Wooley & Wallis by Jamm Design Ltd

WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

Furniture, Works of Art & Clocks Wednesday 9th January 2019

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Specialist Departments Please dial +44 (0)1722 followed by the number listed below 20TH CENTURY DESIGN Michael Jeffery Zoe Smith ASIAN ART John Axford MRICS ASFAV Jeremy Morgan Amber Lees Sarah Lopez-Ferreiro

424505 446955

424506 +44 (0)7812 601098 424571 424751

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Amber Lees

424589 424571

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

424507

411854 339161 446974

JAPANESE ART Alex Aguilar Sarah Lopez-Ferreiro

424583 424751

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Zoe Cordey

424509 424598

MARKETING Sally Trench

446959

ACCOUNTS Janice Clift (Office Manager)

424500

GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Ruth Pike

424500

SALEROOM MANAGER David Jordan

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

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

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV Clive Stewart-Lockhart FRICS FRSA

424595 424504 424586

341469 446980

PAINTINGS Victor Fauvelle Jo Butler Madeleine White

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

339752 446980

424500

CASTLE GATE MANAGER Matt Hill CASTLE GATE RECEPTION Megan Corbett BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

Natalie Milsted FCCA Finance Director

424599

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

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 â&#x20AC;¢ www.woolleyandwallis.co.uk

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 9th January 2019 at 10.00am at our Castle Street Salerooms, SP1 3SU VIEWING TIMES Saturday 5th January Monday 7th January Tuesday 8th January Wednesday 9th January

10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 8.30am – 9.45am

ENQUIRIES

Mark Yuan-Richards 01722 411854 myr@woolleyandwallis.co.uk

Jim Gale 01722 339161 jg@woolleyandwallis.co.uk

COLLECTION OF LOTS Collection is available after the sale at the Castle Street Salerooms until Saturday 12th January 1pm. On Monday 14th and Tuesday 15th January all lots will be in transit, and collection from our warehouse: Unit 1B, Castle Gate Business Park, Old Sarum, Salisbury, SP4 6QX is available from Wednesday 16th January. Please call 01722 446950 or 01722 424500 prior to collection to ensure the items are ready. Please note, the warehouse is closed over the weekend. All accounts to be settled prior to collection. CONDITION OF LOTS

Suzy Becsy 01722 446974 sb@woolleyandwallis.co.uk

Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 25% plus VAT TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 8th January. LIVE BIDDING

ILLUSTRATIONS Front cover: Lot 321 detail Back cover: Lot 376 detail Catalogue £15.00 (£20.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 8th January. Please note there is a 4.95% +VAT surcharge for using this service.

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THE SIR JEREMY LEVER COLLECTION Sir Jeremy Lever, KCMG, QC, MA, FRSA has spent his working life as both a practising and an academic lawyer. He was fortunate enough to gain a place as a scholar at University College, Oxford. Before going to Oxford he served as a National Service officers with African troops in Kenya at the time of the Mau Mau emergency. At Oxford he served as President of the Oxford Union Society before being elected, by Examination, a Fellow of All Souls College, of which he has remained a Fellow. He took Silk in England and Wales in 1972 and in Northern Ireland in 1988 and served as a Bencher of Gray's Inn until he reached the age of retirement. In 1977 he established Chambers in Brussels and for the following seven years practised as a Barrister primarily from there, mainly in the field of what is now European Union law. His knighthood was conferred for services in the field of Law. Largely because of his membership of the University of Oxford for more than 60 years past, Sir Jeremy has been fortunate enough to meet, and often to get to know well, many prominent figures, as well as many of the leading scholars of the day. While still an undergraduate, he invited the then Duke of Wellington to come to address an undergraduate audience about his recent trip, as leader of a Parliamentary delegation, to Moscow. Never having previously (or since) had occasion to address a Duke, Sir Jeremy, after consulting a book on etiquette began and ended his letter of invitation "Your Grace" and "I have the honour to be Your Grace's most humble and obedient servant". The Duke, when he came to Oxford was totally charming and put all concerned at their ease. It therefore seemed perhaps a little over the top to use the same formula as before in the thank you letter sent to him by Sir Jeremy. But, all having gone so well up to then, it seemed best to do so. The Duke's letter in reply began "My dear Jeremy, it would be standoffish to the point of rudeness were I by now to address you otherwise. Another bonus of Fellowship of All Souls was that Her Majesty Queen Elizabeth the Queen Mother used to come to lunch once a year. "When one was in conversation with her, she made you feel that you were the one person in the world that she then wanted to talk to." After downsizing three years ago we were fortunate to sell the first part of Sir Jeremy and his partnerâ&#x20AC;&#x2122;s collection. Following a further move we are delighted to be offering the final part of their collection which has been formed over the last forty years. Items have been acquired from the top London salerooms and dealers and from trips abroad, including to Rome and Heidelberg. The collection is varied and has major strengths in Grand Tour items, including: a wonderful specimen marble table once belonging to Sir Dirk Bogarde (lot 382); Art Deco sculpture with stunning works by Bruno Zach and Edgar Brandt and French clocks, the highlight is a fine Directoire period marble portico clock by LĂŠpine. These lots and the rest of the collection can be identified in the catalogue with this symbol.

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OAK & COUNTRY

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

1. A Welsh oak and marquetry press cupboard, inlaid with parquetry banding, the frieze naively carved with two birds and a scrolling grapevine, above a panelled cupboard door inlaid with flowers and leaves, flanked by conforming panels, with further carvings of stylised leaves and flowers, with a drawer and two cupboard doors, late 17th / early 18th century and later adaptations, 124.4cm high, 130.5cm wide, 50cm deep. £800-1,200

2. A William and Mary oak table desk, the hinged sloping lid fitted with a compartment for pens, above two drawers, the front inscribed ‘16 GG 97’, above a guilloche band, 24.6cm high, 48.4cm wide, 34cm deep. £250-350 Provenance: The Collection of Christopher Jenkins.

3. A pair of oak slat-back chairs, each with a scroll carved top rail, above triple leaf decorated vertical splats, with incised zigzag decoration, on turned and block stretchered supports, late £200-300 17th / early 18th century. (2)

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4. A William and Mary oak gateleg table, the oval drop-leaf top on block and spiral twist ends, the gates with shaped stretchers, on sleigh type feet, 68.9cm high, 78.5 x 97cm. £250-350 Provenance: The Collection of Christopher Jenkins.

5. An early 18th century oak gateleg table, the single drop-leaf top on baluster ring and bobbin turned legs, united by peripheral stretchers, 65.8cm high, 73.5 x 64cm. £150-200 Provenance: The Collection of Christopher Jenkins.

6. A small early 18th century oak gateleg table, the oval dropleaf top on cup and baluster turned end supports, united by an arc d’arbalète stretcher, 70.9cm high, 80 x 101cm. £100-150 Provenance: The Collection of Christopher Jenkins.

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Each lot is subject to a Buyer’s Premium of 25% plus VAT

7. A 17th century oak enclosed chest, with a panelled frieze drawer, decorated with ebony panels, marquetry inlaid with mother of pearl, fruitwood and bone, with scrolling foliage and shell motifs, with two cartouches engraved with initials ‘C G E’ and the date ‘1646’, above a pair of conforming arched and pedimented doors flanked by pilasters, with snakewood panels enclosing three drawers with iron handles, above a further geometric panelled drawer, the sides panelled and applied with split mouldings, possibly Flemish, 129.8cm high, 123.5cm wide, 65.6cm deep. £2,000-3,000

8. An early 17th century West Country oak box, the boarded hinged top above a carved front and sides, decorated with strapwork and floral motifs, probably Exeter, 29.4cm high, 98.4cm wide, 55.8cm deep, on an £500-700 associated oak stand.

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9. A mid-18th century elm and oak hanging corner cupboard, with a pair of fielded panel doors enclosing a green painted interior, with three arc d’arbalète shelves, 102.8cm high, 76cm wide, 40cm deep. £150-250

9 10. An early 18th century oak twin panelled coffer, the hinged lid enclosing an interior with a till, 61.7cm high, 119.1cm wide, 48.3cm deep. £100-150

11. An oak coffer, the hinged top with a moulded edge above a guilloche carved frieze and triple panels decorated with diamond lozenges, the sides on cut-out ends, 17th century with adaptations, 69cm high, 116.3cm wide, 45cm deep. £200-400

12. A mid-18th century oak hanging corner cupboard, with a fielded panel door, 89cm high, 66.8cm wide, 38.4cm deep. £100-150 Provenance: The Collection of Christopher Jenkins.

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13. An early Georgian carved giltwood Royal Coat of Arms, carved with scrolling leaves, an English rose and a Scottish thistle, with a lion and a unicorn flanking a crowned helm and a an oval shield, with the motto, in French, of English monarchs, Dieu et mon Droit (God and my Right), inscribed with the Order’s motto, Honi soit qui mal y pense (Shame on him who thinks evil), probably limewood, 53 x 60.5cm. £5,000-7,000 Provenance: H. W. Keil Antiques, Broadway. The Collection of Sir Jeremy Lever.

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14. A 19th century French cherrywood farmhouse kitchen table, the boarded top with cleated ends, with two frieze drawers, on square tapering legs, 74.2cm high, 178cm wide, 83.3cm deep. £500-800

15. A William and Mary oak side table, the top with a moulded edge, above a frieze drawer with a panelled front, on bobbin turned legs united by peripheral stretchers, 77.5cm high, 89.6cm wide, 57cm deep. £200-300

16. An early 18th century oak closed stool, the hinged top with a moulded edge above a vacant interior and with fielded panel front and sides, on bun feet, 50.5cm high, 51cm wide, 47.7cm deep. £100-150

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17. A rare Charles II yew wood ‘spindle back’ chair, with turned acorn finials, above a triple barley twist spindle back, with a fruitwood boarded seat and block and spiral twist supports united by peripheral stretchers. £2,000-3,000

18. A pair of early 18th century walnut silver mounted bellows, the faceted handle engraved with a coat of arms for Talbot, the back with a pierced rondel, 57.8cm long. £300-500

18 arms

19. An early 18th century ash sandglass, with four stick supports, the double hourglass bulbs connected with a wax collar, the sand runs for approximately fifty-six minutes,17.2cm high. £100-200

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21 20

20. Three 18th century bronze and bell metal skillets by Warner, the handles cast ‘WARNER 5P’, ‘WARNER 1P’ and ‘2WARNER’, 46cm long (max). (3) £80-120 21.

Fifteen iron lockpicks, on an iron key ring, possibly French, 18th century, 20.3cm long (max). £100-150

22.

An 18th century wrought iron hanging pendant floating wick lamp, 66cm long. £40-60

23. An early 19th century copper fire mark, for the County Fire Insurance company, marked ‘COUNTY’ and decorated with a figure of Britannia, with traces of gilt decoration, 21.7 x 16.5cm. £80-120 Provenance: The Collection of Sir Jeremy Lever. 24. An 18th century bronze mortar by the Beadmore Foundry, the everted rim above a guilloche band of flowerheads, 16.5cm high. £150-250 Provenance: The Collection of Christopher Jenkins. See Michael Finlay, English Decorated Bronze Mortars, pp.85-86, pl.154 for a similar example. 25.

An 18th century leather costrel, with a wooden stopper, 27.8cm high, 21cm wide. £100-150 Provenance: The Collection of Christopher Jenkins.

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26. A large 17th century German carved limewood figure of the the Virgin of the Immaculate Conception, wearing a cloaked robe, standing on a crescent moon and the devil in the form of a dragon with a forked tail, 106.3cm high. £200-300

27. A Spanish carved wood and polychrome figure of a saint, with traces of parcel gilt decoration and glass eyes, 17th / 18th century, possibly Hispano-Philippine, together with another carved wood figure of a saint, both in distressed condition, 52.5cm high £200-300 (max). (2)

28. Two European carved wood and polychrome decorated figures of the Virgin Mary, with parcel gilt decoration, one wearing a crown, late 17th / early 18th century, Italian or Spanish, 60.8cm high (max). (2) £200-300

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29. A pair of 19th century continental painted wood altar candlesticks, with fluted and leaf carved baluster stems, on flower decorated triform bases, with scroll feet, 79cm high. (2) £200-300

29 30. An Italian carved and painted wood altar candlestick, with a leaf carved baluster stem, on a triform base with paw feet and on a later panelled plinth, late 18th century and later, 126.5cm high, 31.5cm wide. £200-300

31. A pair of Italian giltwood altar candlestick style table lamps, 20th century, 69.8cm high. (2) £100-150

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open

32. An olivewood reliquary model of the Grotto from the Church of the Nativity Bethlehem, inlaid with mother of pearl and ebony, with flowerhead rondels and cross motifs, the lift-off top revealing a cruciform shape mother of pearl lined interior, with steps leading down to an apse, the ends with paper labels, inscribed in Latin, translating as 'Where Stephen was stoned, where Mary was born and where Gabriel spoke.', late 17th / early 18th century, Jerusalem, 12.5cm long, 8cm wide. £800-1,200 See the Victoria & Albert Museum, number W.43-1918 for a similar example.

33. A 19th century agate and gilt metal mounted casket, decorated with lattice panels, on ball feet, possibly French, 17.3cm wide. £200-300

34. A late 17th century Spanish silver gilt and enamel pendant cross, inlaid with lapis lazuli cabochons and with seed pearls, 10cm long. £200-300

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35. An Italian copper wine cistern, with a repoussé gadrooned body, late 17th / early 18th century, 31.5cm diameter. £250-350

36. A Delft tin glazed pottery Kraak style dish, blue and white decorated with a central scene of an insect with flowers and leaves, late 17th / early 18th century, 31.7cm diameter. £100-150 Provenance: The Collection of Sir Jeremy Lever.

37. A small collection of bronze and brass items, comprising: a Grand Tour model of a Greek askos, together with a Persian bronze kohl scent bottle and applicator, the base with an inventory number, a small mortar with lug handles, a small skillet, possibly used for a jeweller for pouring molten gold or silver, together with a quatrefoil jewellery mould, 18th century and later, 13.5cm (max). (5) £150-250

38. A set of four 17th century carved oak corbels, each with a winged angel mask above hanging fruit, 28.7cm high. (4) £100-150

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39.

Two folk art painted pine decoy pigeons, one later mounted, late 19th / early 20th century, 28.3cm high, 36.5cm long (max). (2) £200-300

40. A Victorian treen turned sycamore dairy bowl, 16cm high, 45.6cm diameter. £100-150

41. A very large Victorian treen turned sycamore dairy bowl, with reeded bands, 18.7cm high, 60.2cm diameter. £300-400

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42. A Norwegian folk art painted pine trunk, decorated all over with panels of flowers, the domed lid with an iron handle, revealing a lidded till, the back with an inscription, on bracket feet, late 19th / early 20th century, 29.7cm high, 49.3cm wide, 27.1cm deep. £300-400

43. Three late 19th century Norwegian folk art painted pine food boxes, each decorated with flowers, one with an inscription, together with a similar basket, the rim with an inscription and with a pierced body, 16cm (max). (4) £100-200

44. Two late 19th century Norwegian folk art painted pine food boxes, both decorated with flowers and with inscriptions, one reads ‘Mifta, te to Turifta’, the other with a date ‘1888’, 19.4cm high, 28.4cm wide (max). (2) £200-300

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45. A late 19th century French pine artist’s lay figure, with articulated arms and legs, with pencil inscriptions to back, 33cm high. £300-500

46. A George III oak cricket table, the triple boarded top on stretchered supports, 68.5cm high, 70.2cm wide. £200-300

47. A collection of treen pulleys, of differing designs, some with chip carved decoration, 18th / 19th century, 12.5cm (max). (17) £80-120

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48. A carved coconut cup, naively carved in relief with natives in various pursuits: climbing palm trees, drinking and making grog, the domed foot with a petal edge, probably Indian, 18th century, 19.8cm high. £300-400

49. A North European treen turned and carved urn and cover, with a cone finial and leaf decoration, the body with fluted borders, above swags of flowers, on a ribbed foot, possibly Scandinavian, 17cm high. £300-400

50. An early 19th century coconut and treen cup and cover, the lid with a turned urn finial, on a turned foot, 22.9cm high. £300-400

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51. An early Victorian sailor’s shell valentine, the mahogany and goncalo alves banded hinged and glazed octagonal case revealing a pair of shellwork panels of flowers, geometric designs and swags, with a bone escutcheon, 64.3cm across. £400-600

52. A scratch built wooden scale model of a punt, with four cushions, mounted on a mahogany base, late 19th / early 20th century, 71.5cm long. £150-200

53. A folk art painted wood model crab boat shop sign, with three oars, two crab pots and nets, inscribed ‘YH. CROMER CRABS FOR SALE ADMIRAL JELLICOE’, on a pine cradle, mid-20th century, 59cm high, 61.8cm long. £200-300

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54. A Victorian folk art chip carved wall mirror, the rectangular plate within a painted frame to simulate tortoiseshell, 46.3 x 41cm. £100-150

55. A late Victorian stained pine chip carved salt box, the pierced gallery inscribed ‘C E EIGHTEEN NINTY SEVEN’, with a sloping lid and Gothic style rondels and leaf decoration, 36.5cm high, 20.7cm wide, 22cm deep. £100-150

56.

57. Two 19th century carved and stained wood figures of country folk, one of a shepherd holding a lamb, the other of a woman holding a bird, both wearing hats and on plinth bases, 34.2cm high (max). (2) £150-200

A Regency treen walnut riddleboard, 48cm x 44cm. £150-250

Riddleboards were used in Scotland and the North of England for making oatcake. For a discussion and examples see Edward H. Pinto, Treen and other Wooden Bygones, p.141, pl.144.

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58.

