re-decorated to disguise firing cracks, broken and riveted, 27cm dia. £150-250 Provenance: purchased from Marlborough Antique Centre, 9th March 2006.

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32.

A Vincennes or early Sèvres radish dish (plateau à raves), c.1755, the navette-shaped dish painted to the well with two children seated with a basket and garland of flowers, after François Boucher, the ends with two further panels containing gardening implements, within gilt floral and trellis borders reserved on a bleu celeste ground, the exterior with gilt flower sprays, minor faults, 28.3cm. £700-1,000 Provenance: purchased from David Peters, April 1989.

33.

A Sèvres cheese cooler (fromager), date code for 1768, the cylindrical form painted by François-Joseph Aloncle with two panels of birds after George Edwards, reserved in gilt borders on a bleu celeste ground, the sides and base reticulated with small holes around a scroll design and central base flowerhead, gilt dentil rim, inscribed to the underside in black with ‘grinperau D’amerique’ (tree creeper) and ‘Le lorio des Indes’ (golden oriole), blue interlaced Ls marks enclosing date letter P above painter’s mark, cracked, one handle a replacement, 15.6cm across. £600-1,000 Provenance: purchased from Errol Manners, 11th March 1992.

This fromager may have formed part of an ornithological service received by Louis-Charles-Auguste Le Tonnelier, baron de Breteuil on 16th April 1768, of which Aloncle is known to have decorated several key pieces. Two fromagers are listed as part of the original service, which was supplemented in 1771. Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. II, pp.385-386, where this fromager is mentioned.

Items from this service are believed to have been in the collection of Count A D Sheremetev, which was dispersed in London in 1906.

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34.

A Sèvres plate (assiette) from the Comte Lascaris service, c.1771, painted with a central group of pink roses within a berried leaf garland encircling a gilt ring, the rim with three oval panels of colourful birds, linked by gilt oak leaf swags and reserved on a bleu celeste ground, traces of a blue interlaced Ls mark, 24.5cm. £1,000-2,000 The service of which this plate was part was commissioned by Louis XV as a diplomatic gift on the occasion of the marriage of his grandson LouisStanislas-Xavier, Comte de Provence (later Louis XVIII), to Marie-Josephine-Louise de Savoie, eldest surviving daughter of the King of Sardinia. It was presented on behalf of the king by Louis-Marie-Gabriel-César, baron de Choiseul d’Esquilly, French Ambassador to the Kingdom of Sardinia to Giuseppe Vincenzo, Count Lascaris, Minister and Secretary of State for Foreign Affairs for Sardinia, on 25 March 1771. A large portion of the service is retained at the Palazzo del Quirinale, Rome. Cf. David Peters, Sèvres Plates and Services of the 18th Century, vol. II, pp. 449-451.

Provenance: purchased from Cromwell Antique Centre, 17th December 2006.

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35.

A Vincennes circular dish (plat d'entremets) from the first Louis XV service, date code for 175455, painted by Pierre-Antoine MĂŠreaud with a loose central spray of flowers, the moulded rim with three panels of further flowers reserved within gilt foliate and scroll borders on a bleu celeste ground, blue interlaced Ls mark enclosing the date letter B, painter's mark S, a section broken out and repaired with rivets, 31.5cm. ÂŁ20,000-25,000 The bleu celeste (heavenly blue) ground was created by the chemist, Jean Hellot, specifically for this service and it was the first time such a colour had been used on porcelain in this way. This service, the first full service that Vincennes had delivered, was first used on 4th February 1754 and remained in use until the end of the Ancien regime. 120 components were delivered to Louis XV at the end of 1753, with a further 133 pieces being delivered a year later. Factory records detail 28 plat d'entrĂŠes et d'entremets delivered among the third part of the service, on 31st December 1795, each at a cost of 240 livres, and it is likely that this is one of those.

Items from the service remain in the collection at the palaces of Versailles, with a large part of the service in the collection of the Duke of Buccleuch at Boughton House (this part of the service apparently gifted to the duc de Choiseul and then sold to the Duke of Buccleuch by Beau Brummell).

Provenance: purchased in Hungerford in 1982.

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36.

A Sèvres small stand (plateau du Roi), date code for 1758, painted by François-Joseph Aloncle with a boy fishing beneath a tree within a bleu celeste border, and a Sèvres saucer painted with a windmill beside an arched bridge, on a bleu celeste ground with gilt leaf border, blue interlaced Ls marks, some faults, 17.3cm max. (2) £200-300

37.

Three Sèvres teapots and covers (théières calabré), date codes for 1760 and 1763, in two sizes, the larger painted by François-Joseph Aloncle with panels of exotic birds within gilt foliate borders on a turquoise ground, another painted by Jean Baptiste Tandart with panels of flowers within a scrolling gilt rim on a turquoise ground, the last with panels of figures in rural landscapes on a similar ground, blue interlaced Ls marks enclosing date letters H and K, the covers replacements, some restoration, 15.5cm max. (6) £300-500

38.

Five Vincennes and Sèvres small cups, c.1754-61, variously painted with panels of flowers within gilt foliate borders on a bleu celeste ground, a larger cup (gobelet Hébert) painted with an exotic bird with outstretched wings, a small cylindrical toilet pot with similar decoration, and a coffee can (gobelet à litron) of the first size, painted possibly by Bulidon with a vase of flowers beside a letter and a quill pen on a marble ledge, reserved on a bleu celeste ground, interlaced Ls marks enclosing various date codes, painter’s marks including Vincent Taillander, Mereaud and Tandart, damages, 7.5cm. (8) £400-600 Two of the pieces in this lot are of a noticeably lighter shade of turquoise than the traditional bleu celeste, although Judith records that no name appears to have been applied to this variation in colour.

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39.

Two Sèvres plates and a saucer, c.1770-85, the first plate of lobed form, painted by Le Bel with a central flower arrangement, the rim with three floral panels within gilt borders on a bleu celeste ground, the other a soup plate (assiette à potage) painted with a spray of pink roses, cornflowers and heartsease within a rich turquoise border, the deep saucer painted with a circlet of flowers, the wide bleu celeste border with an elaborate band of scrolling gilt foliage, a Sèvres-style miniature cup and saucer painted with birds in flight within gilt borders on a bleu celeste ground, and two small Sèvresstyle vases (vase parseval), painted with bands of flowers within gilt borders, blue interlaced Ls marks, one with a script Sèvres mark, some damages and repairs, 24.8cm max. (7) £250-350

40.

A near pair of Sèvres plates (assiettes), c.1793-1800, painted

by Hirel de Choisy and Mme Gérard with a central panel of roses within a border of further flowers linked by leaf swags, reserved on a bleu celeste ground, script Sèvres marks and painter’s marks, some wear, 24.5cm. (2) £150-250

41.

A Vincennes bottle cooler (seau à liqueur ancienne forme), c.1753, the round-bellied form with rococo-scrolled rim and shell handles picked out in gilt on a bleu celeste ground, a Sèvres or Vincennes cheese dish (fromager) of pierced circular form, painted with birds in flight within gilt panels on a bleu celeste ground, and a Sèvres lobed plate (assiette à palmes) painted with flowers and fruit to the well, the scrolled rim with panels of further flowers on a bleu celeste border, blue interlaced Ls marks to the plate and cheese dish, damages, later decoration, 25cm max. (3) £500-800

42.

A Sèvres plate (assiette), c.1795, painted by Jean-Jacques Pierre le jeune, with a tied bouquet of flowers including rose and hollyhock, the cavetto with a formal gilt border, the rim with gilt scrolls on a bleu celeste ground, blue script Sèvres mark, RF monogram, painter’s mark and gilder’s mark for Vandé, 24cm. £120-180

Cf. Victoria & Albert Museum, Accession No. C.239-1921 for a similar dish. The service was sold at Sotheby’s in 1931, property of Francis Mills of Bisterne Manor, Ringwood, Hampshire.

Cf. Tamara Préaud and Antoine d’Albis, La Porcelaine de Vincennes, p.131 for a cooler of the same shape in the Sèvres Museum. Also, the Royal Collection, No. RCIN 59311 for a pair of fromagers of the same form and similar decoration.

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43.

An early Sèvres water jug (broc Roussel), date code for 1758-59, painted with a spray of flowers and fruit within an elaborate gilt border of foliate scrolls and trellis panels, reserved on a bleu celeste ground, blue interlaced Ls mark enclosing date letter F, a section of the spout broken and repaired, 19cm. £500-800

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44.

A Sèvres ice cup (tasse à glace) from a service ‘à rubans Bleu Celeste’, c.1769-70, painted with flower garlands entwined with a turquoise ribbon between narrow gilt bands, unmarked, 6.5cm. £1,000-1,500 Provenance: purchased in London, 20th May 1990.

This service was ordered by Madame du Barry via her banquier, Jean-Baptiste Buffault in December 1769 and included 44 tasses à glaces at a cost of 24 livres each. Much of the service was passed back to Buffault in 1771 and sold by him to an English buyer. This type of decoration became popular in England and three other services of this type were sold to England between 1770 and 1775, including one delivered to John Frederick Sackville, 3rd Duke of Dorset.

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45.

A Sèvres triple salt (saliere à trois compartments), c.177090, painted to the exterior with scrolling blue ribbon edged with gilt dots and interlaced with garlands of polychrome flowers, the handles lacking, 10.3cm across. £100-200

46.

A Sèvres cup and saucer (gobelet bouillard), date codes for 1770 and 1771, painted with a continuous garland of polychrome flowers entwined with bleu celeste ribbons, interlaced Ls marks enclosing date letters R (saucer) and S (cup), 13.4cm. (2) £400-600

A service of this pattern was ordered by Madame du Barry in 1769, see lot 44 . A service of the same pattern was ordered by M. de Beaujon, which included a number of triple salts. On his death in 1792, his service was bought by Princess Kandinski who then ordered supplements. It is likely that this salt is from Beaujon’s service or a later addition to it.

A service of this pattern was ordered by Madame du Barry in 1769, but the residue was sold to M. Buffault (probably the marchandmercier Jean Buffault) at the end of that year, with a supplement service ordered at the end of 1770. It is likely that this cup and saucer comes from that second supplementary service.

47.

Five Sèvres ice cups (tasse à glace), c.1765-1790, one decorated with rubans bleu celeste interlaced with flower garlands after the service for Madame du Barry, another painted in the Vincennes manner in puce camaieu with a putto carrying a flaming torch, another painted

by Louis-Gabriel Chulot with panels of pink roses on a band of oeil de perdrix, another painted with a band of flowers reserved in a gilt foliate panel on a bleu celeste ground, the last decorated in the 19th century with a putto holding a wreath within a gilt panel on a blue ground, varying interlaced Ls marks, two unmarked, damages and repairs, 6.3cm. (5) £300-400 Provenance: the puce camaieu cup from the Isaacson Collection. This cup was probably once part of an extensive Vincennes service with later Sèvres additions, which was sold at Sotheby’s in 1963 as part of the René Fribourg Collection. The oeil de perdrix cup from th Hector Binney Collection and believed to be part of a supplement ordered for the service made for the Comte d’Artois in 1786.

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48.

A Sèvres teapot and cover (théière calabré), date code for 1777, painted by Mme Le Bel with garlands of flowers interlaced with gilt leaf wreaths, the shoulder and cover with a band of oeil de perdrix on a turquoise ground, the spout garlanded with further flowers, puce interlaced Ls mark enclosing the date letter Z above painter’s mark, the cover broken and restuck, 16.5cm across. (2) £300-500 Provenance: purchased from Bonhams, 28th October 1988, lot 105.

Formerly in the Winifred Armstrong Collection, Cambridge.

49.

A Sèvres teapot and cover (théière calabré), date code for 1783, painted by Guillaume Noël with berried leaf garlands draped over gilt nail heads beneath a wide border of pink roses and blue and puce scrolls on a gilt pointillé ground, blue interlaced Ls mark enclosing date letters FF, the cover associated, 16cm across. (2) £300-500 Provenance: purchased from Peter Kemp, 11th June 1993.

50.

A Sèvres teapot and cover (théière calabré), date code for 1780, painted by Edmé-François Bouillat with vertical bands of pink rose and blue flowers alternating with gilt leaf borders, blue interlaced Ls mark with date letters CC, a little restoration to the spout, 15.5cm.

(2) £250-350 Provenance: purchased from J & B Antiques, 22nd May 1994.

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51.

A Sèvres miniature cup and saucer (gobelet calabré et soucoupe), date code for 1760, painted by Bertrand with sprays of flowers within a gilt dentil rim, a larger coffee can and saucer (gobelet litron et soucoupe) painted with sprays of yellow and pink roses, and a similarly decorated jug and cover with gilt scroll work to the spout, interlaced Ls marks to some, 12.1cm max. (6) £250-350 Provenance: the miniature cup and saucer purchased from Christophe Perlès, 13th June 2012.

52.

A Vincennes jug (pot à eau lizonné), date code for 1753, painted by François le Vavasseur with small scattered flower sprays, with a gilt metal hinged mount to the cover, and a Sèvres decagonal bowl painted by Claude Couturier with sprays of rose, convolvulus and other flowers within narrow blue lines with gilt dashes, interlaced blue Ls marks enclosing date letters A and U respectively, both cracked, the jug riveted, 25.8cm max. (2) £250-350 Provenance: the jug purchased from J & B Antiques, 20th January 1991. The bowl from Woolley and Wallis, 21st September 2005.

53.

Two Sèvres toilet pots (pots à pomade), c.1765-80, one with a cover, the cylindrical form painted by Vincent Taillandier with polychrome flower sprays, the other with similar sprays between blue line borders, a mustard pot and cover (moutardier ordinaire) painted by Chabry fils with flower sprays on a barrelshaped body, a cup and saucer (gobelet Bouillard et soucoupe) with similar decoration, a single saucer painted by Jean-Jacques Pierre Jeune with flowers within blue feuille de choux borders, and a Continental porcelain trembleuse saucer with a pierced central gallery, varying interlaced Ls marks to some, some damages, one cover lacking, 15.5cm max. (9) £100-200

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54.

A group of Sèvres teawares, c.1754-86, including an early cup and saucer (gobelet bouillard et soucoupe) painted by JeanBaptiste Tandart, two other smaller cups and saucers, a cup and saucer, two single saucers and three sucrier bases, variously painted with polychrome flower sprays on a white ground within gilt dentil rims, varying blue interlaced Ls marks and painter’s marks including those for Jean-Joseph-Philippe Boucot, Leopold Weydinger (père), Claude-Antoine Tardy and Antoine Capelle, some damages, the sucriers’ covers missing, 13.3cm max. (13) £500-800

55.

Two Sèvres confitures, c.1780-90, the first a plateau à deux pot de confiture with two U-shaped cups set on a shaped tray, painted with scattered flower sprays by Le Bel, the pots with inner glass liners, the other a plateau à trois pot de confiture with similar decoration, and a Sèvres butter tub and cover (beurrier) painted by Nicquet with polychrome flower sprays, all with blue line borders with gilt dashes and gilt dentil rims, blue and red interlaced Ls marks, some damages, 25cm max. (8) £250-350

56.

Five Sèvres plates and dishes, 2nd half 18th century, one of compotier Gauffré type, moulded with lotus petals and painted with polychrome flower sprays, another circular dish with flower sprays within feuille de choux panels, two moulded plates (assiette à bouquets) painted by Nicquet and Noualhier with sprays of rose and other flowers, and a plate decorated by Mme Bunel with flowers within feuille de choux borders, varying interlaced Ls marks, the last with a script Sèvres mark, some wear and small chips, 25cm max. (5) £200-300

57.

Three Sèvres soup plates (assiettes à potage), date codes for 171, 1776 and 1778, painted with sprays of polychrome flowers on a white ground within narrow blue bands with gilt highlights, and a plate with the same decoration, various interlaced Ls marks enclosing date letters, RF monogram to the plate, painter’s marks including those for le Chappuis, minor damages, 24.5cm max. (4) £100-200

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58.

A Sèvres bough pot (caisse ou cuvette Courteille), c.1760s, painted with a large flower spray between narrow drops, a further smaller spray to the reverse, raised on four scroll feet, blue interlaced Ls mark with indistinct date letter and painter’s mark p, a section broken out and repaired, 23.5cm. £150-250 Provenance: purchased from John Whitehead, 8th January 1989.

59.

A Vincennes cup and saucer (gobelet Hébert et soucoupe), date code for 1754, the cinquefoil saucer painted by Charles-François Becquet, the cup possibly by Bardet or Guillaume, each with small polychrome flower sprays on a white ground, within narrow blue and gilt borders, interlaced Ls marks, the cup with date letter B, painter’s marks, 12.2cm. (2) £300-500 Provenance: purchased from Andrew Dando, October 1983.

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60.

A Sèvres vase and cover (pot pourri Pompadour), c.1760, painted with sprays of flowers including rose, poppy and convolvulus on a white ground, the shoulder pierced with six oval holes within moulded foliate scrolls with gilt detailing, echoed to the cover around a floral knop, blue interlaced Ls mark and painter’s mark for either Louis-Jean Thévenet or Charles-Louis Méreaud, restoration to the cover’s knop, 18.5cm. (2) £2,000-3,000 Provenance: purchased from Andrew Dando, 11th December 1985.

Cf. Victoria and Albert Museum, Accession No. 4340-1857 for a vase of the same shape in a slightly larger size.

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61.

A pair of early Sèvres plates (assiettes gaufré), c.1756, moulded with bands of lotus petals, the rims with an elaborate gilt design of trellis panels enclosed in foliate scrolls, and a Sèvres cup and saucer (gobelet bouillard et soucoupe), c.1775, with a similar bordered rim, blue interlaced Ls marks, some wear, 25.3cm max. (4) £150-200 Provenance: the plates purchased in Corsham, Wiltshire in 1975.

62.

A Sèvres covered jug (pot à l’eau tourné), c.1779, decorated with a pattern of diminishing gilt dots, the rim with a gilt scroill border, a Paris porcelain (Clignancourt) chocolate jug with side handle, gilded with floral swags and a narrow leaf band, a large Feuillet cup with small polychrome flower sprigs, and a La Courtille sauce tureen painted with flower sprays within a gilt dentil rim, some damages and losses, 24cm max. (4) £100-200 The jug is part of a service ordered for the Duc and Duchesse de Polignac and is similar to a service ordered for the Comte de Provence. Judith spotted this jug on a 1995 episode of The Great Antiques Hunt and managed to track it down.

63.

Three Sèvres cups and saucers, c.1760-85, one a tasse et soucoupe gaufré moulded with petals, another a tasse et soucoupe godronnée, the last a miniature gobelet litron et soucoupe, and four custard cups (pots à jus), together with a small Ushaped teabowl or sucrier, all left in the white with simple gilt dentil rims, blue interlaced Ls marks, 13.5cm max. (11) £100-200

64.

A pair of Sèvres salts (salières à trois compartments), date codes for 1763, each of trefoil shape, joined by a tied overhead handle with gilt detailing, and a double salt set with two quatrefoil wells, c.1770-90, a gilt scroll border to the sides, blue and black interlaced Ls marks, 12.8cm max. (3) £200-300 Provenance: the pair of salts formerly in the collection of Lady Clarissa Collin of Wytherstone House, Pockley, Yorkshire.

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65.

Two miniature Sèvres cups and saucers, c.1758-61, one of gobelet bouillard form, the other gobelet litron, both painted with dry blue sprays of flowers on a white ground within gilt dentil rims, blue interlaced Ls marks enclosing date codes, above painter’s marks LR and Li, a rim crack to one saucer, 9.3cm max. (4) £100-200

66.

Two Sèvres cups and saucers, c.1760-70, one of lobed form painted by Jean-Charles Sioux l’aîné with flower garlands in blue camaieu, the other of plain form and boldly painted with flower sprays including narcissus and tulip, a tall cup of gobelet calabré form painted by Gilbert Drouet with a blue flower spray, and another of gobelet bouillard form with similar decoration by Michel-Gabriel Commelin, varying blue interlaced Ls marks, date codes and painter’s marks, 13.5cm max. (6) £300-500

67.

A Sèvres two-handled cup with cover and stand, c.1769, gobelet à lait et soucoupe, painted probably by Jean-Charles Sioux l’aîné in overglaze blue enamel with flower garlands above feathered, gilt floral and blue oeil de perdrix rims, the cover with an open floral finial, crowned blue interlaced Ls mark, 18.5cm. (3) £250-350

68.

A Sèvres teapot (théière calabré), date code for 1771, painted by Hirel de Choisy with blue camaieu flower sprays, and a Sèvres teabowl painted by Sioux in blue camaieu with flower garlands beneath a band of feathered gilding, blue interlaced Ls marks enclosing date letters S and T, the teapot’s cover lacking, 18.5cm. (2) £80-120

Cf. Gardiner Museum, Object number G96.5.111a-b for a cup and trembleuse saucer with similar decoration.

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69.

A Sèvres custard cup and cover (pot à jus ordinaire), date code for 1760, painted probably by Nicolas-Laurent Petit with flowers flanked by chequered panels in blue, white and gilt, a Sèvres saucer (soucoupe) similarly decorated by C L Mereaud, and a small Sèvres can (gobelet litron) painted by FrançoisJoseph Aloncle with a bird perched on a leafy branch, and with two floral panels between similar diaper panels, varying interlaced Ls marks enclosing date codes and above painter’s marks, some damages and repairs, 13.5cm max. (4) £200-300 Provenance: the gobelet litron a gift from Alvin on Valentine’s Day, 1984 - a date that Judith notes was the day before Aloncle’s 250th birthday.

The blue and white chequers copy those of the house of Wittelsbach, and the Mannheim Hofservice of 1760 featured these panels around bird decoration similar to the can in this lot. The service was presented to Carl Theodor of Sulzbach, Elector Palinate on behalf of Louis XV, probably to promote good relations during the Seven Years War. Later additions were made by the Frankenthal factory.

70.

A Sèvres teabowl and saucer, date code for 1767, finely painted by Pierre-Antoine Méreaud with garlands suspended from flowerhead roundels beneath a wide border of pink fronds, scallop shells and blue diaper ground, blue interlaced Ls mark enclosing the date letter O above painter’s mark S, a repaired crack to the teabowl, 12.4cm. (2) £300-500 Provenance: purchased from Klaber & Klaber, 24th July 1987.

71.

A Sèvres miniature teapot and cover (théire), date code for 1788, the small cylindrical form painted by Denis Levé with vases of flowers amidst large scrolls with birds in flight around, between narrow blue and gilt bands, and a tripod milk jug (pot à lait à trois pieds), painted by Michel-Gabriel Commelin with scattered pink and yellow flowers between undulating blue husk borders, blue interlaced Ls marks and painter’s marks, the teapot broken and repaired, 10.3cm max.

(3) £150-250

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72.

Three Sèvres coffee cans (gobelets litron), c.1775-1800, two of larger size, one painted by M B Chavaux with a flowering rose bush beside a trellis panel, reserved on a white ground with gilt scroll borders, the other painted with a basket of large flowers on a pink ground with gilt dots between claret bands with leaf garlands, gilder’s mark for Vandé, and a smaller can similarly decorated with a basket of flowers on a marble ledge, various marks including crowned interlaced Ls and script Sèvres mark, some minor damages and gilt wear, 7.5cm max. (3) £150-200

73.

