Woolley & Wallis Auctioneers

FINE FURNITURE WORKS OF ART & CLOCKS THURSDAY 6TH OCTOBER 2022

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below FURNITURE, WORKS OF ART & CLOCKS Mark Yuan Richards 411854 Neil Grenyer 446974 Jim Gale 339161 Suzy Becsy 446974 Sarah Stone 339161 20TH CENTURY DESIGN Michael Jeffery 424505 Zoe Smith 446955 AFRICAN & OCEANIC ART ANTIQUITIES Will Hobbs 339752 Molly O’Reilly 446980 ASIAN ART John Axford MRICS ASFAV 424506 Alexandra Aguilar 424583 Freya Yuan Richards 424589 Jeremy Morgan +44 (0)7812 601098 Michelle Yu 424571 CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan Richards 424589 Michelle Yu 424571 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham 424507 Hollie Morrison 446964 JAPANESE ART Alexandra Aguilar 424583 JEWELLERY Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Samuel Hug FGA DGA 424586 Megan Corbett 424562 MEDALS & COINS, ARMS & ARMOUR Ned Cowell 341469 Molly O’Reilly 446980 PAINTINGS Victor Fauvelle 446961 Ed Beer 446962 Hannah Farthing 446970 SILVER Rupert Slingsby 424501 Lucy Chalmers 424594 VALUATIONS FOR INSURANCE & PROBATE Jeremy Lamond MRICS ASFAV FRSA 424502 Neil Grenyer 446974 Amanda Lawrence 424509 GENERAL OFFICE Ruth Pike (Office Manager) 424500 Sarah NicolaLeyanneBennieHindYoung CASTLE GATE RECEPTION Sally Litherland MARKETING Chloe Davie 446951 ACCOUNTS Sharon Ringwood Anna Gentleman BOARD OF DIRECTORS John Axford MRICS ASFAV NatalieChairmanMilsted FCCA Managing Director ASSOCIATE DIRECTORS Alexandra Aguilar Clare JeremyMichaelWillVictorDurhamFauvelleHobbsJefferyLamond MRICS ASFAV FRSA Rupert MarielleSlingsbyWhiting FGA Freya Yuan Richards Mark Yuan Richards SOCIETY OF FINE ART AUCTIONEERS AND VALUERS CBP006075

SPACE AT CASTLE GATE Unit 1B, Castle Gate Business Park Old Sarum, Salisbury, SP4 6QX VIEWING Saturday 1st October 10.00am – 4.00pm Monday 3rd October 10.00am – 4.30pm Tuesday 4th October 10.00am – 4.30pm Wednesday 5th October 9.00am 1.00pm Thursday 6th October 9.00am 11.00am Neil Grenyer 01722 ONLINE BIDDING FREE OF CHARGE bid.woolleyandwallis.co.uk Please register by 5pm onWednesday 5th October LIVE

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COLLECTIONOF LOTS

Front cover: Lot 355 Back cover: Lot 362 Catalogue £10.00 (£15.00 by post)

FINE FURNITURE WORKS OF ART & CLOCKS

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CONDITION OF LOTS

THURSDAY 6TH OCTOBER 2022 11.00AM at our Castle Street Salerooms, SP1 3SU VIEWING AT OUR EXHIBITION

TELEPHONE BIDDING

FINE FURNITURE WORKS OF ART & CLOCKS LOTS 301-388

3 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A301GEORGE II MAHOGANY BUREAU ON STAND MID 18TH CENTURY the hinged fall revealing an arrangement of shaped and carved drawers around a central cupboard, above two short and one long cockbeaded drawer with brass swing handles, on cabriole legs with shaped brackets and pad feet, with brass side carrying handles 91cm high, 71cm wide, 41.5cm deep £3,000 4,000

A302GEORGE III MAHOGANY AND MARQUETRY SERPENTINE SIDEBOARD PROBABLY IRISH, LATE 18TH CENTURY AND LATER the crossbanded top with boxwood stringing, above a central frieze drawer with a satinwood panel inlaid with a vase and flowers, flanked by a pair of decanter drawers decorated with a crossbanded circular frame inlaid with an octagonal panel, each with pierced gilt brass handles, the legs and brackets inlaid with scrolling flowering foliate motifs issuing from ewers, with applied ankles 91cm high, 211cm wide, 58cm deep TheProvenancefamilycollection formed at Well Head House, Halifax, Yorkshire. £1,000 1,500 4

5 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A303GEORGE III MAHOGANY CENTRE TABLE IN CHINESE CHIPPENDALE STYLE LATE 18TH CENTURY AND LATER of rectangular form, the moulded top above a frieze and square section legs with Greek key style blind fretwork decoration and fretwork brackets, on block feet 84cm high, 166cm wide, 73cm deep £4,000 6,000

6 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A304GEORGE III MAHOGANY AND SATINWOOD PEMBROKE TABLE IN THE MANNER OF GILLOWS, C.1790 the oval top with a central sycamore panel marquetry inlaid with a ribbon and flowers, within an ebonised border, the ground of radiating panels divided by boxwood stringing, with a satinwood and kingwood border, above a frieze drawer, on tapering square legs and brass and leather roller castors 71cm high, 99.5cm wide, 76.5cm deep (open) TheProvenancefamilycollection formed at Well Head House, Halifax, L.LiteratureYorkshire.Boynton,Gillow Furniture Designs 1760-1800, fig.60 for a sketch of a table of a similar design. £1,500 2,500

7 A305SET OF SIX EARLY GEORGE III MAHOGANY DINING CHAIRS C.1760 70 a serpentine top rail carved with leaves, tassels and frills, above a pierced and interlaced splat, the drop-in seat on leaf and cabochon carved cabriole front legs and claw and ball feet (6) TheProvenancecollection formed at Wellow Manor, Hampshire. £3,000 5,000

Catalogue Note ‘RMS Majestic’ was built in Germany, launched in 1914 under the name of ‘SS Bismarck’ and was the largest ship in the world until ‘SS Normandie’ was launched in 1935. She was handed to the Allies as part of the war reparations after which she was bought by the White Star Line and re named ‘RMS Majestic’. The two restaurants on ‘RMS Majestic’ were distinct from each other in their location on the ship, the food served and interior decoration. By repute, the à la carte restaurant was more popular with the First Class passengers than the First Class restaurant. As the Great Depression deepened, in 1934 the à la carte restaurant was closed, the chairs removed and put into storage from where they were, by repute, purchased by Cecil Beaton.

MAHOGANY DINING CHAIRS FROM ‘RMS MAJESTIC’ EARLY 20TH CENTURY AND LATER from either the First Class or the à la carte restaurant, each inlaid with stringing, the top rail above an Empire style pierced splat, the outswept arms with flowerhead finials, the drop-in seat with later upholstery, on reeded front legs and an ‘X’ stretcher (12)

Beaton leased Ashcombe House, Wiltshire, in 1930 from R.W. Borley, on the understanding that he would make some improvements to the house and he employed Michael Rosenauer, an Austrian architect, to oversee this work. Beaton was also a great host, holding large dinner parties with guests like Salvador Dali, Rex Whistler and Oliver Messel for which long runs of chairs would have been necessary. He also enjoyed overseas travel often crossing the Atlantic on ‘RMS Majestic’. As such, he would have been well aware of the changes that led to the removal of the chairs and from where he could purchase a set. Beaton’s lease on Ashcombe House came to an end in 1945 and remained occupied by members of the Borley family until 1993. The house was sold shortly afterwards and it was during the clearance of the outbuildings that this set of chairs was discovered. They have been in the family’s ownership ever since and are now coming to the market for the first time since the 1930s.

ByProvenancerepute,the original chairs were bought by Cecil Beaton to furnish Ashcombe House, Wiltshire, that he leased from the Borley family between 1930 and 1945. Then by descent, through the Borley family who commissioned some more to be made to match and extend the run.