A Victorian terracotta folk art piggy bank, 23.5cm high, 38cm long. £100-150

59. A late 19th century American folk art painted wood jig doll, in the form of a black boy, with articulated arms and legs, 23cm high. £100-150

60. A late 19th century painted terracotta tobacco jar and cover by Bernard Bloch, in the form of a seated boxer dog, wearing a ribbon tied collar, with impressed marks ‘BB 129’, 23.5cm high, 26cm long. £150-250

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61. A folk art copper ship weather vane, in the form of the Golden Hind, with bellowing sales, mounted on a stone plinth, 100.8cm high, 68cm wide. £800-1,200

61 62. A Victorian treen boxwood cruet, with four lidded condiment and salt holders and with a spoon, 15.8cm high. £80-120

63. Three rare japanned tôle nutmeg graters, one of navette shape, one cylindrical and the other oblong, each with a compartment for nutmegs, 18th / 19th century, 17cm (max). (3) £150-200

64. A Victorian steel and antler carving set, comprising: a knife and a fork, with a hinged guard, stamped ‘DODCE SHEFFIELD’, each with an antler handle in the form of a ram, 46.5cm long (max). (2) £100-150

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A COLLECTION OF SNUFF BOXES 65. A 19th century treen snuff shoe, with brass tack inlay and decorated with a tulip and other flowers, with a hinged lid, 14cm long. £150-200

66. A late 19th century treen snuff shoe, with chip carved and polychrome decoration, with a sliding cover, 11cm long. £100-150

67. A 19th century treen snuff shoe, with brass tack decoration and a sliding cover, 11cm long. £100-150

68. A 19th century treen chip carved double shoe snuff box, the sliding cover decorated with a pair of urns of flowers and leaves, probably Dutch, 11.2cm long. £100-150

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69. A 19th century treen snuff shoe in the form of a horse’s head, with brass tack decoration and inlaid with a bone rondel, with a hinged lid, 8.1cm long. £150-200

70. A 19th century treen snuff box in the form of a sewing shuttle, with inlaid decoration and a hinged lid, 11.5cm long. £150-200

71. A 19th century treen snuff box in the form of a pair of bellows, with brass tack inlay inscribed ‘FORGET ME £150-200 NOT’, with a sliding cover, 11.2cm long.

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72. A 19th century treen pistol snuff box, carved as a double barrelled flintlock pistol, with a hinged compartment to the underside, the handle inscribed with owner’s name ‘W. ‘T’aylor’, early 19th century, 16.6cm long. £300-500

73 73. An 18th century horn snuff box, the hinged lid relief carved with a cartouche and a coat of arms, the body with panels of geometric decoration, the base with the date ‘1769’, the interior with a mirror inset to the lid, possibly German or Austrian, 8.4cm wide. £150-250

74. A 19th century papier-mâché snuff box, the hinged lid decorated with an owl’s head, 7.6cm wide. £100-150

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75. A 19th century pressed birch snuff box, in the form of a basket, the hinged lid decorated with a hunting scene with two men with rifles about to shoot a hare, inscribed ‘RIEGER’, possibly German, 10.5cm wide. £100-150

76. A horn walking cane, with a segmented stem, 86.8cm long, together with a horn snuff box, the hinged lid inlaid with white metal decoration, 19th century, 10.4cm wide. (2) £100-150

77. A Victorian folk art briar walking cane, carved in the form of an umbrella, 76.7cm long. £100-150

78 78. A folk art hardwood walking cane, the handle carved with a lion, with a metal ferrule, 85.4cm long. £100-150

80 79. A late Victorian bamboo walking cane, the shepherd’s crook handle carved and painted with the head of a hound dog, with glass eyes and a metal ferrule, 92cm long. £100-150

80. A Queen Anne ivory handled walking cane, dated ‘1700’ and engraved with tulips and a bird and the owner’s name ‘JOHN *BAINTON’, with a Malacca shaft, 92.4cm long. £200-300

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A COLLECTION OF WALKING STICKS

81. A 19th century sailor’s whalebone walking cane, with a shepherd’s crook handle and with a baleen ferrule, 82cm long. £200-300

82. A Victorian folk art ebonised briar walking cane, the handle with a hinged snuff compartment, the shaft carved with an entwined snake, together with a 19th century Norwegian briar walking cane, the handle carved with a troll’s head with a long nose, the shaft painted with the Norwegian flag, 94.8cm long (max). (2) £100-150

83. A George V Malacca ‘system’ walking cane, the shepherd’s crook pull-out handle with a silver ferrule, hallmarked London 1920 and with an engraved monogram, revealing a brass and steel corkscrew, together with a ‘Sunday’ club walking stick, 82cm long (max). (2) £100-150

84. Two Victorian folk art walking canes, one of gnarly rootwood, with a bulbous handle, £100-150 the other naively carved with the head of a lion, 90.6cm long (max). (2)

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85 detail

85. A Victorian ivory handled walking cane, the handle carved with scrolls and with a snake head which pulls out to reveal a blade, the Malacca shaft with a brass terminal, together with an early walking cane, the remains of the ivory handle carved with a bare breasted lady, with a Malacca shaft, 83cm long (max). (2) £100-150 86. A late Victorian sectional horn walking cane, the handle carved with a greyhound head, together with a similar walking stick with an ivory dog’s head handle and a briar shaft, 86.8cm long (max). (2) £100-150

87. A George V swagger stick, the gilt metal handle with twin tiger’s eyes and inscribed ‘C. D. XMAS 1916’, with a bamboo shaft, together with a George V ebonised cane with a 9ct gold handle and a late Victorian treen walking cane with a ball handle and a white metal ferrule inscribed ‘E.T.H. from H.R.H. 1893’, 93cm long (max). (3) £150-250

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88 88. A brass and mahogany ‘system’ walking cane, the handle in the form of a three-draw telescope, with a tapering shaft, first half 20th century, 99cm long. £100-150 89. A Victorian ‘system’ arborist’s walking cane, with an ebonised handle and a leather sheath stamped ‘SAW’ and with an eagle ‘3 COWE.. PATENT’, revealing a steel saw, with a brass ferrule and a briar shaft, the brass terminal stamped ‘ASHDOWNS PATENT’, 96.5cm long. £100-150 90. A Victorian bamboo and brass mounted ‘system’ walking cane, the screw-off handle revealing a three-piece cane fly fishing rod, 95.5cm long. £150-200 91. A rhinoceros horn handled walking cane, with a gold ferrule marked ‘20’ and an indecipherable stamp, the ebony shaft carved with a scaly dragon with clouds, late 19th / early 20th century, 85cm long. £200-300

92. An East African carved hardwood walking stick, the handle carved as an Askari soldier, early 20th century, 91.8cm long. £80-120 93. Naval interest. An Australian teak walking cane, made from the wood of ‘H. M. A. S. Sydney’, the handle inset with a blue metal plaque with an anchor and inscribed ‘Wood from ‘H. M. A. S. SYDNEY’, the shaft with a white metal plaque engraved ‘A token of esteem from A. C. T. branch R. S. S. A. LL. A.’, c.1929, 88.1cm long. £80-120

H.M.A.S Sydney was a Chatham-class light cruiser. It was launched in 1912. During late 1917, Sydney became the first Australian warship to launch an aircraft. The cruiser was decommissioned in 1928.

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94. An early Victorian watercolour portrait of a young lady, standing on a terrace with a basket of flowers, wearing a red dress and a blue bonnet, 30.9 x 20.5cm, in a glazed gilt and rosewood frame. £150-200

95. A pair of early 19th century theatrical tinsel print pictures, ‘THE CHILD LOST’ and ‘THE CHILD FOUND’, silk, cut tinsel foil and handcoloured print, inscribed ‘London J. Fairburn, no. Minories’ and in pen ‘Sold by S. Simkin Sudbury’, 20.2 x 15cm, in glazed, gilt and ebonised wood frames, together with a similar picture ‘THE SAILORS RETURN’ also by J. Fairburn. (3) £150-200

96. A Victorian Irish naive watercolour, depicting a military family in a domestic interior, the father and son in uniform, the mother seated accompanied by her two daughters and with the pet dog, signed ‘O’HARA. DUBLIN 1854.’, 29.8 x 40.5cm, in a glazed gilt and rosewood frame. £150-250

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97. An early 18th century embroidered silkwork still life picture, of flowers in a blue and white Delft style bowl, within a floral border, 60.3 x 41.2cm, in a later glazed, moulded walnut arched frame. £800-1,200

98. A pair of William IV needlework pictures, worked with gros and petit point in various coloured wools, with farmyard scenes with young children, one with a hen and chicks and a knitting wheel visible in a doorway, the other with a girl sat on an upturned wheel barrow accompanied by a cat and a dog, 32.7cm (square), each in a glazed gilt composition frame. (2) £400-600

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99. A Victorian beadwork pelmet, decorated with roses, lilies and chrysanthemums, 60.7 x 213cm. £200-300 100. A Victorian fabric collage picture, with a printed background and features, depicting a family reading a book, in a glazed and giltwood box frame, together with a silkwork picture worked en grisaille with a still life of an urn of flowers, in a gilt composition frame, 38.7 x 33cm (max). (2) £100-150 101. A George IV needlework sampler by Mary Hardcastle, worked in various colours, with Adam and Eve under the tree of life, with urns of flowers and baskets of fruit, with a pair of stags, birds and crosses, with lovehearts and crowns, with a verse and an alphabet, inscribed ‘MARY HARDCASTLE Aged 9 1829, Born July 25’, 42.4 x 43cm, in a glazed burr oak and ebonised frame. £80-120 102. An early Victorian needlework sampler by Isabel Kelly, worked with a house flanked by trees, with raised woolwork grass above a lion, flowers, crowns and peacocks, with urns of flowers and letters, inscribed ‘ISABEL KELLY 1848’, 42.2 x 38cm, in a glazed gilt and rosewood frame. £80-120

100

101

102

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103. A George III silkwork map of England and Wales by Mary Dean, worked with coloured silks with parts of Ireland, France and Scotland, titled and dated ‘MAP OF ENGLAND & WALES 1784’ and signed ‘Mary Dean, Blandford School’, 50.7 x 42cm, in a glazed giltwood oval frame. £150-250

103

104. An early 19th century silk and woolwork picture of Rebecca at the well, with palm trees and camels, 37.7 x 48.5cm in a carved giltwood and composition frame. £80-120

104

105. Two George IV needlework samplers by the Leighton sisters, one by Margaret, worked with an alphabet and two verses, with urns of flowers, birds, squirrels, dove cotes and a house, signed ‘Margaret Leighton’, the other by Eleanor ‘Aged 9 Years’, worked with an alphabet, the same ‘Christians death’ verse, multiple urns of flowers, birds and squirrels, signed ‘Eleanor Leighton’, together with another family sampler by Elisabeth Leighton, 38.2 x 33cm (max), two framed and glazed, one unframed. (3) £300-500

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FURNITURE & WORKS OF ART

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106. An early 18th century and later walnut chest on stand, the triple domed cornice above two short and three long crossbanded drawers, the stand with three drawers and on spiral twist legs united by shaped peripheral stretchers, 183.7cm high, 103.7cm wide, 58.7cm deep. £800-1,200

106

107. A George II walnut chest on chest, with three short and five long cross and feather banded drawers, on bracket feet, 136.8cm high, 108cm wide, 59.4cm deep. £500-700

108. A George II and later walnut chest on stand, with two short and four long drawers, the stand fitted with three drawers, above a shaped apron and on bun feet, 167.1cm high, 110.4cm wide, 62.5cm deep. £400-600 Provenance: The Collection of Sir Jeremy Lever.

108

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109. An early 18th century oak bureau cabinet, the moulded cornice above a pair of arched fielded panel doors enclosing two adjustable shelves and three drawers, above a hinged fall, the interior fitted with pigeonholes, drawers and a central cupboard flanked by secret pilaster compartments, with a sliding well cover, with two short and two long drawers, on later bracket feet, 203cm high, 102cm wide, 59.8cm deep. £400-600

109 110. A George II oak bureau, the hinged fall revealing pigeonholes and drawers, with a central cupboard and with a sliding well cover, with two short and two long drawers, on bracket feet, 99.2cm high, 87.2cm wide, 51cm deep. £300-400

111. An early George III walnut lowboy, the quarter veneered top with cross and feather banding and a moulded edge, above a frieze drawer with a paper trade label for ‘W. R. Simkit’, on moulded chamfered legs, 72.4cm high, 72cm wide, 45.5cm deep. £100-150

111

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112. A George II walnut chest on chest, with three short and six long cross and feather banded drawers, flanked by stop fluted canted angles, on later bracket feet, 178cm high, 119cm wide, 55.7cm deep. £400-600 Provenance: The Collection of Sir Jeremy Lever.

112 113. A small walnut chest in George II style, the quarter veneered top with cross and feather banding, with re-entrant front corners, above a brushing slide and four long graduated drawers flanked by fluted angles and on bracket feet, 82.2cm high, 72.7cm wide, 45.7cm deep. £300-500

114. A George II walnut lowboy, the quarter veneered top with cross and feather banding and with a moulded edge, above three frieze drawers, on turned club legs and pad feet, 72.5cm high, 78.5cm wide, 48.5cm deep. £400-600

114

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115. A rare pair of early 18th century oval reverse glass mezzotint portrait prints, of Queen Anne and Prince George of Denmark, Duke of Cumberland, after Sir Godfrey Kneller, probably published by John Smith, 29 x 23cm, each in a contemporary but later gilt carved wood frame, (Prince George damaged). (2) £400-600

116. A walnut chest on stand, the quarter veneered top with cross and feather banding, above two short and two long drawers, on square section cabriole legs, early 18th century elements, 105.7cm high, 83.5cm wide, 56.5cm deep. £300-500

117. An early 18th century carved oak and ebonised oval wall mirror, with parcel gilt decoration, the later oval plate within a beaded slip and a fluted egg and dart and baton decorated moulded frame, 94.5 x 82cm. £1,500-2,000

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118. A black japanned and gilt wall mirror in early 18th century style, the rectangular plate within a carved leaf slip and a cushion frame decorated with chinoiserie figures, with a conforming architectural surmount, decorated with leaves, scrolls and husks, first half 20th century, 159.4 x 84.6cm. £500-800

118

119

119. A late 17th century style green japanned escritoire on stand, decorated in gilt with chinoiserie, with a cushion drawer, above a hinged fall decorated with pagodas, figures, birds, trees and boats, revealing an interior fitted with drawers and pigeonholes surrounding a central cupboard, fitted with further divisions and drawers, with a hinged writing surface on a ratchet support, the stand with two frieze drawers, on spiral twist supports, 168.9cm high, 92cm wide, 44cm deep. £800-1,200

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120. A rare pair of ‘Queen Anne’ white and polychrome japanned side chairs in the manner of John Ball, with parcel gilt decoration and painted with scrolling leaves and flowers, each with a pierced leaf and scroll carved cresting, the serpentine caned back with a central splat decorated with red diaper panels and bands of intertwined husks, above a caned seat, on stylised shell and leaf capped cabriole legs and square pad feet united by moulded stretchers, with a flaming urn finial, early 18th century. (2) £7,000-10,000 Provenance: Purchased by the vendor’s parents from Mallett’s, c.1972. The above chairs are illustrated in Lanto Synge, Mallett’s Great English Furniture, p.65. See Christie’s, Thomas Hope & The Neoclassical Vision & The Collector of Collections, 24th April 2008, lot 182 for an identical pair of chairs probably from the same suite. A similar design of chair appears on the ‘Cane Chair’ manufacturer John Ball’s trade card. John Ball traded at ‘The Crown & Three Chairs’ in the Minories, near Little Tower Hill. The pattern of the above lot with serpentine frames and ribboned splat is influenced by the fashion for Indian and Chinese designs brought back by the East India Company. The japanned decoration is carried out in the manner prescribed by Stalker and Parker, ‘A Treatise of Japanning and Varnishing’, Oxford 1688.

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121. A black japanned wall mirror in early 18th century style, the rectangular bevelled plate within a gilt slip and a cushion frame, decorated with chinoiserie scenes, late 19th century, 75.5 x 59.6cm. £100-150

121

122. A black japanned cabinet on stand, decorated in gilt with chinoiserie scenes with figures and pagodas in a watery landscape, the hinged fall revealing an interior of six drawers and two cupboards, the stand with a pull-out slide, on turned club legs and pad feet, 118.4cm high, 52cm wide, 39.8cm deep. £300-400

123. A black japanned and parcel gilt armchair in 18th century style, the padded back above scroll arms, on shell capped cabriole front legs and claw and ball feet, late 19th century. £500-800

124. A nest of three japanned occasional tables, black, red and green and decorated with chinoiserie scenes with figures, pagodas, trees and birds, late 19th / early 20th century, 70.5cm high, 50.1cm wide, 35.5cm deep. (3) £200-300

124

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125 part

125. A pair of leather chinoiserie four-fold screens, each decorated with figures, buildings, trees and birds in gilt on a red ground, with black and gilt borders, late 19th / early 20th century, each panel 176cm x 46cm. (2) £800-1,200

126. A Japanese black lacquer cabinet, with engraved copper strapwork mounts and hinges, with a pair of doors with raised decoration in gilt of gnarly trees, birds and buildings, enclosing an arrangement of ten drawers decorated with scrolling leaves, on shaped bracket feet and a later ebonised stand, with side carrying handles, 136cm high, 78.2cm wide, 43.7cm deep. £300-500

126

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127. A George II mahogany kneehole desk, the top with a caddy moulded edge, with re-entrant front corners, above an arrangement of seven drawers above a central cupboard, on later brass castors, 76.2cm high, 75cm wide, 50cm deep. £400-600

127

128. A George II walnut dressing table mirror, the later bevelled plate within a moulded frame, with brass acorn finials, the box base with a caddy moulded edge, above three curved front cedar lined drawers, 64cm high, 42.9cm wide, 20cm deep. £200-300

129. A George II mahogany side table, fitted with a frieze drawer, above a shaped apron and on moulded legs, 70cm high, 82.4cm wide, 50.5cm deep. £300-400

130. A George II red walnut dressing table mirror, the later arched plate within a moulded frame, the box base with a caddy moulded edge, above three curved front drawers, 57.6cm high, 39cm wide, 21.6cm deep. £100-200

130

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131. A George II giltwood wall mirror, the later arched rectangular bevelled plate within a moulded slip and a leaf and strapwork carved frame on a punched ground, with scrolled ears and a broken arch pediment centred with a carved cartouche, the shaped base centred with a shell with ribbon swags, 125.6 x 67cm. £800-1,200

131

132. A giltwood wing armchair in the style of Giles Grendey, plush upholstered, with scroll arms, the cabriole front legs with Renaissance style male masks and decorated with leaves and scrolls, the rails applied with paper labels, the back legs also carved, late 19th / early 20th century. £2,000-3,000

132

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133. A George II red walnut card table, the hinged top with eared corners revealing a baize lined interior with candlestands and counter wells, on lappet capped club legs and pad feet, 73cm high, 79.4cm wide, 38.5cm deep. £1,000-1,500

134. A George II walnut and parcel gilt fret-frame wall mirror, the rectangular plate with cusped top corners, within a carved slip and a scroll decorated frame, 101 x 54.2cm. £200-300

Provenance: The Collection of Sir Jeremy Lever.