A Sèvres sucrier and cover (pot à sucre Bouret), date code for 1763, painted by Antoine Capelle with delicate flower garlands suspended from an elaborate formal border of shaped panels containing diaper bands and large flowerheads on a dark blue ground, and a small Sèvres milk jug (pot à lait à trois pieds), c.1764, painted with a similar panelled border in blue, puce, green and gilt, the sucrier’s cover repaired, 10cm high. max. (3) £150-250 Provenance: the jug purchased from E & H Manners, 20th January 1991. The sucrier from Rosebery’s, 10th December 2013, lot 31.

74.

A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1784, of small size, painted by Mme Gérard with panels of flowers and plants linked by a band of floral tendrils between blue borders, and a similar can painted by Mme Le Bel with panels of pink roses and cornflowers on a floral sprig ground, blue interlaced Ls marks enclosing date codes for 1785 and 1788, the single can cracked, 12.2cm. (3) £200-300 Provenance: the can and purchased at Olympia in 2010.

saucer

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75.

A Sèvres plate (assiette), possibly from the Bedford Service, date code for 1761, painted by François Binet with a central flower spray, the rim with three shaped floral panels reserved on a blue ground with a gilt vermiculé design, blue interlaced Ls mark enclosing date letter i, some gilt wear, a restuck rim chip, 24.2cm. £600-1,000 Cf. Rebecca Shaw, A Thing of Beauty is a Joy for Ever, pp.80-81 for a similar example.

Provenance: purchased from Shepton Mallet, 18th November 2001.

John Russell, 4th Duke of Bedford, was the British Ambassador to France between September 1762 and June 1763. An extensive dinner service was gifted to his wife, Duchess Gertrude, in recognition of the Duke’s work in negotiating the end of the Seven Years War in 1763. The majority of the service is in the collection at Woburn Abbey. A very similar service was gifted to the duc de Nivernais on 28th January 1763.

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76.

A Sèvres ice cup (tasse à glace), c.1768-71, painted with a panel containing a small flower spray, within a gilt foliate border on a bleu lapis ground with gilt caillouté decoration, unmarked, 6.5cm. £1,000-1,500 Provenance: purchased from John Whitehead on 16th April 1989.

The lack of a date mark makes the attribution of this ice cup to a specific service difficult. Gilt caillouté decoration had three main periods and this is likely to date from either 1768 or 1771. The Royal Danish Collection holds a service presented to Christian VII of Denmark when he visited France in 1768, but the decoration is also extremely close to a service made for Louis XVI c.1770, with similar examples in the collection at Woburn Abbey. For a discussion of this service see David Peters, Sèvres Plates and Services of the 18th Century, Vol. II, pp. 429-432.

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77.

A pair of Sèvres ice cups (tasses à glace), date codes for 1782, painted by Antoine-Toussaint Cornailles with panels of flowers reserved within gilt foliate and ribbon borders on a green ground (fond vert), and a similar ice cup with date code for 1765, also decorated with a spray of flowers within a gilt scroll panel on a green ground, blue and black interlaced Ls marks enclosing date letters, painter’s marks, a chip to one foot, 6.6cm. (3) £800-1,200 The pair of ice cups are from a diplomatic gift of a service from Louis XVI to Prince Henry of Prussia (brother of Frederick the Great). A group of 14 ice cups are recorded in the Artists’ Ledger against Cornailles name on 1st May 1782. The single ice cup is possibly part of a service ordered

by Claude Bonnet (payeur des rentes, for the Court of Parma). Two identical ice cups are in the Royal Collection, No. RCIN 73232.

78.

Two Sèvres ice cups (tasses à glace), date codes for 1788 and 1789, the first from the Service Bombelles and painted by Mme Noualhier with a panel of pink rose and another of cornflower, reserved on sprigged ground between narrow blue bands with gilt dots, the second from the Montmorin service and painted by Mlle Bouillat with a band of flowering fuchsia between blue borders with a gilt foliate design, blue interlaced Ls marks with date letters LL and MM, 6.5cm. (2) £300-500 The Service Bombelles is a duplicate of a pattern produced on a 1785 service sold to the Marquis de Bombelles, Ambassador to Portugal. It is listed in the inventory of 12th March 1789 as unsold. The second ice cup matches decoration on a service made for Armand-Marc Comte de Montmorin-Saint-Helen. This ice cup is from a service bought by the English dealer, Enoch Rittener of Albemarle Street.

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79.

A Sèvres ice cup from the service of Madame du Barry, c.1770-71, painted with stylized blue vases with flowers issuing, linked by further flower garlands, blue interlaced Ls mark, possibly some regilding, 6.5cm. £2,500-3,500 This service of Petit vases et guirlandes is the fourth of several ordered for or by Madame du Barry and was probably intended for use at the château de Louveciennes, which had been gifted to the Comtesse by Louis XV in 1769. The design is believed to have been carried by Augustin de Saint-Aubin. The service included 28 tasses à glace at a cost of 24 livres each.

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80.

A Sèvres stand (plateau Bouret) from the Attribus et groseilles service for Louis XV, c.1770-74, the lobed triangular form painted with three vignettes of trophies including a rake, sickle and cornucopia, a spade and basket of grapes, and a telescope, chart and drawing callipers, between gilt sprays of fruiting currant, all enclosed in simple blue foliate scrolls and encircling a small floral wreath, 21cm. £5,000-8,000 Provenance: purchased from Robert McPherson, 21st January 1989.

Louis XV purchased in 1771, 1772 and 1773 a number of plateaux Bouret, compoters and saladiers described as ‘attribus et groseilles’, a style of decoration that was rather out of date at this time. The original service appears to have been ordered in 1763, but it is likely that this stand (and the one in the next lot) was one of six ordered on 13th June 1772. An ice cup from the same service, formerly in the Goldblatt Collection, is now at the Bowes Museum.

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81.

A Sèvres stand (plateau Bouret) from the Attribus et groseilles service for Louis XV, c.1770-74, the lobed triangular form painted with three vignettes of trophies including a laurel wreath encircling a flag, a lyre and a trumpet, and a rake and watering can, between gilt sprays of fruiting currant, all enclosed in simple blue foliate scrolls and encircling a small floral wreath, some gilt wear and chipping to the foot, 21cm. £2,000-4,000 Provenance: purchased from Robert McPherson, 21st January 1989.

Louis XV purchased in 1771, 1772 and 1773 a number of plateaux Bouret, compoters and saladiers described as ‘attribus et groseilles’, a style of decoration that was rather out of date at this time. The original service appears to have been ordered in 1763, but it is likely that this stand (and the one in the previous lot) was one of six ordered on 13th June 1772. An ice cup from the same service, formerly in the Goldblatt Collection, is now at the Bowes Museum.

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82.

A Sèvres stand (plateau Bouret) from the Guirlande de Barbeaux service, date code for 1783, painted by Mme Le Bel with garlands of cornflower and berried laurel encircling a pink rose, gilt dentil rim, blue interlaced Ls mark, 21cm.

This service was ordered by Louis XVI on 11th May 1783 for use at Versailles. It was supplemented in 1784 and 1785, but the original 1783 service records an order of 14 plateaux pour les servir (later clarified as plateaux Bouret). David Peters records just two of these original plateaux as known survivals. Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. III, pp.663-665. £1,500-2,000 Exhibited: ‘Tale of Two Cities’, Brighton, London and Paris, May-October 1989.

Provenance: purchased from David Peters, 18th September 1988. Previously sold at Christie’s, 30th March 1987, lot 29.

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83.

Two Sèvres ice cups (tasses à glace) from the Guirlande de Barbeaux service, c.1784-90, painted by Pierre Massy with garlands of cornflower and berried laurel entwined with narrow pink and blue lines, gilt dentil rims, blue interlaced Ls mark to one and date code for 1790, and another larger ice cup painted by Marie-Barbe Buteux with delicate flower swags, iron red script Sèvres mark, a filled chip to one foot, one handle a replacement, 6.3cm. (3) £600-1,000 The Guirlande de Barbeaux service was ordered by Louis XVI on 11th May 1783 for use at Versailles. It was supplemented several times between 1784 and 1790. The dated cup in this lot was one of four sold at Christie’s in 1989 which is believed to have come from the 1790 supplement. Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. III, pp.663-665 for the original service, and Vol. IV pp. 911-912 for the 1790 supplement.

84.

A Sèvres circular dish (compotier rond), date code for 1785, from the Guirlande de Barbeaux service, painted by Jacques Fontaine with a central pink roses encircled by cornflowers around a pink circlet and a berried leaf garland around a blue border, gilt dentil rim, blue interlaced Ls mark enclosing date letters HH, some wear, 20.7cm. £500-800 The Guirlande de Barbeaux service was first ordered for Louis XVI in 1782, and deliveries were staggered up until 1790. Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. III, 83-2 and 85-2. Peters notes that a service in the same pattern was delivered on 30th December 1785 to Charles-Pierre Pécoul and items from this service are in the Bowes Collection at Barnard Castle.

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85.

Two Sèvres plates and a soup plate (assiettes et assiette à potage), date codes for 1792, painted by Jean-Jacques Pierre jeune, Hirel de Choisy and Charles-Nicolas Buteux, each with a central flower spray, the rim with sprays of pink rose, blue convolvulus and yellow jasmine within gilt leaf garlands reserved on blue borders, blue interlaced Ls marks enclosing date letters PP and above painter’s marks, the soup plate cracked, some filled rim chips, 24cm. (3) £250-350

86.

A Sèvres plate and a soup plate (assiette et assiette à potage), date codes for 1791, the plate decorated by Gilbert Drouet, the soup plate possibly by FrançoisPascal Philippine, with a formal floral design within shaped blue borders, blue interlaced Ls marks enclosing date letters OO above painter’s marks, a little gilt wear, 24cm. (2) £300-400 The service these plates came from was sold to M. Verdier on 1st December 1791. A note from David Peters (dated 9th October 1991) records that the Artists’ Ledger references a set of eight soup plates against Philippine jeune on 9th June 1791. He left the factory one month later and David suggests that the soup plate in this lot may have been one of the last items he completed before his departure.

87.

Two Sèvres plates (assiettes unie), c.1770-86, painted with scattered pink roses to the wells, the rims with oval panels of further roses reserved on a ground of green, red and gilt flowerheads or large gilt dots enclosed in oeil de perdrix hexagons, and a circular dish (compotier rond) decorated in the 19th century with the same pattern, varying interlaced Ls marks, 24.3cm max. (3) £250-350 The plate with the gilt dots is probably a 1786 addition to the service ordered by the Comte d’Artois on 3rd June 1775. An additional order was placed on 21st September 1786 and included 29 plates. The other plate is from a similar service ordered by the marchand-mercier Bazin, with the compotier a later addition.

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88.

A Sèvres plate (assiette unie), date code for 1789, painted by Mme Noualhier with the initials GF in pink and blue flowers within a circular band of further flowers, the rim with sprays of pink rose and blue forget-me-not within narrow blue lines with gilt dashes, blue interlaced Ls mark enclosing date letters MM, 24cm. £100-200 The service was ordered by Monsieur Le Chevalier Forget on 21st September 1789.

Cf. David Peters, Sèvres Plates and Services of the 18th Century, p.1696 for an order of ’54 assiettes unies, chiffres et fleurs’.

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89.

A Sèvres plate (assiette) and a bowl (compotier), date codes for 1792, painted by Louis-Gabriel Chulot and Guillaume Noël with central flower posies within a blue and gilt border, the rims with wide sprays of pink, yellow and blue flowers, interlaced blue Ls marks and date codes PP, painter’s marks, some rim repairs, 24cm max. (2) £200-300

90.

A Sèvres plate (assiette), date code for 1784, painted by Jacques-François Micaud with a central posy of pink roses and blue cornflowers, the rim with a panelled border of single flower sprigs within gilt leaf borders overlapping narrow blue lines, blue interlaced Ls mark enclosing date code GG over blue X mark and gilt HP for Henri-Martin Prévost, 23.8cm. £300-400 This plate is believed to come from a service bought in 1785 by Messrs Tourton et Ravel (Paris bankers).

91.

Two pairs of Sèvres plates (assiettes), date codes for 1788 and 1792, one pair painted with central sprays of pink roses within leaf and husk garland borders enclosing rose and heartsease, from a service prduced possibly for Mme Le Febvre or for M. Wetzler, the other pair with similar decoration of flower posies between narrow blue and gilt rims, and a single Sèvres plate dated 1791, painted with a central garland of small flowers, the rim with a formal floral design edged in blue and gilt, blue interlaced Ls marks and various painter’s marks, damages and repairs, 24cm. (5) £200-300 The second pair of plates bears the decoration relating to design 111 of the factory album of plate designs, which was used on three separate services, for Princesse de Lamballe (1787), Marquis de Niélle (1788) and M. Piccaluga (1788).

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92.

Two Sèvres plates (assiettes), c.17951800, one painted by Mme Bouillat with a central posy of heartsease, the rim with a continuous border of pink roses edged in blue and gilt bands, the other decorated by Mme Noualhier with scattered blue and pink flower sprigs, the rim with a continuous floral border between blue and gilt bands, script Sèvres marks, the latter with the RF monogram mark, rim damages, 24.7cm max. (2) £100-200 The design on the second plate corresponds with Design No. 163 in the factory’s album of plate designs. The first plate is believed to have been part of a service gifted to an Italian diplomat in 1798.

93.

A Sèvres circular dish (compotier rond), date code for 1787, of Montmorin type, painted by Mme Fontaine with a design of fuchsia tendrils within narrow pale blue bands with a gilt foliate border, and a Sèvres soup plate (assiette à potage) from the Rittener service, date code for 1791, painted by Jean-Joseph-Philippe Boucot with a central spray of pink roses and cornflowers, the rim with formal flower sprays with a repeated sprig border, interlaced Ls marks enclosing date letters and above painter’s marks, gilder’s marks for Vandé and Prevost, some wear, 24.2cm max. (2) £400-600 The Montmorin service was made for Armand-Marc Comte de Montmarin-Saint-Hérem and was delivered on 24th May 1787. Much of it was purchased by Thomas, 2nd Marquess of Bath, and was sold at Christie’s in 2002 as part of the contents from Longleat. The pattern proved popular and was used on other, later services. The Rittener service was ordered by Enoch Rittener of 37 Albemarle Street, London and delivered on 4th March 1791.

94.

A Sèvres plate (assiette unie), date code for 1785, painted by Mme Le Bel with design no.

129 Jardin pattern, with a central spray of roses, the rim with cornflowers and other flowers issuing from a jagged blue border, interlaced Ls mark enclosing date letters HH, and another plate similarly decorated with vases of flowers and further flowering plants issuing from a turquoise border, a central flower spray to the well, interlaced Ls mark and script Sèvres mark, painter’s mark for MichelGabriel Commelin, the latter probably with some later decoration, 24.3cm. (2) £200-300 The plate in the Jardin pattern is from a service purchased by Mme Victoire, daughter of Louis XV, of which Mme Le Bel is recorded as having decorated six plates. A plate from the same service, deborated by Mlle Buteux, is in the collection at the Victoria and Albert Museum. The second plate relates to a service produced in 1787-89 and held in stock until 1794. A supplement was ordered in 1796 but production halted before gilding had commenced. It seems likely that the gilding was added elsewhere during the 19th century and the interlaced Ls mark added at that time.

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95.

A Sèvres soup plate (assiette à potage), c.1773, painted by Jacques-François-Louis de Laroche with scattered flowers to the well, the rim with overlapping panels of flowers within a rich gilt foliate design of point d’Espagne type, grey interlaced Ls mark, 24.3cm. £1,000-2,000 This plate was part of a service ordered by the Minister of Foreign Affairs in 1773 and remained in storage at the Ministry until being returned to the factory in 1776. Parts were sold to the Marquess of Bath as additions to a dessert service in 1777, and remain at Longleat today. Further additions were made to the service between 1778 and 1782 with further parts of the service being sold to the dealers, Keindal et Sanauva, in August 1781 (a section that did not appear to include soup plates). The remainder was gifted to Tipu Sultan of Mysore in 1788 by Louis XVI during a diplomatic mission by three emissaries to obtain support in the war against the British.

Provenance: purchased from Hugh Mote, 18th May 1990 with ten others.

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96.

A Sèvres soup plate (assiette à potage), c.1773, painted by Jacques-François-Louis de Laroche with scattered flowers to the well, the rim with overlapping panels of flowers within a rich gilt foliate design of point d’Espagne type, grey interlaced Ls mark, a small repaired rim chip, 24cm. £800-1,200 This plate was part of a service ordered by the Minister of Foreign Affairs in 1773 and remained in storage at the Ministry until being returned to the factory in 1776. Parts were sold to the Marquess of Bath as additions to a dessert service in 1777, and remain at Longleat today. Further additions were made to the service between 1778 and 1782 with further parts of the service being sold to the dealers, Keindal et Sanauva, in August 1781 (a section that did not appear to include soup plates). The remainder was gifted to Tipu Sultan of Mysore in 1788 by Louis XVI during a diplomatic mission by three emissaries to obtain support in the war against the British.

Provenance: purchased from Hugh Mote, 18th May 1990 with ten others.

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97.

Two Sèvres eye baths (baignoires de yeux), c.1760s, one painted by Antoine Capelle with puce shell motifs alternating with small panels of blue and gilt trellis, the other with panels of polychrome flowers reserved on a bleu celeste ground, blue interlaced Ls marks, repairs to both bowls, 4cm high. (2) £250-350

98.

A rare Sèvres lemon juice pourer (citronnier), c.1785-1800, the barrel body painted probably in the 19th century with a basket of flowers beside growing plants, blue interlaced Ls mark, the cover lacking, 7cm high. £100-200

99.

A Sèvres egg cup (coquetier), c.1770-80, the small rounded shape painted by Jean-Charles Sioux l’aîné with garlands of pink roses linked by berried laurel swags beneath feathered blue borders and a gilt dentil rim, crowned interlaced blue Ls mark, 4.5cm. £250-350

100. A Sèvres custard cup and cover (pot à jus nouveau), c.1798, painted by Mme Noualhier with sprays of pink roses and heartsease between black and gilt bands, black script Sèvres mark, gilt wear, a small chip to the cover, 7.7cm. (2) £150-200

Provenance: acquired from John Whitehead, March 2012.

This custard cup is from a service for Joseph Fernandez Nunez, an Amsterdam merchant, for whom it was purchased on 3rd August 1798 by the dealer, Mme Lefebvre. The bulk of the service was sold at Phillip’s, London on 11th September 1991, by a descendant of Nunez; another section had been sold on 24th July 1895 at Christie’s by another descendant. Cf. David Peter’s, Plates and Services of the 18th Century, Vol. V, no.98.4, where this pot à jus is mentioned as being in a private collection.

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This shape was created specifically for King Louis XVI who enjoyed lemon juice on his food.

Provenance: purchased in Devizes, c.1974.

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101. A miniature Sèvres coffee can and saucer (gobelet litron et soucoupes), date code for 1783, painted by Marie-Jean-Barbe Bunel with fine stripes of pink, blue and purple flower sprigs within narrow blue lines interlaced with gilt leaf swags, blue interlaced Ls mark enclosing date letters FF above painter’s mark mb, 7.7cm. (2) £200-300 Provenance: purchased at Masterpiece, June 2018. This is the last piece that Judith acquired for her collection.

103. A Sèvres small saucepan or warming pot, c.1780-90, the circular body painted with panels of pink roses and cornflower reserved on a sprig ground between narrow blue bands with gilt dots in the manner of the Service Bombelles, fitted with a turned wooden handle, blue interlaced Ls marks enclosing date letters CC or LL, a Sèvres sifter, the circular bowl pierced with small holes edged in puce, the handle with gilt and puce scrolling, and a sauce ladle, the shellshaped bowl with gilt detailing, issuing from a foliate scroll handle, damages and repairs, 17.5cm max. (3) £120-180

102. Two Sèvres egg cups (coquetiers), date codes for 1765 and 1779, the earlier cup painted by Nicquet with small sprays of polychrome flowers reserved on a white ground beneath a gilt dentil rim, blue interlaced Ls mark enclosed date latter M, the other decorated with similar flower sprays and small sprigs within narrow blue lines with gilt dashes, crowned blue interlaced Ls mark enclosing date letters BB, a short crack to the first, 4.4cm. (2) £200-300 Provenance: the second purchased from Klaber & Klaber, 10th September 1987.

104. A Sèvres miniature coffee can (gobelet litron) and two others, date codes for 1779, 1781 and 1783, the miniature can painted

by Pierre-Joseph André with a jagged blue band looped with a gilt foliate border, a slightly larger can in the same design by Vielliard fils, and another also by Vielliard with zigzag border in blue, red, puce and gilt, blue interlaced Ls marks, minor faults, 4.6cm max. (3) £100-200

A similar pan with plain decoration is in the George Washington collection at Mount Vernon.

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105. A Sèvres coffee can (gobelet litron), c.1773-1780, painted by François-Joseph Aloncle with a wolf caught in a trap beneath a gnarled tree, reserved within a gilt border on a white ground, the rim with panels of gilt diaper above leaf swags, crowned puce interlaced Ls mark enclosing date letter above painter’s mark, gilder’s mark for Vincent, a little gilt wear, 6.8cm. £150-250

106. A Sèvres cup (gobelet bouillard), c.1758, painted by PierreAntoine Méreaud with a spray of polychrome flowers within a quatrefoil panel reserved on a bleu lapis ground with gilt oeil de perdrix design, with large panels of a deep green ground, traces of blue interlaced Ls mark and painter’s mark, 6cm high. £150-250 Provenance: purchased from John Whitehead, June 2016.

The decoration on this lot probably derived from La Fontaine’s Fables.