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

8 TWELVE306

Contemporary illustrations show the seats of this style of chair being upholstered in a floral fabric with a light blue ground. Although the chairs being offered now have the seats covered in a modern fabric, the set is offered with some of the original Aubusson style seat covers which closely resemble those seen in the illustrations. For a similar chair see Piers Motley, Antiques and Collectables, 10th August 2020, lot 141, sold for £750. £3,500 4,500

A307GEORGE II MAHOGANY BACHELOR’S CHEST theC.1750hinged fold-over top above two short and three long graduated drawers, fitted with brass ring pulls, on bracket feet 80cm high, 86.5cm wide, 36.5cm deep £500 800 10

11 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A308GEORGE II RED WALNUT SIDE TABLE withC.1740alater marble top above a plain frieze, on cabriole legs and pad feet 81.5cm high, 114.5cm wide, 67cm deep TheProvenancecollec tion formed at Wellow Manor, Hampshire. £2,000 3,000

See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A309FINE PAIR OF MAHOGANY URN STANDS IN CHIPPENDALE STYLE, 19TH CENTURY each with a circular inset top, finely carved with foliate gadrooning, stylised leaves and flowerheads, on three cabriole legs with further foliate carving and scrolled feet (2) 53.5cm high, 33cm diameter PurchasedProvenancefrom Charles Lumb & Sons Ltd, Harrogate, 28th May 1977. Catalogue Note A letter sent to the vendors by Christopher Gilbert, while Curator at the Temple Newsam Museum, reads: ‘Many of your treasures would earn a conspicuous place at Temple Newsam, particularly the mahogany vase stands which glow in my memory. I cannot think there are a more desirable pair anywhere.’ £3,000 5,000 12

13

A310PAIR OF REGENCY MAHOGANY TEA TABLES IN THE MANNER OF GILLOWS, C.1820 inlaid with ebonised stringing, the rounded rectangular fold-over tops on twin gate supports, above a frieze with Greek key style decoration, on tapering, reeded legs and ring turned feet (2) 72.5cm high, 91.5cm wide, 90cm deep (open) £800 1,200 14

15 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A311SET OF EIGHT GEORGE III MAHOGANY DINING CHAIRS IN CHIPPENDALE STYLE, C.1760 70 each with a foliate carved top rail above a pierced and interlaced vase shaped splat with harebells and a central anthemion, above a drop-in serpentine seat with tapestry upholstery, on moulded and chamfered legs united by an ‘H’ stretcher, comprising: a pair of carvers and six side chairs (8) TheProvenancefamilycollection formed at Well Head House, Halifax, Yorkshire. £2,000 3,000

AN312EARLY GEORGE III MAHOGANY KETTLE STAND theC.1760octagonal moulded top with a raised gallery, above a fluted tapering column with a foliate carved baluster lower section, with three scrolling legs with flowerhead carved knees, on claw and ball feet 47.5cm high, top 33cm wide £500 800 16

17 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A313GEORGE III MAHOGANY AND BRASS BOUND PEAT BUCKET PROBABLY IRISH, C.1790 1800 of tapering cylindrical form, with a brass swing handle and a brass foot rim 38cm high (handle down), 36cm diameter £800 1,200

18 A314GEORGE I WALNUT SECRÉTAIRE CABINET

EARLY 18TH CENTURY with feather banding, the moulded cornice above a single mirrored door enclosing a fitted interior of adjustable shelves, pigeonholes and drawers, with a pair of hidden drawers, the base with a secrétaire drawer with a fitted interior of pigeonholes and drawers, above three graduated long drawers with brass swing handles and escutcheons, on a moulded base and later bun feet, evidence of side carrying 197cmhandleshigh, 82cm wide, 52.3cm deep TheProvenancefamilycollection formed at Well Head House, Halifax, Yorkshire. £4,000 6,000

19 A315MAHOGANY OPEN ARMCHAIR IN GEORGE II STYLE MID 19TH CENTURY with floral gros-point tapestry upholstery, the arched back above outswept arms with scrolling terminals, with a stuffed-over seat, on cabriole front legs with foliate carving and claw and ball feet TheProvenancefamilycollection formed at Well Head House, Halifax, Yorkshire. £500 800 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

20 A316GEORGE II MAHOGANY CENTRE TABLE theC.1750later verde antico marble top above a plain frieze with ovolo and leaf mouldings, on scroll and cabochon carved cabriole legs, with scroll toes 75cm high, 97.7cm wide, 59.7cm deep TheProvenancecollec tion formed at Wellow Manor, Hampshire. £2,000 3,000

21 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A317GEORGE I WALNUT BACHELOR’S CHEST withC.1720cross and feather banding, the quarter veneered hinged fold-over top with a caddy moulded edge, above two short and three long graduated drawers with engraved brass swing handles and on shaped bracket feet 82cm high, 74cm wide, 35cm deep £800 1,200

22 A318GEORGE III HAREWOOD AND MARQUETRY DEMI-LUNE CONSOLE TABLE IN THE MANNER OF WILLIAM MOORE OF DUBLIN, C.1790 the segmented top inlaid with a fan patera, harebells and a ribbon tied band of scrolling foliage, within a flowerhead border and satinwood crossbanding and stringing, the frieze inlaid with faux fluting and burr yew oval panels, above tapering legs with harebell drops and with applied ankles 86cm high, 113.5cm wide, 50.5cm deep £3,000 5,000

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

Catalogue Note A chest on chest with slight differences to its brassware and feet, but of otherwise identical form and size, was sold at Christie’s, London, 8th July 1999, lot 64. Related examples, with or without secrétaire drawers, are illustrated in S. Whittington and C. Claxton Stevens, 18th Century Furniture: The Norman Adams Collection, London, 1989, p.368 and R. Edwards, The Dictionary of English Furniture, London, 1954, vol. 2, pp.42-43, and vol. 1, p.140. A secrétaire chest on chest with the trade label of Daniel Wild, at the Golden Ball, St. Paul’s Churchyard, London, is illustrated on p.469 of C. Gilbert (ed.), Pictorial Dictionary of Marked London Furniture 1700-1840, p.469.

For a closely related example see Sotheby’s, London, Classic English Furniture, Norman Adams Legacy, 21st April 2009, lot 45. £6,000 8,000

A319GEORGE II BURR WALNUT SECRÉTAIRE CHEST ON CHEST C.1730 AND LATER with feather and crossbanding and canted and fluted angles, the upper section with a moulded cornice above three short and three long graduated drawers, the lower section with a secrétaire drawer fitted with pigeonholes, drawers and secret drawers, above two short and two long graduated drawers, with carved flowerhead and swag handles and gilt brass escutcheons, on shaped bracket feet 180cm high, 107.3cm wide, 58cm deep

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TheProvenancefamilycollection formed at Well Head House, Halifax, Yorkshire.

25 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A320QUEEN ANNE WALNUT CABINET ON CHEST theC.1710upper section with a moulded cornice, above a pair of doors with feather and crossbanding, enclosing an arrangement of eight feather banded drawers around a central cupboard, the fittings of which are removable to reveal four secret drawers fitted to the back of the section and four small drawers to the back of the cupboard fitting, the lower section with two short and two graduated long drawers with feather banding and brass ring pulls, on later turned feet 169cm high, 102cm wide, 51.5cm deep £4,000 6,000

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A321FINE EARLY GEORGE III MAHOGANY LIBRARY

HenryProvenanceSpencer & Sons, A Sale at Chatsworth, Derbyshire, 5-6th December 1957, lot 240, where described as: ‘A Chippendale mahogany elbow armchair of the most elegant proportions. Grooved & channelled arms terminating in rosettes and supported on slender cabriole legs with scroll ears and carved at the knees with anthemiums ending in volute feet. The seat, back and armpads covered in worn crimson-silk damask.’ Bought by R. Shaftoe, 17-18 Regent Parade, Harrogate, from whom bought by the current vendors.

POSSIBLY IRISH, CHIPPENDALE PERIOD, C.1760 the arched back above slightly scrolled and outswept arms with flowerhead terminals and moulded supports, the dished, stuffed-over seat above cabriole front legs and swept and slightly twisted back legs, carved with vines, anthemions and flowerheads, on scroll feet

D.LiteratureCowie, International Antiques Yearbook Encyclopedia & Directory, 1963-64, p.689, where illustrated covered in the ‘worn crimson-silk damask’ as mentioned in the Henry Spencer catalogue.

Catalogue CorrespondenceNote with the Curator of Chatsworth suggests this chair may have been brought into the Chatsworth Collection rather than being commissioned by the Devonshire Family. The Henry Spencer sale in which it was sold was described as an ‘odds and ends’ auction of furnishings of lesser rooms in which the children of the Duke lived.

ARMCHAIR

The grapevine decoration on the legs is reminiscent of a suite of chairs made for Thomas and Lady Louisa Connolly for Castletown, Co. Kildare. See The Knight of Glin and James Peill, Irish Furniture, pp.122 123, pls.166 and 167. £5,000 8,000 27 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

A322RARE REGENCY RED TÔLE PEINTE CHEESE COASTER POSSIBLY PONTYPOOL, EARLY 19TH CENTURY with gilt initials ‘RT’ and scrolling foliate decoration with blue and white painted flowerheads on a red ground, with twin divisions, on brass roller castors 17cm high, 42.5cm wide, 26cm deep £800 1,200 28

29 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A323GERMAN

For recent auction sales, see Lempertz Cologne, Decorative Arts, 20th May 2022, lot 1810 for an example with a different escutcheon. Christie’s, European Furniture, Works of Art and Carpets, 24th September 2003, lot 287 for a similar example to that being offered but lacking its canisters. Christie’s, Furniture, Clocks, Sculptures and Works of Art, 27 September 2001, lot 687 for an almost identical example that included the canisters. £3,000 5,000

KINGWOOD AND BRASS MOUNTED TEA CHEST

For similar tea chests, see W. Koeppe, Boxes from the Workshop of Abraham Roentgen in American Collections, pp.104 105, the Met Museum, New York, Accession Number 1999.147 for an example lacking its canisters.