135. A George II red walnut fret-frame mirror, the original bevelled plate with cusped top corners, in a carved gilt slip and a moulded frame, 79.3 x 48.5cm. £100-150

136. A George II red walnut demi-lune tea table, the twin hinged top revealing a vacant interior and on a single gate support, on turned club legs and pad feet, 68.5cm high, 68.3cm wide, 33.8cm deep. £500-700 Provenance: The Collection of Sir Jeremy Lever.

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137. A George II style walnut and parcel gilt wall mirror, the later rectangular bevelled plate within a carved gilt slip, the veneered frame with a carved border, with a swan neck and rosette pediment centred with a cartouche, 19th century, 120.5 x 61.4cm. £500-800

137

138. A George II red walnut library armchair, the padded back, armrests and seat covered in blue silk damask fabric, the down-turned arm supports carved with rosettes and leaves, the cabriole front legs carved with rocaille and cabochons, on hairy paw feet, with sunken brass and leather roller castors. £3,000-5,000 Provenance: Sotheby’s, London, Important English Furniture, 13th July 1990, lot 187.

138

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139. A George II mahogany demi-lune tea table, the hinged top on a single gate support, the shaped frieze parquetry inlaid with a crown, on stylised shell capped legs and pad feet, 70.5cm high, 83cm wide, 41.2cm deep. £1,000-1,500

139

140. A George II red walnut dressing table mirror, the rectangular bevelled plate probably original, with brass acorn finials, the box base with a cedar lined curved front drawer, 62cm high, 44cm wide, 24.5cm deep. £200-300

140

141. A George II red walnut wall mirror, the rectangular plate within a carved gilt slip and a moulded frame, 90 x 55.6cm. £100-150

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142. A pair of mahogany console tables in George II style, each with a verde antico marble top, above a leaf moulding and a Vitruvian scroll carved frieze, the lion’s monopodia support carved with a mask holding a ring with ribbon tied flowers flanked by carved acanthus leaves, with a claw and ball foot, on a floret carved plinth base, 19th century with possibly earlier elements, 75.7cm high, 70.7cm wide, 44.8cm deep. (2) £4,000-6,000 Provenance: Christie’s, Important English Furniture, 30th November 200, lot 345. From the Collection of A. C. J. Wall Esq., and thence by descent. The Collection of Sir Jeremy Lever.

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143. A George II red walnut wing armchair, later upholstered with green plush fabric, on shell and husk carved cabriole front legs and trefid feet. ÂŁ3,000-5,000 Provenance: Purchased from Asprey, 5th December 1989.

143

144. A late George II mahogany wine stand, the circular top with a pie-crust moulded edge, on a baluster turned stem, on cabriole legs and pointed pad feet, 50.9cm high, 34.5cm wide. ÂŁ1,500-2,000 Provenance: Bonhams, Fine English and Continental Furniture and Works of Art, 15th March 2005, lot 87. The Collection of Sir Jeremy Lever.

144

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145. A rare late George II rosewood torchère or candlestand, the circular dished top with a moulded edge, above a turned acanthus leaf carved baluster stem, on tripod cabriole legs, each carved with a cabochon and leaves, on lion’s paw feet, 78.2cm high, 51cm wide. £5,000-8,000

See The Noel Terry Collection of Furniture & Clocks, Fairfax House, York, p.124 pl.122 for an identical torchère purchased from Mallett’s in 1944.

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146. A George III walnut bureau bookcase, with a pair of astragal glazed doors enclosing three adjustable shelves, the interior with drawers, pigeonholes and a central cupboard, above four long graduated banded drawers, 214.7cm high, 100cm wide, 53.8cm deep. £200-300

146

147. A George III mahogany and brass bound oval cellaret, the interior with a later baize lining, with side carrying handles, on an associated stand, 67.9cm high, 61cm wide, 48cm deep. £300-500

148. A George III mahogany chest, the top with an applied moulded edge, above two short and three long graduated drawers, on bracket feet, 100.4cm high, 101.8cm wide, 55cm deep. £200-300

148

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149. A late George III mahogany secrétaire bookcase, inlaid with stringing, the detachable pagoda shape cornice above a pair of geometric astragal gazed doors enclosing three adjustable shelves, the serpentine base with a deep secrétaire drawer fitted with pigeonholes and drawers, one with an old printed saleroom catalogue description dated 19th November 1930, from ‘Willis’s Rooms’, with turned bone handles, with three further drawers and on bracket feet, 228.4cm high, 95.4cm wide, 54cm deep. £800-1,200 Provenance: Purchased from Walter's Antiques, Petworth, West Sussex. The Collection of Sir Jeremy Lever.

149

150. A George III mahogany teapoy, inlaid with barber’s pole stringing and with satinwood oval panels, the domed hinged top revealing a later converted interior with four lidded divisions, originally with divisions for wine bottles, with brass side carrying handles and on square tapering legs and spade feet, with branded mark ‘F R’, 71cm high, 42cm wide, 29.6cm deep. £300-500

151. A George III mahogany chest, the top with an applied moulded edge, above four long graduated drawers with original brass swan neck handles, on bracket feet, 83cm high, 91cm wide, 47.4cm deep. £500-700

151

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152. A George III mahogany wing armchair, later upholstered with plush fabric, with a serpentine front seat, above moulded front legs united by an ‘H’ stretcher. £500-800

153. A mahogany wing armchair in George II style, with scroll arms, on leaf carved and cabriole front legs and claw and ball feet, late 19th century. £200-400

154. A mahogany wing armchair in George III style, later upholstered in pink damask fabric, on moulded front legs united by an ‘H’ stretcher. £200-300

155. A mahogany wing armchair in George III style, covered in pink lattice design covers, on moulded front legs with scroll brackets united by an ‘H’ stretcher. £200-300

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156. A pair of mahogany library armchairs in George II style, each with a padded back, armrests and seat, covered in silk damask, the scroll arms and supports carved with leaves and husks, on conforming cabriole front legs and pad feet, 20th century. (2) £2,000-3,000

157. A mahogany serving table in George II style, the rectangular top above a leaf carved and fluted moulding, with a carved leaf and female mask frieze, originally with two drawers flanked by carved lion’s mask, on acanthus capped twin scroll legs, with panels of bell flowers, 19th century but later painted and in a distressed condition, 99cm high, 213.5cm wide, 68.3cm deep. £1,000-1,500

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158. A George III mahogany standing corner cupboard, the dentil cornice above a pair of astragal glazed doors, enclosing two shelves, above a pair of panelled doors, enclosing a shelf on bracket feet, 221.6cm high, 108.3cm wide, 51.6cm deep. £500-700

158

159. A mahogany spider leg occasional table, with turned legs united by peripheral stretchers, 67.4cm high, 55.7cm wide, 33.8cm deep. £150-250 Provenance: The Collection of Sir Jeremy Lever.

160. A George III mahogany tray-top bedside commode, the serpentine gallery pierced with two handgrips, above a pair of cupboard doors and a pull-out converted base, 77.5cm high, 55.8cm wide, 45.3cm deep. £400-600

160

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161. A George III Lancashire mahogany mule chest, the hinged top revealing a vacant interior, above four false drawer fronts and four real drawers, flanked by quarter pilasters, on ogee bracket feet, 94.4cm high, 151.8cm wide, 54.7cm deep. £800-1,200

162. A George III Lancashire oak chest, mahogany crossbanded, the shaped raised back above a moulded edge and a bank of nine drawers, inlaid with feather stringing, flanked by reeded split quarter pilasters, with panelled sides, on ogee bracket feet, 99.8cm high, 203cm wide, 56.3cm deep. £500-800 Provenance: The Collection of Sir Jeremy Lever.

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163. A George III mahogany ‘drunkard’s’ chair, the serpentine pierced top rail above turned spindles, with a later needlework dropin seat, on sleigh type supports, originally with castors. £300-400

163

164. An Irish mahogany tripod table, the lobed tilt-top with a moulded and cable edge, on a faceted stem, on leaf carved cabriole legs with stylised claw and ball feet, George II and later, 72cm high, 82.7cm wide. £200-300

164

165. A George III mahogany stool, the stuffed-over seat with remains of original upholstery, on chamfered legs united by an ‘H’ stretcher, 45cm high, 57cm wide, 44cm deep. £400-600

165

166. A mahogany tripod wine table, the dished fixed top on a cluster column stem, on cabriole legs and pad feet, 62.7cm high, 40.5cm wide. £100-150 Provenance: The Collection of Sir Jeremy Lever.

166

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167. A George III mahogany serving or side table in Chippendale style, the rectangular top above a Gothic blind-fret carved frieze, on leaf carved and fret chamfered legs with applied pierced brackets, 77cm high, 129.5cm wide, 60.5cm deep. £1,000-1,500

168. An unusual mahogany library bookstand in Regency style, the revolving top with three corner shelves, three troughs and three hinged drawers, on a ring turned baluster stem and reeded scroll legs and brass caps and castors, possibly Irish, 94.2cm high, 62cm wide. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

168 169. A George II mahogany tripod table, the circular tilt-top on a fluted urn turned stem, on leaf and cartouche capped cabriole legs and claw and ball feet, on sunken leather roller castors, 70.4cm high, 76.9cm diameter. £200-400

169

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170. A George III mahogany bureau on stand, the hinged fall revealing an interior with cedar lined drawers and pigeonholes, with a later leather writing surface above two short and one long drawer, the stand with pierced brackets, on chamfered legs and block feet, 106.5cm high, 80.7cm wide, 47.2cm deep. £600-800

170

171. A George III mahogany chest, the top with a moulded edge, above two short and three long graduated drawers, 75.7cm high, 93cm wide, 50.2cm deep. £400-600

171

172

172. A George III mahogany bureau, the hinged fall revealing a burr elm veneered interior, with pigeonholes, drawers and a pair of secret pilaster compartments flanking a cupboard, above four long graduated drawers, on bracket feet, 94.3cm high, 85.5cm wide, 46.8cm deep. £200-300

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173. A George III mahogany serpentine chest in the manner of Chippendale and Haig, the crossbanded top inlaid with stringing and with a moulded edge, above four long graduated drawers flanked by canted angles, carved with a classical column with a vase, stiff leaves, a fluted stem and entrelac and bead collars, on leaf carved vase and ribbed bun feet, 91.5cm high, 104.3cm wide, 54.5cm deep. £4,000-6,000 See Ralph Edwards, The Dictionary of English furniture II, p.52, fig.56 for a similar chest of drawers at Burley-on-the-Hill, Rutland.

173

174

174. A pair of George III mahogany open armchairs in French Hepplewhite style, each with a padded back, seat and armrests, covered in studded damask fabric, with fluted scroll arm supports, on fan moulded cabriole front legs. (2) £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

175. A George II mahogany tripod kettle stand, the dished fixed top on a ring turned stem, on cabriole legs and pad feet, 51.3cm high, 39.6cm diameter. £200-300 Provenance: The Collection of Sir Jeremy Lever.

175

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176. A giltwood and composition wall mirror in 18th century style, the oval plate within a Rococo decorated frame, with leaves, fruit and rocaille, with a scroll and shell cartouche shape surmount, 114.8 x 67cm. ÂŁ800-1,200 Provenance: The Collection of Sir Jeremy Lever.

176

177. An 18th century style giltwood wall mirror in the manner of John Linnell, the oval plate within a naturalistic carved frame formed by two ribbon tied branches, with scrolling leaves and flowers, 102.3 x 71cm. ÂŁ1,500-2,000 Provenance: The Collection of Sir Jeremy Lever.

177

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178. An early George III gilt carton pierre wall mirror, the rectangular plate within a moulded slip and a leaf, rocaille and ‘C’ scroll frame, the sides with garlands of flowers, 132 x 71cm. £3,000-5,000

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179. A pair of William IV carved giltwood pier mirrors in Rococo style, each with a shaped plate within a rocaille, ‘C’ scroll and leaf decorated frame, 19th century, 179.8 x 80cm wide. (2) £5,000-8,000 Provenance: Phillip’s, Fine English Furniture, 18th April 2000, lot 129. The Collection of Sir Jeremy Lever.

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180. A George III painted satinwood demi-lune card table in the manner of George Brookshaw, the hinged fold-over top decorated with ribbon tied swags of roses, hung with classical portrait medallions, with scrolling leaves and flowers, an urn and a basket of fruit, the giltwood base carved with paterae and on fluted tapering legs, 72.6cm high, 98.3cm wide, 48.2cm deep. ÂŁ2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

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181. A set of eight George III mahogany dining chairs, each with a serpentine top rail, above a pierced foliate splat back above a drop-in seat, on stretchered legs, some rails stamped with initials ‘W F’, comprising: a pair of open armchairs and six side chairs. (8) £800-1,200

182. A George III mahogany serpentine side table, fitted with a rosewood banded frieze drawer, on turned tapering legs united by a conforming ‘H’ stretcher, 82.8cm high, 91.8cm wide, 49cm deep. £300-400

183. A George III mahogany secrétaire chest, the top with an applied moulded edge, above a drawer with a false front, revealing an arrangement of drawers and pigeonholes, above a pair of cupboard doors with outline mouldings, revealing two oak slides with leather dustguards, on square tapering legs and block feet, 115cm high, 115cm wide, 56.2cm deep. £200-300

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184. A giltwood wall mirror in the manner of Matthias Lock, the oval plate within a moulded slip, the frame carved with fruit and foliage, with apples and a grapevine, on a diaper ground, the surmount carved with a bearded satyr mask above a pierced Rococo cartouche, with a shell pendant base, George II and later, 136 x 61.4cm. ÂŁ3,000-5,000 Provenance: Bonhams, Fine English and Continental Furniture and Works of Art, 15th March 2005, lot 100. The Collection of Sir Jeremy Lever.

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185. A George III mahogany serpentine card table, the hinged top inlaid with boxwood and ebonised stringing and with tulipwood crossbanding, on twin gate supports and square tapering legs, with block ankles, 73cm high, 91.5cm wide, 44cm deep. £800-1,200

185

186. A George II mahogany tripod kettle stand, the dished top on a turned and fluted stem on cabriole legs and pointed pad feet, top and base possibly associated, 52.9cm high, 48.9cm wide. £100-150 Provenance: The Collection of Sir Jeremy Lever.

186 187. A late George III mahogany demi-lune side cabinet, inlaid with ebonised and boxwood stringing, the hinged top revealing a baize lined vacant interior, originally probably fitted as a washstand, the front decorated with an oval and two diamond panels, on square tapering legs, with applied ankles, 82.2cm high, 68.6cm wide, 42.3cm deep. £400-600

187 188. A George III mahogany gentleman’s square washstand, the twin hinged top inlaid with fan spandrels, revealing an interior with three bowl apertures and with a lift-up hinged mirror on a ratchet mechanism, above a tambour and a drawer, the square legs united by an ‘X’ shape undertier, 86.8cm high, 41cm square. £150-200

188

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189. A George III mahogany and satinwood serpentine chest attributed to Gillows, the plum pudding top with a moulded edge, above four long graduated drawers flanked by fluted canted angles, above inlaid amaranth and satinwood oval panels, on slender French bracket feet, 84.5cm high, 105.5cm wide, 54.8cm deep. £3,000-4,000

189

190. A George III mahogany open armchair in French Hepplewhite style, with a cartouche shape padded back, with moulded scroll arms and a serpentine front seat, on cabriole front legs, together with a George III mahogany side chair, with a padded back and seat, the frieze carved with a palmette, on cabriole legs with scroll toes. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

190

191. A rare pair of miniature George III mahogany demi-lune side tables, on square tapering legs, 42cm high, 45.4cm wide, 22.3cm deep. (2) £2,000-3,000

191

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192. An early 19th century mahogany decanter box, with a mother of pearl escutcheon and a pair of brass carrying handles, the interior with a mirror to the underside of the lid and with four gilt decorated glass decanters and stoppers, 21.6cm high, 17.8cm wide, 18cm deep. £150-250

192

193. A George III fiddleback mahogany decanter case, with satinwood banding and inlaid with a marquetry conch shell, the hinged lid with a brass handle revealing three cut-glass decanters and stoppers and two further divisions, 23.4cm high, together with a Victorian rosewood twin decanter box, containing a pair of cut-glass decanters and stoppers, 25.3cm high. (2) £200-300

193

194. An early George III mahogany decanter box, the hinged lid revealing six tapering glass decanters, with brass side carrying £150-250 handles, 29.4cm high, 28.3cm wide, 19.6cm deep.