107. Two Sèvres custard cups and covers (pots à jus), date codes for 1763 and 1775, the rounded forms painted with sprays of polychrome flowers on a white ground within blue line and gilt dentil rims, blue and puce interlaced Ls marks, painter’s marks including those of Ambrose Michel and Pierre-Theodore Buteux, some repairs to the covers, 7.5cm. (4) £120-180

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108. A miniature Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1783, painted by Michel-Gabriel Commelin with garlands of berried leaves enclosing wide bleu nouveau bands with small gilt sprigs by Etienne-Gabriel Giraud, blue interlaced Ls mark beside date letters FF, 7.8cm. (2) £150-250 Provenance: purchased from Peter Kemp, 28th June 1995.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

109. A Sèvres milk jug (pot à lait Hébert), c.1760, painted with sprays of flowers including rose and poppy, reserved within elaborate gilt borders of flowers and trellis reserved on a green ground (fond vert), gilt dentil rim, unmarked, 10.5cm. £400-600

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110. Five Sèvres saucers (soucoupes), c.1760-95, one painted with a girl seated beside a bird cage and playing with a bird on a leash, another painted with a figure walking through a field, another larger and painted by Jacques-François-Louis de Laroche with an arrangement of flowers on a blue ledge, another with a central spray of flowers and grapes, possibly

by Jean-Pierre Boulanger, the last small and painted

by Jean Baptiste Tandart with three floral circlets, all with varying foliate, floral or formal scroll gilt borders on bleu nouveau grounds, varying blue interlaced Ls marks, one with an additional script Sèvres mark, some faults, 13.8cm max. (5) £300-400

111. Six Sèvres saucers, c.1757-90, one early Sèvres and painted in puce camaieu with a hut between trees within a gilt floral border on a green ground, one miniature and painted by Jean-François Henrion l’aîné with garlands of rose and cornflowers within shaped trellis borders, another painted possibly later with garlands of flowers issuing from gilt ribbons, another with feathery flowers in lilac and yellow, a soucoupe Hébert with flowers edging a cinquefoil panel on a green ground, the last with gilt leaf sprigs on a bleu nouveau ground within a zigzag border, varying interlaced Ls marks, some faults, 14cm max. (5) £200-300

112. Five Sèvres saucers (soucoupes), c.1775-95, one painted by Edmé-François Bouillat père with a band of gilt floral roundels on a turquoise ground around a flower garland, another by Jean-Charles Sioux l’aîné, with leaf swags and a flower garland beneath blue and gilt circular motifs and a narrow purple band, another by Etienne-Jean Chabry with a central flower posy and a band of scattered flowers between blue bands with a formal gilt design, another

by Antoine Capelle with a panelled floral design within a chequered design border, the last by Mme Noualhier with blue foliate scrolls and pink roses between lilac bands, varying interlaced Ls marks and script Sèvres marks, some damages and repairs, 13.3cm max. (5) £100-200

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113. Five Sèvres saucers (soucoupes), c.1770-90, one painted by Gremont fils with flower and leaf swags around a central floral arrangement, another by Nicolas Sisson with fruit suspended from ribbon rosettes between flower garlands, one with wreaths of pink roses between looped garlands of blue flowers, painted by Jacques-François Micaud, the smallest with pink rose sprays by Nicolas Bulidon, the last with a trembleuse well and painted by J C Sioux l’aîné with roses around a starshaped ribbon design within blue and gilt borders, varying interlaced Ls marks enclosing date codes and above painter’s marks, some gilt wear, 15.3cm max. (5) £150-250

114. Three Sèvres coffee cans (gobelets litron), date codes for 1783 and 1786, the smallest painted by PierreAntoine Méreaud with a bird perched on a branch, reserved on a possibly later marbled pink and blue ground, another painted by Jean Bouchet with a hare chasing frogs in a narrow panel between a formal border, inscribed ‘Le Lievre et les Grenouilles’ to the underside, the last also by Bouchet and painted with a young girl seated and smelling a flower within linking husk borders enclosing small floral panels, and two Sèvres saucers (soucoupes), one painted by Philippe Castel with a bird perched by a leafy branch, another in flight above, within a wide gilt scroll border by Vincent, date code for 1774, the other by Jean-Baptiste Tandart with a colourful pheasant strutting in a landscape, with a gilt leaf border on a bleu nouveau ground, date code for 1761, varying interlaced Ls marks, the smallest can broken and restuck, the larger saucer cracked, minor faults, 15.5cm max. (5) £300-500

115. Four Sèvres cups and three saucers, c.1770-95, including a gobelet litron et soucoupe, a gobelet etrusques et soucoupe, a gobelet à la Reine and cover, all decorated by Philip Parpette with finely painted flowers on a gold ground, and a straight-sided can with cover and stand, similarly decorated by Etienne-Jean Gremont fils with pink roses on a gold ground, varying interlaced Ls and script Sèvres marks, RF monogram to one, damages and repairs, 16.5cm max. (9) £300-500

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116. Five Sèvres coffee cans (gobelets litron), c.1780-92, the largest painted by Jean-Charles Sioux l’aîné with looped flower garlands beneath a blue oeil de perdrix border, another by Jean-Jacques Pierre jeune with vases of flowers and fruit linked by foliate scrolls above a wide band of bleu celeste ground with gilt stars, another with flower sprays by Jean-Piertre Fumez, another with a formal floral border between narrow bands of panelled sprigs, the last probably later Paris and painted with pink roses above gilt leaf sprigs, four with varying interlaced Ls marks, small damages and repairs, 7cm max. (5) £200-300

117. Five Sèvres coffee cans (gobelets litron), c.1770-95, one from the De Mauroy service and painted by Henri-Germain Boileau with flower swags around a narrow pink ribbon, another by Etienne-Jean Chabry with a continuous band of blue flowers flanked by leaf bands on a purple ground, another painted with rose and cornflower sprays tied with ribbon and reserved on a ground of blue and red oeil de perdrix, another with S-shaped flower scrolls between gilt trellis panels and rouge de fer bands, the last with baskets of fruit and flowers suspended from blue ribbons on a claret ground, varying interlaced Ls marks, one unmarked, minor faults, 6cm. (5) £600-800 Provenance: the latter can formerly in the Tryhorn Collection.

The first can is from an extensive service made for Pierre-Edmé-Berthelin de Mauroy, Inspecteur of Sèvres, who is believed to have purchased it on behalf of an unknown third party. A radish tray and a butter dish from the same service are included in the collection at the Bowes museum, Barnard Castle.

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118. Three Sèvres coffee cans (gobelets litron), c.1775-88, one finely decorated by Denis Levé with a bird feeding chicks in a nest between vases of roses and other birds perched on scrollwork, another painted with diagonal stripes of tiny flower sprigs between shaped bands of further flowers and roundels, the last with panels of puce and gilt trellis and oeil de perdrix above narrow foliate swags, and two Sèvres toilet pots (pots à pommade), one painted by Antoine Capelle with trellis and floral panels between shaped puce bands, the other by Jean Thévenet père with flower mons betrween gilt and polychrome leaf swags, varying interlaced Ls marks, the pots’ covers lacking, some wear, 7.1cm max.

(5) £300-400

119. Five Sèvres coffee cans (gobelets litron), c.1763-90, in three sizes, one painted by Guillaume Noël with a panel of pink roses reserved on a blue and gilt scale ground (fond écaillé), another by Gilbert Drouet or Nicholas Dutenda with spring flowers beside a two-handled vase, reserved on a gold ground with a tied flower garland, another can by Dutenda with lower sprays and garlands within an oval panel on a textured claret ground, another by Buteux l’aîné with a panel of trophies on a white ground, and a smaller can painted with a basket of roses reserved on a deep blue ground with elaborate gilt scrolls by Boulanger, damages to some, 6.8cm max. (5) £400-600 Provenance: the Noël can formerly in the Hector Binney Collection.

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120. Two Sèvres or Sèvres-style plates, the porcelain 18th century, one painted with a central tied posy of flowers including rose, tulip and cornflower, within a pink rim with formal gilt borders, blue interlaced Ls mark enclosing date letters CC above painter’s mark for Philippe Castel, the other plate with a scroll-moulded border, painted to the well perhaps at a later date with a divergent tulip and other flowers within a gilt dentil rim, some faults, 24.8cm. (2) £100-200 Provenance: the pink-bordered plate formerly in the collection of the Earl of Shaftesbury at St Giles’s House, Dorset; sold at Christie’s on 30th June 1980.

The other plate purchased from Ronnie Barker on 8th March 1997.

121. A Sèvres plate (assiette), and a soup plate (assiette à potage), date codes for 1780 and 1795, the plate painted by Jacques FrançoisLouis de Laroche with flower garlands around a central flower spray, the rim with a blue pointillé border, blue interlaced Ls mark enclosing date code CC, the soup plate painted by Mme Binet with a pink rose spray, the rim with a band of pink roses on a yellow ground, blue RF monogram and script Sèvres mark, a crack to the soup plate’s rim, 4.3cm max. (2) £300-500 The plate is believed to be part of the service ordered by MarchandMercier Bazin in 1780. The soup plate is from an extensive service ordered in 1795 by Mme Lefebvre.

122. A Sèvres plate (assiette), c.1760-90, painted by Pierre-Antoine Méreaud with sprays of polychrome flowers within a shaped green tassel border simulating a lobed edge, blue interlaced Ls marks enclosing the letters yi, and a Sèvres-style soup plate, the well painted with a central flower arrangement, the rim with three panels of flowers reserved on a green ground with gilt foliate sprays, some chipping, 24.8cm max. (2) £100-200 It is likely that both these plates were made as additions or replacements to earlier services. An example of the original service of the soup plate is in the Metropolitan Museum, Accession No. 37.20.56. The decoration on the first plate was probably added some 10-20 years after the porcelain was first produced.

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123. Three Sèvres plates (assiettes), date codes for 1772, 1780 and 1784, the earliest painted by Jean-Jacques Pierre with a central floral arrangement, further garlands to the rim, another painted with roundels of heartsease within ribboned flower garlands, the well with scattered sprigs, the last decorated by F M Barrat with a central spray of roses and cornflowers within a berried laurel border, the rim with scattered sprigs, interlaced Ls marks enclosing date letters above painter’s marks, one plate cracked, 14.2cm max. (3) £250-350

124. A Sèvres combined part service, c.1760-90, painted with polychrome flower sprays on a white ground within feathered blue rims edged in gilt, blue interlaced Ls marks and painter’s marks including those for Nicquet, Weydinger, Jacques-François-Louis de Laroche and Mme Noualhier, two plates with printed English retail marks. Comprising: a shallow bowl (coupe rond), two shell dishes (compotier à coquille), and five plates (assiettes). (8) £120-180

The plate painted by Barrat is part of a service ordered on 25th December 1780 by the Duc de la Rochfoucauld-Liancourt.

125. Two Sèvres plates (assiettes) and two cups and saucers, c.1783-90, an assiette à osier painted by Mme Noualhier with densely scattered cornflowers (barbeaux), another with similar decoration by the same artist, a small can and saucer (gobelet litron et soucoupe) with small scattered blue flowers and gilt sprigs, and a cup and saucer

by Mme Noualhier with small blue scattered sprigs, varying interlaced Ls marks, minor faults, 24.5cm max. (6) £150-250 A letter to Judith from David Peters references a note in the Artist’s Ledger for 30th August 1783 of decoration “barbeaux sue toute la surface”, suggesting a more dense effect, which would correspond to the first plate in this lot.

126. Three Sèvres plates (assiettes), c.1785-95, one painted with a central spray of pink roses, the rim with interlaced leaf and pearl garlands enclosing single flowers, another plate with a central rose spray within a border of further roses and heartsease, a plate decorated with a starburst motif in blue and gilt, the rim with concentric bands of dots, and a Sèvres-style plate painted with a floral monogram, the rim with Classical portrait cameo panels reserved on a blue ground with elaborate gilt scrolls in the manner of the Hope Service, varying interlaced Ls marks, some damages and repairs, 24.5cm max. (4) £200-300 The first plate is believed to be part of a dessert service ordered by Mme Lefebvre on 10th May 1792. Items from the same service as the plate with the starburst decoration are in the Royal Collection at Buckingham Palace, c.f. RCIN 59190 for a seau in the same design, also decorated by Weydinger.

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127.

A Sèvres coffee can (gobelet litron), c.1780-85, finely painted by Etienne-Henry Le Guay with a basket of fruit and flowers resting on a marble ledge, within an oval panel, reserved on a bleu nouveau ground with a gilt scroll border, gilt interlaced Ls mark, another similar, painted with a bird in flight beside a basket of pink roses and a heart pierced by an arrow, within narrow gilt foliate bands on a bleu nouveau ground, blue interlaced Ls mark, the last c.1800, of larger size and painted by Pierre Massy with a two-handled urn beside large flowers, blue script Sèvres mark, 7.5cm max. (3) £400-600 Cf. The Royal Collection, No. RCIN 10883 for a similar coffee can by Le Guay.

128. Two Sèvres coffee cans (gobelets litron), date codes for 1785, one painted by Léandre with a young girl polishing a sword, and another by the same artist, painted with a Turkish gentleman seducing a young girl in a wooded landscape, both within gilt borders on bleu nouveau grounds, painted probably at a later date with a portrait of the dauphin, Louis Joseph de France, within an elaborate gilt foliate border on a bleu nouveau ground, interlaced Ls marks, 7.7cm max. (3) £300-500

129. Three Sèvres coffee cans (gobelets litron), c.1779-97, one painted

by Jean-Etienne Chabry with a shepherdess carrying a basket of eggs resting on hay, two sheep recumbent at her side, another painted by Philippe Castel with a girl refusing the enthusiastic advances of a young man while her female companion is distracted, the last decorated with a young naked couple canoodling beneath trees, all within elaborate gilt scroll borders reserved on a bleu nouveau ground, interlaced Ls marks enclosing date codes and above painter’s marks, the second can with an RF monogram and script Sèvres mark, 7.5cm max. (3) £500-700 Cf. The Metropolitan Museum, Accession No. 1975.1.1624a,b, for a similar Chabry can and saucer.

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130. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date codes for 1780 and 1781, the can painted with a couple taking birds out of a small cage resting on a plinth before them, the saucer decorated by François-Pascal Philippine with two doves perched on a flaming torch and a bow and arrow beneath a tree, reserved on a bleu nouveau ground with a gilt foliate scroll border, blue interlaced Ls marks enclosing date letters and above painters’ marks, 12.6cm. (2) £1,000-1,500 Provenance: purchased from Sotheby’s, 18th February 1991, lot 51.

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131. Three Sèvres plates (assiettes), c.1756-83, one lobed and painted by Jean-Baptiste Tandart with delicate flower sprays within a scroll moulded border picked out in blue and gilt, another decorated

by Jean-Jacques Pierre, the last by an unknown hand, both with polychrome flower sprays within osier moulded borders, interlaced Ls marks enclosing date codes for 1756 and 1783, minor faults, 25.3cm max. (3) £300-400

132. A Sèvres footed ice-cup tray or stand (soucoupe à pied), date code for 1772, the twelve-lobed form painted by Charles-Nicolas Buteux with scattered pink roses between berried leafy borders, raised on a low circular foot, blue interlaced Ls mark enclosing date letter T above painter's numeral 9, 22.7cm dia. £400-600

133. A Sèvres tureen and cover (terrine ordinaire), date code for 1771, of bombé form, after a form modelled by Duplessis, painted by Jacques-François Micaud with polychrome flower sprays on a white ground between feathered blue borders, the cover surmounted with a finial of two artichokes and an onion, blue interlaced Ls mark enclosing the letter S, the base restored, 33cm. (2) £300-500

134. A Sèvres plate (assiette), date code for 1791, painted by Marie-Gabrielle Sophie Binet in a chiné pattern in shades of pink, green, yellow and blue to simulate woven silk, blue interlaced Ls mark enclosing date code OO above a painter’s mark, a two-handled cup (gobelet Etrusques) with similar decoration, another tasse à toilette dated 1760 and painted in shades of pink and blue with vertical bands to simulate moire fabric, and a Vienna custard cup or pot à jus with similar designs in the Sèvres manner, some damages and repairs, 23.6cm max. (4) £300-500

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Paper label for Klaber & Klaber. Purchased from them on 18th September 1986.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

135. Two Sèvres coffee cans and saucers (gobelets litrons et soucoupes), date codes for 1769 and 1785, the earlier can painted by Louis-Jean Thévenet with panels of rose garlands between a berried leaf band and a pink ribbon entwined with gilt foliage, the later by Michel-Gabriel Commelin with small panels reserved on a ground of small flower sprigs and narrow garlands, and a coffee cup (gobelet convert) painted by Pierre-Antoine Méreaud with flower swags suspended from a panelled border in blue and puce, interlaced Ls marks enclosing various date codes and painter’s marks, some damages, 12.3cm max. (5) £150-250 Provenance: acquired in Gray’s Antiques Market, March 1986, and from Klaber & Klaber, 27th February 1987.

136. Two Sèvres small coffee cans and saucers (gobelets litron et soucoupes), c.177080, one painted with panels of oeil de perdrix around a central floral arrangement within scrolling green borders, the other with crossing pink and blue ribbons enclosing gilt trellis work and crossed flower garlands, interlaced Ls marks one enclosing date letter R for 1770, one saucer cracked, some peppering, 10.7cm. (4) £250-350 Provenance: the first can and saucer purchased from Klaber & Klaber, 21st April 1988; the second from Christie’s, 16th June 1995, lot 413.

137. Two Sèvres cups and saucers (gobelets bouillard et soucoupes), date codes for 1757 and 1768, the earlier cup and saucer decorated by Jean-Baptiste Tandart with spiralling stripes of polychrome flowers alternating with gilt foliate tendrils on bleu lapis bands, the other painted probably by Freta with a band of pink roses reserved on a blue pointillé ground, above an undulating band of berried leaves, blue interlaced Ls marks enclosing date codes above painter’s marks, the first cup broken and restuck, 14cm max. (4) £400-600 The ca painter’s mark has been attributed

by David Peters to Freta, who is listed in the piecework lists for 1767/68 as decorating teawares with “bordures de rozes sablés en bleu”, matching the cup and saucer in this lot.

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138. A pair of Sèvres ice cups (tasses à glace), c.1795-1800, painted by Mme Noualhier and Mlle Durosey with similar bands of flowers between blue and gilt narrow bands on a white ground with scattered cornflowers and other blooms, blue script Sèvres marks, RF monogram to one, a sprayed crack to one, 6.6cm. (2) £300-500 The decoration corresponds with Design no. 154 in the factory’s Album of Plate Designs and the service is recorded as being delivered to the Directoire Executif on 16th December 1795.

139. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1778, finely gilded with panels of Classical ruins beneath tall trees, reserved on a ground of gilt scattered flower sprigs and pale yellow borders with black motifs, blue interlaced Ls marks enclosing date letters AA above an unknown painter’s mark, 12.7cm. (2) £150-250

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140. A rare Sèvres candlestick date code for 1789, painted possibly by Genevieve Taillandier with pink roses on a band of scrolled foliage amid scattered flower sprigs, between monochrome foliate borders reserved on rich yellow bands, puce crowned interlaced Ls marks enclosing date letters MM above a painter’s mark, filled chips, 11.4cm. £250-350

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141. Five Sèvres ice cups (tasses à glace), c.1757-80, of bell shape raised on circular feet, all painted with polychrome flower sprays, two within feuille de choux borders in blue and gilt, varying blue interlaced Ls marks and painter’s marks including those for François-Marie Barrat, Jean-Jacques Pierre jeune and Nicolas Catrice, damages and repairs, 6.5cm. (5) £200-300 Exhibited: ‘Tale of Two Cities’ Exhibition, May - October 1989, Brighton, London and Paris - the ice cup with feuille de choux panels by Barrat and the ice cup decorated by Catrice.

142. A Vincennes egg cup (coquetier), date code for 1755, the squat flared form painted by JeanJacques Sioux jeune in puce camaieu with rose and convolvulus flowers garlanded over a lined highlighted in gilt, and three later Sèvres egg cups, two left in the white with gilt dentil rims, the last decorated with a band of blue and gilt dots between scroll borders, blue interlaced Ls marks, the last broken and restuck, 4.7cm max. (4) £300-500

143. Five Sèvres ice cups, c.17601780, three painted with polychrome flower sprays on a white ground between blue lines with gilt dashes, another decorated in the Vincennes manner with a gilt border of small trellis panels reserved within foliate scrolls, the last painted with a panel of pink rose and other flowers within a gilt floral border on a bleu celeste ground, and a Sèvres-style ice cup painted with flower sprays within feuilles de choux borders, blue interlaced Ls marks, painter’s marks including Jacques-François Micaud père, Jean-Jacques Pierre and Niquet, some faults, one handle lacking, 6.5cm. (6) £300-500 The bleu celeste ice cup is possibly from a service purchased in 1769 by Francis Thomas Fitzmaurice, 4th Earl of Kerry via the banker, Sir John Francis Lambert.

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144. A Sèvres quatrefoil dish or stand, c.1770s, well painted to each end with a basket of roses and other flowers suspended from tied blue ribbons, within berried leaf garlands encircling puce roundels, gilt dentil rim, two filled rim chips, 22.6cm. £150-250

145. A Sèvres cup with cover and stand (gobelet à la Reine et soucoupe), date code for 1771, the flared cup and deep trembleuse saucer painted by Jacques-François Micaud père with baskets of pink roses suspended from blue ribbons within borders of berried laurel leaves, and a Sèvres sucrier (pot à sucre) painted by Louis-Jean Thévenet with blue and pink foliate motifs linked by leaf garlands, blue interlaced Ls marks enclosing date letters S and O, damages and repairs, 15.2cm max. (4) £100-200 Provenance: the sucrier formerly in the Hector Binney Collection.

146. Two Sèvres sucriers and covers, c.1760-90, the first of calabré shape, painted by Claude Couturier with sprays of polychrome flowers on a white ground, the cover with a gilded floral knop, the second of Bouret shape and painted by Mme Binet with a repeated stylized floral design between bands of continuous yellow flowers on a blue ground, blue interlaced Ls marks, one enclosing date code MM for 1789, painter’s marks, both finials repaired, a filled rim chip, 11cm max. (4) £150-200

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147. Two Sèvres sucriers and covers, date codes for 1760 and 1771, the earlier a pot à sucre Calabré painted by Etienne Evans with colourful birds in flight above and perched on leafy branches, gilt dentil rim, the other a pot à sucre Bouret, painted by AugustusFrançois Henricourt with polychrome flower sprays on a white ground, both with floral knops, blue interlaced Ls marks enclosing date letters H and T, damages, 10.5cm. (4) £100-200

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

148. Three Sèvres coffee cans and saucers (gobelets litron et soucoupes), c.1780-1800, one painted by Pierre Massy with scattered sprays of pink flowers, the other two by unknown artists with similar scattered flower designs within berried leaf or ribbon borders, interlaced Ls marks to two, one crowned, the other with blue Sèvres script mark, minor faults, 14.2cm max. (6) £400-600 Provenance: the can and saucer with the leaf border formerly in the Hector Binney Collection.

149. A group of Sèvres teawares, c.1770-80, including a teabowl and saucer painted by Guillaume Noël with scattered pink roses within a berried leaf border, a similarly decorated can (gobelet litron) by de Choisy, and large deep saucer by Jean-François Henrion, together with a can painted with scattered pink roses, and a sucrier (pot à sucre) with further roses around a central panel painted by Boileau fils, varying interlaced Ls marks, damages, 14cm max. (6) £100-200 Three services with rose et feuillages decoration were made at Sèvres, and a large quantity of one service is in the Duke of Bedford’s collection at Woburn Abbey.

150. A Sèvres water jug (pot à eau, broc ordinaire), date code for 1768, finely painted by Claude-Antoine Tardy with sprays of flowers on a white ground, and a Sèvres teapot and cover (théière Verdun) similarly decorated by Etienne-Jean Gremont, blue interlaced Ls marks enclosing date letters P and S above painter’s marks, some damages and replacements, 19cm max. (3) £80-120

151. A Sèvres small chamber pot (bourdaloue), date code for 1773, painted by Mme Noualhier with sprays of polychrome flowers on a white ground beneath a gilt dentil rim, blue interlaced Ls mark enclosing date code U above a painter’s mark and gilder’s mark for Buteux, 7cm rim crack, gilt wear, 8.2cm dia. £100-150

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152. A Sèvres plate (assiette) from the Ferdinand Service, date code for 1785, painted by Edmé-François Bouillat, the well with a spray of pink roses reserved on a purplish ground within a border of pearls, the rim with three oval panels of flowers within gilt borders on a bleu celeste ground with further gilt garlands, blue interlaced Ls mark with date letters HH to one side and painter’s mark Y to the other, gilder’s mark for Chauvaux, 24.2cm. £2,000-3,000 This service was gifted to Karl Anton Joseph Johann Stanislaus, Archduke of Austria and Viceroy of Lombardy, older brother of Marie Antoinette,

by Louis XVI. He visited Paris between May and August, 1786 with his consort Maria Beatrice, Duchess of Massa and Princess of Carrara, they travelled under the assumed names of Comte and Comtesse de Nellembourg.