ATTRIBUTED TO ABRAHAM ROENTGEN, C.1750 60 the sarcophagus top with a brass swing handle, the front with a pierced brass cartouche shape escutcheon, the silk lined interior with three brass canisters, the central one with a domed cover and a twin interior, the circular covers with star decoration in low relief, the base with a spring operated secret drawer to the right hand side released by a button hidden when the cover is closed, on bracket feet, with a key, probably original, and a bright cut Sheffield plate caddy spoon 15.5cm high, 22cm wide, 13.8cm deep Catalogue Note Abraham Roentgen (1711-1793) was a German ébéniste. He was born in Müllheim, Germany and learned cabinet making in his father’s workshop, then worked as an apprentice in the Hague before settling in London in 1731. He ran the Roentgen firm from 1742 to about 1800 together with his son, David. Abraham’s work was characterised by superb marquetry and innovative designs, often incorporating hidden compartments, secret drawers and mechanical and musical devices and his work was sought after by rulers throughout Europe. One of his most famous pieces is the Walderdorffer bureau, now in the Rijksmuseum, Amsterdam.

30 λ 324 A FINE MALTESE PIETRA DURA AND SPECIMEN MARBLE ARMORIAL TABLE TOP BY JOSEPH DARMANIN, C.1825 36, THE IRISH BASE BY ROBERT STRAHAN, C.1837 40 of shaped circular form inlaid with various marbles with the arms of General Robert Edward King, 1st Viscount Lorton of Boyle (1773-1854) on a yellow marble ground containing fossils, the underside with an applied paper label, inscribed ‘J. Darmanin & Sons / Marble Workers / Monumental & Mosaic Slabs / and other ornamental work / Strada Levante No 45 /Malta’, set into an Irish, carved rosewood base with gently scrolling foliate decoration to the rim, on a scrolling tripod base carved with floral swags, stamped ‘I 906/STRAHAN’ to the frame, the underside with an applied paper label inscribed ‘Robert Strahan, Cabinet Maker, Upholstered, Auctioneer & Undertaker, 24 Henry Street’ top: 90cm diameter table: 74cm high, 97cm diameter

GeneralProvenanceRobert Edward King, 1st Viscount Lorton of Boyle (1773-1854), the Billiard Room at Rockingham House (Gurr Johns Inventory 1914 p.40) Sir Cecil Stafford-King-Harman Lady Dunn By descent to the current owner £15,000 20,000 Rockingham House

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

31

K.LiteratureHay,Furniture History Society, 2010, Volume XLVI, pp.157-185, Mosaic Marble Tables by J. Darmanin & Sons of Malta.

For other examples of work appearing on the market that are recognised as being by Darmanin, see Sotheby’s, London, 26th November, 2003, lot 123 for a pair of tops with the coat of arms of Charles William Vane, 3rd Marquess of Londonderry, purchased by Ronald Phillips Ltd, London. Sotheby’s, 8th July 2008, Lot 365 for a table top with the coat of arms of Horatio Webb. Sotheby’s New York, 16th October 2008, lot 58 for a tabletop with the arms of the Baker Family of Tipperary, Ireland. Adam & Son, Co Meath, 6th October 2009, lot 64 for a pair of tables en suite to the current table being offered.

Catalogue Note Viscount Lorton commissioned leading architect John Nash to design and supervise the construction of Rockingham House, County Roscommon, Ireland, in the early 1800s. The first drafts of the plans arrived in 1809 and, after a few amendments, construction started in June 1810. However, Nash was dismissed in October 1811 and responsibility for overseeing the completion of the work fell to the clerk of works, John Lynn. Lynn’s final bill for the decoration of the house was submitted in 1817 and brought the total cost of the house to over £52,000 the equivalent of around £5 million today. Over £5,700 (or £540,000 in today’s money) of this was on furniture alone. Despite Nash’s dismissal, the finished house was considered by many to be his finest classical house in Ireland.

The lot being offered arrived at some point in the next 10 15 years and there is some debate as to whether this table dates from 1825 or 1836, which were the two years in which Lord Lorton undertook European ‘Grand Tours’, as many of the family records were destroyed in two fires. The first occurred in April 1867, after which the house was fully restored, and the second in 1957, after which it was demolished. However, judging by the style of the rosewood base, the latter date seems more likely, after which it primarily resided in the Billiard Room.

Giuseppe Darmanin established his business in the early 19th century and one assumes would have changed the company’s name to include ‘& Sons’ when his eldest sons joined the firm in the late 1820’s or early 1830’s. He used the anglicised Joseph Darmanin to cater for the steady flow of British Grand Tourists heading to North Africa, the Levant and India. By 1851, the firm’s reputation was so well established that they represented Malta at the Great Exhibition where they were awarded an ‘Honourable Mention’ in the judges report for the excellence of their workmanship. Examples of the firm’s work have subsequently featured in many major collections, including the Gilbert Collection, the Royal Collection and the Victoria and Albert Museum.

32 A325FRENCH BERGÈRE ARMCHAIR IN LOUIS XV STYLE MID 19TH CENTURY the grey painted frame with floral and foliate carving, the back and seat upholstered with Flemish verdure style floral tapestry, with a cushion, on cabriole legs TheProvenancefamilycollection formed at Well Head House, Halifax, Yorkshire. £700 1,000

33 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A326PAIR OF GEORGE III GREEN PAINTED AND PARCEL GILT SIDE CHAIRS IN THE MANNER OF GILLOWS, C.1790 the hoop back with a fan shaped splat with carved reeded, flowerhead and rope twist detail and painted harebell swags above a serpentine stuffed-over seat, the slightly splayed and moulded front legs carved with a leaf capital and harebells (2) Catalogue Note For a pair of unpainted chairs with hoop backs and similarly carved and splayed legs, see Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, p.95, pl. 85. £400 600

A327CHARLES II CARVED GILTWOOD MIRROR LATE 17TH CENTURY the rectangular plate inside a scrolling foliate ‘Sunderland’ type frame centred with a crest 55.5 x 44cm £300 500 34

35 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price AN328EARLY GEORGE III GILTWOOD MIRROR CHIPPENDALE PERIOD, C.1760 the plate, probably later, inside a frame of foliate ‘C’ scrolls, swags and rocaille, beneath a Chinaman seated in a pagoda flanked by flowering urns, re-gilt 104 x 72cm £3,000 5,000

36

37 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A329GEORGE II STYLE GILTWOOD SIDE TABLE IN THE MANNER OF WILLIAM KENT the grey and white veined marble slab top above a rusticated frieze centred by a large raised shell, on boldly carved legs with scrolling foliate knees, carved fetlocks and paw feet 89cm high, 148.5cm wide, 77cm deep £8,000 12,000

A330PAIR OF EARLY GEORGE III GILTWOOD MIRRORS eachC.1760with a later oval plate inside a rope twist, scrolling foliate, floral and rocaille frame, centred by an arched pagoda (2) 81.5 x 54.5cm £1,500 2,000 38

39 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A331GEORGE II GILTWOOD WALL MIRROR C.1730 40 the shaped rectangular plate within a leaf and scroll carved frame on a pounced ground, the surmount with a broken swan neck pediment centred with a cartouche, with scrolling brackets and foliate terminal centred on a shell, with blank plates for girandoles 133 x 86cm £1,000 1,500

40 A332PAIR OF FRENCH GILTWOOD CONSOLE TABLES IN LOUIS XV STYLE, 19TH CENTURY each with a red and grey veined marble top on a serpentine base with a scrolling apron adorned with foliate swags, on scrolling legs, the stretcher with acanthus (2) 86cm high, 113cm wide, 45cm deep ByProvenancerepute,the Collection of Peter Zervudachi and by descent. £2,000 3,000

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

AN333UNUSUAL EARLY VICTORIAN ALABASTER AND GREEN PAINTED TABLE IN THE MANNER OF GILLOWS, C.1840 50 the rectangular top with a tooled leather writing surface and a gadrooned border, on a base with fretwork panels in the manner of Richard Bridgens, supported by turned alabaster columns, on scrolling foliate feet 80.5cm high, 101cm wide, 62cm deep Catalogue Note Some gilding is visible in places beneath the green painted decoration. £500 800

A334GILTWOOD AND GESSO PIER MIRROR IN ROCOCO STYLE FRENCH OR ITALIAN, 19TH CENTURY the arched plate beneath a rocaille and a ‘C’ scroll crest, the frame with further scrolling and flowering foliate decoration 176 x ByProvenance87cmrepute,the Collection of Peter Zervudachi and by descent. £2,000 3,000 42

43 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A335GEORGE II GILTWOOD WALL MIRROR C.1730 40 the later bevelled, rectangular plate within a Kentian style frame carved with leaf scrolls, the sides with drapes and tassels, with a broken arch pediment centred with a cartouche, the base with a pair of blank mounts for girandoles flanking a shell 146 x 65cm £800 1,200

A336PAIR OF FRENCH GILT AND PATINATED BRONZE NINE-LIGHT CANDELABRA LATE 19TH CENTURY each with a griffin head urn finial above three lion monopodia and six scrolling foliate branches, with foliate and reeded sconces and a collar of horned beast’s masks, on a baluster column support and foliate scrolls above a base with three musician angels interspersed with foliate pendants, on a concave triangular foot cast with stiff leaves and Renaissance style scrolling strapwork (2) 82.5cm high, 39cm diameter Catalogue Note The present lot is reminiscent of a pair of French Royal ormolu candelabra made for the Duc d’Orléans, sold in these rooms on the 8th January 2020, lot 308. £2,000 3,000