194

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195. A George III mahogany knife box, inlaid with feather stringing, the sloping lid marquetry inlaid with a conch shell, to the underside with a parquetry star, the later interior with thirty-seven apertures, the front with a silver shield escutcheon, 38.3cm high, 22.5cm wide, 27.2cm deep. £200-300

195

196. An 18th century floral marquetry inlaid box, banded with purpleheart and with panels of probably padouk, inlaid with ribbon tied flowers and a butterfly, with Chinese style brass handles, with a part fabric lined divided interior, 18.7cm high, 27cm wide, 23.5cm deep. £500-700

196

197. A George III mahogany knife box, inlaid with barber’s pole stringing and kingwood banding, the sloping lid revealing an interior fitted with a forty-five hole matrix, with a silver handle and a shield shape escutcheon hallmarked for 1806, 38cm high, 23.3cm wide, £200-300 29.3cm deep.

197

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198. A late George III mahogany writing slope by N. Middleton, with brass mounts, the hinged lid revealing a baize lined writing surface, with a lidded pen tray flanked by two compartments and inkwells, with a detachable rest, with a printed trade label with the Royal Coat of Arms inscribed ‘N. Middleton 162, STRAND, OPPOSITE NEWCASTLE STREET, the Corner of Strand Lane....’, with brass side carrying handles, 15.7cm high, 45cm wide, 25cm deep. £300-400

199. A Regency partridgewood work box, inlaid with diamond lozenge stringing, the domed hinged lid revealing a vacant interior, the base with a drawer with divisions for sewing utensils: thimbles, needles, cotton reels and reel holders, with basket brass side handles, 19.5cm high, 22.6cm wide, 20.5cm deep. £400-600

199

200. A George III mahogany oval tray, inlaid with boxwood stringing, the centre with an oval kingwood banded panel, centred with marquetry Prince of Wales plumes, 75.7cm wide, £100-150

200

201. A Regency mahogany cheese coaster, with split baluster lifts with two divisions and applied with turned rondels, on leather roller castors, 17cm high, 41.5cm wide, 24cm deep. £150-250

201

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FIREPLACE & DOOR FURNITURE

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202 202. A French gilt brass adjustable fender in Louis XVI style, decorated with flaming urns, hung with swags, with lion’s masks and laurel leaves, stamped with initials ‘VB’ and the number ‘4’, late 19th century, 37.5cm high, 136cm wide (max). £200-300 203. A set of three William IV steel fire irons, with faceted mushroom handles and knopped stems, with a pierced pan, 77.2cm long. (3) £200-300 204. A set of three Victorian steel fire irons, with brass ball and ring turned tapering handles and with a pierced pan, 73.5cm long. (3) £200-300 205. A set of three late Victorian fire irons in George III style, with engraved decoration, each with an urn shaped handle, the pan stamped ‘166234’ for 1891, 67.4cm long, together with a 19th century brass fender, 135.7cm wide. (4) £100-150 206. A set of three late Victorian brass fire irons, with engraved decoration, with knopped stems and with a pierced pan, 74.9cm long. (3) £80-120

203

204

205

206

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207. A large country house wicker logbin, 50.8cm high, 139.5cm wide, 87cm deep. £300-500

207

208. A Victorian black japanned tôle coal box and cover, with parcel gilt decoration and cast lion’s mask handles, on brass paw feet, 57.8cm high, 37.5cm wide. £100-150

208

209. A late 19th century Dutch brass logbin or jardinière, the body repoussé decorated with fruits and fleur de lis, with lion’s mask ring £150-250 handles, 46cm high, 55cm wide.

209 210

210. A set of three late Victorian brass fire tools, each with a claw and ball handle, the pan decorated with leaves, flowers and fruit, 71.6cm long, together with a pair of matching fire dogs. (5) £150-250

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211. An early 19th century leather fire bucket, painted with the Royal Coat of Arms, on a red ground, with a leather handle and a riveted body, 26.5cm high. £150-250

211

212. Two leather waste paper bins, each of faceted tapering shape, with gilt tooled decoration, both with side carrying handles, the red example decorated with a lion rampant and lyres, 31.3cm high (max). (2) £100-150

212

213. A 19th century mahogany and brass bound peat bucket, of navette shape, with a brass swing handle, 34.2cm high, 36cm wide. £200-300

213

214. A matched pair of 19th century copper logbins, each with a brass swing handle and a riveted body, 33.3cm high, 38cm diameter (max). (2) £200-300

214

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215. An Adam style giltwood four-division stickstand in the form of an athenienne, with a band of guilloche moulding and supporting six arrows, with a laurel leaf base and painted plinth, with a lift-out metal tray, the underside with a branded mark ‘M crowned’ and with a printed paper label inscribed ‘PRIVATE PROPERTY M crowned’, 72.3cm high, 31.5cm diameter. £100-200 Provenance: The Duke of Somerset.

215 216. A late Victorian walnut stickstand, with twelve divisions and a green painted metal lift-out tray, 68.6cm high, 60.5cm wide, 20.7cm deep. £100-150

216

217. A Victorian novelty painted cast iron umbrella stand by Coalbrookdale, in the form of a chihuahua holding a riding whip in its mouth, the lift-out leaf shaped drip-pan stamped ‘35’ and with a Victorian registration lozenge, 57.7cm high, 60.7cm wide, 32cm deep. £300-500

217

218. A Victorian cast iron stickstand in the manner of Dr. Christopher Dresser, with a lift-out tray, with two registration lozenges, 73.5cm high, 37cm wide, 19cm deep. £200-300 Provenance: The Collection of Sir Jeremy Lever.

218

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219. A Victorian cast iron boot scraper, the foliage finials above cluster columns, 38.5cm high, 45.5cm wide. £80-120

220. A Victorian painted cast iron doorstop in the form of Punch, 31.5cm high. £100-150 Provenance: The Collection of Sir Jeremy Lever.

221. A Victorian brass doorstop, with a scroll handle and a lobed bell shaped weighted base, stamped with the numbers ‘3982 4197’, 43cm high. £100-150

222. A Victorian brass ‘Nelson’ doorstop, in the form of H.M.S. Victory, the pierced handle with a portrait bust medallion titled ‘ADMIRAL NELSON’, with a lead weighted base, 46cm high. £100-150

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223. A pair of Italian Venetian brass hippocampi gondola ornaments, 19th century, 25cm high, 27.2cm wide. (2)

224. A Victorian patinated bronze doorstop, depicting a winged cherub holding a grapevine, with scrolling leaves and a weighted base, 49.1cm high. £100-200

£150-200

225. A Victorian patinated bronze wheatsheaf doorstop, with an open handle, on a reeded leaf decorated stem and a weighted base, 41.2cm high. £100-150

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CLOCKS & BAROMETERS

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226. A late Regency mahogany quarter striking bracket clock, the eight day brass movement with four turned pillars and an anchor escapement, striking two bells, one for the hours and one for the quarters, the 12in painted dial with Roman numerals and worn maker’s signature, the oversize case with an inverted bell shape top with a brass ring handle and a nulled edge above brass acorn finials, the front carved with corner rondels, leaf spandrels and quoins, on carved paw front feet, possibly Irish, 58.1cm high, 39.5cm wide. £500-700

226

227. A George III mahogany bracket clock, the eight day brass twin fusee movement with a verge escapement and striking on a bell, with a painted arch dial with Roman numerals and subsidiary calendar and strike/silent dials, the case with brass mounts and a swing handle and glazed fret carved side panels, 37.8cm high, 26.2cm wide. £400-600

227

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228. A George III mahogany longcase clock by John Smith of Chester, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched dial with a silvered chapter ring, with Roman and Arabic numerals, the recessed centre with a subsidiary seconds dial and date aperture and engraved with scrolling leaves and flowers and with an eagle, with gilt brass foliage and mask spandrels, the arch with a painted moonphase, with figures gazing at sailing ships and signed ‘JOHN SMITH CHESTER’, with a swan neck pediment with eagle brass ball finials, above a shell and verre églomisé panels and Corinthian capital columns, with a conforming trunk, with a crossbanded and a panelled plinth, 242.5cm high. £600-800

229. A George III mahogany longcase clock by William Smith of London, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched dial with a chapter ring and seconds dial, with Roman and Arabic numerals, with a date aperture, with scrolling foliage, urn and dolphin spandrels, with strike/silent dial, signed ‘Wm Smith LONDON’, the arched pagoda hood with brass finials and a later fretwork panel, above a moulded edge trunk door and a plinth base, 248.5cm high. £500-800

230. An 18th century black japanned longcase clock by Joseph Grey of Durham, the eight day brass movement with four turned pillars, with an anchor escapement striking on a bell, the arched dial with a silvered chapter ring and seconds dial, with Roman and Arabic numerals, with a date aperture, with scrolling foliage, masks and dolphin spandrels, signed ‘JOSPH GREY DURHAM’, the case decorated in gilt with chinoiserie scenes of figures, birds, pagodas and trees, with blind-fret carved panels and giltwood urn £1,500-2,000 finials, 260.5cm high. Provenance: W. A. Pinn & Sons, Sible Hedington, Essex, 5th March 1990. Baillie records Joseph Grey as working before 1756 and died in 1768.

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231. An ebony quarter repeating bracket clock, the eight day brass movement with five substantial turned pillars, with a verge escapement with a pull-repeat striking the quarters on six bells and the hours on a seventh bell, the backplate engraved with scrolling foliage and two hoho birds, the brass arched dial with a silvered chapter ring with Roman and Arabic numerals and heart half quarter markers, the matted centre with faux bob pendulum aperture, steel scrolled hands and a silver oval plaque, inscribed and numbered ‘Danl: Quare, London, No. 218’, with gilt brass scrolling foliage and mask spandrels and with subsidiary strike/silent and pendulum regulation dials with blued steel centres flanking a date dial, the brass mounted case with an inverted bell shape top with a turned swing handle, with urn finials and a scrolling leaf and twin dolphin panel, above a glazed arch door with fine mouldings and pierced shell and foliage spandrels, the sides and back with glazed panels, early 18th century and later, 40.3cm high, 24.2cm wide. £8,000-12,000 Provenance: Purchased by the vendor’s father in 1979 from Phillip Scott Auctioneer’s, Bedale, North Yorkshire.

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232. A Victorian brass skeleton clock, the single fusee movement with six turned pillars and an anchor escapement, the silvered dial with Roman numerals, on a rosewood plinth and under a glass dome with an ebonised base, 32.5cm high (overall). £200-300

232 233. A novelty brass ship’s wheel wall clock, with a lever escapement, the silvered dial with Roman numerals and an engine turned centre, 22cm high. £150-250

233 234. A Victorian brass skeleton clock, the single fusee movement with an anchor escapement, the silvered chapter ring with Roman numerals and with a pierced Gothic style case, 32.5cm high, under a modern Perspex dome. (2) £100-150

234 235. A novelty French brass clock, in the form of a horseshoe, the movement with a lever escapement and stamped ‘V. A. P. BREVETE’ and ‘S.G.D.G.’, with an enamelled dial with Roman numerals, inscribed ‘HENRY BRIGHT PARIS’, the case with an easel back and engraved decoration, 24.5cm high. £150-250

235

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236. A mahogany bracket clock, the later eight day brass movement with a verge escapement, with an arched brass dial, with a silvered chapter ring with Roman and Arabic numerals, with cast gilt brass foliate spandrels and signed ‘Nath. Style London’, the belltop case with a brass handle, with fret carved spandrels, solid sides and back door, 18th century and later, 51.8cm high, 29.5cm wide. £1,000-1,500

236 237. A George IV mahogany mantel clock by Roskell of Liverpool, the eight day brass movement with four turned pillars and an anchor escapement striking on a gong, the painted dial with Roman numerals and signed ‘ROSKELL LIVERPOOL’, in a leaf, flower and scroll carved pagoda shape case, on scroll feet, 59.5cm high, 45.6cm wide. £800-1,200

237

238. A late 19th century mahogany cased two day marine chronometer by A. Johannsen & Co., the circular single fusee movement with four pillars and Harrison’s maintaining power, with an Earnshaw type spring detent escapement and split balance and helical balance spring, with an engine turned backplate, the circular 4in silvered dial, with subsidiary seconds and up/down dials and Roman and Arabic numerals, signed ‘A. Johannsen & Co., MAKERS TO THE ADMIRALTY, THE INDIAN GOVT & ROYAL NAVIES OF ITALY, SPAIN & PORTUGAL, 149 Minories, London’ and numbered ‘7413’, mounted on a brass gimbal, the case lacking its upper section, with an ivory plaque inscribed ‘A.JOHANNSEN & Co. TWO DAYS 7413’, with sunken brass side carrying handles, 17.5cm high, 18.3cm wide. £500-800

238

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239

240

241

239. An Art Deco walnut barometer, with a silvered dial and thermometer, 81.4cm long.

242 £40-60

Provenance: The Collection of Sir Jeremy Lever. 240. A George III mahogany stick barometer by Thomas Blunt of London, the arched silvered dial signed ‘T. Blunt London’, with an adjustable vernier scale, exposed tube and a moulded case, 89.2cm long. £200-300 Provenance: The Collection of Sir Jeremy Lever. 241. An early Victorian Scottish mahogany stick barometer by A. Abraham of Glasgow, with an arched ivory dial signed ‘A.ABRAHAM & CO. GLASGOW’, with an adjustable vernier scale, the flame veneered case with a moulded edge, the back with a handwritten paper label inscribed ‘Captain Which’, 91.5cm long. £200-300

Provenance: The Collection of Sir Jeremy Lever. 242. A George IV mahogany wheel barometer, inlaid with boxwood and ebonised stringing, the glazed 12in silvered dial engraved with an urn and scrolls, above a bone adjustor and a spirit level signed ‘J. Bolton Plymouth’, with a thermometer and dry/damp dial, the swan neck pediment centred with a brass urn, 120.4cm high. £300-500 Provenance: The Collection of Sir Jeremy Lever.

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243

244

245

246

243. A late 17th century style ebonised siphon-tube barometer after Daniel Quare, the silvered dial signed ‘D. Quare, Lond. Fecit’ and inscribed ‘SUMMER WINTER’, the recording pinters operated by rack and pinion brass buttons, with a circular silvered calendar dial centred by the initials ‘WR’ for William III and flanked by the Royal Coat of Arms, the architectural case surmounted by a flaming finial, second half 20th century, 100cm high. £1,500-2,500 This barometer is a faithful copy of the siphon-tube barometer made by Quare for the Royal Collection at Hampton Court Palace. The original barometer is discussed by Nicholas Goodison, English Barometers 1660-1860, pp.187-189, pl. 113-115. 244. An early 18th century style mahogany and brass mounted stick barometer in the manner of Daniel Quare, with a silvered dial, the pointers adjusted by two urn finials by rack and pinion, with engraved decoration, with a stop fluted and spiral ribbed stem, second half 20th century, 95cm high. £600-800 245. An early 18th century style burr walnut and brass mounted siphon-tube barometer after Thomas Tompion, the silvered dial signed ‘Tompion London’ , the recording pointers operated by a pair of rack and pinion knobs above two silvered calendar dials registering the date and month, the case with a Doric pilaster and surmounted by a flaming brass finial, second half 20th century, 107.6cm high. £2,000-3,000 This barometer is a faithful copy of the siphon-tube barometer in the Royal Collection at Hampton Court Palace supplied by Thomas Tompion. The original barometer is discussed in Nicholas Goodison, English Barometers 1660-1860, pl. 140-142. 246. An early 18th century style walnut and brass portable stick barometer after Daniel Quare, the silvered dial with two vernier scale pointers adjusted by rack and pinion by the urn finials, with floral engraved decoration, the stop fluted stem above a spiral twist base and on four folding supports decorated with swags and masks, second half of 20th century, 101.8cm high. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

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247. Three miniature brass carriage clocks, the dial of one inscribed ‘PIERRE JACOT PARIS’, one with the initials ‘ACG’ to the backplate, the other signed ‘Mignon’, 20th century, 8.8cm high (max). (3) £200-300

247

248. A French gilt brass oval carriage clock, with a platform lever escapement, the enamel rectangular dial with Roman numerals and inscribed ‘DREW & CO. 156 & 157 LEADENHALL ST. LONDON E.C. FRENCH MADE’, the case with five bevelled glass panels, late 19th / early 20th century, 12.4cm high, together with its leather travelling case. (2) £200-300

248

249. A French brass cased carriage clock, with a platform lever escapement striking on a gong, the backplate stamped ‘FRANCE’, the enamel dial with Roman numerals, the corniche case with five bevelled glass panels, 14.9cm high, with its leather travelling case, together with another French brass carriage clock, with a presentation inscription dated ‘1926’, in its leather travelling case. (4) £200-300

249

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250. A late 19th century French repeating carriage clock with alarm by Drocourt, with a platform lever escapement striking the hours and half-hours on a gong, the backplate stamped with ‘D G’ flanking a clock and the numbers ‘9574’, the white enamel circular dial with Roman and Arabic numerals, inscribed ‘HOWELL JAMES & CO. TO THE QUEEN, LONDON & PARIS’, above a subsidiary alarm dial, the gorge case decorated with a blue enamel ground with white flowers and leaves, with five glazed bevelled panels, 13.5cm high, with an associated leather travelling case. (2) £500-800 See Derek Roberts, Carriage and other Travelling Clocks, p.179, fig. 11-4 for a similar clock.