Provenance: purchased from the Fine Arts Gallery, Bournemouth, 17th October 1985.

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153. A Sèvres bottle holder (porte-huilier) from the Ferdinand Service, date code for 1785, painted by Edmé-François Bouillat with a central panel of roses and two kidneyshaped panels of pink rose and blue cornflower, reserved on a bleu celeste ground, the elongated tray set with two pierced galleries to accept a bottle, interlaced blue Ls mark, date letters HH, gilder's mark for HenriMartin Prévost, with two later glass small decanters and stoppers, some restoration, 26cm. (5) £1,000-1,500 For details of this service see lot 152.

Provenance: purchased from Phillips, 11th September 1991, lot 250.

154. A Sèvres preserve stand (plateau à deux pots de confiture), date code for 1771, painted by Edmé-François Bouillat with scattered pink roses enclosed with flowers encrusté on a bleu fallot ground with gilt oeil de perdrix design, the U-shaped cups fixed to the stand and each with a flat cover with simple gilt knop, blue interlaced Ls mark and date letter S, a little retouching to the gilding, 24.3cm. (3) £500-800 This confiture is one of two ordered in 1771 for a service for an English dealer named Morgan. The other is in the collection at Woburn Abbey.

155. A Sèvres preserve stand (plateau à deux pots de confiture), date code for 1787, painted with scattered convolvulus flowers and continuous garlands of convolvulus within narrow yellow bands with further floral tendrils, the U-shaped bowls fixed to the base and each with a flat cover with simple gilded knop, blue interlaced Ls mark enclosing date letters KK, the covers damaged and repaired, a repaired chip to the base, 24cm. (3) £150-250

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156. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1776, painted by Charles-Nicolas Dodin, the can with a girl seated beneath a tree and making a fuss of a spaniel, the saucer with a basket of flowers resting on a puce cloth in a garden, reserved on a bleu lapis ground with an elaborate gilt floral scroll border, blue interlaced Ls marks enclosing date letter Y above painter’s mark K and gilder’s mark for Louis Antoine Le Grand, the can cracked, 15cm. (2) £500-800 Provenance: purchased from Errol Manners, 20th May 1999.

157. Two Sèvres coffee cans and saucers (gobelets litron et soucoupes), c.1765-75, one painted by Jean-Jacques Pierre jeune and JacquesFrançois Micaud with panels of fruit reserved on a bleu nouveau ground with elaborate flower swags gilt borders, the other with simple flower panels reserved on a bleu nouveau ground with bead gilt borders, blue interlaced Ls marks to the first, both saucers damaged, 12.2cm max.

(4) £600-800

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158. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1780, decorated by Jacques-François-Louis de Laroche with small panels of flowers including rose and cornflower, within gilt borders linked by rose doré shaped bands reserved on a bleu celeste ground, blue interlaced Ls marks enclosing date letters CC above painter’s marks, 13.8cm. (2) £800-1,200 Provenance: purchased from Arundel, 19th January 1990.

159. An associated Sèvres trio (gobelet bouillard et soucoupe avec gobelet litron), c.1770, decorated with a band of gold brickwork (briques d’or) between gilt foliate designs on blue bands, the can with a pointillé ground, varying interlaced Ls marks in blue and puce, the saucer with a date code R for 1770, and a small Sèvres can and saucer decorated with diagonal stripes in blue and gilt on a white ground, the can with a blue interlaced Ls mark, some damages, 13.6cm max. (4) £300-500 Cf. The Royal Collection, No. RCIN 39846 for a similar coffee can and saucer.

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160. A Sèvres plate (assiette à palmes), date code for 1769, painted by Edmé-François Bouillat with ‘Starhemberg’ type decoration, with scattered pink roses to the well, the rim with polychrome fleurs incrusté reserved on bleu Fallot ground with gilt oeil de perdrix decoration within white and gilt moulded scrolls reserving small fan motifs, interlaced blue Ls mark flanked by Q and Y, 24.6cm. £500-800 This shade of blue was first used on a dinner service gifted from Louis XV to the Austrian ambassador to France, Prince Starhemberg. Cf. Christie’s, New York, 24th October 2012, lot 161 for a pair of plates from the same service.

161. A Sèvres plate (assiette), date code for 1769, painted possibly by Jean-Nicolas Le Bel with flower sprays to the well, the rim with three panels of flowers within gilt foliate borders reserved on a bleu lapis ground, blue interlaced Ls mark enclosing numeral 2 above painter’s mark LB, some wear, 24.2cm. £200-300 Provenance: purchased from Klaber & Klaber, 5th December 1989.

162. An unusual Sèvres plate (assiette), date code for 1792, painted by Gilbert Drouet with a central posy of flowers to the well, the rim with a continuous wide band of finely painted flowers reserved on a dark khaki ground, blue interlaced Ls mark enclosing date code PP over painter’s mark DT and beneath gilder’s mark of 2000 for Vincent, 24.4cm. £300-500 Provenance: purchased from Andrew Dando, May 1984.

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163. A Sèvres plate (assiette) from the Earl of Clare’s service, date code for 1787, painted by Michel-Gabriel Commelin with a spray of pink roses on a purplish claret ground to the well, within gilt and alternating floral borders, the rim with small floral panels within further flower and leaf garlands edged in a deep claret ground, blue interlaced Ls mark enclosing date letters KK above painter’s mark, gilder’s mark for PierreJean Baptiste Vandé, 24cm. £1,000-2,000 This service was bought in Paris in 1787 by the English diplomat, William Eden, on behalf of the Irish politician, John Fitzgibbon, Earl of Clare.

The service included 60 plates, with a cost of 42 livres each. Correspondence between Eden and Fitzgibbon indicates that Eden negotiated the order of the service in return for Fitzgibbon ordering he and his wife some pairs of Limerick calfskin gloves. The design of the service was left to Mrs Eden to choose, but a letter to Eden in 1789 shows FitzGibbon’s appreciation as he says it “does very great honour to her taste”. The service remained in the family until it was sold in 1891.

Provenance: purchased from David Peters, 18th September 1988.

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164. Two Sèvres coffee cans and saucers (gobelets litron et soucoupes), dated 1777 and 1778, one painted by Mme Noualhier with a basket of flowers on a table top reserved on a white ground, yellow crowned interlaced Ls mark with VV painter’s mark, the other painted probably by Morin with quatrefoil panels of flowers and fruit reserved on a café au lait ground, pink crowned interlaced Ls mark, and a teacup and saucer (tasse à thé et soucoupe), painted by Pierre Massy with baskets of flowers resting on a marble ledge reserved on a sea green ground with a puce scroll border, blue interlaced Ls mark and gilder’s mark for Giraud, some faults, 13.2cm max. (6) £250-350

165. Four Sèvres cups and saucers, c.1770-95, one gobelet Bouillard paintred by Louis-Jean Thévenet with ilt foliate tendrils over a puce oeil de perdrix ground between blue bands, a two-handled tasse à toilette decorated by Chauvaux with small fruit motifs linking panels of gilt trellis, a tasse de thé by the same artist with shaped panels of scrolls and vases reserved on a turquoise ground within yellow borders, the last a gobelet litron painted by Vincent or Mme Taillandier with scattered cornflowers around a central spray edged in red husks, the saucer a 19th century Paris porcelain replacement, varying marks including interlaced Ls, script Sèvres and RF monogram, some damages, 14cm max. (8) £200-300

166. Two Sèvres small coffee cans and saucers (gobelets litron et soucoupes), c.1773-90, one painted by François-Antoine Pfeiffer with a formal floral garland design, the other with scattered pink roses, another can painted by Edmé-François Bouillat with pink roses encircled by gilt leaf borders, another can painted by Mlle Armand with scattered cornflowers (decor barbeaux), and another by Niquet with a band of rose and cornflowers on a gilt pointillé ground between berried leaf borders above further scattered sprigs on a cream ground, varying interlaced Ls marks with date letters and painter’s marks, some small damages and repairs, 11.1cm max. (7) £200-300

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167. Seven Sèvres cups, c.1756-85, one of gobelet Hébert shape and painted by Vincent Taillandier with convolvulus and other flower swags tied with a large pink ribbon, another of the same shape painted by Denis Levé with delicate flower sprays, and another with puce camaieu trails of convolvulus over a line border, a gobelet Bouillard with similar camaieu decoration of flower sprays, another by Antoine Buteux with flower sprays, nother with undulating flower garl;ands, the last with flower garlands suspended from gilt rings beneath a pink pointille border, varying interlaced Ls marks, date codes and painter’s marks to some, some damages, 6.2cm max. (7) £100-200

168. Three miniature Sèvres cups and saucers (tasse et soucoupe en miniature), c.1770-1774, one painted by Jacques François Micaud père with panels of pink roses and puce trellis reserved in leaf borders on a blue pointille ground, another with scattered pink roses within a berried laurel border, the last painted by François Baudoin with landscape panels on a gilt lattice ground, blue and red interlaced Ls marks, two saucers broken in half and restuck, 7.5cm. (6) £250-350

169. Five Sèvres milk jugs (pots à lait à trois pieds) in five sizes, c.1760-80, the largest painted by Thévenet père with a ‘Hop Trellis’ design of vertical berried lef garlands alternating with blue bands entwined with gilt ribbon, the next painted possibly by Mme Gérard with cornflower sprigs, two left in the white with gilt dentil rims and gilt detailing to the moulded flower sprigs, the smallest decorated with sprays of polychrome flowers on a white ground, varying blue interlaced Ls marks, small damages and repairs, 12cm max. (5) £250-350

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170. Three Sèvres plates (assiettes à osier), c.1770-83, printed with scattered sprays of polychrome flowers on a white ground, within narrow blue borders with gilt hatching, the lobed rims with osier moulding, varying interlaced Ls marks, two enclosing date letters for 1770 and 1783, painter’s marks including those for JeanBaptiste Tandart, Mme Noualhier and Claude-Antoine Tardy, minor faults, 23.8cm. (3) £80-120

171. Two Sèvres plates, 2nd half 18th century, one early Sèvres or Vincennes, painted by Jean-Baptiste Tandart with small scattered flower sprays, the lobed rim with narrow blue scrolls and gilt foliate motifs, a later plate painted with flower sprays within a blue feathered border, the last a Paris replacement and painted with flowers sprays with a feuille de choux border in blue and gilt, some damages and repairs, 24.6cm max. (3) £80-120

172. A Sèvres combined part service, c.1760-85, decorated by various painters including François Barré, Denis Levé, Mme Noualhier and JeanBaptiste Tandart, with delicate flower sprays on a white ground within narrow blue and gilt borders, various blue interlaced Ls marks, date codes and painter’s marks. Comprising: two saladiers, a shell-shaped dish (compotier coquille), a large oval dish (jatte anglaise), a smaller, an ecuelle stand, a mustard stand (plateau de moutardier), a plate, and a later Paris (Rue Thiroux) plate, possibly a replacement. (9) £200-300

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173. A Sèvres monteith (seau ovale crennele), c.1758-78, painted

by Edmé-François Bouillat with sprays of flowers including pink roses, with smaller scattered sprigs around, the rim and foot with a narrow blue band hatched with gilt, blue interlaced Ls mark, restored, 30.5cm across. £200-300

174. A Sèvres sucrier and cover (sucrier de Monsieur le Premier), c.1780, decorated with a repeated design of tiny sprigs in green, red and gilt between narrow bands in blue, red and gilt, blue interlaced Ls mark, 24cm. (2) £100-200

Provenance: purchased from Gary Coulson, 5th August 1993.

175. A Sèvres oval sucrier with cover and stand, c.1797, and a matching plate, all painted by Jacques-François-Louis de Laroche and M G Commelin with tied bouquets of pink roses within pale blue bands with a simple gilt foliate border, blue script Sèvres marks and RF monograms, the cover a poor fit, 27.5cm max. (4) £200-300

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176. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1775, painted by Nicquet, the can with a basket of flowers suspended from a blue ribbon with puce detailing within a band of yellow jasmine, the saucer with a spray of pink roses to the well, the rim with three sprays of yellow jasmine tied with ribbon, blue interlaced Ls marks enclosing date letter X above painter’s marks, a filled chip to the cup’s foot, 14.8cm. (2) £600-1,000 Provenance: purchased from Christie’s, 26th March 1992, lot 20.

177. A Sèvres tea cup and saucer, date code for 1791, painted by Jean-Baptiste Tandart with large flower arrangements resting on marble ledges, reserved on a bleu nouveau ground with an elaborate gilt foliate scroll border, blue interlaced Ls mark enclosing date code OO above a three dot painter’s mark, 16.5cm. (2) £150-250 Provenance: purchased from Circus Antiques, Horsham, 15th September 1994.

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178. A large Sèvres milk jug (pot à lait à trois pieds), date code for 1782, painted by Nicquet with garlands of pink roses suspended from gilt nail heads, above a narrow band of purple flowers, the rim with berried leaf garlands flanking a pink ribbon entwined with further flowers, raised on three stalk feet, blue interlaced Ls mark enclosing date letters EE, the legs broken and restuck, 12.8cm. £150-250 Provenance: purchased from Phillips, 11th September 1991, lot 231.

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

179. A Sèvres matched coffee can and saucer (gobelet litron et soucoupe), c.1790, the can painted by Pierre-Joseph Rosset with figures beside and in a boat by trees and a river, within a gilt border on a bleu nouveau ground, blue script Sèvres mark and RF monogram, the saucer 18th century but probably decorated in the 19th century to match the can, with figures fishing by a river, blue interlaced Ls mark enclosing date letter O, and a small Sèvres can (gobelet litron) painted probably by André-Vincent Vielliard with a figure on a riverbank with windmills behind, reserved on a ground of turquoise and puce feathers, the single can broken and restuck, 13.5cm max. (3) £100-200

180. A pair of Sèvres saucers (soucoupes), c.1780-90, each painted to the well with a single figure standing beside trees and rocks in a rural landscape, on a bleu nouveau ground with a fine gilt foliate scroll border enclosing flowerheads, blue interlaced Ls marks, one marked for Le Guay, a Sèvres or Sèvres-style can (gobelet litron) painted with a couple dancing, after David Teniers, within a jewelled border on a bleu nouveau ground, and another Sèvres-style can decorated with two gentlemen drinking beside a barrel, both with interlaced Ls marks, 12.5cm max. (4) £100-200

181. A Sèvres miniature teapot and cover (théière calabré), date code for 1782, painted by Hirel de Choisy with scattered sprigs of cornflower and heartsease on a white ground beneath a border of pink pearls on a green ground, and a larger Sèvres teapot and cover, date code for 1760, painted by Edmé-François Bouillat père with delicate sprays of roses and other flowers, blue interlaced Ls marks, some damages and repairs, 19cm max. (4) £200-300

182. A Sèvres teapot and cover (théière calabré), c.1785, painted with panels of pink roses and cornflowers within gilt wreaths reserved on a ground of stylized lower sprigs between blue bands with gilt dots, blue interlaced Ls mark and indistinct date letter, a repair to the end of the spout, 15.5cm. (2) £200-300

Provenance: the miniature teapot formerly in the collection of Mrs Winifred Armstrong, Cambridge.

Provenance: purchased from Armin B Allen, 9th June 1989. Formerly in the Isaacson Collection.

A part tea service in the same pattern is on display at the Bowes Museum, dated 1784.

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183. A Sèvres coffee can and saucer (gobelet litron et soucoupe), c.1780-85, decorated by Etienne Charles Le Guay, the cup with an oval panel in puce camaieu depicting the death of Cleopatra, the Classical maiden swooning in a chair beside a basket of fruit in which lurks the poison asp, within a gilt border, reserved on a bleu nouveau ground with gilt columns and flower swags between scroll borders, the saucer with a puce camaieu vignette of instruments, trophies and flowers within a gilt leaf border, the rim with gilt flower garlands and S scrolls on a bleu nouveau ground, puce interlaced Ls marks and blue LG painter’s marks, a section of the saucer broken and restuck, 14.3cm. (2) £1,000-1,500 Provenance: purchased from E & H Manners, July 1988.

A near identical painting of Cleopatra is on an egg cup in the Louis XVI service at Buckingham Palace, painted in 1785. Le Guay is recorded as an artist on the Louis XVI service. See also, Victoria and Albert Museum, Accession No. 3615-1856 for a can and saucer from the same service, depicting the Rape of Proserpine.

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184. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1782, decorated

by Jean-Jacques Dieu with panels of gilt figures on a claret ground, one side with a boy crying beside a girl with flowers, the reverse with a Classical maiden holding a tray before another seated, the saucer with similar panels of victory and love motifs, all linked by garlands of pink roses, all reserved on a bright green ground, crowned blue interlaced Ls marks flanked by date letters EE above painter’s mark, a short crack to the cup, some gilt wear, 12.4cm. (2) £400-600 Provenance: Zene Walker, Burford, 23rd September 1989.

185. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1781, decorated by Jean-Nicolas or Mme Le Bel with small panels containing baskets of flowers and fruit, birds and motifs of love, reserved within gilt scroll borders on a maroon ground with incrusté decoration of flower garlands, traces of a gilt interlaced Ls mark enclosing date letters DD above painter’s mark and gilder’s mark for HenriMartin Prévost, a little gilt wear, 12.3cm. (2) £150-250 Provenance: purchased from Bonhams, 28th October 1988, lot 112. Formerly in the collection of Mrs Winifred Armstrong, Cambridge.

186. A Sèvres coffee can (gobelet litron), date code for 1790, painted by Charles-Nicolas Buteux with a a vase of flowers resting on a marble ledge before a tied blue curtain, reserved in a gilt border between bands of pink rose on a puce pointille ground flanking stripes in blue, green, yellow, pink and black, blue interlaced Ls mark between date letters NN, painter's mark 9., and a Sèvres can and saucer painted by Denis Levé with panels of pink rose sprays on a rouge de fer ground with gilt leaf sprays, interlaced Ls marks, the saucer broken and restuck, 14.4cm max. (3) £150-250

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187. A Sèvres double-handled tray (plateau Hébert an anses) date code for 1786, painted by Michel Josse Le Riche fils in purple camaieu with children playing in a farmyard scene, reserved on a duck egg blue ground, the shaped rim with a continuous scroll design, blue interlaced Ls mark enclosing date code ii, a clover leaf painter’s mark, some scratching and wear, 31.5cm. £200-300

188. A Sèvres tray (plateau Hébert), date code for 1779, painted by JeanBaptiste Tandart with a garland of flowers encircling a central spray, the rim with further garlands between gilt scrolls, black interlaced Ls mark enclosing date code BB above painter’s mark of three dots, and a Coalbrookdale porcelain Sèvres-style tray, mid 19th century, painted with baskets of flowers and bands of roses on a blue ground between gilt scrolls, printed mark and painted pseudo interlaced Ls mark, one handle of the Sèvres tray broken and riveted, 33cm max. (2) £200-300

189. Six Sèvres plates (assiettes), c.17931800, painted by Edmé-François Bouillat and Mme Gérard with an allover cornflower sprig design on a white ground within gilt dentil rims, gilding by Vandé and Giraud, puce script Sèvres marks and RF monograms, rim chips, 23.5cm. (6) £100-150 Provenance: purchased from Tetbury Antique Centre, 2nd August 2003.

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190. Two Sèvres square dishes (plateau carré), c.1788-95, one painted by Mme Bunel with scattered flower sprigs around a central rose, the rim with large cornflower sprays linked by a puce band, blue interlaced Ls marks nclosing a smaller pair, painter’s mark and gilder’s mark for François Mirey, the other possibly by Louis Parpette with scattered blue and pink flowers, the rim with a large band of flowers between narrow blue and gilt borders, blue RF monogram and script Sèvres mark, some chipping, 25cm. (2) £150-250 Provenance: the second dish sold at Bonhams, 17th November 1989, lot 171 (one of 35 pieces).

The first plate is believed to have been part of a service purchased on 19th July 1788 by JeanFrédéric Perregaux, a Swiss banquier in Paris who was probably buying on behalf of a client.

191. A Sèvres hexafoil stand (plateau à pot à jus), date code for 1774, painted with flower sprays and single scattered sprigs on a white ground, the moulded rim edged with a gilt dentil border, yellow crowned interlaced Ls mark enclosing the date letter V above the initials NT, and an unusual cinquefoil dish, moulded with five large lobes each flanking three smaller ones, painted by Louis-Gabriel Chulot with scattered flower sprays, blue interlaced Ls enclosing date letter S for 1771, filled rim chips to the smaller dish, 29.8cm max. (2) £250-350 Provenance: the stand purchased at Olympia, 8th June 1989, the dish from Klaber & Klaber, May 1984.

192. A Sèvres circular dish (compotier rond), date code for 1771, painted by Nicolas Bulidon with polychrome flower garlands around a central arrangement, and a Sèvres triangular dish (plateau triangle) decorated in the 19th century with a putto within flower garlands and a jewelled blue ribbon border within panels of gilt oeil de perdrix, blue interlaced Ls marks, the triangular dish broken and restuck, 22.5cm max. (2) £400-600

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193. Three Sèvres coffee cans (gobelets litron), c.1780-90, one painted by Jean-Charles Sioux with the initial R in small flowers within a blue ropetwist border, between bands of pink roses and colourful formal borders, another by the same hand with the monogram CB in gilt and flowers, beneath further flower garlands and a dotted blue border, the last hard-paste and painted by Vincent Taillandier with the initial M in blue flowers between fuchsia sprays, the rim and foot with a band of oeil de perdrix, crowned interlaced blue Ls marks, some gilt wear, 6.8cm. (3) £400-600 Provenance: the letter R can with a paper label for The Antique Porcelain Co., New York. The letter M can with a paper label for the Tryhorn Collection.

194.

Two Sèvres monogrammed coffee cans and saucers (gobelets litrons et soucoupes), c.1780-87, one painted by Mme Noualhier with the letter M in pink roses on a ground of scattered cornflowers, another gilded with the monogrammed initials CMD on a white ground, a single Sèvres can painted by Mme Binet with the letter L between flower garlands tied with purple ribbon, varying blue interlaced Ls marks, and a Clignancourt coffee can and saucer painted with two putti holding a leaf diadem above the gilt letter D, some damages, 13.6cm max. (7) £200-300 Provenance: The Clignancourt can and saucer is believed to have been made for the Drummond family, the Earls of Perth in Scotland. The can with the letter L was formerly in the Hector Binney Collection.

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195. A Sèvres plate (assiette), c.1770, for Madame du Barry, the well decorated with a monogram of a gilt letter D and the letter B in flowers, the rim with circlets of ivy tied with ribbon between swags of fruiting grapevine, flanking three small panels containing putti on clouds, the rim with shaped diaper panels in puce and gilt, blue interlaced Ls mark, 24.2cm. £5,000-8,000 Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. II, pp.495-98 for a discussion of a service similar to that produced for Maria Caroline, Queen of Naples and Sicily which was started for Madame du Barry but never finished. Examples are known with contemporary decoration and gilding, as well as with 19th century gilding and 19th century full decoration. This plate differs to that service in lacking the baskets of flowers to the rim, but has other similarities, and appears to be a rare survival.