44

45 A337PAIR OF REGENCY GILT AND PATINATED BRONZE CUT-GLASS CANDELABRA EARLY 19TH CENTURY each with a baluster cut-glass stem hung with beads and lustres with a faceted ball and cone surmount, the turned body with satyr mask terminals issuing a pair of scroll and anthemion decorated arms with griffin heads, with a pair of cut-glass sconces (2) 54cm high, 34cm wide PurchasedProvenancefrom Phillips of Hitchin, 27th May 1976. £800 1,200

A338PAIR OF FRENCH EGYPTIAN REVIVAL GILT AND PATINATED BRONZE VASES AND COVERS LATE 19TH / EARLY 20TH CENTURY each cover with a head finial, probably of Hathor wearing her cow horn crown, above a border of wings on a base with a pair of elephant head handles, on a body cast with oval cartouches flanked by serpents on a ground of spread wings, above a short stem and a veined green marble foot, with an inner pierced cover, stamped ‘A L’ (2) 27cm high £1,500 2,500 46

47 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A339PAIR OF FRENCH BRONZE FIGURES OF COLUMBUS AND GALILEO LATE 19TH CENTURY Columbus seated on a coil of rope beside a capstan with an anchor at his feet, Galileo holding a globe and resting on a bookcase, each on a black marble and green serpentine base (2) 42cm high (max) £2,000 3,000

48 A340FINE PAIR OF GEORGE III BLUE JOHN AND ORMOLU MOUNTED VASE PERFUME BURNERS BY MATTHEW BOULTON AND JOHN FOTHERGILL, ofC.1775ovoid form, each with a domed foliate cover with a flower bud finial above a pierced rim, with a pair of scrolling foliate handles with ram’s head terminals and hung with laurel garlands, with ribboned oak leaf swags, above a fluted socle, on a stepped square foot with an egg and dart border, in turn on a white marble waisted socle with a guilloche cast ormolu band with scrolling ribbon and flowerhead decoration (2) 24cm NicholasLiteraturehighGoodison, Matthew Boulton: Ormolu, London 2002, p.305, pl.279 where our lot is illustrated. Catalogue Note The year 1765 saw Matthew Boulton, engineer and entrepreneur, visit Paris to learn about the ormolu workshops and the wares they were providing to satiate the Georgian demand for ‘antique’ inspired works of art. This visit led to his partnership with John Fothergill to create, in 1768, a new ormolu workshop at their premises in Birmingham to decorate the vases they were creating using various polished stones, the most popular being blue john, a feldspar only found in one seam in Derbyshire. In fact, so popular were these blue john vases that at around the same time Boulton attempted to purchase or lease the blue john mines. By 1770, the design seen in the current example had been fine tuned to the point of production and is found in Boulton and Fothergill’s Pattern Book 1 on page 171 (N. Goodison, Matthew Boulton: Ormolu, p.305, pl.278). The popularity of this design was ensured after Boulton sold several vases to Queen Charlotte and they were eventually produced in a number of variations. The most popular were blue john ‘candle vases’, with reversible covers, and perfume burners as seen here. Other variations include different designs of the socle, resulting in the vase being mounted on a lower socle either in ormolu or white marble, alongside the use of white marble or porcelain as the primary ovoid body. For similar examples, see Canterbury Auction Galleries, Fine Art and Antiques, 6th June 2020, lot 630 for a pair of George III ormolu mounted blue john candle vases. Sworders, Fine Interiors, 3rd December 2019, lot 257 for a pair of gilt bronze and porcelain cassolettes. Christie’s, European Furniture and Works of Art, 6th July 2016, lot 88 for a pair of George III ormolu and white marble perfume burners. Christie’s, East & West: A Private Collection from Eaton Square & Anouska Hempel, 2nd May 2013, lot 9 for a pair of George III ormolu and white marble perfume burners. Woolley and Wallis, English and Continental Furniture, Barometers, Clocks and Works of Art, 13th March 2007, lot 128 for a pair of George III ormolu mounted blue john ‘candle vases’ by Matthew Boulton. £15,000 20,000

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

50

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

A341PAIR OF ITALIAN CARVED AND PAINTED MONKEY WAITERS

VENETIAN, MID 19TH CENTURY each modelled perched on a pile of rocks, with his tail wrapped around a tree trunk and holding out a platter, wearing a painted and gilded Renaissance style costume (2) 144cm high (max) Catalogue Note For a similar single walnut figure, see Woolley and Wallis, Furniture, Works of Art & Clocks, 6th July 2021, lot 464. £8,000 10,000

A342FRENCH EQUESTRIAN BRONZE OF ‘LE PERSAN ÉTALON’ OR ‘THE PERSIAN STALLION’ BY JULES MOIGNIEZ (1835 1894) on a naturalistic oval base, signed ‘J. Moigniez’ and titled ‘Le Persan Étalon’, with dark brown patination 31cm high, 40cm long J.LiteratureHorswell, Bronze Sculpture of Les Animaliers. Reference and Price Guide, p.244. £1,500 2,500 52

53 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A343FRENCH MARBLE BUST OF NAPOLEON MID 19TH CENTURY the Emperor wearing his bi-corn hat, looking slightly to his left, on a socle base 45cm high £1,000 1,500

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

55 A344SOUTH GERMAN EBONY AND ENAMEL MOUNTED TABLE CABINET LATE 18TH CENTURY of architectural sarcophagus form, with a pair of doors with oval enamel panels of battle scenes in the manner of Louis-Nicholas van Blarenberghe, in gilt metal frames to both the exterior and interior, enclosing three small drawers, with further oval panels to each side and turned ebonised columns to each corner, on a stepped base with slender oval panels depicting landscapes and river scenes to each side, above a shaped apron and bracket feet 18.5cm high, 25.4cm wide, 19.2cm deep £800 1,200

56

57 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A345WHITE MARBLE ÉCORCHÉ BUST AFTER JEAN ANTOINE HOUDON, 20TH CENTURY the anatomical male head showing veins, arteries, muscles and the top of his rib cage 60cm high £4,000 6,000

A346SET OF FOUR ITALIAN BRONZE FIGURES REPRESENTING THE FOUR SEASONS IN THE MANNER OF MARINO MARINI, MID 20TH CENTURY each figure standing with symbols of the seasons, on square bases, unsigned (4) 63.5cm (max) £3,000 5,000 58

59 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A347GILT BRONZE ‘DUVAL’ URN 20TH CENTURY the squat baluster body applied with crested roundels beneath a woven neck, with a pair of gilt cherubs sat on lion’s head handles, the reeded base above a lappet knop and rim, on a square foot, fitted for electricity 44.5cm high, 42cm wide Catalogue Note This urn is based on a model believed to have been designed by Pierre Duval Le Camus (1790-1854) for the gardens at the Palace of Versailles. £1,000 1,500

60 AN348ITALIAN BRONZE GRAND TOUR BUST OF THE APOLLO BELVEDERE LATE 19TH CENTURY with dark brown patination, on a gilt bronze plinth 43.5cm high £1,000 1,500

61 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price AN349ITALIAN ROSSO ANTICO GRAND TOUR PLAQUE EARLY 19TH CENTURY of oval form, relief carved with a cherub astride a dolphin, on a rectangular black marble mount 8.3 x 11.5cm £800 1,200

AN350ITALIAN SIENA MARBLE GRAND TOUR FIGURE OF A FOX IN THE MANNER OF FRANCESCO ANTONIO FRANZONI (1734 1818), EARLY 19TH CENTURY standing over a captured pheasant, on a naturalistic base, unsigned 28cm high, 43cm long, 26cm deep £4,000 6,000 62

63 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price AN351ALABASTER URN AND COVER LATE 18TH / EARLY 19TH CENTURY the cover with a beaded and turned knop, above a rim carved with interwoven ribbon decoration, the body with a rim of short stiff leaves above plantain leaves, the stem with a beaded knop, on a stepped circular foot 53.5cm high, 22.5cm diameter Catalogue Note The pink banding is reminiscent of the alabaster used extensively at Kedleston Hall in Derbyshire that was mined at nearby Ratcliffe of Soar in Nottinghamshire. £2,000 3,000

AN352ITALIAN PORPHYRY AND WHITE MARBLE GRAND TOUR ATHÈNIENNE MID 19TH CENTURY AND LATER the green porphyry bowl with a gilt bronze pinecone terminal, supported on three lion’s head monopodia with paw feet around a gilt bronze pinecone, on a concave white marble and Egyptian red porphyry triangular base bowl: 17.5cm diameter overall: 42.2cm high £4,000 6,000 64