250 251. A French miniature gilt brass and porcelain mounted carriage clock, with a platform lever escapement, the back plate stamped ‘3006’, the dial with Roman numerals, the panels decorated with figures of ladies collecting flowers and with landscape scenes, early 20th century, 8.1cm high. £200-300

251

252. A French gilt brass miniature carriage clock, with a platform lever escapement, the enamel dial with Roman numerals and inscribed ‘ELLIOTT & SON LONDON’, within an engraved case, 9.1cm high. £150-200

252

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253 253. A French pottery and gilt brass clock garniture, the eight day brass cased drum movement striking on a bell, the backplate numbered ‘44’ and engraved with an eagle and initials ‘PMS’, the dial with Arabic numerals within an egg and dart bezel, the urn and cover case with dragon handles and decorated with foliage on a yellow ground, together with a pair of conforming five-light candelabra, each with a snuffer, 70.3cm high (max). (3) £500-800

254 254. A late 19th century French rouge griotte marble mantel clock, the eight day brass cased drum movement with an outside countwheel and striking on a bell, the backplate numbered ‘629’ and with a pastille for ‘A. D. MOUGIN’, the circular dial with Arabic numerals and signed ‘Hre PACQUIER’, the case with an urn surmount and with lion’s masks issuing garlands, on paw feet, 49cm high. £200-300 255. A late 19th century French gilt metal mantel clock, the eight day brass movement with an outside count wheel and striking on a bell, the backplate stamped ‘BLOT & DROUARD PARIS 965’, the brass circular dial applied with blue enamel Roman numerals, the case in the form of two classical maidens supporting a globe decorated with the signs of the zodiac, on a black marble plinth base, 53cm high, 41.3cm wide. £150-250 255A. A late 19th century French marble and ormolu mounted clock garniture, the eight day brass cased drum movement with an outside countwheel striking on a bell, stamped ‘PARIS THREE STARS’ and numbered ‘569’, the white enamel dial with Arabic numerals, the Louis XVI style case in the form of a temple, with a cherub surmount, together with a pair of twin-light candlesticks, 44.6cm high. (3) £250-350

255

255A

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256. A Louis Philippe mahogany portico clock by Stevenard of Boulogne, the eight day brass drum movement with an outside countwheel striking on a bell, the backplate signed and numbered ‘1955’, the circular brass dial with Roman numerals, signed ‘STEVENARD BOULOGNE’, within a moulded leaf border, the flame veneered conventional case with four columns and applied ormolu mounts, 42.5cm high. £150-250

256

257. A small Vienna regulator style wall clock, the brass five day movement with an enamel dial with Roman numerals and signed ‘S. Glink PESTEN’, with a cast brass bezel, in an ebonised architectural case, 20th century, 55cm high. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

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258. An Empire ormolu mantel clock by Le Roy of Paris, the twin train eight day brass drum cased movement with an outside countwheel striking on a bell, with silk suspension, the circular annular enamel dial set within a chariot wheel with the movement visible through the spokes, with Roman numerals and signed ‘LEROY PALAIS ROYAL No.114 A PARIS’, the classical case depicting Minerva standing holding her shield, riding the lion chariot Diomedes, the plinth base applied with wreaths, the corners modelled as fasces with halberd finials and with a central scene of classical figures in a landscape setting, 45.5cm high, 49.2cm wide. £4,000-6,000 Provenance: Purchased at a Christie’s House sale. The Collection of Sir Jeremy Lever. Basile Charles Le Roy (1765-1839) founded The Maison de Le Roy in 1785 at Palais Royal in La Galerie de Pierre, Paris and was well known for producing fine quality clocks to the aristocracy and wealthy elite. He was the Master Clockmaker to Napoleon and worked for the King of Westphalia, Princess Pauline and the Duc de Bourbon.

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259. An Empire ormolu mantel clock by Beijar, the eight day brass cased drum movement, with an outside countwheel striking on a bell, with silk suspension, the enamel dial with Roman and Arabic numerals with pierced hands, signed ‘N. F. Beijar a Mons’, the case depicting the toilet of Venus, with Cupid holding a mirror, with a hinged box and other accoutrements, the front with relief decorated tablets with a pair of griffins and cupids, applied with palmettes, on claw and ball feet, 47.9cm high, 39cm wide. £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

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260. An Empire ormolu mantel clock, the eight day brass drum cased movement, with an outside countwheel striking on a bell, with silk suspension, the white enamel annular dial with Roman numerals, with a scale centre, the case modelled with Arion playing the lyre and riding a dolphin, above a relief tablet depicting Arion escaping from the pirates to be saved by a dolphin, 53cm high, 36.5cm wide. £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

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261. A Restauration ormolu ‘Evening Prayer’ mantel clock by Griebel of Paris, after a design by Jean-André Reiche, the eight day brass cased drum movement with an outside countwheel and striking on a bell, the circular white enamel dial with Roman numerals and signed ‘GRIEBEL A PARIS’, the classical case decorated with swans, drapes and terms, the main scene depicting a mother, the Duchess de Berry nursing her son, the future Duke of Bordeaux, with his sister Louise praying infront of them, the base with applied swags of fruit and leaves flanked by portrait rondels, 41cm high, 30.7cm wide. £4,000-6,000 Provenance: The Collection of Sir Jeremy Lever. On 13th February 1820 the Duke of Berry was stabbed leaving the opera house in Paris and he died the next day. He was assassinated by a Bonapartist opposed to the monarchy. Seven months after his death his wife gave birth to their fourth child, Henri, who in the view of the Legisitimists was heir to the throne of France. The birth of the boy in 1820 was the reason for the creation of this clock, designed by Jean-André Reiche, one of the most important bronziers of the Empire period. See Elke Niehuser, French Bronze Clocks, p.165.

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262. A Directoire ormolu and Carrara marble portico mantel clock by Lépine, the eight day brass cased drum movement with an outside countwheel and striking on a bell, with a silk suspension, the backplate inscribed and numbered ‘Lépine her du Roy Paris no. 4163’, the white enamel dial signed by Barbichon, with Roman hours and Arabic minutes and days, inscribed with the days of the week, signed ‘Lépine H.GER DU ROI’ and ‘Place des Victoires no.12’, with pierced and scroll hands and steel calendar hands, the impressive temple case with chased and gilded bronze mounts, with an eagle surmount above six urns of flowers with a gallery supported by Corninthian columns hung with laurel swags, with two female figures representing Justice and Fortitude flanking war trophies, the breakfront base with inset tablets of scrolling leaves and further trophies on a separate plinth base, 73cm high, 49.3cm wide. £15,000-20,000 Provenance: Purchased from Art Ancien, Via dei Coronari, Rome, c.1997. By repute this clock belonged to a noble North Italian family. The Collection of Sir Jeremy Lever. Jean Antoine Lépine (1720-1814) received maître in 1762 and soon after he was appointed to the coveted position of Horloger du Roi (Louis XV). He subsequently served as watchmaker to Louis XVI and Napoleon I. He began his horological career in Geneva and on returning to Paris he was apprenticed to André Caron the King’s clockmaker. He subsequently married Caron’s daughter in 1756. Until 1772 he operated from premises in the rue Saint-Denis and in 1789 he 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 him in the British Royal Collection and according to C. Jagger in his book ‘Royal Clocks: The British Monarchy and its Timekeepers’ Lépine was a favourite clockmaker of George IV and a number of clocks were bought from him.

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263. A Napoleon III ormolu cartel clock in Louis XV style, the eight day brass cased drum movement striking on a bell, the backplate stamped ‘A1’ and numbered ‘7220’ also stamped ‘MEDAILLE ARGENT 1855 VINCENTI & CIE’, the circular white enamel dial with Roman and Arabic numerals, with pierced scroll hands, the case in the form of a winged Chronos or Father Time figure holding a scythe and with a cherub surmount, 83cm high. £3,000-5,000 Provenance: Purchased in Augsburg. The Collection of Sir Jeremy Lever.

263

264. An Empire ormolu mantel clock by Claude Galle, the eight day brass cased drum movement with an outside countwheel striking on a bell, with silk suspension, the circular enamel dial with Roman numerals and signed ‘Galle Rue Vivienne No. 9’, the case surmounted with Apollo with his lyre, bow and quiver of arrows seated beside a flaming urn, the dial surround decorated with a snake, insects and lyres, above a relief tablet depicting Apollo and Daphne, on lion’s paw feet, 53.7cm high, 38.8cm wide. £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

264

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265. An Empire ormolu mantel clock by De Verberie, the eight day twin train brass cased drum movement, with an outside countwheel striking on a bell, with silk suspension, the white enamel dial with Arabic numerals, pierced hands and signed ‘de Verberie’, the case depicting allegories of music and theatre with a classical lady playing the lyre accompanied with a cherub holding a Punch puppet and a mask, above a central tablet with caryatid figures supporting swags and garlands, flanked by classical figures, on a white marble plinth, 52cm high, 41.5cm wide. £3,000-5,000 Provenance: The Collection of Sir Jeremy Lever.

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266

266. A Louis XVI Sèvres biscuit porcelain mantel clock, the eight day brass cased drum movement with an outside countwheel, striking on a bell, with silk suspension, the enamel dial with Roman numerals within a leaf cast bezel, the white and lilac case with Venus seated on a tasselled cushion accompanied by Cupid, above an ormolu relief tablet decorated with cherubs, with flowers and cherubs, with impressed interlaced ‘S’ mark and ‘W’, 44.3cm high, 25cm wide. £1,000-1,500 Provenance: Purchased from Gavin Douglas , Fine Clocks. The Collection of Sir Jeremy Lever.

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267. A Louis XV ormolu cartel clock by Herbault of Paris, the circular brass movement with four turned pillars and a tic-tac escapement striking the hours and on quarters with two hammers on a bell, with a pull-repeat, the backplate signed and numbered ‘Herbault Paris no. 159’, the circular white enamel dial with Roman and Arabic numerals and with pierced foliate hands, with rise and fall, signed ‘HERBAULT PARIS’, the asymmetrical Rococo case stamped with ‘C crowned’ and surmounted by a Hurdy-Gurdy player, with leaf scrolls, branches and flowers, with a glazed aperture to reveal the pendulum, 46cm high. £4,000-6,000 Provenance: Bonhams, Fine Clocks, 13th December 2005, lot 51. The Collection of Sir Jeremy Lever.

267

268. A rare late 18th century Swiss giltwood Neoclassical cartel clock, the eight day brass movement with four turned pillars and with an outside countwheel, striking on two bells and with a pullrepeat, the circular white enamel 32cm dial with Arabic numerals and with pierced urn, scroll and foliage handles, the case carved with Diana with a crescent moon, with drapes and laurel swags supporting a sleeping Cupid, 94cm high, 48cm wide. £3,000-5,000 Provenance: Purchased from Volker, Heidelberg, 5th May 2004. The Collection of Sir Jeremy Lever.

268

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269. A late 19th century French ormolu mantel clock by Thiébaut Frères, the eight day brass drum cased movement striking on a bell, numbered ‘1410’ and ‘MEDAILLE ‘D’ARGENT VINCENTI & CIE, 1855’, the white enamel dial with Arabic numerals and painted with swags of flowers, signed ‘Thiébaut Frere Paris, 32 Avenue de l’Opera 32’, the finely cast and chased case in Louis XVI style, with four bevelled glass panels, with an urn surmount applied with scrolling leaves and a grapevine, with laurel swags and a Bacchus mask, with hoof monopodia feet, on a stepped rouge griotte marble base and on toupie feet, 70.1cm high, 36.5cm wide. £6,000-8,000 Provenance: The Collection of Sir Jeremy Lever. Thiébaut Frères started to work as art founders in 1851 under the supervision of Victor Thiébaut. Originally they produced cast raw bronzes for other more prestigious founders to finish. However Victor then began to forge relationships and produce work for some of the most famous sculptors of the day for example: Carpeaux, Pradier and Carrier-Belleuse. In 1884 the firm opened a shop on the 32 Avenue de l’Opera and at that time the firm took part in many exhibitions including the 1889 Paris Universal and the 1893 Chicago Universal Exhibition, where their bronzes were described as ‘wonders of casting, chiselling and patina’.

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CONTINENTAL FURNITURE & LIGHTING

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270. A pair of French Empire ormolu candlesticks in the manner of Jean-Démosthène Dugourc, each with a detachable drip-pan, above three female herm figures and a tapering stem, with basket weave decoration, 27.1cm high. (2) £1,000-1,500

270

271. A pair of 19th century French ormolu candlesticks after a design by Jean-Démosthène Dugourc, each with a lion’s mask urn nozzle, above a stem decorated with four classical female caryatids and hung with copper coloured swags of flowers and fruit, above a laurel leaf and an acanthus wrapped foot with a beaded edge, 31.9cm high. (2) £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

272. A matched pair of French Empire ormolu candlesticks, each with a detachable drip-pan, decorated with spiraling bands of palmettes and griffins, 21.7cm high. (2) £400-600

272

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273. A French gilt bronze chandelier in Régence style, the urn stem applied with female term figures, with six leaf decorated scroll arms and turned nozzles, with a bud pendant, late 19th century, 54.8cm high, 57cm wide. £300-500 Provenance: The Collection of Sir Jeremy Lever.

273

274. A matched pair of gilt and patinated bronze dog candlesticks, each modelled with a performing poodle, supporting a palmette decorated nozzle, early 19th century and later, 15.7cm high (max). (2) £300-400

275. A 19th century French ormolu candelabrum in Louis XV style, in the manner of Meissonier, with a leaf and cartouche baluster stem, supporting six intertwined scrolling leaf arms with conforming sconces and drip-pans, on a rocaille decorated base, 49.9cm high, 40cm wide. £500-700

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276. A French silvered brass bouillote lamp in Louis XVI style, with an adjustable tôle shade and three lights, together with a similar tôle example of navette shape, with parcel gilt decoration, 49.5cm (max). (2) £300-500

276

277. A French silver plated bouillotte lamp in Empire style, with an eagle finial above an adjustable tôle shade with swan’s head supports, with three lights with leaf scroll arms, on an engine turned dished base, early to mid-20th century, 60cm high. £500-800 Provenance: The Collection of Sir Jeremy Lever.

278. A pair of late 19th century French bronze table lamps, each with a globe shade above a body cast with a procession of classical figures, each standing on a pedestal base, on tripod lion’s monopodia supports, the undersides stamped in various places ‘AD’, originally oil lamps now converted to electricity, 83.5cm high. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

278

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279. A Louis XV giltwood console table, the later black marble top with a serpentine edge, the foliate carved frieze decorated with scrolls and rocaille, on ‘C’ scroll legs united by a stretcher, re-gilt, 85cm high, 80.2cm wide, 42.5cm deep. £2,000-3,000

280. A Louis XV period walnut side chair, with a later leather padded back and seat, the frame finely carved with leaves and scrolls, on cabriole legs, possibly by Pierre Nogaret, Lyon. £500-800

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281. A Louis XV painted beechwood fauteuil cabriolet by Jean Baptist Lebas, with a cartouche shaped back, the frame carved with scrolls, leaves and flowers, on cabriole legs, stamped ‘I. LEBAS’. £100-200 Jean Baptiste Lebas was made maître 29th July 1756.

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282. A Louis XV rosewood serpentine commode attributed to François Lebesgue, with later ormolu mounts with female masks, with a rouge griotte marble top with a moulded edge, above two short and two long crossbanded and quarter veneered drawers, with keeled angles, on bracket feet, stamped three times ‘F. L.’, 82.2cm high, 131cm wide, 61cm deep. £5,000-7,000

Provenance: Christie’s, South Kensington, The Contents of Le Bois Muralt, 18th January 2000, lot 821. The Collection of Sir Jeremy Lever. François Lebesgue died 18th September 1765.

283. A Louis XV kingwood serpentine bombe commode, with ormolu mounts, with a Saint-Anne grey marble top with a moulded edge, above two short and two long drawers and the sides with quarter veneered panels, 86.7cm high, 129cm wide, 59cm deep. £4,000-6,000 Provenance: The Collection of Sir Jeremy Lever.

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284. A Louis XVI style grey painted trumeau wall mirror, with parcel gilt and blue painted decoration, the rectangular bevelled plate within a frame carved with classical panels of urns, flowers and scrolling leaves, the spandrels with rondels with war trophies, surmounted by an oval panel of a classical maiden playing pipes, accompanied by a young satyr and a cherub and with the cornice carved with a flaming torch, a quiver of arrows, with laurel leaves and ribbons, 176.5 x 81cm. £1,500-2,000 Provenance: The Collection of Sir Jeremy Lever.

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285. A Louis XV style beechwood bergère, with later silk upholstery, the moulded showframe carved with leaves and flowers. £300-500 Provenance: The Collection of Sir Jeremy Lever.

286

286. A pair of Louis XV style beechwood fauteuil à la reine, each with a padded back, seat and armrests, covered in floral needlework, the cartouche shaped back carved with leaves and flowers, on conforming cabriole front legs. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

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287. A pair of French mahogany open bibliothèques in Louis XVI style, each with a gilt brass pierced gallery and a marble top, above four adjustable shelves flanked by stop fluted columns, on brass mounted toupie feet, late 19th century, 132.5cm high, 42.3cm wide, 32cm deep. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

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288

288. A 19th century French Directoire mahogany table en chiffonière, with brass mounts, the pierced gallery above a marble top and three drawers, on fluted legs united by an undertier and on toupie feet, 83cm high, 51cm wide, 34cm deep. £500-800 Provenance: The Collection of Sir Jeremy Lever.