Provenance: purchased from Michael Upsall, Warminster, 1st August 1985 as Judith’s 40th birthday present to herself.

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196. A Sèvres acrostic or puzzle can and saucer (gobelet litron et soucoupe), date code for 1788, painted by Denis Levé with a complicated acrostic message of love amidst colourful birds in flight above and perched upon scrollwork and leafy tendrils, within puce borders with gilt foliate bands, blue interlaced Ls marks enclosing date code LL, 11.8cm. (2) £250-350

197. A Sèvres saucer (soucoupe), date code for 1787, painted by Mme Morin with an acrostic or puzzle inscription, with three message panels and two containing vessels of flowers within scroll motifs and yellow flower garlands, a small Paris coffee can with a similar inscription within a gilt shield, and a larger can painted with a parody bank note or assignat bearing a message of love reserved on a tooled gilt ground, some damages, 12cm max. (3) £150-200 Provenance: the saucer purchased from Eton Antiques Centre, 21st June 2003.

198. Three Sèvres coffee cans and saucers (gobelet litrons et soucoupes), date codes for 1779, 1783 and 1789, one painted by Jean-François Henrion with flower garlands on a pink ground, another also by Henrion with delicate scrolling foliate borders enclosing colourful birds on a rich pink ground, the last by Mme Buteux with gilding by Henri-Martin Prevost, with flower garlands linking tied arrows and quivers on a rich pink ground with purple flower sprigs, interlaced Ls marks with various date codes and painter’s marks, some damages, 12.6cm max. (6) £400-600

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199. Three Sèvres cans and saucers (gobelets litron et soucoupes), c.1774-78, one painted by François-Antoine Pfeiffer with radiating bands of pink rose on a grey ground, another by Niquet with alternating stripes of pinkl roses and gilt foliage between narrow blue and red bands, the last decorated by Charles-Nicolas Buteux with alternating pink and white stripes beneath gilt foliate designs, and two other cans in two sizes decorated by François Prand and an unknown hand with similar vertically striped floral designs, varying interlaced Ls marks, date codes and painter’s marks, some wear, 12.3cm max. (8) £300-400

200. Two Sèvres cups and saucers, c.1775-90, one of gobelet Bouillard form and gilded by Chauvaux l’aîné with interlocking wreaths of flowers and leaves in two shades of gold, the other a gobelet litron and decorated by Antoine Capelle with small trellis panels between gilt scrolls, two other Sèvres coffee cans decorated with gilt dots, the larger with a gilt scroll border, and a small milk jug (pot à lait à trois pieds) similarly decorated with gilt dots, blue interlaced Ls marks to some, minor faults, 14.2cm max. (7) £250-350 The can with the scrollwork frieze is possibly part of a service ordered by Armand-Jules-François, duc de Polignac, Directeur-Général des Postes, whose wife was a close friend of Marie Antoinette. The duc and his wife emigrated to England in 1789 at the behest of Louis XVI prior to the Revolution.

Cf. David Peters, Sèvres Plates and Services of the 18th Century, Vol. III, pp.607-608 for a discussion on the sevice, which mentions this can.

201. Three Sèvres cups, c.1763-87, one a gobelet couvert painted with a young couple reclining beneath trees, after François Boucher, another painted by Etienne-Jean Chabry with flower sprigs either side of a bleu nouveau band with a formal gilt design, the last with pink and blue flower sprigs on a puce band, with a Sèvres sucrier (pot à sucre Hébert), painted by Pierre-Antoine Méreaud with flower wreaths linked by gilt scrolls beside trellis panels of gilt and white enamel on a blue ground, varying interlaced Ls marks, 6.8cm max. (4) £250-350

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202. A Sèvres ecuelle stand, date code for 1777, painted

by François-Joseph Aloncle with a panel of a small dog barking at swans, another of rabbits eating in a garden, reserved on a bleu nouveau ground with elaborate gilt scrolls, a Sèvres plate painted with an exotic bird perched on a branch, the rim with three floral panels with feuille de choux borders in gilt, and another painted possibly by Morin with two exotic birds before a broken fence, the rim with flowering tendrils within a narrow shaped blue border, blue interlaced Ls marks enclosing date codes and above painter’s marks, damages and repairs, 24.4cm max. (3) £100-200 Cf. The Hermitage Museum, Accession no. 30-14454 for a similar stand by Aloncle.

203. Three Sèvres coffee cans and saucers (gobelets litron et soucoupes), date codes for 1786 and 1787, one painted by Mme Buteux with a narrow band of continuous convolvulus enclosing a yellow ground with small scattered sprigs, another smaller and similarly decorated by AndréVincent Vielliard, with polychrome flower garlands enclosing a mustard yellow ground with scattered flowers, the last decorated by Mme Noualhier with scattered blue flowers on a yellow ground, the rim with puce monochrome scroll borders, blue interlaced Ls marks with date letters II and KK and varying painter’s marks, 13.5cm max. (6) £250-350 Provenance: the last can and saucer formerly in the Hector Binney collection.

204. A matched pair of Sèvres plates (assiettes), date codes for 1784 and 1787, painted by Mme Le Bel and MichelGabriel Commelin with scattered polychrome flower sprigs, the borders with small panels of gilt dots enclosing heartsease within narrow suspended flower garlands on a white ground, blue interlaced Ls marks enclosing date codes GG and KK, a chip to one footrim and a small rim repair, 24.2cm. (2) £300-500 These plates are believed to have come from a service sold to the Amsterdam dealer, J-B Lefebvre in 1784 (the later plate an addition to the service).

205. A Sèvres mustard stand (plat à moutardier), c.1770, the small oval form painted with two panels of flowers within gilt scroll borders on a fond vert ground, a Sèvres plate painted with sprays of polychrome flowers and later-decorated with gilt floral panels on a green ground, a Feuillet inkwell of oval shape, painted with flowers on a green ground, and a Paris porcelain inkstand fixed with two inkwells and a central vase, painted with panels of instruments and victory motifs within Classical gilt borders on a green ground, some damages, 29.5cm max. (4) £150-250

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206. Three Vincennes flowers, c.1750, naturalistically modelled including a small pink dahlia and a chrysanthemum with pink tinged petals, and three later flowers with pink petals and green sepals, some chipping, 6.2cm max. (6) £400-600 Provenance: the three Vincennes flowers acquired from Wells, c.1976.

207. A Sèvres two-handled sauceboat (saucière), c.1800, painted with a panel of flowers at each spout, reserved within later gilt panels on a blue ground, a Sèvres tray or tureen stand (plateau lozenge à saucière), painted by Claude Couturier with scattered flower sprays within a narrow blue line rim with gilt dashes, blue interlaced Ls marks, and a French porcelain lid painted with a band of pink roses and the Sèvres interlaced Ls mark in small flowers, damages and repairs, 30.5cm. (3) £80-120

208. A Sèvres ecuelle stand (plateau nouvelle forme), date code for 1781, painted by Claude-Charles Gerard with two kidney-shaped panels of Classical bacchanalian figures, one couple scribing into tree bark, the others reclining in a glade, an eagle with a firebolt just visible, reserved on a bleu nouveau ground with elaborate gilt scrolls, and a Sèvres plate (assiette), c.1800, painted with the figure of Uranie clutching the newly discovered planet of Uranus, within a bleu nouveau border with later gilt decoration, blue interlaced Ls marks, the plate broken and restuck, 24.2cm max. (2) £400-600

209. A Vincennes beaker (gobelet), date code for 1754-55, the flared form painted by Louis-Jean Thévenet père with pink and yellow roses and other scattered flower sprays, interlaced blue Ls mark enclosing date letter B, and a rare Vincennes shaped dish or stand, c.1745-52, finely painted with flowers in the Meissen manner, blue interlaced Ls mark enclosing a single dot, the dish broken and restuck, 24cm max. (2) £100-200

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210. A Sèvres ecuelle with cover and stand, date code for 1765, painted by Jean-Baptiste Tandart with kidney-shaped panels containing three interlocked wreaths of roses, berried laurel leaves and other flowers tied with pink and blue ribbons, reserved on a fond Taillandier ground, of bleu nouveau with an oeil de perdrix design in puce and gilt, interlaced blue Ls marks enclosing date letter M, damages and repairs, 22.6cm. (3) £400-600 Provenance: purchased from Malcolm HeygateBrowne, 6th September 1988.

Cf. Sotheby’s, The Dimitri Mavrommatis Collection, 8th July 2008, lot 34 for an ecuelle with the same three wreath design, also by Tandart.

211. A Sèvres jug and basin (aiguière et cuvette), date code for 1794, the jug decorated

by Henri-Martin Prévost with panels containing baskets of flowers, the dish by Micaud and Vincent with a central floral panel, both reserved on a primrose yellow ground (fond jaune) within continuous bands of flowers, gilt script Sèvres mark to inside of jug’s footrim, the basin broken and repaired, 40cm across. (2) £400-600 Provenance: purchased from Holker Hall, Cumbria, 17th November 1989.

212. A rare and unusual Sèvres campana vase, date code for 1773, painted

by Pierre-Nicolas Pithou l'aîné to one side with a panel of fruit including peaches, plums and redcurrants, the reverse with a panel of flowers including rose, cornflower and nasturtium, within gilt foliate borders on a pale blue ground, crowned interlaced Ls mark enclosing date letter U, gilder's mark for Pierre l'aîné, damages, probably lacking a cover, 28.6cm. £100-200 It is possible that this unusual ground colour is referred to as gris d'agate or bleu d'agate. Louis XV bought a pair of unidentified vases in 1775 with a gris d'agate ground colour, identical to a pair of vases chinois sold previously at 600 livres.

The handles appear to be unrecorded elsewhere, but the shape is very similar to the vase momie which had sphinx head handles. Another variant is in the Jones Collection at the Victoria and Albert Museum, Accession No. 767&A-1862.

Provenance: purchased in Hungerford on 31st January 1986.

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213. A Sèvres ecuelle with cover and stand, date code for 1771, painted by Antoine Touissant Cornailles with kidney-shaped panels of fruit and flowers reserved on a blue ground with flower and oeil de perdrix designs, blue interlaced Ls marks enclosing date letter S, the bowl broken and restuck, 20cm. (3) £300-400

214. A rare pair of Sèvres flower vases (corbeille ovale), date codes for 1778, the flared forms painted by Edmé-François Bouillat, one side with a garland of flowers suspended from tied blue ribbons, each reverse with a spray of pink roses, the feet with a band of gilt foliage, gilt dentil rims, purple interlaced Ls marks with date letters AA and painter’s marks, cracked, 17.5cm across. (2) £400-600 Very few examples of this shape are recorded. A pink ground example dated 1759 sold at Sotheby’s on 12th June 1984, lot 210, and a pair were sold by Adrian Sassoon from a private New York collection in 2018.

Provenance: purchased from Bonhams, 28th October 1988, lot 106.

Formerly in the Winifred Armstrong Collection, Cambridge. Both carrying paper labels inscribed ‘Lord F’.

215. Three Sèvres coffee cans (gobelets litron) and two cups (tasses), c.1785-1800, one can painted by Vielliard père or fils with a band of convolvulus above formal scrolls on a primrose yellow ground (fond jaune), another by Jean-Joseph-Philippe Boucot with small blue sprigs between purple leaf panels on a yellow ground, the last by Marie-Barbe Bunel with a blue ribbon entwining pink roses on a yellow ground above a narrow berried leaf border, a cup painted with flower sprays beneath a narrow leaf band, the other by Denis Levé with a purple camaieu scroll border on a yellow ground, together with an Etruscan saucer (soucoupe Etrusques) with leaf and flower scrolls flanked by narrow yellow borders with delicate leaf tendrils, and a shaped dish painted with a band of convolvulus and scattered sprigs, various marks including blue interlaced Ls, script Sèvres and RF monogram, the dish broken and riveted, some other flaws, 27cm max. (7) £250-350 The dish is from a service sold to Madame Hubaire (Huber) in 1788. See lot 224 for more details.

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216. A Sèvres small coffee can and saucer (gobelet litron et soucoupe), dated 1770, painted by Edmé-François Bouillat with a central arrangement of flower garlands entwining scroll tracery in white and gilt reserved on a blue ground, interlaced Ls mark flanked by the letters RY, 10.8cm. (2) £300-500

217. A Sèvres small tea canister and cover, c.1760s, of chamfered rectangular form, painted with delicate sprays of rose and other flowers on a white ground, within gilt detailing, the flat cover decorated with a gilt flowerhead, blue interlaced Ls mark, a few small chips to the cover, 7.5cm high. (2) £150-250 Provenance: acquired from Woolley and Wallis, 8th October 2013, lot 567.

218. Three Sèvres salts, c.1760-75, two saliere carrée painted with sprays of polychrome flowers on a white ground between narrow blue lines with gilt dashes, interlaced blue Ls marks enclosing date letters V and X respectively, painter’s marks for Claude-Antoine Tardy and CharlesFrançois Becquet, the last saliere double painted with similar sprays of pink and blue flowers, faint blue interlaced Ls mark, minor damages, 12.5cm max. (3) £100-200

219. Two Sèvres saucers (soucoupes), date codes for 1786 and 1787, one painted by PierreJoseph Rosset with a continuous village landscape in purple camaieu around a band of gilt dots with red shading on a rich yellow ground, a central purple flower spray to the well, the other decorated with pink roses and scattered cornflowers within a formal flower border and narrow yellow band, and a small Sèvres teapot (théière) decorated by Marie-Jeanne Barbe with interlocked leaf bands enclosing small flower sprigs above a rich yellow ground with small brown dot designs, blue interlaced Ls marks enclosing date letters JJ and KK, the teapot’s cover lacking, 13.4cm max. (3) £150-250 Provenance: the second saucer formerly in the Hector Binney Collection.

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220. Two small Sèvres coffee cans and saucers (gobelets litron et soucoupes), c.1785-1800, one painted by Nicquet with baskets of roses and sprays of other flowers around a shaped blue panel with gilt foliate scrolls, interlaced Ls mark enclosing date code RR, gilder’s mark for Boileau, the other by MichelGabriel Commelin and Denis Levé with a narrow band of flowers between rich blue bands, blue Sèvres script marks, the latter can and saucer associated, 12.2cm max. (4) £150-250

221. Two Sèvres cans and saucers (gobelets litron et soucoupes), dated 1780, of small size, one painted by Nicquet with rose garlands between wide floral, ribbon and leaf borders on a white ground, the other painted by Antoine Capelle with vertical sprig bands on a yellow ground, interlaced Ls mark enclosing date codes CC above painter’s marks, damages, 12.4cm max. (4) £100-200 Provenance: the Nicquet can and saucer formerly in the Hector Binney Collection.

222. Two Sèvres miniature two-handled cups and saucers (tasses à toilette), c.1756-76, one painted with shaped bands of polychrome flowers alternating with rich green stripes with gilt foliate bands, painter’s mark for Tandart, the other smaller and painted by André-Vincent Vielliard with pink rose sprigs within berried leaf garlands suspended from scrollwork, puce and blue interlaced Ls marks, minor damages, 9.7cm max. (4) £100-200

223. A Sèvres coffee can and saucer (gobelet litron et soucoupe), c.1800, of small size, painted by Mme Noualhier with pink and yellow flowers entwined over a wide blue band, a saucer painted by the same artist with puce vessels and feather scrolls between blue bands, and a similar can painted by Denis Levé with a band of flower garlands and scrolls on a rich blue ground, interlaced Ls marks and script Sèvres marks, plus red printed M Impl de Sevres marks to the can and saucer, the single can broken and restuck, the saucer cracked, 12cm max. (4) £100-150

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224. A Sèvres plate (assiette unie), date code for 1788, painted by Pierre-Joseph André Vielliard fils with scattered convolvulus flowers, the rim with a band of continuous convolvulus edged with yellow bands reserving narrow foliate borders, interlaced blue Ls mark above date letters LL, and a Paris porcelain plate painted with roses, tulips and other flowers reserved on yellow bands, a regilded rim chip to the first, 24.9cm max. (2) £200-300 The Sèvres plate is from a service sold to Mme Hubaire (Huber) on 22nd September 1788, which she requested have similar decoration to the service sold to William Eden the previous year. This plate, with 20 others, was formerly in the collection of Lord Michael Pratt of Bayham Manor in Kent, the younger son of the 5th Marquess of Camden. It is possible that the service was made for the 1st Earl of Camden.

225. A large Sèvres circular dish or stand (plateau rond), c.1800, painted by Edmé-François Bouillat, the well with an en grisaille design of flowers and formal foliate motifs issuing from a central flowerhead, the border with flower sprays in purple camaieu on a pale green ground, flanked by bands of pink roses, blue script Sèvres mark, 30cm. £150-250 This design is listed as number 254 and is probably part of a service purchased on 5th March 1801 by Madame le Febvre, which included a stand for a round basket. The bulk of the service was sold at Christie’s on 29th April 1874, lot 77, and then again on 14th November 1902, lot 46.

226. A pair of Sèvres plates from the Duke of Leinster service, c.1775, finely painted to the wells with baskets, parasols, fans and other objects, the rims with bold flower garlands suspended from gilt and blue scalloped borders, crowned interlaced Ls marks, one with a date code x, painter’s marks for Louis-Thomas Bauquerre, and Antoine-Joseph Chappuis, 24.3cm. (2) £400-600 Cf. Sotheby’s, 22nd November 2005, lot 38, The Property of Anne, Duchess of Leinster, for the rest of the service, which was purchased by William Robert Fitzgerald, 2nd Duke of Leinster, Governor of County Kildare, on 21st October 1775, possibly in recognition of his marriage two weeks later. A near identical service was made for James Ogilvy, 7th Earl of Findlater, in 1774. See David Peters, Sèvres Plates and Services of the 18th Century, Part II, no. 74-3.

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227. A Sèvres ecuelle with cover and stand (ecuelle nouvelle forme), c.1798-99, painted by Guillaume Noël with delicate foliate scrolls and berried laurel sprays between bands of a formal leaf design in black on a lilac ground, the bowl and stand with gilt scroll handles, the cover with a fruiting pomegranate knop, blue script Sèvres mark, the cover broken and riveted, other small damages, 23.5cm. (3) £400-600 Provenance: purchased from J&B Antiques, 4th December 1990.

228. A large Sèvres saucer (soucoupe), date code for 1790, painted by François Barrat (oncle) with three panels of bare plants or seaweed in purple monochrome on a coloured ground, between colourful elaborate scrolls and a narrow band of flowers on a black ground, gilder’s mark for Vincent, a tea cup gilded with crossed cornucopia on a black ground between puce and blue borders, and a coffee can (gobelet litron) painted with panels of vases on scrollwork against blue and green grounds between flower swags, blue and gilt interlaced Ls marks, and a later Paris can painted with a band of pink roses on a black ground, some gilt wear, the latter can cracked, 21.3cm max. (4) £400-600

229. A Sèvres teapot and cover (théière chinois), c.1818-27, the hexagonal form glazed a rich pinkish purple with gilt, white and rouge de fer detailing, the spout formed as a dragon’s head, printed interlaced Ls mark, an unusual Etruscan-shaped cup with formal gilt designs on a pale blue ground, a Sèvres saucer painted with delicate flower garlands between gilt scroll motifs, a La Courtille saucer decorated in the Sèvres manner with pink roses and panels of ribbon, and a Sèvres-style jewelled saucer, some restoration to the teapot, the cup fire-damaged, 17.3cm max. (6) £400-600 The théière chinois was designed by A-E Fragonard in April 1818 and put into immediate production. They were produced as standalone pieces and sold separately. Later examples featured more elaborate decoration.

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230. A Sèvres coffee can (gobelet litron), date code for 1785, decorated

by Louis Antoine Le Grand or EtienneHenri Le Guay with gilded birds in flight and perched on scrollwork beside trees and fountains, reserved on a bleu nouveau ground, gilt interlaced Ls mark enclosing date letters HH for 1785, above gilder’s mark LG, 6.8cm. £1,000-1,500 Cf. The Royal Collection, No. RCIN 39843 for a near identical example.

Provenance: purchased from Sotheby’s, Billingshurst, 23rd March 1989, lot 4125.

231. A Sèvres coffee can (gobelet litron), c.1785, decorated by Louis Antoine Le Grand or Etienne-Henry Le Guay with gilded of birds in flight and perched on scrollwork beside trees and fountains, reserved on a bleu nouveau ground, blue interlaced Ls mark, above painter’s mark of LG, cracked and with a filled chip, 7.5cm. £600-1,000 Cf. The Royal Collection, No. RCIN 39843 for a near identical example.

Provenance: purchased from Errol Manners, June 1988.

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232. A Sèvres two-handled cup and saucer (gobelet etrusques et soucoupe), c.1800, painted by Louis-Antoine Le Grand with chinoiserie panels of figures at various pursuits in garden landscapes, reserved on a ground of radiating lilac and gilt stripes, the rim with further figural panels between aquatic birds amongst scroll motifs, blue script Sèvres mark and painter’s mark, 17.2cm. (2) £300-500 A similar cup and saucer dated 1788, which was made for Marie Antoinette’s dairy, is in the Sèvres Museum.

Provenance: purchased from Fraser Antiques, 25th July 1984.

233. Two Sèvres coffee cans (gobelets litron), c.1775-90, decorated in gilt with a chinoiserie scene of two figures flanking a vase beside further figures and a goat crossing a bridge, on a rich black ground, the other smaller and painted with figures smoking and seated in a garden scene, reserved on a duck egg blue ground, crowned interlaced Ls marks and gilder’s marks LG, a chip to one footrim, 6cm max. (2 £100-200

234. A Sèvres Republican teapot and cover, c.1794-1800, painted by Jean-Jacques Dieu with chinoiserie figure scenes in the manner of Pillement, reserved within gilt borders on a puce faux porphyry ground, the shoulder with purple monochrome scrolls linking military motifs on a yellow ground, blue script RF monogram and Sèvres mark, blue painter’s mark, repairs to the handle and cover, 20.5cm across. (2) £300-500 Provenance: purchased from John Whitehead, 12th March 1989.

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235. A Sèvres saucer (soucoupe), c.1777, painted to the well with a Chinese figure seated cross-legged on a table beside trees, the border with a wide gilt design of stylized creatures and abstract designs, yellow crowned interlaced Ls mark enclosing AZ over the painter’s mark AS probably for Charles-Eloi Asselin, the A possible for Armand jeune, 12.5cm. £800-1,200 Cf. Sir Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, vol. II, no.223, pp.843-5, for a detailed research of this pattern, believed to have been designed by Pierre-LouisPhilippe Armand the Younger. See also Sotheby’s, Paris, 19th December 2017, lot 449 for a similar can and saucer.

236. A Sèvres ecuelle and cover, c.1793-1800, painted possibly by Mme Le Bel with bands of polychrome flowers entwined with feathered scrolls, reserved on a green ground, with an associated stand painted by Guillaume Noël with similar flowers and arabesque scrollwork, blue Sèvres script marks, gilt interlaced Ls above 120, some restoration to the ecuelle, 20.8cm. (3) £150-250

237. A Sèvres circular tureen stand (plateau ecuelle nouvelle forme), date code for 1784, richly decorated by Nicolas Schrader with small oval panels containing chinoiserie scenes alternating with panels of vases of flowers on a gold ground, linked by delicate flower garlands and flanked by gilt foliate borders on a deep orange ground, with gilt leaf scroll handles, red crowned interlaced Ls marks enclosing date letters GG, 24.2cm. £200-300 Provenance: purchased from Hansons, 11th December 2013, lot 363.