BRONZE MODEL OF THE BORGHESE VASE AFTER THE ANTIQUE, LATE 19TH CENTURY cast with a frieze of classical figures between a pair of mask handles, between an ovolo rim and stem knop, on a fluted base and square foot 21.5cm high, 15.5cm diameter Catalogue Note The Borghese Vase was discovered in 1566 in the garden of Salluste in Rome and was bought by the Borghese family in 1645. In 1808, the French Emperor, Napoleon I, decided to buy a large portion of the Borghese Collection, amongst them the Borghese Vase which was then transported to the Louvre and has stayed there since 1811. The vase would have been originally made for a wealthy Roman who used it to decorate the garden of his villa. It was made in Greece around the 1st century BC, and then shipped to Rome where the rich were looking to recreate the lavish opulence of Hellenistic Greece. The shape of the vase is based on a Greek crater: a vessel that was used at banquets to hold wine. The high relief decoration on the body also relates to its original function, showing Bacchus, the god of wine leaning against Ariadne, who is playing music to the ecstatic figures dancing around them. £500 800

65 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A353FRENCH

66

TheCataloguehighNoteoriginalstatue, from the 1st century AD and carved from Parian marble, was discovered in 1863 during archaeological excavations at the villa of the Emperor’s wife, Livia Drusilla, in the area that became known as the Prima Porta, or the ‘first door’ because of its proximity to Rome. Carved by expert Greek sculptors, the statue is assumed to be a copy of a lost bronze originally displayed in Rome. This depiction of Augustus shows him as a youthful and virile man, also barefoot which was only allowed in the depiction of gods until then. The symbolism creates an image of a powerful hero. Furthermore, the presence of the cherub riding a dolphin directly point to the divine origin myth of Julius Ceasar and subsequently his adopted son, Augustus, according to which the family descended from Venus, the Roman goddess of love. The original can be seen in the Vatican Collection and it remains one of the most iconic images of the first Emperor of the Roman Empire. £5,000 8,000

67 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price 354ANITALIAN BRONZE GRAND TOUR FIGURE OF THE ‘AUGUSTUS OF PRIMA PORTA’ AFTER THE ANTIQUE, BY BENEDETTO BOSCHETTI, MID 19TH CENTURY Augustus modelled in the adlocutio pose, wearing a military dress and a highly decorated breastplate, holding a sceptre, with a cherub astride a dolphin at his feet, on a circular base stamped ‘B. Boschetti / Roma’ 67.cm

AN355ITALIAN BRONZE GRAND TOUR BUST OF A MAN AFTER THE ANTIQUE, POSSIBLY CHIURAZZI FOUNDRY, 19TH possiblyCENTURYEphebeof Marathon, modelled looking down to his right, with finely cast curly hair, on a Siena marble socle base; together with an associated variegated pink marble column with a green serpentine foot (2) bust: plinth:52cm111.5cm £800 1,200 68

69 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price AN356ITALIAN SPECIMEN MARBLE GRAND TOUR BUST OF THE PSEUDO SENECA AFTER THE ANTIQUE, LATE 18TH CENTURY the white marble bearded philosopher wearing a Sicilian jasper and alabastro fiorito breastplate and a sash, on a grey marble socle base; together with an associated mixed marble column of tapering square section with a stepped foot (2) overall: TheCatalogue194cmNoteheadofthe lot offered is based on a late 1st century BC Roman bust excavated at Herculaneum in 1754. Originally thought to represent the Roman philosopher Seneca the Younger, but current thinking suggests that it perhaps represents Hesiod or Aristophanes. £8,000 12,000

AN357ITALIAN ROSSO ANTICO GRAND TOUR MARBLE INKWELL AFTER THE ANTIQUE, MID 19TH CENTURY in the form of a Roman bath, with lionhead masks to each side and on lion paw feet, the wells with foliate carved domed covers (possibly later), on a verde antico marble base 23.5cm high, 19.5cm wide, 9cm deep Catalogue Note The Roman original from the Baths of Caracalla is now a fountain in the Piazza Farnese in Rome. £800 1,200 70

71 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A358REGENCY SPECIMEN MARBLE TABLE TOP EARLY 19TH CENTURY inlaid with numerous marble and hardstone square specimens set on the diagonal, including blue john and Devonian marble, inside a black marble frame, the border with further various specimens and Siena marble inside a black marble rim 92 x 61cm £5,000 8,000

EARLY 19TH CENTURY

72

the capital with differing decoration, above a slightly tapering column with fluted and reeded decoration, on a circular foot, on a stepped square section plinth and with a black marble base 103cm high £2,500 3,500

AN360ITALIAN SIENA AND CARRARA MARBLE GRAND TOUR IONIC COLUMN

A359MALTESE

PIETRA DURA ARMORIAL DESK WEIGHT

BY JOSEPH DARMANIN, DATED ‘1861’ a golden lion passant facing sinister above the motto ‘Fare Fac’, on a black background, set into white marble, inscribed ‘Darmanin Fecit / 1861’ verso 11 x TheCatalogue15cmNotecrestandmotto ‘Fare Fac’, translating as ‘Speak, Do’, could be for a branch of the Fairfax family. Malta had a number of marble workshops from the 17th century on, initially founded by Italian craftsmen. The island has close historical links with Sicily and the Southern Italian peninsula only fifty miles away. The importation of the mosaic marble technique into Malta was owing to the patronage of the Knight Hospitallers of St John, based there from 1530 until 1798, who commissioned elaborate marble tombstones for themselves. Under British rule from 1800, the workshops began making marble items in the Italian style for the influx of wealthy British tourists, who had for many years previously shown an interest in buying marble slabs in Italy as souvenirs of the Grand Tour. £400 600

the

nal hammer price

additional

AN361ITALIAN MARBLE GRAND TOUR FIGURE OF ISIS AFTER THE ANTIQUE, EARLY 19TH CENTURY standing contraposto, wearing a diaphanous gown, with her left hand to her breast, on a rectangular base; together with a Sicilian jasper pedestal of rectangular section, with an ovolo moulding and a plinth foot (2) Isis 95cm high, pedestal 100cm high Catalogue Note Isis had a key role in the ancient Egyptian belief system, she was the protector of her husband Osiris and their child, Horus, which made her a maternal and compassionate deity figure. The adoration of Isis diffused into other cultures and her worship also appeared in ancient Greece and in the Roman Empire. Her attributed role and power evolved and her character became similar to other deities, for example to the Greek goddess Demeter and her daughter, Persephone. The representation of these female figures often shows similar features, like corkscrew locks of hair and dressed in a drape-around robe. £5,000 8,000 paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for charges on fi

See

AN362EARLY VICTORIAN SILVER AND MICROMOSAIC SNUFF BOX THE MICROMOSAIC PANEL ATTRIBUTED TO GIACOMO RAFFAELLI (1753 1836) the silver box of serpentine outline with a Rococo thumbpiece and engraved with scrolls and panels of differing machined decoration, the hinged lid with a circular micromosaic panel depicting the Doves of Pliny, with a bead outer border, the base with an inscription ‘To S. Mc Culloch Esqr from Elizabeth Brown’, the gilt lined interior with Birmingham hallmarks for 1851 and makers mark for Edward Smith box: 9.8cm wide, 8.1cm deep mosaic panel: 7cm diameter ByProvenancefamilyrepute, the Middlemore Baronets and by descent. £3,000 5,000 74 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

75

76

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

ALFRED363 DUNHILL. A RARE COLLECTION OF PIPES C.1974 76 the Queen Anne style walnut cabinet with a moulded cornice above a pair of doors, holding twelve numbered drawers fitted to hold three-hundred and sixty-six Dunhill pipes, each stamped ‘Dunhill’ and with a shape number, the cabinet on cabriole legs 150cm high, 104cm wide, 73cm deep Catalogue Note Dunhill released a limited edition of ten of these collections of pipes, each with three-hundred and sixty-six pipes, thereby simplifying the daily decision of which pipe to use! £25,000 35,000

78 A364HEREND PORCELAIN PART DINNER AND TEA SERVICE 20TH CENTURY in the Rothschild Birds pattern, with Meissen style insects, butterflies and birds, with gilt edges and flue printed marks, comprising: a covered tureen, two small jardinières, one large jardinière, four graduated platters, eighteen eleven inch dinner plates, eighteen soup plates, twelve ten inch entrée plates, eighteen nine inch plates, eighteen side plates, twenty coffee cups and saucers, one double spout sauce boat, one caster, one milk jug, one oval dish, one mustard pot and cover, two leaf shaped dishes and two matchbox holders (121) RedlynchProvenanceHouse, Salisbury, Wiltshire. £500 1,000

79 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A365PAIR OF CHINESE PORCELAIN BLUE AND WHITE VASE TABLE LAMPS THE PORCELAIN KANGXI 1662 1722, THE MOUNTS FRENCH, 19TH CENTURY of ovoid shape, each decorated with cartouches of fan shaped panels and treasures, interspersed with floral sprays and flowering branches, beneath ruyi and flowerhead shoulders and floral feet, with scrolling foliate ormolu mounts and an oil lamp cover, now fitted for electricity (2) 70cm high £2,000 3,000

A366PAIR OF CHINESE HARDWOOD AND PORCELAIN MOUNTED TABLES QING DYNASTY, MID 19TH CENTURY each top inlaid with a central famille verte plaque with an inscription, above a pierced foliate frieze, on a turned and carved baluster column support and a tripod base with foliate scrolls (2) 76cm high, 55cm diameter £3,000 5,000 80

81 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A367CHINESE CARVED HARDWOOD DISPLAY CABINET

19TH CENTURY of stepped form, with carved and pierced scrolling and foliate and floral decoration 152.5cm high, 98cm wide, 38cm deep fromProvenancetheCollection of Admiral Robert Coote CB (1820-1898), and thence by descent.