289. A French Directoire mahogany and brass mounted console desserte, the breakfront white marble top with a moulded edge, above a frieze drawer, with fluted column supports and toupie feet, 86.7cm high, 105cm wide, 40cm deep. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

289

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290. A French giltwood and composition pier mirror in Louis XV style, the arched plate within a leaf and scroll decorated moulded frame, with a ‘C’ scroll and flower decorated surmount, late 19th century, 204 x 111.5cm. £600-1,000 Provenance: The Collection of Sir Jeremy Lever.

291. A 19th century Biedermeier fruitwood tub armchair, with a scroll top rail, with lappet carved arm supports, on conforming front legs. £200-300

290

292. A Louis Philippe mahogany bateau style sofa, with gilt bronze mounts of laurel leaves, palmettes and with a wreath centred with a male mask, upholstered with grey watered silk, with a bolster cushion and a drop-end, 90.7cm high, 147cm wide, 67.5cm deep. £500-700

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293. A Charles X mahogany commode à vantaux by Jean Jacques Werner, with ormolu mounts, the Carrara marble top with a reeded edge above a frieze drawer and the flame veneered base with a pair of doors enclosing three slides, above a secret base drawer, the back stamped twice ‘J J WERNER’ and the underside of the marble inscribed ‘Lady Bertie of Thame’, 88.7cm high, 124.5cm wide, 59.1cm deep. £2,000-3,000 Provenance: The Right Hon. The Viscountess of Bertie of Thame Christie, Manson & Woods Ltd. Fine English and French Furniture, 12th May 1955, lot 95. Francis Leveson Bertie, 1st Viscount Bertie of Thame (1844-1919) was ambassador to France between 1905 and 1918 which probably explains how this commode came into the family’s possession. Jean Jacques Werner (1791-1849) was one of the most celebrated ébénistes of the Restauration period. He was born in Berne, the son of a timber merchant. Like many aspiring cabinet makers he travelled to Paris and by 1812 he had established himself in rue Saint-Dominique-Saint-Germain. He won silver medals at the expositions of 1819, 1823, 1827 and 1834, however, he failed to win a gold medal which disappointed him. Despite specific praise from King Louis XVIII Werner was left frustrated as up until 1823 the King had not made any purchases. This was to change under the reign of Charles X and he was also much appreciated to the French nobility most notably the Duchesse de Berry. His works can be found in the Musée de Château de Versailles , Musée des Arts Décoratifs and the Palais Leuchtenberg in Münich. See Denise Ledoux-Lebard, Le Mobilier Francais du XIXe Siècle, pp.625-634.

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294. A kingwood bombe commode in Louis XV style, with scrolling leaf ormolu mounts, the serpentine marble top with a moulded edge, above two deep drawers and keeled angles, 19th century, 83.4cm high, 110cm wide, 50.5cm deep. £600-1,000

294

295. A French walnut miniature commode, with gilt metal mounts, the marble top above three drawers, early 20th century, 51cm high, 35cm wide, 25.5cm deep. £100-200

295

296. A French mahogany table en chiffonière, with brass mounts, the crossbanded and quarter veneered top above three frieze drawers and a conforming undertier, c.1900, 75.7cm high, 52.5cm wide, 40.7cm deep. £200-300

297. A French mahogany and kingwood lamp stand, with three circular tiers, with segmented veneers, with a a frieze drawer, on square tapering legs and brass caps, early 20th century, 84.7cm high, 42cm diameter. £150-200

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298. A French cast iron and gilt and patinated bronze console table in Empire style, the associated white marble top above a pierced Gothic frieze and flanked by a pair of Moor caryatids, each with a gilt Egyptian style headdress and sandals, with applied stars, 19th century, possibly originally a fireplace, 87.7cm high, 128,4cm wide, 45cm deep. £1,000-1,500

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299

299. A continental stained wood and gilt composition guéridon, with two tiers, each inset with gilt tooled leather, 63.4cm high, 35.2cm diameter. £300-500 Provenance: The Collection of Sir Jeremy Lever.

300. Gabriel Viardot (French 1830-1906). A near pair of French stained beechwood ‘Japonais’ jardinière stands, each with a pink marble inset top above a pierced frieze with oriental symbols, on scroll legs and claw and ball feet, both stamped ‘G. Viardot’, 101cm high, 32.5cm square. (2) £500-800 Provenance: The Collection of Sir Jeremy Lever.

300

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301. A pair of bleached beechwood hourglass shape stands, with turned spindle supports, 91cm high, 35.7cm diameter. (2) £200-300

301

302. A late 19th century French ebonised and giltmetal mounted jardinière stand, with an onyx top, 80.9cm high, 33.4cm wide, £100-200 35.7cm deep.

303. A continental bird’s eye maple and cast iron bed/reading table, with an adjustable stem, on claw and ball feet and castors, late 19th / early 20th century, 98.5cm high, 68.6cm wide, 50.5cm deep. £150-250

303

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304. A pair of large Gothic style painted cast iron candelabra, with thirty-one candle holders, decorated with scrolling leaves, mythical beasts and male masks, 208.5cm high, 77.5cm diameter. (2) £800-1,200

304

305. A pair of late 19th century German cast iron jardinière stands or torchères by Zimmermann, in Greek revival style, each with a circular top above griffins issuing chains, the tripod base with griffin monopodia supports, with maker’s plaque ‘E. G. ZIMMERMANN VERLAG BEI IN HANAU’, numbered ‘12507/8’, £300-500 106.7cm high. (2)

306. A 19th century cast iron torchère, the top with a wooden insert, above a gilt capital, on a plain stem with a lappet collar, on tripod monopodia legs and lion’s paw feet, 87.5cm high. £150-200 Provenance: The Collection of Sir Jeremy Lever.

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307. A pair of brass standard lamps in Regency style, with leaf and rosette decoration, with fluted stems, on tripod monopodia legs and lion’s paw feet, with shades, late 19th century, 147.7cm high. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

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308. A brass Corinthian column standard lamp, with a reeded stem, on a stepped plinth and lion’s paw feet, with shade, early 20th century, 173.7cm high (overall). £300-400 Provenance: The Collection of Sir Jeremy Lever.

309. A matched pair of Regency style gilt brass candlesticks, each with a detachable sconce, above a stiff leaf capital and a lobed tapering stem, on monopodia tripod supports, 18.2cm high (max). (2) £100-200

309

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310 310. A glass and brass five-light chandelier in Aesthetic style, the saucer shape corona above a cut cylindrical and ovoid stem attached with cylindrical glass columns with urn finials, with fan and scroll buttresses, with conforming arms and large frosted glass shades etched with a grapevine, with a ball and pendant base, 81cm high, 100cm wide. £1,500-2,000 Provenance: The Collection of Sir Jeremy Lever.

311. A pair of 19th century gilt and patinated bronze figural lustre candlesticks, each with a Bacchic cherub supporting fleur-de-lis, hung with faceted drops and lustres, with a fluted nozzle and a detchable drip-pan, 27.5cm high. (2) £150-250

311

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312. A Black Forest carved wood bookslide, the hinged folding ends each carved with a pair of lumberjack bears, one holding an axe, the other with a bottle, late 19th / early 20th century, 16.7cm high, 46.2cm wide, 17.8cm deep. £100-150

312

313. A Black Forest carved and painted lever action nutcracker, in the form of a standing bear, 20.5cm high, together with a carved wood wall bracket, with an owl support with glass eyes, 20cm high. (2) £150-200

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314. A late 19th century Black Forest carved wood bookslide, the hinged folding ends carved with a hare and an owl, with a ‘C’ scroll edge and engraved leaf decoration, 19cm high, 38cm wide, 13.2cm deep. £100-150

314

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315. A late 19th century Black Forest limewood centrepiece, carved with a tree trunk, leaves and two birds, issuing a glass vase, the base stamped twice ‘tbbo’, 70.2cm high, 34.5cm wide. £300-500

316. A late 19th century Black Forest carved limewood wall bracket, with a bull’s head trophy mount support and carved with leaves, 25.7cm high, 32.7cm wide. £150-250

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317. A pair of 19th century Danish oval pedestal cupboards in Biedermeier style, each flame veneered, with a beaded moulding and carved with flower spandrels, each with a hinged door enclosing two shelves and a glass holder, one locked, 140.5cm high, 59cm wide, 38cm deep. (2) ÂŁ300-500

317

318. Two similar Dutch marquetry open armchairs, walnut and mahogany, each with a Rococo carved arched top rail, above a vase shaped splat inlaid with an urn of flowers, with birds and one with a butterfly, each with a drop-in seat, on shell capped cabriole legs united by wavy stretchers, late 18th / early 19th century. (2) ÂŁ800-1,200

318

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319. A 17th century Flemish Antwerp ebony table cabinet, the hinged top with a painted panel of figures to the underside and a vacant recess, above a pair of moulded panel doors, enclosing an arrangement of eight drawers with painted panels of figures in landscapes (one panel missing), around a central cupboard revealing part ebony and ivory interior, the insides of the doors with one painted panel depicting an exterior tavern scene, with iron side carrying handles, 46.4cm high, 49cm wide, 30.8cm deep. £600-800

320. A Dutch colonial tortoiseshell and silver mounted casket in 17th century style, ripple moulded, the hinged lid with palm tree corner mounts and a central serpent oval plaque, the body decorated with natives and a bearded man escutcheon, the lock stamped ‘Y. B. A.’, late 19th / early 20th century, 25.1cm high. £300-500

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321. A mid-17th century Flemish Antwerp ebonised and tortoiseshell cabinet on stand, painted with twelve panels in the manner of Hans Jordaens III, the exterior later gilt decorated with flowers on a lattice ground and with chinoiserie panels of figures, birds and trees, the hinged top revealing a painted panel with figures on a path with three caparisoned horses, above a later panel and a vacant interior, with a pair of panelled doors enclosing a tortoiseshell and ripple moulded interior with eight drawers painted with rural landscapes and village scenes, with figures in various country pursuits including: hunting, a shepherd tending his flock, figures in a carriage, a man on a river bank fishing, flanking an architectural centre with a brass balustrade deep drawer above an arched panel door, painted with figures walking along a tree lined avenue with their dogs, enclosing a bone and ebony parquetry mirrored niche with gilt arches, flanked by Corinthian columns and above a drawer decorated with a harvest scene, the insides of the doors painted with panels, the left with wealthy figures on horseback giving money to beggars in a landscape setting, the right with figures playing instruments before a moated country house, fitted with a long drawer with lion’s mask ring handles, the stand with a shaped apron, on cabriole legs and pad feet, the back with a handwritten paper label 'Mrs Harold Louth Lincolnshire, To the … Mr J Smith … London', 149.5cm high, 106.5cm wide, 54cm deep. £10,000-15,000

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RUSSIAN WORKS OF ART

322. A Russian bone model of a railway station, the tower with a bell above an ebonised roof and with a watchstand, with glass windows, the front with a later hinged door, 44.4cm high, 23cm wide, 14.9cm deep. £400-600

323. A 19th century Russian campaign cutlery case, fitted with a Russian silver folding fork and spoon, each engraved with initials, stamped with ‘84’ mark and initials ‘F. K.’ and ‘A. R.’, together with an associated knife with a screw-off handle, fitted in a red leather case. £150-200

324. Five Russian seals, four with treen handles and one with an iron handle, the matrices in brass and white metal, 11.7cm long (max). (5) £100-150

322

323 324

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325. A George IV gilt and patinated bronze table thermometer by Salt, for the Russian market, decorated with a pair of mermaids and with a sun mask, the back stamped ‘PUB. BY. TC. SALT. APL. 18. 1828’, on a malachite base and paw feet, 25cm high. £200-300

325

326. A 19th century Russian bronze model of a sleeping putto, resting on a draped cross with a grapevine, mounted on a rocky malachite base, 18cm wide. £100-150

327. A late 19th century Russian gilt bronze figure of a man, holding a troika harness and a horseshoe, 11.5cm high, mounted on an ebonised socle. £150-250

327

328. A 19th century Russian gilt bronze model of a bear cub, 7cm long, later mounted on a Perspex base. £150-200

328

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329. Two late 19th century Russian black lacquer papier-mâché boxes by Vishniakov, either for tea or tobacco, of cylindrical form, the lids painted each with a troika scene with foil lined interiors, both with faint medallion marks, 9.9cm high (max). (2) £300-400

329

330. A late 19th century Russian black lacquer papier-mâché box by Vishniakov, either for tea or tobacco, of cylindrical shape, the lid painted with an amorous couple, the interior foil lined and with a portrait medallion signature, 11.7cm high. £200-300

330

331. Two late 19th century Russian black lacquer papier-mâché boxes by Vishniakov, either for tea or tobacco, of cylindrical form, the lids painted with a troika scene and figures taking tea outside, with foil lined interiors, both with faint medallion marks, 10.5cm high (max). (2) £300-400

331

332. Three late 19th century Russian black lacquer papier-mâché boxes, of cylindrical shape, painted with figures in various pursuits, one by Lukutin, one foil lined, 9cm high (max). (3) £200-300

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333. Two late 19th century Russian papier-mâché plates by Lukutin, one black lacquer, the centre painted with a lady emerging from a door, the other red lacquer, the centre painted with a troika scene, both with gilt eagle marks, 21.8cm diameter (max). (2) £500-800

334. A matched pair of late 19th century Russian black lacquer papier-mâché spill vases by Vishniakov, painted with summer and winter troika scenes, the red interiors with medallion marks, 15.5cm high (max). (2) £300-400

335. A late 19th century Russian black lacquer papier-mâché cigarette box by Lukutin, the hinged lid decorated with a winter troika scene, the red interior with a gilt eagle mark, above a sloping panel formerly inset with a strike, 8cm high. £200-300

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336. Three late 19th century Russian black lacquer papier-mâché boxes, two by Vishniakov and decorated with a couple taking tea and with figures dancing, possibly for cigars/cigarettes, together with a smaller vesta case by Lukutin, 10.7cm high (max). (3) £150-200

336

337. Three late 19th century Russian black lacquer hinged boxes, two painted with troika scenes, the other with a peasant couple, one with a gilt maker’s mark to the interior, 12.2cm wide. (3) £100-150

337

338

338. A late 19th century Russian black lacquer papiermâché snuff box, the lid painted with a troika scene, a similar box painted with houses, a rectangular box decorated with a circular hunting panel, a modern fairy tale plaque, signed and dated and marked ‘NANEX’ and a German Stobwasser style spectacle case, late 19th century and later, 14cm (max). (5) £100-150

339. Three Russian black lacquer papier-mâché boxes, one by Lukutin, painted with a girl emerging from a door, with a gilt mark, a Fedoskino box painted with a young lady in traditional costume, the other decorated with a troika scene, late 19th / early 20th century, 13.7cm wide (max). (3) £200-300

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340. A late 19th century Russian black lacquer papier-mâché desk blotter by Lukutin, decorated with a troika scene, with a gilt eagle mark, together with a box by Vishniakov, the lid decorated with a family interior scene, with a gilt portrait medallion mark, 30.7cm (max). (2) £400-600

340

341. Two late 19th century Russian black lacquer papier-mâché boxes, each painted with a troika scene, 19.7cm wide (max). (2) £300-400

341

342. Two late 19th century Russian lacquer papier-mâché circular boxes, of bun shape, both painted with figures taking tea outside, one by Lukutin, the red lacquer interior with signature, the other by Vishniakov, 12cm diameter (max). (2) £300-400

342

343. A late 19th century Russian black lacquer and papier-mâché box by Lukutin, either for tea or tobacco, the lid painted with peasants on a cart, the red lacquer interior with a lid and with a gilt eagle mark, 15cm high. £200-300

343

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344

344. Three Russian lacquer papier-mâché Fedoskino boxes, one painted with two courting couples playing beside a river, indistinctly signed, one of a group of maidens wearing traditional costume in a woodland setting, the other of a ballerina, early to mid-20th century, 28.4cm (max). (3) £300-400

345. Two late 19th century Russian red lacquer papier-mâché Easter eggs, one painted with a church and the ascension of Christ, the other with the Virgin and child accompanied by St. John and with a church, 7cm (max). (2) £200-300

345

346. A Russian lacquer box, the hinged lid painted with a fairy tale scene, with a young man spying on nymphs swimming in a river, signed ‘H.Gaxupe’ and dated ‘1954’, 20.1cm wide. £50-100 Provenance: The Collection of Sir Jeremy Lever.