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238. A Sèvres two-handled cup and saucer (tasse etrusque et soucoupe), c.1790, painted by Jean-François-Louis de Laroche with small panels of cornflower, rose and heartsease within gilt borders between berried laurel bands and husk swags, blue and gilt interlaced Ls marks, 16.5cm. (2) £250-350

239. Two Sèvres cups and saucers (tasses etrusque et soucoupes), c.1794-99, one painted with berried leaf sprays and foliate scrolls between yellow panels and Classical vases within purple bands, the other painted by Hirel de Choisy with polychrome enamel scrolls and garlands around Revolutionary symbols on a bright yellow band enclosing a maroon ground with gilt dots, blue script Sèvres marks, RF monograms, some wear, the revolutionary symbols erased and replaced, 13.3cm. (4) £300-500

240. A Sèvres armorial coffee can and saucer (gobelet litron et soucoupe), date code for 1781, painted by Charles Buteux with the shield of Marie-Charles-Louis de Bonnaire de Gif, beneath a marquis’s coronet, within gilt leaf borders, red crowned interlaced Ls mark and date code for OO, the can cracked, 13.8cm. (2) £100-200

241. A Sèvres jewelled can and saucer (gobelet litron et soucoupe), date code for 1773, decorated possibly in the 19th century, the can with a hexagonal enamel panel of a young girl, the saucer with a shaped panel of lovers, within elaborate jewelled borders in red, turquoise, blue and gilt, blue interlaced Ls to the can, the saucer with puce crowned interlaced Ls and the painter’s mark for Louis-François Lécot, some jewelling retouched, 14.7cm. (2) £100-200

Provenance: purchased from John Whitehead, July 2007.

Marie-Charles-Louis de Bonnaire became a maitre des Comptes on 19th August 1776 and was still a member of the Chamber des Comptes in 1790.

Provenance: purchased from John Whitehead, 10th October 1990.

Cf. The J. Paul Getty Museum, Accession No. 81.DE.28 for a similar example on a black ground.

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242. Two Sèvres vases, 19th century, of Neoclassical form, decorated with gilt palmettes and other formal designs on a deep blue ground, and two Sèvres sucriers (pots à sucre), one painted with a continuous band of flowers including rose, primrose, tulip and marigold, above a formal floral design in gilt and silver on a blue ground, the other with a narrow gilt foliate border on a faux tortoiseshell ground, and a pair of Sèvres boatshaped dishes, gilded with flowers and leaves in a formal design on a blue ground, various marks, the sucriers’ covers lacking, damages and repairs, 26cm max. (6) £120-180

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244

245

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243. A Sèvres inkstand, date code for 1904, of circular shape with central well and pen holders, glazed a deep blue, a boatshaped inkstand with miniature pounce pot and gilt decoration, and a Sèvres-style salt or condiment dish, the sides painted with a band of flowers between gilt foliate designs on blue borders, small damages, 18.6cm max. (3) £80-120

244. Three Sèvres cups and saucers, date codes for 1790, 1792 and 1793, one of flared beaker shape painted by Jacques-François Micaud with scattered pink roses within a border of flower baskets and panels of vases, another of the same shape painted by Hirel de Choisy with a formal scroll design enclosing small suspended panels, the last of rounded Etruscan shape, also painted by de Choisy with a band of leaf and flower scrolls enclosing small panels between bands of continuous daisy tendrils on a bright blue ground, blue interlaced Ls marks enclosing date codes NN, OO and QQ, with painter’s marks beneath, some damages and repairs, 16.3cm max. (6) £250-350

245. Two Sèvres Etruscan shape cups and saucers (gobelets à anses Etrusques et soucoupes), c.1793-1800, one painted by Jean-Jacques Dieu with small panels of chinoiserie figural scenes reserved on a striped blue and gilt ground, the other painted

by Mlle Durosey with a band of pink roses on a yellow ground, within bright blue bands with gilt foliate designs, a two-handled Etruscan shape cup painted by Nicolas Bulidon with panels of vases on flowers reserved on a blue ground, and a single-handled cup painted with a band of flowers above a jagged gilt border on a powdered green ground, various marks including interlaced Ls, RF monogram and script Sèvres marks, some damages and repairs, 16.5cm max. (6) £300-400

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

246. A group of Sèvres teawares, 19th century, including a shallow bowl and cover, date code for 1821, decorated with continuous bands of flowers, a squat teapot with repeated flower motifs between shaped blue bands, two cups and saucer in Etruscan style with bands of flowers, and two similarly decorated saucers, various marks, the teapot’s cover lacking, 19cm max. (9) £100-200

247. A group of Sèvres monogrammed porcelains, 19th century, including a sucrier (pot à sucre) and cover from the service of Napoleon III, two saucers, a bowl, a two-handled ecuelle, a sugar bowl and cover and a cup and saucer all with gilt LP monograms for Louis-Philippe from the Service de Princes, a plate with a gilt central starburst motif, another with a crowned Imperial eagle, a jug, dated 1825, gilded with a crowned interlaced Cs monogram within leaf swags, a covered two-handled cup with monogrammed initials, and three Sèvres cups and saucers with small gilt monograms, various marks, some faults, 22.5cm max. (21) £200-300

248. A group of Sèvres and Sèvres-style monogrammed porcelains, 19th century, including a Sèvres bowl and cover later decorated with sprays of hawthorn blossom around an original printed crowned LP monogram, two ice cups bearing the same monogram for Louis-Philippe, a saucer with a gilt LP monogram on a blue ground, and another gilded with the arms of Napoleonic Italy with bees on a blue ground, an ice cup and cover from the service of Napoleon III, decorated with a crowned gilt N, a small covered cup or bowl with a crowned monogram of the initials GB for an unknown Viscount, two later small bowls with built-in stands, decorated with a gilt S within leaf swags, and a milk jug painted with portraits of Marie Antoinette and the Princesse de Lamballe, various marks, some damages and wear, 18.3cm max. (13) £150-250 The Imperial household was provided with a service of wares bearing Napoleon III’s initial. A large part of this service, not including this shape, was sold at Christie’s on 20th September 2012, lot 220.

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249. A rare Sèvres coffee can and saucer (gobelet litron et soucoupe), c.1781, commemorating the birth of the Dauphin, decorated with gilt dolphin motifs and gilt coronets around pink roses and a narrow pale green pointillé border, blue interlaced Ls marks above unrecorded painter's mark, 13.5cm. (2) £500-800 Provenance: purchased from J & B Antiques, 13th December 1994.

The decoration on the present cup and saucer relate directly to the birth of Louis-Joseph Xavier François, 26th Dauphin of France. Born 22 October 1781 as the heir to the French throne, he died just before his eighth birthday on 4 June 1789. Cf. Christie's, New York, 21st November 2008, lot 191 for a similar cup and saucer with a faux pink marble ground.

250. A Sèvres coffee can and saucer (gobelet litron et soucoupe), date code for 1782, to commemorate the birth of the Dauphin, painted probably by François Mirey, the cup with two putti on clouds holding a single lily and a crown above a dolphin, flanked by a scroll and open book inscribed with celebrations of the royal birth, within a quatrefoil panel on a pink oeil de perdrix ground, the saucer with a rose, lily and other flowers amidst clouds, in a gilt cartouche on a similar ground within a berried leaf border, brown interlaced Ls marks enclosing date letters EE above painter’s mark and gilder’s mark for Decambos, a section of the can broken and restuck, 13.6cm. (2) £400-600 Provenance: purchased from Golding, Young & Meyer, 25th June 2014, lot 1.

The decoration on the can is believed to commemorate the birth of Louis Joseph Xavier François de France, the first son of Louis XVI and Marie Antoinette - the Dauphin of France. Another example is in the collection of the Victoria and Albert Museum, Accession No. 786-1882.

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251. A rare Sèvres portrait can (gobelet litron), c.1775, painted probably by Nicolas-Pierre Pithou jeune with profile portraits of Louis XVI and Marie Antoinette, en grisaille against a brick red ground, within gilt laurel borders on a bleu nouveau ground, crowned interlaced Ls mark, some retouching to the rim, 7.5cm. £500-800

252. A Sèvres cup and saucer (tasse à toilette et soucoupe), date code for 1769, the saucer painted by Jacques Fontaine, the cup probably by JeanLouis Morin, each with cameo portraits of Classical figures draped in tied berried laurel swags reserved on a striped gilt ground, and a large Sèvres saucer with a date code for 1811, elaborately decorated with gilt winged griffins flanking Classical helmet panels all on a rich brown ground, printed ‘M Imple de Sevres’ mark, the cup cracked, its handle broken and repaired, 15.4cm max. (3) £150-250

253. A pair of Sèvres plaques, c.1800-20, modelled by Jean-Charles-Nicolas Brachard, each with the profile portrait of a young child applied in white on a dark blue ground, within small glazed gilt wood frames, and a pair of bisque portrait reliefs, one of Louis Antoine, Duke of Angoulême, and his wife, Marie-Thérèse-Charlotte, in glaze circular wooden frames, 12cm max overall. (4) £150-250

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255

254. Five Sèvres biscuit porcelain portrait plaques, 19th century, two circular and depicting Napoleon II and Empress Eugenie, after J. Peyre, another of a young man in profile with a tied ponytail, framed and glazed, and a pair modelled as relief plaques, of Marie Caroline, Duchesse de Berry and probably Charles Ferdinand d’Artois, Duc de Berry, with blue biscuit frames with applied white decoration, indistinctly signed, 17.5cm max. (5) £200-300 255. Three Sèvres circular plaques, 19th century, one applied with a portrait of Napoleon, facing right, within an ormolu border, another with the head of a young child facing left, inscribed 'Brachard 1821', the last probably depicting Louis-Philippe, all in white on a blue ground, a KPM plaque of Louise Mecklenburg-Strelitz, and a relief bisque plaque of a lady wearing a tiara in a cloth-lined giltwood frame, 15cm overall max. (5) £150-250

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256. Three Sèvres and Sèvres-style bisque porcelain busts, 19th century, one of Marie Antoinette raised on a low waisted square base, another probably depicting Maria Feodorovna, raised on a low column base above a square foot, incised interlaced Ls mark, the last of Madame du Barry, with head slightly turned and raised on a waisted socle base, some damages and repairs, 37cm max. (3) £150-250 257. A pair of Sèvres bisque porcelain figures, c.1760, of Le Marchand des Gimblettes and La Petit Acheteuse Tendant sa Piece, modelled by Falconet after Boucher, the young girl buying a pastry from the standing vendor, another of a young girl holding eggs in her apron, a 19th century figure of La Marchande de crème with a young girl standing beside a pillar and lifting a cloth to reveal a basket with pots of cream, another of a crying putto reclining on the back of a dolphin, and a bisque model of a term dated 1921, modelled by Drouet with a Classical gentleman raised on a tall slender pillar, some damages and repairs, 23.2cm max. (6) £500-800

257

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258. A Sèvres bisque porcelain figure group of La Toilette de Madame, date code for 1896, after Louis-Simon Boizot, modelled as a lady seated at her dressing table and having her hair done by a gentleman standing beside her while another engages her in conversation, a nurse with a baby seated on a lap and another child beside her, a spaniel perched on its kennel behind the dressing table, impressed mark, raised on a slightly later oval stepped blue glazed base with gilt footrim, small damages, 40cm overall. (2) £500-800 Boizot modelled this group after a print from Jean-Michel Moreau's series Les mouers Français.

259. A Sèvres bisque porcelain figure group, 19th century, modelled with winged putti emerging from baskets of flowers and clambering over three young maidens, one seated with a putto climbing onto her lap, incised interlaced Ls mark, some damages, 29.5cm high. £300-500

260. A Sèvres bisque porcelain figure group of La Nourrice, c.1774, modelled by Louis-Simon Boizet with a mother seated and nursing her baby while her young son stands beside her, the nursemaid standing beside her and holding the basinette, a young girl seated on a low stool behind her mother's chair, mounted in a later ormolu stand, some restoration, 23.5cm high. £500-800 Provenance: formerly in the Hector Binney Collection. Purchased from Sotheby's, 27th November 1989, lot 1181.

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261. A Sèvres bisque porcelain figure of Le Jeune Suppliant, c.1770-80, modelled by Blondeau after François Boucher, of a young boy with hands clasped, standing before a basket of flowers, the other of a young girl carrying a nest of eggs, her right hand raised to her mouth, minor damages, 21.5cm max. (2) £300-500

262. Three Sèvres bisque porcelain figures of Classical maidens, c.1770-80, modelled by Jean-Jacques Bachelier, one of a maiden holding a pair of billing doves, another possibly depicting Flora and draped in a garland of flowers, the last perhaps Hebe and modelled holding a shallow cup and an elaborate ewer, each raised on a circular base, two with incised B marks, together with a bisque pedestal and pair of glazed pedestals, all moulded with fabric swags, some damages, 19.6cm max (figures). (6) £300-500 263. Three Sèvres and Sèvres-style bisque porcelain figure groups, 19th century, one after Falconet's model of L'maître d'ecole et deux enfants, the seated headmaster admonishing a young girl, another of a couple embracing before a putto perched by an inscribed tablet on a wall, after Le Serment d’Amour by Fragonard, incised interlaced Ls mark, the last of a gentleman kissing the hand of a flower girl as he sits at her feet, damages, 21.5cm max. (3) £250-350 264. Literature: ‘French Porcelain in the Collection of Her Majesty the Queen’ by Geoffrey de Bellaigue; ‘The Soft Porcelain of Sèvres’ by Garnier; ‘The Louis XVI Service’ by Geoffrey de Bellaigue; ‘French 18th Century Porcelain at the Wadsworth Atheneum’ by Linda H Roth and Clare Corbellier; ‘French Porcelain’ by Aileen Dawson’; and a number of other books and catalogues relating to Sèvres and other French porcelains, including those in royal and other private and public collections. (qty) £100-200

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264

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265

265. Literature: ‘Vincennes and Early Sèvres Porcelain’ by Joanna Gwilt: ‘French Porcelain’ by Aileen Dawson; ‘La Porcelaine de Vincennes’ by Tamara Préaud and Antoine d’Albis; ‘Sèvres at the Time of Louis XV’ and ‘Sèvres at the Time of Louis XVI’ by John Whitehead; ‘The Soft Porcelain of Sèvres’ by Garnier; and a number of other books relating to Sèvres and other French porcelains, including a number relating to private and museum collections. (qty) £80-120

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

266. A rare pair of Sèvres three-light wall sconces (bras de cheminée), c.1760-68, of rococo scrolled form with green and gilt detailing, with three branches issuing from a tall central scroll, some repairs, 45cm. (2) £500-800 Twenty pairs of sconces were made between 1760 and 1768, including ten pairs with a green ground which were ordered by Louis XV. The design was by Jean-Claude Duplessis. Cf. The Metropolitan Museum, Accession No. 54.147.20a-d, .21a-d for a similar pair with gilt bronze nozzles.

267. A large Paris porcelain tray, late 18th/early 19th century, painted possibly in London with a figure crossing a high bridge over a river, a further figure resting on rocks below, another driving a laden donkey, within a wide shaped rim with gilt foliate scrolls enclosing oeil de perdrix panels, inscribed in gilt to the reverse with ‘Baverstock et Co Manufacture d’orleans a Paris No. 9’, broken and restuck, 37cm. £100-200

268. A composite Paris (Dihl et Guèrhard), porcelain part tea service, late 18th/early 19th century, variously decorated in bold monochrome colours within varying gilt foliate bands, the teapot and sucrier with green bronze effect moulding, printed red and blue script marks. Comprising: a tea or coffee pot and cover, a footed bowl, a sucrier and cover, nine cups and nine saucers. (23) £500-800

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270 269 269. A Derby ice cup in the Sèvres manner, c.1790, painted

by William Billingsley with scattered pink roses beneath a border of scrolling rose garlands, the rim with festoons of blue fabric and gilt fringing, puce crowned crossed batons and D mark, long-tailed 7 inside the footrim, 6.7cm. £150-250 This ice cup (tasse à glace) is a direct copy made as an addition to a 1770 Sèvres service sold to Frederick North, 2nd Earl of Guildford by the dealer, Simon-Philippe Poirier. Cf. Christie’s, 16th November 2000, lot 52 for an identical pair.

271

270. An unusual pair of Sèvres saucers in the Meissen style, c.1800, of octagonal form, each painted to the well with a circular panel containing a solo figure beneath an autumnal tree, the rims with a gilt scrollwork border, faint script Sèvres marks, a few small rim chips, 13.5cm. (2) £150-250 These hard-paste saucers were likely produced as replacements for a Meissen service from the 1730s.

271. Five Sèvres-style pieces, including a Sèvres jug decorated in the 19th century with panels of birds in flight within shaped green borders on a pale yellow ground, another jug painted with a panel of flowers reserved on a green ground, an English porcelain pin tray with a star design in jewelled enamelling on a pink ground, a small rectangular box base with panels of roses on a turquoise ground, and a chamfered square plaque decorated probably in the 19th century with a quatrefoil floral panel reserved on a bleu celeste ground, some damages, 11.7cm max. (5) £50-100

272

272. An English porcelain inkstand, 1st half 19th century, decorated in the Sèvres-style with bands of flowers in blue camaieu, with two fixed pots and covers and a central vase, a Minton inkstand of navette shape, painted with vases of flowers, and a Minton lobed dish after Sèvres, decorated with pink rose sprays around a radiating gilt band, printed and impressed marks, some damages and repairs, 31.5cm max. (8) £100-200 273. Two Paris porcelain teapots and covers, 19th century, one Rue Thiroux and painted with a band of pink roses on a deep yellow ground, with an overhead gilt metal and turned wood handle, printed crowned red A mark, the other of large cylindrical form and painted with a wide band of pink roses on a gold ground, gilt script mark to the base, and a Paris cabinet cup and saucer, the cup inscribed ‘A la plus aimable’ on a blue panel reserved on a pale pink ground with flower sprigs, some damages and repairs, 23cm max. (6) £100-150

273

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

274. Three Sèvres cups and saucers, 19th century, one dated 1848 and painted with a wide band of pink heather, another of early Neoclassical shape and painted with a band of heartsease on a faux tortoiseshell ground, the last of egg-shell porcelain and painted by Eugene Richard with polychrome flower sprays against a gilt mesh ground, together with a similar saucer by the same artist, a flared miniature cup with a band of flowers above vertical gilt stripes, another Etruscan shape cup with a wide flower band above a formal gilt border, the last moulded with gadrooned panels each reserving a single flower spray, gilded to the interior, various printed and painted marks, some faults, 15.5cm. (10) £150-250

275. Two Paris porcelain circular inkwells, c.1790, one Duc D’Angoulême, the sides richly decorated with gilt oval designs on a deep blue ground, the top with a band of pink roses, brown printed mark, the other possibly Rue Thiroux, painted with panels of flowers on a white ground with a formal sprig design, with a domed cover and two ink reservoirs applied to the sides, puce interlaced Ls mark, a later repairer’s inscription to the base ‘Coomb, Queen Street, Bristol, 1804’, damages and repairs, 18cm max. (3) £100-200

276. Six Paris porcelain coffee cans, 19th century, including a Dagoty can painted with a panel of sunflowers on a blue ground, a can painted with a continuous equestrian scene, another with a Breton girl, one printed in black with a maiden handing a crown to a kneeling suitor, another with ‘a moi’ in raised gilt decoration, the last with panels of swans on an elaborate gilt ground, and a similar Nast cabinet cup with a hippocampus on a gilt tracery ground, raised on three paw feet, damages and losses, 8cm max. (7) £50-100

277. Two Continental porcelain miniature tea services, 19th century, one comprising a coffee pot and cover, milk jug and sucrier, all painted with scenes of children playing on a gilt ground, the other comprising a coffee pot and cover and a sucrier painted with panels of children’s faces on a gold ground, a miniature Sèvres-style cabinet cup painted with fruit, a Nast cabinet cup with a Classical profile portrait, a Vienna coffee can and cover painted en grisaille with a maiden being spied on, and a Vienna cup and saucer decorated with large vine leaves, the cup faintly inscribed ‘Amitie’, damages and repairs, 14cm max. (13) £120-180

278. A Paris porcelain teapot and cover with matching slop bowl, 19th century, painted with a continuous band of flowering plants growing from a grassy border, three Paris coffee cans painted with bands of flowers and scattered sprigs, a Dihl coffee can painted with a band of flowers on a gold ground, and a can and saucer painted with a band of pink roses, some damages, 17.5cm max. (9) £80-120

279. Five Paris porcelain cabinet cups, 1st half 19th century, one with a matching saucer, decorated with a gilt floral band on a puce ground, one decorated with a basket of flowers on a deep blue ground with gilt motifs, another with fabric and floral swags from large gilt roundels, the last two with polychrome flower posies on a white ground, various marks including for Feuillet, and a flared English cup painted with a continuous sepia landscape, damages and repairs, 12.6cm max. (7) £80-120

Provenance: respectively purchased from Andrew Dando, July 1992 and in Bath on 28th August 1991.

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280. A group of Continental and English teawares, 19th century, including a double-walled Sèvres cup and saucer with pink reticulated decoration, a Sèvres can and saucer with gilt palmettes on a dark blue ground, a similar saucer dated 15th August 1816, a gadrooned Sèvres saucer with gilding around a turquoise band, two Paris cups and saucer with gilt borders around a yellow ground, an English can and saucer with a burnt orange ground, a Vienna-style saucer with raised gilt flower sprays, two Paris plates with formal borders, and a Sèvres plate with an iron red Greek key border, various marks, some damages and repairs, 23.8cm max. (16) £100-200

281. A group of Paris porcelain tea warmers (veilleuses), 19th century, in separate parts, one cylindrical and painted with bands of flowers on a puce ground, another formed as a windmill, two cylindrical and painted with landscape scenes beneath turreted rims, two of octagonal form in the chinoiserie manner, a miniature example with gilt tracery on a pale green ground, and two incense burners of similar form with formal tracery decoration, some losses, 26cm max.

(22) £150-250 Cf. The Royal Collection, No. RCIN 36057 for a similar Paris example.