Admiral Coote enlisted in the Royal Navy in 1833. He was made Commander of HMS Volcano from 1845, HMS Victory from 1860, HMS Gibraltar from 1864 and HMS Arethusa from 1867. In 1874 he was appointed Commander-in-Chief of Queenstown and served as Commander-in-Chief of the China Station between 1878-1881. £800 1,200

EBONY BUDDHIST ‘MOONSTONE’ CONSOLE TABLE CEYLON, MID 19TH CENTURY of demi-lune form with a central stupa flanked by dolphin heads issuing waves, above carved, concentric bands of flames in the outer ring, a band of elephants, bulls, horses and lions, foliage, swans and further foliage, including the lotus, the apron of Buddha surrounded by foliage, on inverted, square section baluster legs with carved, foliate decorati 124.5cmonhigh, 134cm wide, 69cm deep Catalogue ‘Moonstone’,Notean approximate English translation of Sandakada Pahana, is characteristic of Sri Lankan architecture and is usually found before doorways and at the bottom of flights of steps. It is believed to symbolise the cycle of Samsara in Buddhism and is first found in architecture of the Anuradhapura Kingdom (377BC - 1014AD) £8,000 12,000

AN368ANGLO-INDIAN

83 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price λ AN369ANGLO-CHINESE HUANGHUALI BUREAU ON STAND QIANLONG, C.1750 60, THE STAND ENGLISH, 18TH CENTURY the fall front revealing three drawers and a later lift-out surface enclosing a well, above a long drawer with brass handles, the side with brass carrying handles, on a Chinese Chippendale style mahogany stand with a long drawer, with arcaded blind fretwork and reticulated square section legs and brackets overall: 92cm high, 62.5cm wide, 46.5cm deep £2,000 3,000

84 A370SINO-EUROPEAN SATIN BEDSPREAD LATE 18TH / EARLY 19TH CENTURY the crimson ground embroidered in silver and gilt thread with scrolling flowers, foliage and arabesques with a fringe and some corner tassels, with Mentmore lot label attached 265 x 220cm approx. BaronProvenanceMayer de Rothschild at Mentmore Towers, Buckinghamshire. Sold in the Mentmore sale by Sotheby Parke-Bernet, lot 1410, where acquired by the current owner. £600 800

AN372UZBEK

SPREAD OR SUMMER CARPET NORTH INDIA, 18TH / 19TH CENTURY worked in silk on a cream silk ground, the field with scrolling vines, birds and butterflies, centred by a cusped floral panel, framed by similar spandrels and meandering vine borders, flanked by guard stripes 272 x TheProvenance202cmCollec tion of George Carnac Barnes (1818-1861), Governor of the Cis-Sutlej States, and thence by descent. £2,000 3,000

SUZANI CENTRAL ASIA, 19TH CENTURY woven in panels and joined on a linen ground, the field decorated with central flowerhead medallions flanked by urns, flowers and a peacock, framed by borders of meandering serrated vines and flowerheads 145 x TheProvenance100cmCollec tion of George Carnac Barnes (1818-1861), Governor of the Cis-Sutlej States, and thence by descent. £1,500 2,500

85 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A371VERY

FINE MUGHAL EMBROIDERED FLOOR

86 A373LARGE USHAK CARPET WEST CENTRAL ANATOLIA, C.1900 the soft terracotta lattice field of angular vines, palmettes and large flowerheads, enclosed by aquamarine borders of angular vines, flanked by apple green guard stripes 788 x TheProvenance483cmWorshipful Company of Drapers, Drapers Hall, London who bought the carpet new in around 1900. £4,000 6,000

87 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A374FRENCH LOUIS XVI AUBUSSON TAPESTRY LATE 18TH CENTURY worked with a pair of ribbon tied medallions and with an amorous couple, within floral swags and agricultural trophies 248 x PurchasedProvenance385cmfrom C. John, South Audley Street, London, 29th August 1997 for £28,000. £3,000 5,000

15TH / 16TH CENTURY of lancet form, worked in silk and silver thread on a linen ground in a variety of stitches, including split and satin, with appliqué and couched work on a silver thread ground depicting St. Catherine, possibly Mary Magdalene and two male saints, each beneath Gothic style trefoil arches (4) 29.5 x 16cm (max)

‘OPUS ANGLICANUM’ ORPHREY PANELS

A

15TH / 16TH CENTURY of lancet form, worked with silk and gilt threads in a variety of stitches, including split, satin and silk twist, with appliqué and couched work on a gilt diapered ground, St. Peter standing above a panel of castellations and another male saint holding a bottle and a cross (2) 29.5 x 18cm (max) £600 800 A376SET OF FOUR ‘OPUS ANGLICANUM’ ORPHREY PANELS

ORPHREYANGLICANUM’PANELS376

Orphrey panels such as these were traditionally applied to ecclesiastical vestments, such as chasubles or copes, or to altar frontal cloths. They were made using silk and precious metal threads often commissioned by the patron of the churches in which they would be seen and are usually either English or Italian. The term ‘Opus Anglicanum’ was first adopted in the 13th century to classify works of this nature and the quality produced in the medieval and early late medieval period.

Catalogue Note See the Victoria and Albert Museum, accession number 817-1901, item record 0364885 for an altar frontal with four panels depicting figures under similar Gothic arches and worked using silks in similar colours. £1,000 1,500 88 COLLECTION OF ‘OPUS 375

TWO375

Catalogue Note For a very similar single panel with a man standing on a similar architectural background and worked in a similar manner, dated 1400 1500s, see Victoria and Albert Museum, accession number T.81 1946, item 0364623. Also see Victoria and Albert Museum, accession number 241 1908, item 0354257 for a 16th century chasuble applied with other similar orphrey panels. £1,500 2,000 89 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price

A377SET OF THREE ‘OPUS ANGLICANUM’ ORPHREY PANELS

of lancet form, worked with silk and gilt thread in a variety of stitches, including split, satin and silk twist, with appliqué and couched work on a gilt diapered ground, one with a king wearing an ermine lined gown and holding an orb and sceptre before a flowery mound, the others with a saint holding a staff and a nobleman, each above a panel with castellations (3) 29.5 x 18cm (max)

15TH / 16TH CENTURY

91 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price AN378EARLY GEORGE III BLACK JAPANNED BRACKET CLOCK BY THOMAS GARDNER, LONDON, C.1760 the brass eight day twin fusee movement with repeat mechanism and verge escapement striking on a bell, with a bob pendulum, the backplate engraved with a bird of prey holding a snake in its beak surrounded by scrolling foliage, the seven inch arched dial with a silvered chapter ring with black Roman hour and Arabic five minute numerals beneath a strike / silent dial, with scrolling foliate spandrels, the bell top case with gilt figural, floral, landscape and trellis decoration surrounding the arched glazed front and back doors and shaped side panels, with keys and pendulum 46cm high, 28cm wide, 18.3cm deep £3,000 5,000

A379FRENCH

DIRECTOIRE ORMOLU AND CARRARA MARBLE

ProvenanceByrepute,this clock belonged to a noble North Italian family. Purchased from Art Ancien, Via dei Coronari, Rome, c.1997. The Collection of Sir Jeremy Lever. Catalogue Note Jean Antoine Lépine (1720-1814) began his horological career in Geneva, later moving to Paris where he was apprenticed to André Caron, the King’s clockmaker. He subsequently married Caron’s daughter in 1756. He received maître title in 1762 and soon after was appointed to the coveted position of Horologer du Roi of Louis XV. He subsequently served as watchmaker to Louis XVI and Napoleon I. He operated from premises in the rue Saint-Denis and in 1789 moved to 12 Place des Victoires. By this time, the day to day running of the business was handled by his son-in-law Claude-Pierre Raguet-Lépine. There are several clocks by Lepine in the British Royal Collection and according to C. Jagger, Royal Clocks: The British Monarchy and its Timekeepers, Lépine was a favourite clockmaker of George IV who is known to have bought a number of clocks from the firm. £5,000 8,000 92

PORTICO MANTEL CLOCK BY LÉPINE, C.1790 1800 the eight day brass drum movement with an outside countwheel and striking on a bell, the backplate inscribed and numbered ‘Lepine h.ger du Roi Paris no. 4163’, the white enamel dial by Barbichon, with the days of the week in puce, with black Roman hours and Arabic minutes and puce dates, signed ‘Lepine H.ger du Roi’ and ‘Place des Victoires no.12’, with gilt pierced and fleur-de-lis time hands and steel calendar hands, the temple case with chased and gilded bronze mounts, with an eagle surmount above six urns of flowers and a gallery supported by Corinthian columns hung with laurel swags, with two female figures, representing Justice and Fortitude, flanking war trophies, the breakfront base inset with tablets of scrolling leaves and further trophies, on a separate plinth base 73cm high, 49.3cm wide