134

347. A late 19th century Russian lacquer papier-mâché beaker by Vishniakov, painted with two men and a woman taking tea, with a gilt medallion mark to base, 9.5cm high, together with four Russian lacquer papier-mâché napkin rings, painted with troika scenes and the Kremlin. (5) £150-250

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348. A collection of Russian karelian burr birch items, including: a pair of cylindrical boxes and covers, applied with a silver Imperial double headed eagle crest, a large tea chest, the hinged lid with initials and an inscription to the underside, two rectangular boxes, one applied with £500-700 copper rondels and a relief plaque of a warrior on horseback and a notebook, 19th century and later, 37.7cm (max). (9)

349. A collection of Russian karelian burr birch boxes, including: a tea caddy, a sarcophagus shape jewellery box, a box by Makorov, the inside of the lid with maker’s mark, a cigar case, a vesta case, a cigarette box, a snuff box after Vereschagin, a cylindrical box with an applied niello plaque, 19th century and later, 24.3cm (max). (11) £300-500

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350. A small collection of Russian treen, comprising: a bird shape kovsh, a larger kovsh carved with scrolling leaves and with a pierced handle together with five spoons, two painted and one with a figural handle, 19th century and later, 33cm (max). (7) £100-150

351. Two Russian birch kovsh, with chip carved decoration, one with a part bone handle, together with a 19th century Russian treen knitting sheath, with chip carved decoration, inscribed and dated ‘1856’, 16.2cm (max). (3) £80-120

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352. A late 18th century ivory snuff box, the hinged lid carved with a coat of arms, with a coronet above a mask, an eagle and a dragon, flanked by leaves and a pair of eagles standing on a lambrequin pelmet, all on a diaper background, the base engraved with war trophies and inscribed ‘HOD.BVR.’ and ‘MCLXXVII’, 8.5cm wide. £100-150

352

353. A Dutch ivory oval snuff box, the lid relief carved with a tavern scene in the manner of Teniers, late 18th / early 19th century, 9.6cm wide. £50-100

353

354. A pair of ivory jardinières, each with a removable brass liner, the bodies carved with panels of guilloche decoration, above a laurel leaf moulded foot, one with a lid, late 18th / early 19th century, probably adapted from plinths, 9.8cm high, 18.3cm wide, 11.5cm deep. (2) £300-500

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355

356

355. A late 19th century French gilt metal and enamel casket, with jewelled decoration and painted with panels of flowers, together with a brass and tortoiseshell twin scent bottle box, 11cm (max). (2) £200-300

356. A 19th century French oval kingwood and amboyna table jardinière, with gilt metal mounts and a lift-out metal liner, with side carrying handles, 16.3cm high, 41cm wide. £80-120

357

357. A 19th century French straw-work box, the hinged lid with a chequer band and inlaid with a basket of flowers, the interior decorated with musical trophies and a lyre, together with two straw-work cigar cases and a cylindrical box and cover with a bone finial, 16.8cm (max). (4) £200-300

358. An early 19th century French prisoner of war bone Spinning Jenny, with cogs to the base, 12.5cm high, 7cm wide. £80-120

358

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359 360 359. A Louis Philippe thuya sarcophagus shape nécessaire, the hinged lid marquetry inlaid with leaves and flowers, with a mirror to the inside of the lid, the lift-out tray fitted with sewing utensils: scissors, a needle case, thimble and a stiletto, 8.2 x 16.9cm. £150-250 360. An Italian giltwood hand mirror, the oval plate within a leaf, husk and shell carved frame, 19th century, 43.5cm long. £100-150 Provenance: The Collection of Sir Jeremy Lever.

361. An Italian bronze spirit warmer, with a turned and faceted handle, with a bulbous body decorated with the face of Pulcinella, surmounted by a cross, possibly for Amalfi, with a spout, originally with a hinged lid, possibly 17th century, Neapolitan, 22.5cm long. £100-150

362. A continental walnut and bone mounted Grand Tour style box, with three lift-off lids revealing compartments, decorated with a Greek key border and a central relief portrait bust of a classical warrior, the front applied with a Greek temple, early 20th century, 31.9cm wide. £80-120

361

362

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363. An 18th century giltwood wall mirror, the later arched plate with further marginal plates, within a leaf and flower carved frame on a diaper ground, with a bird surmount feeding her chicks, French or Italian, 88.5 x 57cm. £1,000-1,500

363 364

364. A pair of 19th century Italian giltwood wall brackets in Baroque style, each in the form of a winged cherub supporting a shelf, 21cm high, 17.5cm wide. (2) £250-300

365. An Italian walnut occasional table, in Renaissance style, the boarded top above a thumbnail frieze and a drawer, on cartouche shape trestle ends united by a stretcher, on paw feet, 61.5cm high, 66cm wide, 46cm deep. £200-300

365

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366. An Italian green japanned wall mirror in Rococo style, the shaped plate within a moulded frame, with leaf scrolls and painted panels of flowers, probably Venetian, late 19th century, 92.5 x 74cm. £300-500 Provenance: The Collection of Sir Jeremy Lever.

366

367

367. An Italian lacquer box in Rococo style, painted with panels of flowers, a bird and a butterfly, with gilt highlights, with a hinged lid revealing a vacant interior, 14.7cm high, 40.4cm wide, 27.5cm deep. £100-150

368. An Italian walnut chest, with burr veneered panels and fitted with three drawers, on bracket feet, late 18th / early 19th century, 82.3cm high, 63.2cm wide, 33.1cm deep. £300-500

368

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369

369. A pair of late 19th century giltwood and gesso pier mirrors, each with a later arched plate within ribbon and fruit frames, with an eagle surmount flanked by ribbon tied garlands of fruit and flowers, the base with a velvet covered shelf, 113 x 48cm. (2) ÂŁ2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

370 370. A pair of 19th century Italian Florentine giltwood wall mirrors, each with a bevelled oval plate, within a leaf scroll carved frame, 40 x 32.2cm. (2) ÂŁ150-250

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371. An Italian Venetian glass spiral chandelier attributed to Venini, with thirteen lights, the gilt metal frame hung with faceted lustres, 20th century, 145cm high, 50cm wide. £3,000-5,000 Provenance: The Collection of Sir Jeremy Lever.

371

372. A pair of Italian Venetian glass spiral wall lights attributed to Venini, each with three lights, the gilt metal frame hung with faceted lustres, 20th century, 65cm high, 30cm wide. (2) £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

372

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373. An Italian painted and carved wood standard lamp, with a leaf and scroll capital, above a stem entwined with a grapevine, on a leaf base, originally gilt, with shade, c.1920, 193.2cm high (overall). £800-1,200 Provenance: By repute from the collection of T. E. Lawrence, Lawrence of Arabia. The Collection of Sir Jeremy Lever. Thomas Edward Lawrence read History at Jesus College and Sir Jeremy, whilst at Oxford, resided in the same room as Lawrence and the lamp was acquired during this time.

373

374. A late 19th century Italian Venetian carved wood wall bracket, in the form of a blackamoor Harlequin figure, with silvered, gilt and polychrome decoration, 57.2cm high, 46.5cm wide, 27.6cm deep. £400-600 Provenance: The Collection of Sir Jeremy Lever.

375. A pair of Empire style gilt and patinated bronze wall lights, each decorated with the head of a blackamoor, with an engine turned ring and twin lights, 13.7cm high, 23cm wide. (2) £150-200

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GRAND TOUR & SCULPTURE

376. A rare mid-18th century Italian Florentine Grand Tour scagliola table top by Don Pietro Belloni, the black ground decorated with a central pastoral landscape panel depicting figures, cows, a horse and sheep, with a river beyond with buildings, within a pierced and scrolled cartouche with a shell surmount, with scrolled shell and floral borders, with Commedia dell’arte figures in cartouches to the corners, signed and dated ‘Petro. Belloni. Vallumbrosa. A Florenta. F. Anno. D 1754’, with a three quarter moulded edge, 71.5 x 139.5cm, 5cm deep. £20,000-30,000 Provenance: Purchased by the vendor’s parents from Stair & Company Ltd. Successors to R. L. Harrington Ltd., 120 and 125 Mount Street, London, 19th May 1972. Don Pietro Belloni was a monk at the monastery of Vallombrosa near Florence and assistant to the abbot, Don Enrico Hugford. Enrico Hugford (1695-1771) was born in Florence, the son of a watch maker who emigrated to Italy to work for Cosimo III. He took orders in 1711 at the monastery of Santa Reparata in Marradi. Marradi was the site where selenite (a mineral essential for the working of scagliola) was quarried and it is here where the young Hugford learnt the technique of scagliola. According to John Fleming it was Hugford who ‘advanced scagliola from being merely a cheap and easily worked substitute for marble and mosaic to a medium of such refinement that landscapes and figures could be depicted in it’. Don Enrico’s work soon became much sought after by the English Grand Tourists of the day, especially large table tops to grace their country houses. In 1742 Sir Horace Mann paid Hugford 25 zecchins for a table top which he gave to Horace Walpole. Under Hugford’s tutelage Belloni also began to produce scagliola slabs to satisfy the demand from the ‘English milords’ and his work is much better documented. The present lot fits into a group of table tops supplied to a small coterie of Anglo-Irish Grand Tourists who were in Rome in the middle of the 18th century. This group of friends comprised Joseph Leeson of Russborough House, Wicklow, Matthew Fetherstonhaugh of Uppark, West Sussex, Ralph Howard of Shelton Abbey, Wicklow and Robert Clements of Killadoon. Their similar tastes are indicated by the fact whilst in Rome they all had their portraits painted by Pompeo Batoni and they had commissioned landscape paintings by Claude Joseph Vernet. The table tops are all of a similar design, with a central landscape panel after painters such as Visentini and Locatelli, within a cartouche with floral and shell borders, some decorated with fruit, others with animals and commedia dell’arte figures. A pair was supplied to Joseph Leeson of Russborough, Co. Wicklow in 1750. They are mentioned in correspondence between Sir Horace Mann (the English minister in Florence) and Horace Walpole on the 11th June 1747. ‘Here is a scholar of his (Hugford) but vastly inferior to him and so slow in working that he has been almost three years about a pair for a Mr Leson and requires six months more.’ While Belloni may have been criticised by Mann as being ‘inferior’ to Enrico Hugford, and for his slowness, the table tops he produced for Leeson and his friends are examples of the scagliola technique at its finest. According to Jonathan Cook in his article ‘Masters of the Art of Scagliola’, these remarks with regards to Belloni were unjust and ‘to judge from his surviving work his technical abilities and decorative style was of a parity with his master’. Another pair, dated ‘1750’, was supplied to Ralph Howard for his house, Shelton Abbey, and a pair dated ‘1754’ were commissioned by Sir Matthew Fetherstonhaugh for his house, Uppark, in Sussex. It is surprising that no tables are known for Robert Clements, later 1st Earl of Leitrim, and there is a distinct possibility that this present lot could well be a missing table top commissioned by Clements. The date is the same as the Uppark pair and the decoration is very similar to the Leeson tables, now in the National Gallery, Dublin, Ireland. Other related tables include a pair previously at Adare Manor, Co. Limerick probably made for Thomas Dawson, Viscount Cremorne, and a pair of tables bearing the arms of the 1st Viscount Fane on elaborate giltwood bases exhibited at Dreweatt Neate ‘Hidden Treasures, A loan exhibition’, 25th November-2nd December 1997. Literature: John Fleming, ‘The Hugfords of Florence’, The Connoisseur, 136, October 1955, pp.106-110. Anthony Coleridge, ‘Don Petro’s Table-tops: Scagliola and Grand Tour Clients’, Apollo, 83, March 1966, pp.184-87. Hugh Honour, ‘Scagliola for Georgian Homes’, Country Life, 22nd June 1967, pp. 1627-30. Gervase Jackson-Stops in The Treasure Houses of Britain, exhibition catalogue, National Gallery of Art, Washington/Yale University Press, 1986, pp.253-54. Jonathan Cook, ‘Masters of the Art of Scagliola’, Country Life, 29th September 1994. Uppark, West Sussex, a National Trust handbook, 1995, pp. 20-21, 54. Anna Maria Massinelli, ‘Scagliola l’arte della pietra di luna’, 1997, pp.24-37. Dreweatt Neate, ‘Hidden Treasures, A loan exhibition’, 25th November-2nd December 1997, pp.14-15. Jonathan Cook ‘Walpole’s table’, Country Life, 13th July 2011, p. 85.

377

377 detail 377. An Italian Florentine Grand Tour scagliola table top, decorated with a central cartouche with a colourful parrot perched on fruit, flanked by two further birds, with scrolling leaves and flowers, 19th century, on a later associated gilt brass base on leopard monopodia support united by a pierced stretcher, 52.7cm high, 68cm wide, 143.6cm deep. £3,000-4,000 Provenance: Bonham’s, London, The Contents of Count and Countess Martignone’s Milanese and Genoese Properties, 24th September 2014, lot 52. The Collection of Sir Jeremy Lever.

378. Literature. ‘Scagliola, l’arte della pietra di luna’ by Anna Maria Massinelli, Editalia, Roma, 1997. £150-200

378

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379. An early 19th century Italian micromosaic Grand Tour plaque, depicting a view of the Aurelian Roman walls and possibly Porta Clausa, with two figures, mounted in copper, 4.5cm diameter. £300-500

379

380

380. A late 19th century Italian micromosaic and gilt metal Grand Tour casket, the lid inlaid with the view of the Colosseum, the silk lined interior inscribed ‘C. Roccheggiani Roma’, the body decorated £150-250 with an enamel grapevine, 8.6cm wide.

380 top

381. A late 19th century Italian Florentine pietra dura plaque, with two birds on a branch, 12 x 16.5cm, in a moulded bird’s eye maple frame. £200-300

381

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382. A mid-19th century Italian specimen marble and micromosaic Grand Tour table top, inlaid with radiating concentric panels of ninetysix marbles and various hardstones including: lapis lazuli, blue john, malachite, porphyry, Siena and Portor marbles, the centre with a circular micromosaic panel of a drake swimming amongst reeds, within a verde antico and white veined marble outer border, 94.8cm diameter, 3.3cm thick, on a later brass stand, overall 44.5cm high. £15,000-25,000 Provenance: Sir Dirk Bogarde (1921-1999). Bonhams, Fine English & Continental Furniture & Works of Art, 12th July 2005, lot 227. The Collection of Sir Jeremy Lever. Sir Derek Jules Gaspard Ulric Niven van den Bogaerde (1921-1999), known professionally as Dirk Bogarde, was an English actor and writer. Initially a matinee idol, playing Simon Sparrow in ‘Doctor in the House’ (1954) he became Britain’s biggest box-office draw and favoured leading man. In the early 1960s he became frustrated with the studio system and beginning with Basil Dearden’s ‘Victim’ (1961) he embarked on a number of complex demanding roles which brought him creative satisfaction. He won the BAFTA Award for Best Actor for ‘The Servant’ (1963). Other notable film roles include: ‘Accident’ (1967), ‘Death in Venice’ (1971), ‘The Night Porter’ (1974) and ‘Despair’ (1976). In a second career he wrote seven best-selling volumes of memoirs and six novels. He was appointed a Knight Bachelor in 1992. It is not known for which of Bogarde’s houses this table was purchased but it is visible in photographs of Nore, his country house in Sussex, where he lived from 1962 to 1965. The table was then moved to all his subsequent homes, including his beloved Clermont, the Provencal former farmhouse where he lived from 1970 until 1986. Over the years that the table was in his possession many leading figures from the world of art and entertainment would have more than likely sat around it, including the likes of: Ingrid Bergman, Judy Garland, Vivien Leigh, Richard Attenborough, Charlotte Rampling and Elton John. Bogarde’s final visitor, on the eve of his sudden death in May 1999, was Lauren Bacall who came for tea at his London flat. It is fairly rare to have a specimen marble table top with a micromosaic centre but for a similar table top see Woolley & Wallis, 4th April 2018, lot 440, from the Collection of Dr. J. S. Gordon.

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383. A 19th century Italian Florentine ebony and ebonised pietra dura cabinet in Baroque style, inset overall with various marble and hard stone panels, including: lapis lazuli, breche d’alep, Spanish brocatalle, red serpentine, Siena, vert maurin, onyx, alabasters, the swan neck pedimented top surmounted by a bronze bust of Cosimo de Medici, above architectural mouldings, with a recessed arch flanked by urn finials, above five drawers, with gilt bronze Moor’s head handles, flanked by four alabastro fiorito Corinthian columns, the sides with cupboard doors above a single deep drawer with a faux front, the inside with a typed paper label inscribed ‘Bought from Mr Cleverly, Swindon, about 1926.’, the base with a frieze drawer above a panelled cupboard door, 275.5cm high, 99.5cm wide, 52cm deep. £3,000-5,000

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384. A late 19th century Italian pietra dura and walnut centre table, the circular tilt-top inlaid with various marble and hard stone specimens, the centre with a circular alabaster panel, on a fluted and leaf carved stem and a triform base with scroll feet, 77.3cm high, 68.7cm diameter. £800-1,200

384

385. An Italian red veined marble column, the square top with a chamfered edge, on a turned column and square base, 112.5cm high, 25cm wide. £500-700 Provenance: The Collection of Sir Jeremy Lever.

386. An Italian red veined marble column, with a detachable square top, above a turned stem and a stepped plinth, 106.4cm high, 25.2cm square. £200-300 Provenance: The Collection of Sir Jeremy Lever.

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386

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387. A rare pair of Argentinian pink rhodochrosite and black marble obelisks, of tapering from, each with a printed label inscribed ‘ART PETRUS’, late 20th century, 45cm high. (2) £3,000-4,000 Provenance: The Collection of Sir Jeremy Lever.

387

388. A pair of variegated marble obelisks of tapering form, 20th century, 58cm high. (2) £300-500 Provenance: The Collection of Sir Jeremy Lever.

389. A pair of rock crystal obelisks, with tapering stems on stepped plinths, each with a printed label, inscribed ‘ART PETRUS’, late 20th century, 33.5. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

389

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390. An Italian alabaster holy water stoup, in the form of a shell, 18th / 19th century, 31.2cm wide. £200-300

390

391. A carved marble Grand Tour Ionic capital fragment, 21.5cm wide. £100-150 Provenance: The Collection of Sir Jeremy Lever.

391

392. A Victorian Derbyshire Ashford pietra dura obelisk, inlaid with lilies, on a part wood stepped base, 47.5cm high. £150-200

392

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393. A Romano-Egyptian limestone torso of Harpocrates, c. 1st - 2nd century AD, the youthful god depicted nude with the plait of his sidelock over his left shoulder and with the folds of drapery over the same and his left arm, 57cm high, mounted. (2) £4,000-6,000 Provenance: A French private collection, Aix-en-Provence, acquired in the 1950’s. A UK private collection, London, acquired in the 1970’s. Bonhams, London, 3 April 2014, lot 191. The Collection of Sir Jeremy Lever.

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394. After the antique. A 19th century Italian marble Grand Tour bust of Diana of Gabii, on a turned socle, 51cm high. £800-1,200 Diana of Gabii is a Greek statue probably representing the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre.