282 282. Three pairs of Continental porcelain vases, 19th century, one pair of cylindrical form and painted with a band of polychrome flowers on a pale yellow ground, raised on three paw feet issuing from winged lion masks and resting on circular bases, another pair glazed green and applied with shells, seaweed and coral, the last moulded with columns and arches, a pair of cylindrical jars from Maille à Paris, painted with red tracery on a salmon pink ground, a pot pourri vase and cover by Foesey of Paris with similar decoration in green and black, a similarly decorated scent flask and stopper, and a small vase with formal flower sprays, some damages and repairs, 20.5cm max. (13) £150-250

283

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283. A pair of Paris porcelain câchepots and stands, 19th century, one side painted with panels of flowers in baskets resting on a marble ledge, reserved on a dark pink ground, the circular stands painted with continuous bands of flowers, and a square vase painted with corn stooks and flaming braziers amidst flower garlands, some damages, the square vase lacking a cover, 14.2cm max. (5) £80-120

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

284. Two Paris porcelain vases, 19th century, one painted with a tied posy of flowers including rose and narcissus, with scroll handles and a reticulated neck, gilt monogram mark, the other with pink rose sprays on a gilt pointillé ground with small scattered insects, and a pair of English porcelain vases and covers decorated with an allover pattern of pink roses, the necks of the English vases reduced, 23.5cm max. (6) £120-180

285. Six porcelain inkwells (Paris and English), 19th century, variously decorated with flowers, a landscape, and formal gilt borders on white, yellow and blue grounds, a Sèvresstyle square inkwell or pot decorated after the Fontainebleau service with animals amidst foliate scrolls, a Paris square rouge pot of shallow form, a Berlin triangular salt painted with convolvulus, a miniature veilleuse base, a Sèvres-style egg cup painted with flower sprays, and a toilet or pomade pot with panelled sprigs on a gold ground, some faults, 8.2cm max. (12) £100-200

286. Three Continental porcelain plates, 19th century, one Vienna and painted with two monks praying over a well-dressed prisoner, another Vienna-style and painted with Cupid on the back of a swan, the rim with gilded panels and detailed scrollwork, the last Paris and painted with a landscape scene within a green rim with gilt stylized swans, a Paris porcelain cabinet cup and stand painted with puce fabric swags over baskets of roses, a milk jug in the Empire style with Classical figures between winged horses, and a Vienna-style cup decorated with a Teniersstyle panel on a dark blue ground, some damages and repairs, 25cm max.

(7) £80-120

287. Two Paris porcelain botanical plates, 19th century, one Darte Frères, both painted with scattered cherries, one within a formal floral gilt border on a blue ground, the other with a yellow rim edged in gilt, and a pair of English porcelain plates painted with bold leaf specimens within shaped gilt dentil rims, one plate broken and restuck, 24cm max. (4) £100-200

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288. Seven Paris porcelain plates and dishes, late 18th/19th century, including Nast, Rue Thiroux and Clignancourt, variously decorated with cornflower sprigs, scattered flowers, pink rose garlands and panels of roses and butterflies, and a Meissen oblong tray painted with flower sprays, some damages, 36cm max. (8) £80-120

289. A group of shell-moulded porcelains, most 19th century, including a near pair of Flamen-Fleury Paris dishes, six Paris porcelain inkwells, a Copeland shell dish and cover, two Continental shellshaped double baskets, a Wedgwood scallop-shell dish, two Flamen-Fleury cups and saucers, a large scent bottle and stopper and a small scent flask, some faults, 26cm max. (23) £200-300

290. A Paris porcelain (Clignancourt) armorial plate, late 18th/early 19th century, painted with the crest and shield of the Ainslie family above the motto ‘Pro Rege et Patria’, within a floral garland border, stencilled red monogram, and a Paris porcelain tray, painted in sepia camaieu with two putti within a scrolled panel, the rim with rabbits amidst gilt and enamel scrollwork and leaf borders, blue crossed arrows mark possibly for La Courtille, some rim sections restuck, 31.5cm max. (2) £80-120

291. A Paris porcelain (Rue Thiroux) part tea service, 19th century, painted with pink roses amid small blue foliate sprigs on a white ground. Comprising: a teapot and cover, a sucrier and cover, an oval sucrier, a square plate, two coffee cans and two saucers. (10) £50-80

292. A cylindrical toilet or pomade pot, possibly Vincennes, c.1750-55, painted in purple camaieu with a divergent tulip and other flowers, with an associated later cover, a Meissen quatrefoil cup, c.1740, painted with flower sprays, a La Courtille sugar bowl painted with flower sprays, a Vienna miniature cup and saucer with a gilt formal border around a bright yellow ground, two modern Meissen vases with pink roses, and a Meissen cylindrical pot moulded and painted with figures in the Doccia manner, some damages and losses, the pomade pot extensively cracked and stained, 10.5cm max. (9) £80-120

293. Two Paris porcelain tulip cups and saucers, 19th century, the larger Flamen-Fleury, decorated with puce and pale blue detailing, and a small single tulip cup with similar decoration, the handles modelled as butterflies, and a small basket of flowers applied with various blooms and fruits, some damages, 14cm max. (6) £80-120

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

294. A Paris porcelain two-handled vase, 19th century, applied with swags of bisque flowers on a matt blue ground, raised on a square foot, and a Paris porcelain basket, of pierced navette shape, raised on bisque winged lion supports above a shaped base on four gilt paw feet, damages and repairs, 31.5cm max. (2) £80-120

295. A large Minton ewer and basin, late 19th/20th century, decorated in the Aesthetic manner with sprays of flowering prunus on a rich turquoise ground, with birds and butterflies in flight around, printed marks, some damages and flaking, 37.5cm.

(2) £80-120

296. A Chantilly cinquefoil dish, c.1760, painted with blue flower sprigs, hunting horn mark, and a Saint Cloud toilet pot painted with a lambrequin border in underglaze blue, short cracks, the pot’s cover lacking, 20.5cm max. (2) £50-80

297. Nineteen dressing table boxes and covers, most 19th century, including French and English porcelains, variously decorated with roses and other flowers, one with a portrait, and a modern Sèvres box with gilt leaf sprigs on a blue ground, some damages, 9cm max. (37) £100-200

298. A group of Continental miniature porcelains, most 19th century, including a Paris porcelain part tea service with sucrier, jug, four cups and four saucers, a Paris (Flamen-Fleury) cabinet cup and two saucers painted with floral borders on a blue ground, and a similar cup, a small cup and saucer painted with scattered pink roses, a miniature cup and saucer with floral borders, a small coffee pot with a panel containing a basket of flowers, a Sèvres-style candlestick gilded with buildings on a black ground, a miniature teapot moulded as a gourd, and monogrammed holder, some damages and repairs, 10cm max. (23) £80-120

299. Four Continental porcelain cups and saucers, French and Russian, 19th/20th century, one painted with garden scenes between en grisaille motifs, another with pink roses around a Russian inscription, one with pink roses, the last with a formal border on a pale blue ground, a small Sèvres can decorated with a gilt foliate band, and four other French saucers variously decorated with panels of roses, other flowers and landscapes, one with gilt foliate motifs on a striated orange ground, some faults, 13.4cm max. (13) £80-120

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300. Four English porcelain miniature jugs and basins, 19th century, of differing sizes, one decorated with small floral panels and pink roses on a gold ground, two others with panels of roses and other flowers on a blue ground, the last with flowers within green borders, two other miniature jugs decorated with pink stripes, two miniature sugar basins and covers, one painted with pink roses on a gold ground, the other left in the white with a matching small bowl, a Spode miniature chamberstick gilded with birds in pattern 3993, a small saucer with a gilt foliate border, two miniature porter mugs gilded with ‘A Present from Bournemouth’ and ‘A Present from Weston Super Mare’, a two-handled vase painted with birds and flowers, and a small circular basket painted with panels of birds, some damages and losses, 10cm max. (21) £80-120

301. Seven English porcelain cups or mugs, most 19th century, one a Derby two-handled cup painted with titled landscape scenes in Italy and Derbyshire, a Minton pear-shaped mug gilded with the initials ‘RAWP’, a mug printed with a view of the Great Exhibition, another inscribed ‘A Present from Naworth Stores’, another with scenes of figures in rural landscapes, one with panels of pink roses on a salmon ground, the last with a formal design in gilt, red and black, a Derby saucer dish painted possibly by Boreman with figures by a river on a yellow ground, a Coalport square basket painted with flowers, and a sugar bowl and cover painted with fuchsia sprays, some damages and repairs, 19.4cm max. (11) £80-120

The white sugar basin and bowl with paper labels for the Geoffrey Fisk Collection, no. 697.

302. Three English porcelain small spill vases, 19th century, two of cylindrical form and painted with flowers, the last flared and painted with a landscape scene on a claret ground, a Staffordshire pot pourri basket and cover, encrusted with colourful flowers, a Derby biscuit porcelain model of a flower basket, a Derby model of a pug dog, a Chamberlain’s Worcester figure of a rat, a small Staffordshire model of two birds beside a nest, and a small chamberstick modelled as a pink flower, some damages and losses, 10.3cm max. (10) £100-150

303. A mixed group of ceramics, 18th century and later, including a pair of Continental Jasperware plaques applied with Classical maidens including Venus, in white on a blue ground, a pair of Continental tiles painted en grisaille with foliate scrolls, a Wedgwood Etruria pot pourri bowl and cover applied with blue stiff leaves, a moulded biscuit porcelain mug marked with a presentation stamp to Charles Meigh, a Bow blue and white pickle leaf dish, a Minton model of an open book, a creamware Menu card, a pepper pot modelled as an acorn, a small sprigged coffee can or miniature mug, and a Samson cooking pot and cover, some damages and repairs, 20cm max. (14) £80-120

304. A Derby jug and a porter mug, c.1815-25, the jug painted with a panel of fruit including cherries, plums and peaches, the mug with a panel of flowers including rose, tulip and heartsease, a Derby pot pourri vase painted with a band of flowers, and a pair of English porcelain bottle vases and covers, painted with panels of colourful birds reserved on a dark blue ground, some damages, 23.5cm max.

(7) £80-120

305. An English creamware botanical plate, 1st half 19th century, painted with a specimen of Cape Aitonia after a plate in William Curtis’s Botanical Magazine, a Wedgwood shaped dish painted with a band of pink roses, a pearlware two-handled vase painted with roses above a gadrooned yellow foot, and a Wemyss candlestick in the Cabbage Rose pattern, some damages and restoration, 26.7cm max. (4) £50-100

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

306. A Minton porcelain inkstand, 19th century, modelled as a putto kneeling before an inkwell between two shells, a Paris inkstand modelled with Cupid emerging from a broken egg, a Meissen-style box and cover surmounted with a reclining putto, a turquoise-glazed Majolica figure of a putto scribing, mounted on a stone base, a Meissen model of one of the Royal children, and a faïence model of a baby, some damages and repairs, 17.5cm max. (7) £80-120

307. A pair of Minton porcelain candlesticks, 19th century, modelled as Classical columns, fitted with Paris porcelain stoppers modelled as flames, an English porcelain spill vase with buff scrolls on a blue ground, a cornucopia vase glazed blue and raised on a rectangular scroll-footed base, a Staffordshire flower basket applied with lily-of-the-valley on a pink ground, and a biscuit porcelain basket painted with roses beneath a reticulated handle, some damages and repairs, 30.5cm max. (8) £80-120

308. Two pairs of miniature Meissen vases, 18th/19th century, one pair of Neoclassical form and applied with gilt leaf swags issuing from rams’ mask handles, the other pair of inverted pear shape with scroll necks, painted with small flower sprays, and another pair, possibly Italian, with gilt leaf swags, together with a Sèvres vase in the Mennecy manner, the moulded campana shape painted by Mme Le Bel with flower sprays, on an ormolu base, some damages, one pair with later wooden bases, 8cm max. (7) £150-250

309. Eight Chinese porcelain plates and dishes, most Qianlong 1736-95, including two small bowls painted in famille rose enamels with peach sprays, an octagonal soup plate painted with peacocks, a saucer dish painted with cockerels and peony, a plate painted with flowering peony, a pair of Chinese Imari soup plates painted with landscape panels within panelled borders, and a yellow ground small bowl incised and decorated with green dragons chasing flaming pearls, six character Kangxi mark but later, and a Canton enamel mug painted with figures in a garden, some damages and repairs, 23.2cm max. (9) £100-200

310. Six Staffordshire pearlware jugs, 19th century, two decorated in silver lustre with panels of rural landscapes or putti at various pursuits, another printed with scenes of Hope and Faith within lustre bands, three variously decorated in red, maroon and silver with flowers and grapevine, all on a rich canary yellow ground, damages, 17cm max. (6) £150-250

311. Six Staffordshire pearlware silver lustre jugs, c.1820-40, variously decorated with birds, flowers, grapevine and barley, four reserved on a rich canary yellow ground, the other two on a buff pearlware ground, some damages, 17.5cm max. (6) £200-300

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312. A pair of Derby candlestick groups of Matrimony and Liberty, c.1770, of a shepherd and shepherdess seated before flowering bocage, she with a lamb and a caged bird, he with a dog and with a bird perched on his right knee, raised on pierced scrolled bases, some damages, 28cm. (2) £150-250 Cf. Frank Stoner, Chelsea, Bow and Derby Porcelain Figures, pl. 62 for a similar pair.

314. An English porcelain porter mug, dated 1840, painted with a tied posy of forget-me-not and lily-of-the-valley above a pink ribbon bow inscribed ‘ William D Skelton - Presented by his Nurse, 1840, as a token of her affection’, 7.5cm high. £50-80

313. A Bow figure of Neptune, c.1760, straddling a large dolphin, a flowered robe blowing around his shoulders, a putto kneeling beside him and blowing a shell, raised on a tall base applied with colourful shells, and two Derby figures of putti carrying baskets of flowers and draped in further garlands, standing before low flowering bocage, some good restoration, 23.5cm max. (3) £250-350

315. A glass two-branch table lustre, 19th century, with two circular sconces around a foliate motif, a bronze candlestick hung with glass lustres, a gilt feather quill pen on a marble mount, a pewter ice cream mould in three parts, and a bronze model of a baby in a cradle on a black hardstone mount, some losses, 32cm. (5) £100-150 316. Five pearlware plates, 19th century, two nursery plates printed with various scenes, a botanical plate decorated with a monochrome specimen of Scarlet Ipomaca on a pale orange ground, one with simple yellow and gilt bands, the last French and printed with a scene from the Adventures of Télémaque on a yellow ground, a sugar bowl printed with landscape scenes on a yellow ground, a moulded pearlware jug decorated in peach and silver lustre, a mug moulded with Classical scenes between copper lustre bands, a later mochaware mug and a Wedgwood jug printed with scenes of Clovelly after Rex Whistler, some faults, 20.5cm max. (10) £80-120

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

317.

A mixed group of Continental and English glass, mostly 19th century, including a ruby glass scent bottle with gilt metal stopper, another scent bottle overlaid with white panels painted with flowers, an opaque white glass vase painted with flowers, a glass mug painted with a landscape scene, an opaline glass goblet, a small bottle modelled as a pineapple, two small vases, an engraved mug, a pressmoulded small jug, two glass seals, a Roman-style model of a duck, and a toilet box and cover, some damages, 20cm max. (23) £100-200

λ 318. A condiment stand and three bottles, 19th century, the turned wood stand on a revolving base, with bone or ivory strut supports, with three mallet-shaped bottles and matched stoppers, with four further small bottles or decanters, one engraved 'Vinegar', a small cut glass bottle and another small bottle inscribed 'Ketchup', some damages, 21.3cm max. (19) £50-80

319. Five glass decanters and stoppers, 19th century, cut with lappets and bands of hobnail, and two cut glass claret jugs, some damages, 24cm. (12) £100-200

320. A mixed group of table glass, most 19th century, including a ruby glass butter tub with cover and stand, a cut glass bowl and cover, three fingerbowls, an engraved tazza, a small glass stand, five small blue glass liners, two amber glass knife rests, and two oval salts with reverse painting of flowers, some damages, 23.2cm max.

(27) £80-120

321. A collection of glass scent bottles, comprising: silver and electroplated mounted examples: a French one of baluster form, two unmarked double-ended bottles with blue and green faceted bodies, plus various others including two of horn form, one 18th century gilt-metal mounted example and various others, with a Chinese agate snuff bottle. (18) £200-300

322. A small mixed lot, comprising old Sheffield plated items: a George III inkstand, c.1800, oval form, pierced gallery, with two inkwells and a central chamber stick, length 22.5cm, plus electroplated items: an egg coddler of ovoid form, the cover with a bird on nest finial, plus a vase of trailing grapevine form, blue glass liner, and a cream jug, of pierced form, green glass liner, plus an unmarked silver mug, the underside inscribed. (5) £150-200

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323.

English School, early 19th century, a portrait miniature of a gentleman, head and shoulders in a dark coat, white waistcoat and white stock, oval, in a gilt-metal frame, hair back in the form of a fleurde-lys on a mother-of-pearl backing, 62 x 48mm, with two further 18th/19th portrait miniatures. (3) £120-180

324.

English School, early 19th century, a portrait miniature of a lady in a blue dress and fur lined shawl, oval, in an ebonised rectangular frame, with label to verso E J P pinxit 1823, 65 x 50mm, with two further c.1800 portrait miniatures of ladies. (3) £100-150

325.

English School, c.1800, a portrait miniature of a girl in a white dress and blue headband, oval, in a gilt metal frame, 61 x 47mm, together with three further oval portrait miniatures, two depicting ladies, the other an officer. (4) £150-250 326.

Circle of John Jukes (1772-1851), a portrait miniature of Mrs Edward Maitland in white dress and pearl necklace, oval, in a ebonised rectangular frame, 53 x 44mm, with two further 19th century portrait miniature of ladies. (3) £80-120

325

326

327.

Attributed to Herbert Sidney Percy (1863-1932), a portrait miniature of a young girl in a white dress, oval, in a gilt metal frame, with hair back, 51 x 41mm, with six further mostly 19th century portrait miniatures; an early 19th century silhouette

by Mr W Seville; and a Boer War Hand in Hand for the Empire souvenir photo frame.

(9) £150-200 λ 328. A group of four painted brooches in metal frames, on enamel and ivory, two depicting lovers, one a Classical maiden, and one a portrait. Together with a miscellaneous collection of other items, including a painted glass roundel of a shepherd in a landscape, in an alabaster frame; an 18th century hand coloured print depicting a scene from The Babes in the Wood; a late 18th century hand-coloured print of a christening; a cast metal plaque of the Virgin and Child enthroned; a cast metal roundel of Napoleon in profile; and other items. (14) £70-100

327

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328

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

329

330

329. A group of watercolour and printed miniatures, mostly 19th century, including a portrait of a shepherdess, a hand tinted stipple engraving after Moritz Daffinger, a portrait of a lady in a pink dress and hat with ostrich feather, and others. (9) £70-100 330.

A miniature depicting Roman Charity, circular, 62mm diameter; together with a group of eleven mostly 19th century framed prints, depicting portraits and Old Masters. (12) £50-100 331. A group of seven miniature paintings on enamel and porcelain, including a depiction of a flower girl, inscribed John Simpson Stoke July 1840 to verso, a still life of flowers on a ledge, a Meissen plaque with a landscape with a country house, lovers in a landscape, and three portraits of young girls; one unframed. (7) £80-120 332. A small rectangular enamel plaque, late 18th/19th century, painted with a portrait of a lady with ringlets, wearing a low cut dress, in a deep giltwood frame, and a small Continental porcelain plaque of a lady wearing a white dress and wrapping a gauzy black scarf around her head, in a velvet and gilt metal frame, 22.3cm overall max.

(2) £100-150 333. Two needlework pictures, one depicting a rural landscape, with figures near a pond and a cottage, the other depicting a young woman in a coastal landscape; together with three hair and painted pictures depicting various birds on branches. (5) £50-100

331

332

333

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334. A small Sèvres plaque, date code for 1799, finely painted with grapes before a vase of flowers resting on a table top, inscribed in blue ink to the reverse ‘No 31 de L’inventaire 1799, Retouché en 1823’, and a plaque painted with a couple courting in the moonlight, each in a giltwood frame, the smaller plaque broken and restuck, the plaques 17cm max. (2) £100-150

335.

Four enamel plaques or box lids, 18th/19th century, one rectangular and painted with a portrait of the actress Peg Woffington, wearing a bonnet, framed, a pâte sur pâte plaque of a maiden and two putti teasing a satyr, signed ‘L Mercier’, a small circular plaque of a woman holding a riding crop, and a Continental plaque of the Penitent Magdalen, signed Gido, some faults, 9.3cm max. (4) £100-200

336. Three English enamel patch boxes, c.1760-70, one painted with a portrait of a lady, possibly the actress Nancy Dawson, another printed in black with a girl holding a dog, with a later metal base, the last of waisted cylindrical form, the top applied with a later small Continental plaque, and a rectangular snuff box, painted to the interior lid with a half length portrait of a lady in a blue dress and cloak, the exterior with panels of flowers, some damages and repairs, 8.2cm max. (4) £100-200

337. A pair of Staffordshire enamel candlesticks, 2nd half 18th century, the knopped shapes sparsely painted with polychrome flower sprays, and a third painted with landscape panels on a white ground, and an enamel inkstand, probably French, the rectangular form boldly painted with colourful flower sprays, edged in gilt metal and set with two later cylindrical enamel inkwells and a porcelain candlestick, some damages and restorations, 24cm max. (10) £200-300

338. A group of 13 enamel patch boxes and five pill boxes, most 18th century, variously decorated with sheep, landscapes and mottoes or sentimental inscriptions, the bases largely coloured green, yellow, pink or blue, some damages, 5.5cm max. (18) £300-500

339. Six English enamel gaming baskets, c.1770-80, three of shaped quatrefoil form, the interiors painted with playing cards and flower sprays on pink and yellow grounds, a large basket of similar form, painted with cards, a bank note and coins on a white ground, and two smaller oval baskets, painted with playing cards, the other with a panel of figures before ruins, the rims variously reticulated, some damages and losses, 13cm max. (6) £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

340. Five English enamel snuff boxes, 2nd half 18th century, one circular and painted with a couple in exotic dress, two smaller circular boxes painted with figures beside Classical ruins, an oval box decorated with a chinoiserie landscape, and a smaller oval box painted with figures in a landscape within a green zigzag border, some damages and repairs, 9cm max. (5) £200-300

341. Two Staffordshire enamel bonbonnières, c.1760-80, one shaped as a heeled shoe and painted with floral panels on a pale blue ground, the other shaped as an egg with landscape panels on a pink ground, two enamel door or furniture handles, one printed in black with buildings, the other painted with a polychrome flower spray, and an enamel watch face painted with a Classical figure beside a vase, mounted as a sprung box, some enamel losses, 9.5cm max. (5) £200-300

342. Three enamel snuff boxes, 2nd half 18th century, including Bilston and south Staffordshire, one painted with polychrome flowers on a chevron-moulded green ground, with gilt metal mounts, another gilded with scenes of lovers on a green ground, the last decorated with flowers on a blue and white linen or gingham ground. a later rectangular box painted with panels of putti, and a south Staffordshire cylindrical pot and cover with panels of flowers reserved on a blue ground, some damages, 9.5cm max. (6) £500-800

343. A group of bonbonnières and patch boxes, modern, including three porcelain fruit boxes, a strawberry-shaped porcelain scent bottle, three Halcyon Days patch boxes, three other patch boxes, three enamel egg-shaped boxes, two enamel wine labels for ‘Hamman Bouquet’ and ‘Sherry’ and a resin surprise apple-shaped box, 6.5cm max. (16) £40-60

344. A German porcelain table snuff box, late 18th/early 19th century, the lid painted to the interior with a basket of European flowers on a table top, the exterior with osier moulding and a rosebud finial, and a small cane or parasol handle painted in the Kakiemon palette with a bird amidst flowers, the box base rebuilt, 11.5cm max.

(2) £60-80

345. A south Staffordshire snuff box, c.1760-80, the lid painted with figures on and beside a meandering river, within raised enamel scrolls on a white textured ground, an oval snuff box painted with similar panels of figures in landscapes, and a small étui or needle case with similar decoration, some cracking and losses, 8.8cm max.