93 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A380FRENCH

PATINATED AND GILT BRONZE MYSTERY CLOCK

ATTRIBUTED TO JEAN EUGÈNE ROBERT HOUDIN, PARIS, MID 19TH CENTURY the four and a half inch glass dial with black Roman numerals and a single gilt metal arrow hand inside a chromed bezel, on a scrolling bracket supported by griffins, the waisted case decorated with a cherub amongst scrolling foliage and containing a brass two train movement, stamped ‘Brevet d’Invention, Boilviller A Paris’ and ‘61’, striking on a bell, the back of the case also stamped ‘Brevet d’Invention’, on a scrolling and shell foot and on a velvet topped giltwood plinth with shell and scrolling foliate decoration 41.5cm DerekLiteraturehighRoberts, Mystery, Novelty & Fantasy Clocks, p.225, pl.19-7 for a similar second series ‘standard glass dialled single handed mystery clock’. Catalogue Note For similar examples, see Bonhams London, Fine Clocks, 9th July 2014, lot 159, and Bonhams New York, Fine Furniture and Decorative Arts, Clocks and Silver, 24th September 2012, lot 5268. £2,000 3,000

TheProvenanceCollection of Sir Jeremy Lever. Catalogue Note Thiébaut Frères started to work as art founders in 1851 under the supervision of Victor Thiébaut. They produced cast raw bronzes originally, for other more prestigious founders to finish. However, Victor Thiébaut then began to forge relationships and produce work for some of the most famous sculptors of the day, including: Carpeaux, Pradier and Carrier-Belleuse. In 1884 the firm opened a shop at 32 Avenue de l’Opera and the same time they took part in international exhibitions, including the 1889 Paris Universal and the 1893 Chicago Universal, where their bronzes were described as ‘wonders of casting, chiselling and patina’. £3,000 5,000 94

A381FRENCH ORMOLU MANTEL CLOCK IN LOUIS XVI STYLE BY THIÉBAUT FRÈRES, LATE 19TH CENTURY the eight day brass drum movement striking on a bell, stamped ‘1410’ and ‘Médaille d’’argent Vincenti & cie, 1855’, with a white enamel dial with Arabic hour and five minute numerals and painted with swags of flowers, inscribed ‘Thiébaut Frère Paris, 32 Avenue de l’Opera’, the case with an urn surmount with mask handles, above four bevelled glass panels mounted with cast and chased fruiting and flowering vines, centred with laurel swags and a Bacchus mask, on foliate hoof monopodia and a stepped rouge griotte marble base, with toupie feet 70.1cm high, 36.5cm wide

the brass eight day drum movement inscribed ‘Chles Bertrand Paris’, with an external countwheel striking on a bell, the domed white enamel dial with black Roman hour numerals and white Arabic five minute numerals inscribed ‘Chles Bertrand / A Paris’, with pierced gilt metal hands, the cylindrical case surmounted by a reeded urn, flanked by a pair of lion’s heads, holding knotted rope swing handles and above a fruiting laurel swag, on a shaped rectangular stepped base with bands of cast foliate and flowerhead decoration, on bun type feet, with key 41.5cm high, 24.5cm wide, 15cm deep £3,000 5,000

A382FRENCH LOUIS

See paragraphs

95 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price XVI WHITE MARBLE AND ORMOLU MANTEL CLOCK BY CHARLES BERTRAND, PARIS, LATE 18TH CENTURY

96

A383MAHOGANY

MUSICAL LONGCASE CLOCK BY J. HEYWOOD, NORTHWICH the brass three train movement with four turned pillars striking the hours on one bell and chiming on a nest of eight bells, the twelve and three quarter inch brass dial with black Roman hour and Arabic five minute numerals, with months of the year, days of the month and saints’ days, inscribed to the centre ‘Labour here with all my Might / To tell the Hours of Day and Night / Thy constant care then let it Be /To serve the God as I serve Thee’ and ‘Heywood / Northwich’ amongst foliate scrolls, beneath an arched brass moon dial with the days of the month, inscribed ‘He appointed the Moon for Certain Seasons’, the arched case in the manner of Gillows, the hood centred with Prince of Wales plumes of feathers with a gilt crown, the broken swan neck pediment and blind fretwork above a glazed door flanked by four fluted columns and four half columns to the side, the trunk with applied scrolling foliage to the door flanked by fluted columns and above a fruiting swag, the base with similar decoration, on bracket feet, with three weights and a pendulum 255cm high £2,000 3,000

97 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A384BLACK

JAPANNED LACQUERED AND GILT CHINOISERIE LONGCASE CLOCK JOSEPH COOKE AYLESBURY, MID 18TH CENTURY the brass eight day twin train movement striking on a bell, with a twelve inch brass dial and a silvered chapter ring with black Roman hour and Arabic fiveminute numerals interspersed with fleur-de-lis, the matted centre with a subsidiary seconds dial, a date aperture and a plaque, inscribed ‘Joseph Cooke, Aylesbury’, a strike / silent dial to the arch, the hood with a glazed door flanked by three quarter columns, above a trunk with gilt chinoiserie decoration in low relief, on bracket feet, with weights and pendulum 223.5cm high £1,000 1,500

98

A385WILLIAM AND MARY WALNUT AND MARQUETRY LONGCASE CLOCK BY JOSEPH WINDMILLS, LONDON, LATE 17TH CENTURY

the brass eight day twin train movement with four turned pillars, the anchor escapement striking on a bell, the ten and a half inch brass dial with a silvered chapter ring with black Roman hour and Arabic five minute numerals, inscribed ‘J Windmills London’, the matted centre with a subsidiary seconds dial and a date aperture inside cherub head spandrels, the hood with a square glazed door framed with a floral inlay and flanked by turned columns with gilt capitals and bases, the trunk with a circular glazed lenticle to the door, between panels inlaid with birds amongst scrolling foliage, with two weights and a pendulum 202cm JoseCataloguehighNotephWindmills was an esteemed maker and was made free of the Clockmakers’ Company in 1671 and became master in 1702. He was in partnership with his son, Thomas, and they were based in Tower Street, London. £4,000 6,000

the brass eight day movement with four turned pillars, the anchor escapement striking the hours on a bell, the brass ten and a quarter inch dial with a silvered chapter ring with black Roman hour numerals interspersed with fleur-de-lis markers and with a matted centre, with a subsidiary seconds dial, a date aperture and pierced hands, the shuttered wind holes inside cherub head spandrels, the hood with silk backed fretwork frieze, with ebonised spiral twist columns, the trunk decorated with fan and star paterae on an oyster ground, with a glazed lenticle, on a plinth foot, with a pair of weights, a pendulum and a key 197cm

PROBABLY BY SAMUEL WATSON, LONDON, LATE 17TH CENTURY AND LATER

A386WALNUT AND OLIVEWOOD OYSTER VENEERED AND PARQUETRY LONGCASE CLOCK

TheProvenancehighfamilycollection formed at Well Head House, Halifax, Yorkshire.

Catalogue Note Samuel Watson (d.1740) was elected as Sherriff of Coventry in 1686 before going to London in 1690. Watson made two astronomical clocks for King Charles II. He had been made ‘Mathematician in Ordinary’ to the King in 1682 when he delivered the first clock. Watson was the leading astronomical clockmaker by the end of 17th century. He seemed to specialise in table (spring) clocks but he also made some longcase clocks and a number of watches. £1,500 2,000

99 See paragraphs 4 & 5 of our Condi nal hammer price

A387SWISS MUSICAL BOX LATE 19TH CENTURY playing ten airs on a 38.5cm brass cylinder and nine bells, with engine turned decoration and pagoda topped hammers, the lever crank stamped ‘270832’, the figured walnut case with kingwood crossbanding and ebonised details, with its original title card 25.5cm high, 65.3cm wide, 31.5cm deep £800 1,200 100

101 See paragraphs 4 & 5 of our Conditions of Business at the back of this catalogue for additional charges on the final hammer price A388GEORGE III TERRESTRIAL POCKET GLOBE BY DOLLOND, LONDON, DATED ‘1809’ the twelve hand-coloured gores overlaid with a Dollond cartouche, the decoration includes Anson’s circumnavigation, Cook’s last voyage of 1779, the Meridian of London, a four point compass rose, the continents and regions of the world outlined in various colours, no northern coastline of North America and the Rockies named Stony Mountains, with two iron axis pins, the shagreen case lined with celestial gores and coloured green (2) globe: 7cm diameter case: 7.6cm diameter £2,000 3,000 END OF SALE

FURNITURE, WORKS OF ART & CLOCKS WEDNESDAY 11TH & THURSDAY 12TH JANUARY 2023 ENQUIRIES Mark Yuan Richards | +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

ENQUIRIES Michael Jeffery | +44 (0) 1722 424505 | mj@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price DESIGN WEDNESDAY 19TH OCTOBER 2022 Strumenti Musicali a Fornasetti four fold screen Estimate £2,000 4,000*

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

You can register in person or by contacting the office on 01722 424500 or emailing id@woolleyandwallis.co.uk

AUCTION INFORMATION

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

Pack & Send+44 (0)1635 www.packsend.co.uk/newburynewbury@packsend.co.uk887237

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

SALE RESULTS

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.

Kimdan Ltd+44 (0)7973 andy@kimdan.co.uk389436

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.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

EXPORTING YOUR PROPERTY FROM THE UK

2. a utility bill or document showing your name and address

OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm VIEWING

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

TELEPHONE BIDDING

You will be asked to show your documents, or fax or email PLEASEcopies.NOTE:

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

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

Alban Shipping+44 (0)1582 www.albanshipping.co.ukinfo@albanshipping.co.uk493099

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country. Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand carried exports.

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.

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.

PACKING AND SHIPPING

Mailboxes +44 (0)1962 www.mbe.co.uk/winchestermbewinchester@btconnect.com622133

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: 1. a passport or photographic driving licence

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.

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

The colours printed in the catalogue are not necessarily true.

for Droit de Suite are as follows: 4% Up to Up0.25%0.5%€350,000.011%€200,000.013%€50,000.01€50,000200,000350,000500,000Inexcessof€500,000toamaximumlevyof€10,000

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

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, Mastercard or Amex Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. We reserve the right to add storage charges to all lots 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.

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.

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.

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/

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 Royaltiessale.

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.

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 authorised to acquire the lot 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 are not allowed to take physical possession of it. The auctioneers will re offer 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.

CITES REGULATIONS

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.

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.

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.

(b) A reserve once set cannot be changed except with our consent.

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

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.

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.

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).

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.

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.

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. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

(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).

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.

(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.

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

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.

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.

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.

TERMS OF CONSIGNMENT FOR SELLERS

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.

INFORMATION FOR BUYERS

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

4. THE PURCHASE PRICE

(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

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.

(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.

8. REMEDIES FOR NON PAYMENT OR FAILURE TO COLLECT 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.

(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.

9. THIRD PARTY LIABILITY

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

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.

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.

3. INCREMENTS

7. TITLE AND COLLECTION OF PURCHASES

(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.

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.

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) 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.

14. Authority to deduct commission and expenses and retain premium and interest.

(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.

(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.

(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.

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.

(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:

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.

(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

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

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).

CONDITIONS OF SALE

(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.

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

(f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date.

BOOK AUCTIONS

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 Royaltiesdeath. 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.

The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable.

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

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.

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

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.

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.

(j) Dimensions are given height before width.

(g) After Edward Lear: In our opinion a copy of a known work of the artist.

14. DESCRIPTIONS AND CONDITION

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.

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.

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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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.

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.

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

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.

(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.

11. WARRANTY OF TITLE AND AVAILABILITY

(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.

(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.

(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.

12. AGENCY

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.

(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.

(k) Pictures are framed unless otherwise stated.

(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.

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

(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.

13. TERMS OF SALE

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.

(b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

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) 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.

• to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance;

• debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

• your name and contact details including address, telephone and email address;

• 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 the saleroom.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);

Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 2018 (DPA) and the General Data Protection Regulation (GDPR).

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;

We collect your personal data from the following sources:

• By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51 61 Castle Street, Salisbury, SP1 3SU.

• once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

• instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions;

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:

• communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account;

• 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;

• credit and payment history (where you open an account with us as a buyer or bidder);

• payment details such as credit card and bank account details;

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.

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:

• 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.

LEGITIMATE INTERESTS

• 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);

• to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors;

• account details and other information relating to your transactions/dealings with us and your use of our Services;

• information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and

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:

DATA CONTROLLER AND CONTACT DETAILS

• shipping companies whom you hire to collect items you purchased from us.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA

In this respect we will provide your data to the following: • our professional advisors; • the saleroom.com;

• By telephone – +44 (0)1722 424599

• By email – privacyofficer@woolleyandwallis.co.uk

• 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);

• 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.

• your image, as captured by CCTV, if you attend our premises;

WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU

• 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;

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.

• sage paywho 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);

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

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:

From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services;

• to carry out background and credit checks in relation to bidders and buyers.

HOW WE COLLECT YOUR PERSONAL DATA

LEGAL OBLIGATIONS

PRIVACY NOTICE FOR CUSTOMERS

THE CATEGORIES OF PERSONAL DATA WE COLLECT

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.

We may collect the following personal data 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.

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.

• 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);

• 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;

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 at: www.ico.org.uk

• 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 require us to correct the personal data we hold about you if it is incorrect;

• to require us to erase your personal data;

• 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.

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.

• 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 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.

• to obtain access to, and copies of, the personal data that we hold about you;

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.

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).

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;

YOUR LEGAL RIGHTS

• 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);

We process special categories of personal data for the following reasons:

CONSENT

SPECIAL CATEGORIES OF PERSONAL DATA

PROFILING

HOW LONG YOUR INFORMATION IS KEPT

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.

Under the DPA you have the following rights:

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

INTERNATIONAL TRANSFERS OF DATA

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

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. We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Amanda Lawrence +44 (0)1722 424500 | valuations@woolleyandwallis.co.uk Please email or call (0)1722 424500

PROBATE VALUATIONS

+44

Woolley & Wallis Salisbury Salerooms Ltd. 51 61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No. 02998482 VAT No: 631 9832 29 SALISBURY MILL ROAD NEWSTREET FISHERTONST WYNDHAMROAD SCOTS LN BEDWIN ST WINCHESTER ST CHIPPER LN SALT LN ASHLEYROAD ST ANN ST SOUTH WESTRD HULSERD CATHEDRALNCASTLESTREETEWCANALA360DEVISESRD A36(T)CHURCHILLWAYWEST A36 CHURCHILLWAYNORTH 543ADRELTSAC COOMBEROAD A36(T)CHURCHILLWAYSOUTHA36(T)CHURCHILLWAYEASTA36(T) SOUTHAMPTONROAD HARNHAMROAD A3094 NEW HARNHAM DOWNTONROADA338 WILTONRDA36 CARCENTRALPARK AMESBURY MARLBOROUGH& LONDON, ANDOVER & WINCHESTER WILTON WARMINSTER& A338 BOURNMOUTH & RINGWOODA354WEYMOUTHDORCHESTER&BLANDFORD SOUTHAMPTON WOOLLEY & SALEROOMSWALLIS A345 Castle RdPortwayBeehivePark&RideA345 A36ChurchillWay A36 Old Sarum Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU Woolley & Wallis Unit Castle1BGate Business Park Old SP4SalisburySarum6QX SALISBURY AMESBURY WOOLLEY & WALLIS Salisbury Salerooms Sarum Business Park Old Sarum Park E NS W Kia WestoverMotorsGarage MARLBOROUGH & SWINDON WOOLLEY & WALLIS Castle Gate 1st Self Access Storage DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough eet ondon W1S 3RQ SMayfairecond Floor 7 Clifford Street allislley Wo&W BrewerStreet Wo PiccadillyCircus adilly ee ewerStre GreatMarlboroughStre 1SLMaddoxaddStreeSxoxoitStreetStreetStree RegentStreet OxfordCircusdCi ege reatMarlboroughSt StreeitStre SavilleRow SackvilleStreetBurlingtonArcadeVigo St.StreeStreet ngtonAr NewBond DoAlbemarleStreettrebemrleStreStreetavilleRodd StJamesStreet Conduit d DoverStreet BerStreOldBond eStr CliffordStreet ark Clifford OOLL GreenP CorkStreet t SackvilleStreeOldBond lingtonArcJamesStree CliffordStreet go S dSStreet W Street, Mayfair WAALLIS Piccad LEY & W Green P 17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only) Design & Production by Jamm Design Ltd +44 (0) 20 7459 jammdesign.co.uk4749

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.

INSURANCE VALUATIONS

FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available by appointment.

valuations@woolleyandwallis.co.uk

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 Business 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 IDEmailmay be required even if you have bid with us before.

PLEASE

Lot Number Brief Decription Price Excluding in numerical buyer’s premium order & VAT Salisbury Salerooms, 51 61 Castle Street, Salisbury, Wiltshire SP1 3SU | Tel: +44 (0) 1722 424500 | Fax: +44 (0) 1722 424508 www.woolleyandwallis.co.uk

Signature PRINT CLEARLY IN BLOCK LETTERS

THURSDAY 6TH OCTOBER 2022

ABSENTEE BID FORM FINE FURNITURE WORKS OF ART & CLOCKS

5thOCTOBER2022CALENDARAUCTIONExburyHouse: ‘Le Goût Rothschild’ 6th Fine Furniture, Works of Art & Clocks 19th Design 25th & 26th Silver & Objects of Vertu 15th2ndNOVEMBER&3rdJewellery&16thAsianArt, Chinese Paintings & Japanese Works of Art 23rd Medals & Coins, Arms & Armour 30th British Art Pottery 14thDECEMBERModern British & 20th Century Art Dates may be subject to change ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR 2022/2023 AUCTIONS An early 18th century Franco Flemish burr walnut and gilt brass coffre fort SOLD FOR £8,125* +44 (0) 1722 51enquiries@woolleyandwallis.co.uk42450061CastleStreet,Salisbury,SP1 3SU *Pricewww.woolleyandwallis.co.ukincludesbuyer’spremium

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