(3) £200-300

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346. A rare Staffordshire enamel tape measure, c.1770, the cylindrical form painted with flowers on a pink ground, wound with a dark green ribbon measure, an enamel model of a bureau with hinged cover, painted with panels of birds and flowers on a pink ground, and an enamel model of a hat painted with flowers, a repair to the bureau, 6.5cm max. (3) £150-250

347. An English enamel table snuff box, c.1780, of rectangular form, the top painted with cattle and sheep in repose by Classical ruins, the sides painted with flower sprays on a white ground, some cracking and retouching, 11.5cm. £100-200

348. A south Staffordshire enamel oval patch or small snuff box, c.1770, the oval form decorated with floral motifs in raised gilt and enamels on a pink linen or gingham ground, a circular snuff box painted with figures in a boat on a river, and another with raised flowers, both reserved on puce linen or gingham grounds, some restoration, 6.4cm max. (3) £300-400

349. Nine English enamel tripod salts, late 18th century, including three pairs, the circular bodies variously decorated with flower sprays and panels of landscapes and further flowers variously reserved on pink, blue, white and green grounds, all raised on three small feet, some damages and repairs, 7.5cm max. (9) £300-500

350. Three English enamel scent bottle holders, c.1760-80, of flattened rectangular form, one painted with panels of flowers reserved on a pink gingham or linen ground, another with baskets or vases of flowers on a white ground, the last with a geometric gilt and blue design on a pink ground, the first two enclosing a glass scent bottle and stopper, some restorations, 6cm max. (3) £200-300

351. Two English enamel snuff boxes, c.1760-75, one oval and one circular, both painted with a panel of flowers within a scroll border, and with further raised flowers, all reserved on pink or puce gingham or linen grounds, small damages and repairs, 9cm max. (2) £200-300

352. Two Bilston enamel circular snuff boxes, c.1760-80, each painted with a butterfly and other insects around pink roses and other flowers on a white ground, the sides with further flying insects and flowers, some cracking, 6.3cm max. (2) £150-250

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

353. A Bilston enamel circular snuff box, c.1780, painted with a small panel of two figures before buildings within a scroll border, the sides and cover edge painted with raised flowers reserved on a pink and blue linen or gingham ground, some cracking, a little retouching, 6.2cm. £150-250

354. A rare English enamel ballooning-subject patch box, c.1785, the oval form printed and coloured with two figures in a boat-shaped basket suspended from a globe-shaped balloon, around a banner inscribed ‘Stat Sine Mort Decus’, the sides with stylized vertical leaf motifs, some restoration, 5.5cm. £200-300 The ballooning scene depicted on this box is probably that of Dr John Jeffries and Jean-Pierre Blanchard crossing the English Channel from Dover to Calais on 7th January 1785.

355. A Staffordshire enamel étui, c.1770, the flattened form painted with panels of roses and other flowers within raised white enamel scroll borders on a pale green ground, with gilt metal mounts and enclosing complete contents including scissors, needle and nail file, 9.7cm. £500-800

356. Two English enamel étuis or bodkin cases, c.1760-80, of cylindrical form, one painted with small figures in landscape scenes within white enamel scroll borders reserved on a dark blue ground, the other painted with flowers around a scroll inscribed ‘Gage d’amitie Sincere’, the latter restored, 12.2cm max. (2) £150-250

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λ 357. Two late 18th/early 19th century silver and gilt metal mounted lacquered snuff boxes, circular form, the silver-mounts with engraved decoration, on a pink ground, the cover set with a portrait of a lady, tortoiseshell lined, the other box with beaded borders on a light green ground decorated with flowers, the pull-off cover with a courting couple under glass, tortoiseshell lined, diameters 7.7cm and 7.5cm. (2) £200-300

λ 358. Two late 18th/early 19th century silver and gilt metal mounted lacquered snuff boxes, circular form, the silver-mounts with engraved decoration, on a red ground, the cover set with a portrait of a lady holding a bunch of flowers, with a mechanism to move the flowers, tortoiseshell lined, the other box with engraved borders on a dark green ground, the pull-off cover with portrait of a lady under glass, tortoiseshell lined, diameters 7.7cm and 7.8cm. (2) £200-300

λ 359. A 19th century lacquered papier-mâché snuff box, circular form, black body, the pull-off cover with a female head wearing a feather head-piece, diameter 10.7cm, plus a painted and lacquered snuff box, of circular form, the cover with a mother and child, the base with a ewer, on a green ground, tortoiseshell lining, diameter 89cm. (2) £200-300

λ 360. A late 18th century gilt-metal mounted tortoiseshell portrait snuff box, oval form, plain mounts, foliate scroll thumbpiece, the hinged cover with an oval enamelled portrait of a young boy, within a silver surround, plus another portrait snuff box, of oval form, grey body, the pull-off cover with a portrait of a gentleman, tortoiseshell lined. (2) £250-300

λ 361. A late 18th/early 19th century lacquered snuff box, circular form, pink and white ground, the pull-off cover later applied with an oval portrait miniature of a lady and cherubs, within a gold mount with a beaded border, tortoiseshell lined, diameter 7.7cm, plus a late 18th/early 19th century blue lacquered snuff box, the pull-off cover with a carved bone scene of a ship in a port, diameter 4.7cm. (2) £200-300

362. An early 19th century gilt-mounted snuff box, circular form, the mounts with an engraved border, the pull-off cover with two ladies and a gentleman in a landscape setting with a globe, diameter 8cm, plus a 19th century gilt metal and cardboard lined box, the cover with a ship under glass, diameter 8cm. (2) £150-200

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

λ 363. A 19th century French gold inlaid tortoiseshell sewing set, c. 1880, shaped oblong form, the hinged cover with piqué decoration and with a central cartouche shield, the interior with silver-gilt implements including a needle case, a pair of scissors, a thimble, a spike and a tortoiseshell bodkin, length 11.4cm. £100-150

364. A French gilt metal and enamel clock, in the Rococo manner, with three-hinged sections, enamelled with courting couples in landscape settings, the central panel mounted with two cherubs, on seven scroll feet, in a fitted case, height 12.2cm, length 16.5cm. £300-400

365. A collection of sewing related items, various materials, including: a French gilt-metal and green glass sewing set of egg form, the push-down finial opening the egg to reveal the accessories, plus various tape measures, pin wheels, needle cases and other items. (qty) £200-300

λ 366. A mixed lot of objects of vertu, various materials, including: a French gilt metal and mother-of-pearl table bell, two micro mosaic and gilt metal miniature frames, an electroplated sedan chair and snail box, plus a 19th century thermometer and compass, and other items. (qty) £200-300

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λ 367. A small collection of four boxes, comprising: a 19th century lacquered box of circular form, the pull-off cover with ribbon-tied hair, and foliate decoration on a dark blue enamelled ground, set under glass with a steel border, plus a gold-mounted blond tortoiseshell snuff box set with seed-pearl decoration under glass, and two other snuff boxes. (4) £250-300

λ 368. A 19th century French black and dark green Bois Durci snuff box, circular form, the centre with two cartouches with initials, a castle and ‘IL EST 100’, drape border, diameter 7.9cm, plus a 19th century horn and composition snuff box, the cover with a scene of figures in an interior, diameter 7.8cm. (2) £100-150

λ 369. A pair of 19th century French gilt-metal mounted tortoiseshell snuff boxes, after B. Di Viver, circular form, the pull-off covers with a medallion of Louis XVI and Marie Antoinette under glass, diameter 6.3cm and 6.2cm, plus another tortoiseshell box with the bust of a young lady under glass. (3) £150-200

λ 370. Three late 18th/early 19th century silver and gold mounted lacquered snuff boxes, circular form, the silver-mounts with engraved decoration, on turquoise ground, the cover set with a Classical cameo, tortoiseshell lined, the gold mounts with engraved decoration on a light grey and brown ground, the pull-off cover with children, tortoiseshell lined, plus another on a red ground, engraved border, the cover with a lady, diameters 7.8cm and 7.6cm. (3) £200-300

λ 371. Three sewing boxes, 19th century, one with blue lacquer and boulle work in brass and mother-of-pearl, enclosing various implements, another decorated with cut steel on red leather with the word 'Souvenir', enclosing mother-of-pearl and gilt metal implements, the last modelled as two leather-bound books with gilt tooling, a tortoiseshell purse and a matching notebook inlaid with a silver shield, contained in a leather case, and a small wooden box printed with birds around a nest, 20cm max. (7) £100-200

λ 372. A collection of four snuff / patch boxes, comprising: a late 18th century silver-mounted Vernis Matin snuff box, of circular form, the silver-mounts with engraved decoration, black and orange striped body, the cover with a painted Classical scene, tortoiseshell lined, diameter 4.2cm, plus three further boxes. (4) £200-300

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

λ 373. A Victorian silver baby’s rattle and whistle, by George Unite, Birmingham 1869, baluster form, chased foliate decoration, with a coral teether, some bells missing and later, plus another Victorian silver baby’s rattle, also by George Unite, marks worn. lengths 12.3cm and 10cm. (2) £150-200

374. An Edwardian novelty silver shoe pin cushion scissor holder, by Levi and Salaman, Birmingham 1904, the shoe with a ribbon, the velvet cushion inset with a pair of silver-handled scissors, length 8cm, plus an Edwardian silver pin wheel of fan form, by the Ridley Brothers & Merton, Birmingham 1906, and a heart-shaped pin cushion, Chester 1902. (3) £150-200

λ 376. An 18th century gold-mounted scent bottle, unmarked, c. 1760, plain mounts faceted clear glass body, the stopper on a chain, in a fitted black shagreen case, height 4.2cm, plus a silver filigree scent bottle case of oval cylindrical form, the pull-off cover revealing two clear glass scent bottles, and a George III tortoiseshell scent bottle case, with inlaid silver decoration, the hinged cover opening to reveal a clear glass scent bottle. (3) £200-300

378. A small collection of three boxes, comprising a 19th century painted metal box, the hinged cover with a scene of two resting huntsman in a forest scene, length 12.7cm, plus a painted lacquered snuff box of circular form, the cover with ladies washing clothes in a landscape setting with a castle behind, and a Vernis Matin style snuff box of circular form, the cover decorated with a tower. (3) £150-200

375. An early 19th century gilt-metal mounted glass snuff box, unmarked, probabaly French, circular form, hobnail-cut decoration, the pull-off cover with a band of turquoise decoration, the centre with diamonds on plaited hair and initialled, in a fitted case, diameter 7.2cm. £200-300

377. A small mixed lot, comprising silver items: a George IV lancet case, by Joseph Taylor, Birmingham 1827, tapering form, engraved decoration, the hinged cover opening to reveal a motherof-pearl lancet, plus a pair of silver and mother-of-pearl lorgnettes, and a George III patch box, unmarked, the cover with a lady, the base initialled, and an electroplated vinaigrette, of fluted horn form, with a registration lozenge. (4) £150-200

λ 379. A late 18th century abalone shell and mother-of-pearl ‘scaglioa’ snuff box, circular form, the pull-off cover applied with an oval enamel plaque of a ship on a lake in a classical setting, tortoiseshell lined, diameter 7.5cm. £100-150

λ 380. An 18th century silver and tortoiseshell étui, with traces of mark to the interior of the cover, c. 1770, cylindrical form, the hinged cover opening to reveal various steel implements including a knife, a pair of scissors, a pair of tweezers and an ear pick, a pair of compasses, and a bone writing pad, length 11.4cm, plus a steelmounted composition étui, of cylindrical form, the hinged cover opening to reveal various implements. (2) £150-200

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381. A mixed lot of silver items, various dates and makers, comprising: two 19th century Dutch peppermint boxes, an Indian box, a pierced foliate scissor case, London 1887, an unmarked ewer, a miniature mug, three boxes, a frame, a buckle, a crucifix, a stamp case, three miniature mirrors, a silver and ceramic cane handle, and two other items, approx. weighable. 8.5oz. (qty) 200-300

382. A collection of silver, metalware, electroplated and giltmetal pin cushions, various designs including: four of basket form, one formed as a peacock, the hinged wings open to reveal a thimble, one modelled as a chick emerging from an egg, plus a bucket, a cockerel, a swan, a butterfly, a coach and a trinket box. (12) £200-300

383. A collection of 18th and 19th century gilt-metal items, comprising: an étui case, c. 1760, shaped baluster form, chased with figures and foliate scroll decoration, lacking contents, plus a buckle with enamel decoration, a gilt metal mounted glass egg, a Palais Royal aide memoire with a pencil, the mother-of-pearl panels inscribed ‘SOUVENIR’, two vinaigrettes, one of watch form, the other of rectangular form, plus a mother-of-pearl toothpick box of rectangular form. (7) £200-300

384. A mixed lot of silver flatware, comprising: a three-piece George IV King’s pattern knife, fork and spoon set, maker’s mark B.W, Birmingham 1826, in a fitted red case, plus a tablespoon, a condiment spoon, a cased fruit knife, and three spoons, plus an old Sheffield plated tea caddy spoon, two mother-of-pearl handled knives and a pair of sugar tongs and crushers, approx. weighable 2oz. (qty) £100-150

λ 385. A mixed lot of tortoiseshell and mother-of-pearl items: comprising: a Victorian tortoiseshell sewing set by Lund, 56 and 57 Cornhill, London, the case with ivory stringing, the interior with silver, steel and mother-of-pearl implements, a mother-of-pearl sewing box, the interior with ivory stringing, plus a tortoiseshell case with ivory stringing, the interior with two scent bottles and a funnel, and a tortoiseshell card case, a mandolin and a sewing set in a case. (6) £200-300

λ 386. A collection of seven tortoiseshell boxes, comprising: a late 18th century gilt-metal mounted travelling writing set, one, of rectangular form, the domed hinged cover opening to reveal two inkwells, a compartment and four nib holders, plus a snuff box with inlaid simulated handles, plus four further boxes and a French goldmounted tortoiseshell cigarette case, the cover with a monogram.

(7) £200-300

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

387. Seventeen painted wooden boxes, most 19th century, variously painted with flowers, holly and landscapes, one enclosing four smaller boxes and a tray, another enclosing four smaller boxes, some set with compartments, one with small holes for reels of cotton, two of cylindrical form, 28.3cm max. (17) £100-150

388. A Victorian papier-mâché blotter, 19th century, painted with figures by a river within a mother-of-pearl border on a painted lacquer ground, four small books, one a leather-bound Ladies Annual for 1845, a Carnan's Ladies' Pocket Book for 1849, a memorandum book from 1803 with later pen inscriptions of epitaphs, the last a notebook with veneered cover, and a needlebook, a painted tin box with erotic scene to the interior, a small wooden box, a straw-work box, a box containing a game of Spellicans' Bone, and a puzzle game called 'Not So Hasty', 28cm max. (11) £80-120

389. Four small sewing boxes, 19th century, one French and decorated with a cut steel design, the interior with mother-of-pearl and gilt implements, another veneered and enclosing various implements and a mirror, a small marquetry box with compartments, the last painted with a panel of Classical figures, 19cm max. (4) £100-200

390. Three sewing boxes, 19th century, one with a burr veneer and opening to reveal an inset mirror and fitted mother-of-pearl contents, another inlaid with mother-of-pearl decoration of flowers and acorns, the last with a band of cut steel dots, the contents lacking, and a silver coloured metal sewing clamp modelled as a bird above a purple pin cushion, 20cm max. (4) £100-200

391. Three sewing boxes, 19th century, one marquetry and veneered with a pattern of stepped cubes, opening to reveal compartments above a large drawer, a Napoleonic prisoner of war straw-work box decorated with an arrangement of flowers, the hinged lid opening to reveal three compartments decorated with crossed quivers and heartsease, the last with pink lacquer with boulle work in mother-of-pearl and brass around a porcelain plaque painted with putti, enclosing mother-of-pearl cotton reels and other implements, a document folder containing a photograph, some cracking and fading, 27cm max. (3) £200-300

392. Two pairs of Victorian face screens, 19th century, one pair set with panels of real feathers within gilt paper borders, the other pair painted with panels of flowers within embossed corners, the last papier-mâché and painted with a bird above flowers, all on narrow turned wood stems, 39.5cm. (5) £80-120

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λ 393. A Regency tooled leather sewing box by Thomas Lund, early 19th century, of sarcophagus shape, the red leather with gilt tooling of formal leaf design, the interior with a lockable mirror and document folder, set with varying needle cases, pin cushions and other compartments, two printed with Classical scenes, paper label for Thomas Lund, 30.5cm across. £400-600

394. An English polychrome and parcel gilt papier-mâché combination lady's sewing and writing table cabinet, mid 19th century, the rectangular top with scallop edge opening to a fitted interior, over a conforming two door lacquered front opening to an arrangement of eight drawers around a central pigeon hole, the bottom drawer with a collapsible writing slope, the whole painted with shells and flowers within a border of mother-of-pearl and gilt, 35.5cm. £400-600

395. Two needlework footrests or low stools, 19th century, one with beadwork of white roses and lilies, on a red ground above a later red velvet mount and bun feet, the other with a repeated stylized cross and floral design, and a large tin tray painted with a butterfly and flowers within trailing gilded foliage, 63.8cm max. (3) £100-150

396. A Dutch nine decanter tantalus, 1st half 19th century, the top decorated with a marquetry shell, the side with a floral panel, fitted with nine square glass decanters with gilt decoration, the sides with brass handles, 28.5cm. £80-120

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See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

397. An English mahogany and cane frame rocking cradle, 1st half 19th century, with Gothic top surmounted with acorn finials and with cane panels to all sides, mounted on a mahogany frame, 103cm across. £250-350

399. A Continental plant stand or pedestal, 19th century, the tapering triangular form with a rich veneer, the edges with black stringing and gilt leaf decorations, 85.3cm. £60-80

λ 398. Four Victorian firescreens, 19th century, two rosewood and each painted with an oval panel, one of a girl forking hay, the other seated with a sheep and reading from a book, the other two papiermâché, one painted with a courting couple, the other with various flowers within bold gilt motifs, 144.5cm max. (4) £100-200

400. Two bijouterie tables, 19th/early 20th century, one of chamfered rectangular form, painted to the sides with flower garlands, raised on slender legs with an X-frame stretcher, the other deeper with glass sides and raised on four tapering legs, and a small bijouterie case of rectangular form raised on four short cabriole legs, (3) £100-150

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TRIBAL ART & ANTIQUITIES Wednesday 19th February 2020

A Cree octopus bag, North America, 19th century, 46cm long Estimate £800 - 1,200*

ENQUIRIES Will Hobbs | +44 (0) 1722 339752 | wh@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 21st April 2020 Closing date for entries 4th March

A large and extremely rare Bow model of a lioness, c. 1750, 23cm long Estimate £15,000 - 20,000*

ENQUIRIES Clare Durham | +44 (0) 1722 424507 | cd@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

CLARICE CLIFF, ART DECO & DESIGN Wednesday 18th March 2020 Closing date for entries 24th January

A large Goldscheider Pottery model of a woman designed by Stefan Dakon Estimate ÂŁ700 - 900*

ENQUIRIES Michael Jeffery +44 (0)1722 424505 mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

OLD MASTERS, BRITISH & EUROPEAN PAINTINGS Wednesday 4th March 2020

Lucius Rossi (Italian, 1846-1913) Dans les Jardins des Tuileries, Epoque de Louis XVI (detail) Signed and dated 1901 Oil on canvas 55.3 x 77cm; 213⁄4 x 301⁄4in Provenance: From a Private collection, given to the current owner's grandmother as a birthday present in 1939 and then by family descent Estimate £12,000 - 18,000* ENQUIRIES Victor Fauvelle | +44 (0)1722 446961 | vf@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays.

VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered.

REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification:

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01962 622 133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

01635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

PLEASE NOTE: Registering with our website, or any third party website, does not automatically register you to bid with us.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction.

Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 FIREARMS Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally entitled to acquire the lot(s) that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but may not take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction, or may accept instructions to dispose of it by some other legal means, at their discretion.

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS

TERMS OF CONSIGNMENT FOR SELLERS

1 . Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection 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 and certainly will not be below it.

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. The purchase price.

The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in 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. The omega symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). 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. 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. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory.

Charges may be applicable for export licences. Ask us if you need help.

The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding 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 the leaving of commission bids by telephone or fax.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

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 is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3. 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.

4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at 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 is inapplicable.

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. .

Reserves. (a) You are entitled to place prior to the auction 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 (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (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.

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 but we are or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

(c) Bidders shall be deemed to act as principals. (d) 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.

13. Conditions of Sale. You agree that all goods will be sold on 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.

3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price 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 in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale 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 sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks 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. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale 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.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms 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 Woolley & Wallis Salisbury Salerooms 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 Woolley & Wallis Salisbury Salerooms 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 THE BUYER (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; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. 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 (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) 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. (c) In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

7. TITLE AND COLLECTION OF PURCHASES (a) 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. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) 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: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) 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). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) 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; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) 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. (b) 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 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 BIDS 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. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable.

Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

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.

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. DESCRIPTIONS AND CONDITION (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 applied to a lot. 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) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

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. 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) 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.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988.

Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (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.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. 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 in the catalogue.

20. 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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

21. English law applies to the interpretation of these Conditions.

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000

PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and, once in force, the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

In this respect we will provide your data to the following:

• your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

• our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • external auditors; • the police and other competent authorities, including HMRC;

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications.

However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

CASTLE RD A345

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Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

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INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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Valuations

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For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

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Woolley & Wallis valuations are accepted by all leading insurance companies.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424509

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DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on +44 (0)1722 424500.

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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29

Design & Production

by Jamm Design Ltd +44 (0) 20 7424 7830 jammdesign.co.uk

ABSENTEE BID FORM THE JUDITH HOWARD COLLECTION

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Tuesday 4th February 2020 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days ID is required for all first time bidders

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0)1722 424500 | Fax: +44 (0)1722 424508

www.woo lleyan d wallis.co .u k

AUCtion CAlendAr JAnUArY 21st 23rd

Silver & objects of Vertu Jewellery

FREE VALUATION MORNINGS First Friday of the month 10am-1pm No appointment necessary

FeBrUArY 4th 19th

the Judith Howard Collection tribal Art & Antiquities

MArCH 4th 18th

old Masters, British & european Paintings Clarice Cliff, Art deco & design

APril 1st 21st 28th & 29th 30th

Furniture, Works of Art & Clocks english & european Ceramics & Glass Silver & objects of Vertu Fine Jewellery

MAY 6th 19th & 20th

Medals & Coins, Arms & Armour Asian Art, Chinese Paintings & Japanese Works of Art

JUne 3rd

17th

Modern British & 20th Century Art including the estate of dame elisabeth Frink & Jin Jammet Arts & Crafts

JUlY 1st 14th & 15th 16th

NEXT VALUATION DATES 7th February, 6th March & 3rd April

Furniture, Works of Art & Clocks Silver & objects of Vertu Jewellery

dates may be subject to change

+44 (0) 1722 424500 enquiries@woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

A set of twelve Sèvres plates with chinoiserie decoration, from the collection of Lord and Lady Fairhaven.

Sold in six lots for a total of £108,580*

www.woolleyandwallis.co.uk