394

395. After the antique. An early 19th century Italian white marble Grand Tour bust of Homer, with a weathered patination, signed ‘Franco Franchi copia in Carrara’, 58cm high, on a socle and plinth base, 124.5cm high (overall). £1,000-1,500

395

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396. A pair of white marble Grand Tour Greek style caryatid figures, carved in the round in the form of standing classical maidens, each sporting a hairband and with tresses and wearing a peplos, on a marble plinth, late 18th / early 19th century, French or Italian, the top of the heads formerly mounted, possibly originally bases for candelabra or torchères, slight differences to carving, 93.8cm high, 28.8cm wide. (2) £5,000-8,000 Provenance: The Collection of Sir Jeremy Lever.

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397. After the antique. A late 19th century French bronze Grand Tour figure of the Wounded Amazon by Barbedienne, signed ‘F. BARBEDIENNE. FONDEUR.’ and with an ‘A. COLLAS’ pastille, stamped ‘35’ to the underside, on a green marble plinth base, 42cm high. £500-800

397

398. After the antique. A late 19th century French bronze Grand Tour figure of the Venus of Arles by Barbedienne, signed ‘F. F. BARBEDIENNE. FONDEUR.’ and with an ‘A. COLLAS’ pastille, on a green marble plinth base, 43.8cm high. £500-800

398

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399. After the antique. A 19th century bronze Grand Tour model of the Farnese Hercules, the base inscribed ‘Farnese’, 71.5cm high. £5,000-7,000 Provenance: The Collection of Sir Jeremy Lever. The Farnese Hercules is a massive Roman marble statue after a Greek bronze original. It was originally made for the Baths of Caracalla and was rediscovered in 1546. It made its way into the collection of the Cardinal Alessandro Farnese and stood for generations in its own room in the Palazzo Farnese, Rome. It now resides in the Museo Archeologico Nazionale, Naples. It depicts the weary, muscular, mythic hero leaning on his club after completing one of the last of his twelve labours. He holds the apples of Hesperides behind his back.

161

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400. After the antique. A late 19th century bronze Grand Tour of Arrotino the Scythian knife sharpener, the base with a foundry pastille inscribed ‘F. P. SANSON SUCC. HAMBURG, 4 NEUERWALL’, 13.8cm wide. £200-300

400

401. After the antique. A 19th century Italian bronze Grand Tour figure of Mercury, seated at rest on a marble rocky outcrop, 19.5cm high. £300-500 Provenance: The Collection of Sir Jeremy Lever.

401 402. After the antique. An early 19th century Italian bronze Grand Tour model of the ‘Crouching Venus’, kneeling on a shell, 21.5cm high. £400-600 Provenance: The Collection of Sir Jeremy Lever.

402 403. After the antique. A late 19th century French bronze Grand Tour bust of Lucius Verus by Barbedienne, on a waisted socle, inscribed ‘F. BARBEDIENNE. FONDEUR’ and with an ‘A. Collas’ pastille, 17.7cm high. £300-500 Provenance: The Collection of Sir Jeremy Lever.

162

403

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404. After the antique. A late 19th century Italian Neapolitan bronze Grand Tour bust of Plato by Sommer, the bearded philosopher gazing down in contemplation, signed ‘Fonderia Sommer Naples’, on a turned socle, 41.8cm high. £3,000-5,000 Provenance: The Collection of Sir Jeremy Lever.

163

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405. After the antique. A mid-19th century French bronze Grand Tour bust of Ariadne, stamped ‘G S’ for Georges Emile Henri Servant (French 1828-1890), on a turned socle and a bronze and rosso antico marble column, 48.9cm high. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

406. A 19th century Italian bronze Grand Tour ewer, the handle formed as a hippocampus with a trident tail and a male mask terminal, 23.9cm high, together with a bronze plate, with a pierced stiff leaf border. (2) £150-200

405

407. After the antique. A late 19th century bronze Grand Tour figure of the Borghese Gladiator, standing on an ebonised wooden plinth, 28.8cm high. £200-300 Although known as the Borghese Gladiator the original marble is in fact based on a fighting warrior and it dates from 100BC. Since its discovery in the early 17th century at Antium, the Borghese Gladiator has been praised as an aesthetic male nude in motion.

407

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408. A late 19th century French classical bronze Grand Tour tazza by Barbedienne, with leaf and scroll handles, the centre with a relief portrait bust of Venus, the base stamped ‘F. BARBEDIENNE & CIE’ and with a printed paper trade label ‘F. BARBEDIENNE, 30, Bt Poissonniere BRONZE D’ART’, 13cm high, 26cm wide. £100-150

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409. After the antique. A 19th century Italian carved Siena marble Grand Tour model of Scipio’s tomb, the lift-off cover revealing a recess, on a black marble base, 10.5cm high, 17.7cm wide. £700-900 Provenance: The Collection of Sir Jeremy Lever.

409

410. Two 19th century French bronze Grand Tour busts of classical ladies by Barbedienne, stamped ‘F. BARBEDIENNE FONDEUR’ and ‘F. BARBEDIENNE & CIE’, each mounted on a peachy coloured marble plinth, 20.2cm high (max). (2) £150-200

411. After the antique. A 19th century Italian bronze Grand Tour model of a Satyr herm, playing the plagiaulos or flute, 98.7cm high. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever. This bronze is based on a 1st century Roman marble that was discovered in Lazio and was subsequently acquired by Charles Townley and sold by his cousin Peregrine to the British Museum where it currently resides.

411

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412. After the antique. A pair of Victorian painted cast iron Medici and Borghese garden urns, each with an ovolo rim above a body with classical figures, with a pair of handles with satyr mask terminals, on a fluted base and an integral stepped plinth, possibly Handyside Foundry, 138.8cm high, 60cm diameter. (2) ÂŁ1,000-1,500

166

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413

413. After Michelangelo Buonarroti (Italian 1475-1564). A pair of French bronze and parcel gilt Grand Tour models of Day and Night, from the tomb of Giuliano di Lorenzo de’ Medici in the Sagrestia Nuova by Barbedienne, each signed ‘F. BARBEDIENNE FONDEUR’ and with ‘A. COLLAS’ pastille, 20.7cm high, 40.8cm long. (2) £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

414. After Michelangelo Buonarroti (Italian 1475-1564). A 19th century Italian bronze Grand Tour figure of Lorenzo de’ Medici, Duke of Urbino, on an ebonised wooden plinth, 41.5cm high. £400-600

414

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415. After Andrea del Verrocchio (Italian 1435-1488). A 19th century bronze Grand Tour equestrian group of Bartolomeo Colleoni, 35.7cm high, 35.5cm wide. £400-600

416. After Guillaume Dupré (French 1570s1643). A bronze Grand Tour equestrian group of Henri IV on horseback, on a plinth base, 26.3cm high. £200-300 The original bronze can be found at the Pont Neuf, Paris.

415

417. After Claude Michel called Clodion (French 1738-1814). A 19th century bronze group of the ‘Triumph of Bacchus’, 40.3cm high. £200-300

416

418. After Claude Michel called Clodion (French 1738-1814). A 19th century French bronze figure of a cherub holding a bird, on a red marble plinth, 26.5cm high. £200-300

419. After Benvenuto Cellini (Italian 1500-1571). A bronzed pottery tazza, depicting the Judgement of Paris, with impressed marks and numbered ‘64’, 27cm diameter, together with a bronzed metal relief plaque also depicting the Judgement of Paris, 19.6cm wide, with an easel stand. (3) £100-200 Provenance: The Collection of Sir Jeremy Lever.

417

418

419

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420. After Giambologna (Flemish 1529-1608). A late 19th century Italian green serpentine Grand Tour group, of Hercules defeating Nessus, 42cm high, 28cm wide. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

420 421. After Giambologna (Flemish 1529-1608). A 19th century bronze figure of Mercury, holding a caduceus, with a dark verdigris patination, 92.7cm high. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

421

422. After François Rude (French 1784-1855). A French polished bronze group of the Education of Achilles by Chiron, the centaur holding arrows, Achilles learning how to fire his bow, second quarter 19th century, 49.2cm high, 45cm wide. £3,000-5,000 Provenance: The Collection of Sir Jeremy Lever. This group was inspired by Jean-Baptiste Regnault’s monumental canvas entitled L’Education d’Achille par le centaure Chiron, which was exhibited at the Salon of 1783, and was also his morceau de réception at the Academy in the same year.

422

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423. An early 19th century French classical gilt and patinated bronze Grand Tour inkstand, of sarcophagus form, the lid modelled with a kneeling Cupid and with four quill holders, the body decorated with Venus being drawn by two dolphins in a shell, accompanied by a triton, the interior with two porcelain inkwells (one broken), a sander and a lift-out tray, 15cm high, 12.5cm wide. £500-700 Provenance: The Collection of Sir Jeremy Lever.

423 424. An early 19th century French brass Grand Tour string or thread holder, of classical form modelled with a swan, with a bowl suspended on chains, above a lidded urn supported by tripod winged lion monopodia, 20.8cm high. £100-150 Provenance: The Collection of Sir Jeremy Lever.

424 425. An early 19th century French bronze Grand Tour inkwell, the lid modelled with Cupid seated holding a quiver of arrows, revealing a glass well, on a lobed urn with lion’s masks and paw feet, 16.7cm high. £200-300 426. A 19th century French bronze and black marble Grand Tour inkstand, modelled with winged cherubs wearing military style hats, banging the drums of war, with hinged lids revealing later glass wells, with a pair of quiver quill holders and a dished pen tray, 18.9cm high, 31.3cm wide. £150-200

425

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426

427. A late 19th century French bronze and black marble Grand Tour inkstand, with Bacchus pouring wine, above Apollo masks and flanked by a pair of hinged lidded inkwells decorated with lions and with ceramic liners, on paw feet, 18.5cm high, 41cm wide. £150-200

427

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428. After Provin Serres (French b.1840). A French bronze group of Jupiter and the eagle, the god clutching a thunderbolt and riding an eagle on billowing clouds, signed ‘Serres scpt’, 49.3cm high. £800-1,200 Provenance: The Collection of Sir Jeremy Lever. Provin Serres was a pupil of the sculptor Mathurin Moreau.

428

429. After Provin Serres (French b.1840). A French bronze group of Neptune, with his trident taming the waves with a rearing hippocampus or seahorse, signed ‘S. Serres’, 50.3cm high. £800-1,200 Provenance: The Collection of Sir Jeremy Lever. Provin Serres was a pupil of the sculptor Mathurin Moreau.

429

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430. After the Master of the Duplicated Dolphins. A 19th century Italian bronze inkwell, in the form of a Triton riding a dolphin, holding a conch shell, the top hinged, mounted on a marble plinth, 14cm high, 15.3cm wide. £800-1,200 Provenance: Purchased from Christopher Clarke. The Collection of the Late P. J. Rankin. Sold in these rooms 7th January 2016, lot 380. The Collection of Sir Jeremy Lever.

430 431. After Conrad Meit (German 16th century). A 19th century bronze figure of Adam, holding an apple in his right hand, with gilt highlights to his hair, 35.7cm high. £500-800 Provenance: The Collection of Sir Jeremy Lever.

431

432. A mid-19th century bronze figure of a boy, blowing his hunting horn and with a deer draped over his right shoulder, on a naturalistic base, 39.3cm high. £600-1,000 433. A 19th century bronze figure of Urania, the muse of astronomy, she sits holding a globe in her left hand, 18.3cm high. £300-400 Provenance: The Collection of Sir Jeremy Lever.

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433

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434. Charles Auguste Lebourg (French 1829-1906). A 19th century bronze orientalist group, of a young slave boy breaking his chains, lying on mat on a rocky base strewn with a shell necklace and a barbed club, signed twice ‘CH LEBOURG’, 30cm high, 45.7cm long. £4,000-6,000 Provenance: The Collection of Sir Jeremy Lever.

173

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435

436 435. Auguste Nicolas Cain (French 1822-1894). An animalier bronze model of a heron, modelled catching a frog, signed ‘A. CAIN’, 39cm wide. £400-600 Provenance: The Collection of Sir Jeremy Lever. 436. An Austrian cold painted bronze pen wipe, in the form of a recumbent stag with ten-point antlers, late 19th / early 20th century, 14cm long, together with a carved £200-300 wooden pen with a metal nib. (2) 437. After E. W. Wyon (1811-1855). A 19th century bronze bust of George Parker Bidder, wearing a toga, titled ‘BIDDER’, signed ‘E.W. WYON. F. 1855’, on an associated scagliola socle, 48.1cm high (overall). £200-300 George Parker Bidder (1806-1878) was an engineer and calculating prodigy. The original marble bust can be found in the National Portrait Gallery. 438. After Albert Ernest Carrier-Belleuse (French 1824-1887). A bronze model of Psyche, standing filling an oil lamp, signed ‘A.CARRIER’, 37.5cm high, 15.2cm deep. £300-500 Provenance: The Collection of Sir Jeremy Lever.

437

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438

439. A late 19th century French ormolu classical tray by Barbedienne, the relief decorated recessed panel with a Greek mythological scene of Homer with three onlookers after Ferdinand Levillain, on winged paw feet, signed ‘F.BARBEDIENNE’, £200-300 6.5cm high, 53.5cm wide.

439

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440. After Antoine Louis Barye (French 1795-1875). A patinated plaster model of the ‘Lion au Serpent’ or ‘Lions des Tuileries’, signed ‘BARYE’, 35cm high, 45.8cm wide. £1,000-1,500 For similar plaster examples see the Musée des Beaux Arts de Lyon, France and Christie’s, 19th century Furniture & Sculpture, 1st November 2001, lot 298.

441. A French terracotta bust of a bacchante in the manner of Joseph-Charles Marin (1759-1834), the bare-breasted young maiden wearing a grapevine in her curling hair, on a marble socle, late 18th / early 19th century, 25.5cm high. £300-500 442. A French patinated terracotta bust of a young lady, in 18th century style, sporting ribbons and a laced bodice, late 19th / early 20th century, 72.7cm high. £200-300

442

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443. Henri Michel Antoine Chapu (French 1833-1891). A bronze figure of Joan of Arc cast by Barbedienne, kneeling on a naturalistic base, signed ‘h. Chapu’, and inscribed ‘F.BARBEDIENNE. FONDEUR. PARIS’, 45.6cm high, with a later black marble base. £500-800

443

444. Emil Namur (Belgian 1852-1905). A bronze bust of a young girl, wearing a hat, signed ‘Em. Namur’ and inscribed ‘Ece des Bronzes Bruxelles Cire Perdure’, on a socle base, 52cm high. £400-600

445. Leo Laporte-Blairsy (French 1865-1923). A bronze figure of a lady in 18th century style dress, holding a bouquet of flowers behind her back, signed and with ‘F. Goldscheider’ foundry marks and numbered ‘3-1573-s’, 53cm high. £200-300

445

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446. Johan Peter Molin (Swedish 1814-1873). A biscuit porcelain group of the ‘Knife wrestlers’ or ‘Baltesspannarna’ by Gustafsberg of Stockholm, depicting two athletic men wrestling , each holding a dagger, the naturalistic base impressed with ‘I P MOLIN STOCKHOLM 17/3/1864’, mounted on a classical plinth base, decorated with serpents and panels of classical figures, with impressed marks ‘GUSTAFSBERG with an anchor’, 80.2cm high (overall), 43.4cm wide, 23.7cm deep. £3,000-5,000 Provenance: The Collection of Sir Jeremy Lever. See the Lady Lever Art Gallery, Port Sunlight, Liverpool for another version of this work. See Sotheby’s, Amsterdam, A distinguished private collection from Corsica, 29th September 2008, lot 156 for a similar example. The Knife Wrestlers was first exhibited in Paris in 1859. During the 19th century there was a revival in interest in Norse mythology and this sculpture represents a form of combat described in the Nordic tales. A bronze of this group can be found in the centre of Gothenburg.

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447. After Johann Gottfried Schadow (German 1764-1850). An early 20th century Volksstedt white glazed porcelain figure of King Frederick the Great of Prussia, flanked by his two Italian greyhounds, Alomone and Heseneuss, the base with his monogram ‘FR’ and inscribed ‘Nach Schadow’ and with a blue underglaze mark, 76.5cm high. £500-800 Provenance: The Collection of Sir Jeremy Lever.

447

448. A German porcelain equestrian group by Lorenz Hutschen Reuther, depicting a lady riding side saddle on a dappled grey horse, 46cm high. £200-300 Provenance: The Collection of Sir Jeremy Lever.

448

449

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449. A pair of Victorian Staffordshire flatback figures, of a fisherman and his wife, together with a spaniel and a group of a man and a lady filling their ewer with water, 33.5cm high (max). (4) £80-120 Provenance: The Collection of Sir Jeremy Lever.

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ART DECO & MODERN SCULPTURE

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450. Paul Moreau-Vauthier (French 18711936). A French bronze ‘The Champion’, a standing figure of a sportsman, with his arms folded in a victory pose, the rocky base strewn with his sporting accoutrements, signed ‘P. Moreau Vauthier’, 37.4cm high. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

451. Joé Descomps (French 1869-1950). An Art Deco bronze group of two lovers embracing, on a naturalistic mound, with a lion’s head, signed and dated ‘JOE DESCOMPS 1934’ and ‘... No.1’, with a foundry pastille, 29.2cm high, 32.5cm wide. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

450

451

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452. Pierre Le Faguays (French 1892-1962). An Art Deco bronze figure ‘Olympian’, with an athletic young man standing on a rocky plinth holding a victor’s laurel wreath aloft, signed ‘P LE Faguays’ and applied with a metal plaque inscribed ‘EXPOSITION PHILATELIQUE NATIONALE GRENOBLE 1934’, 108cm high. £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever. By repute this bronze featured in the feature film ‘39 Steps’ by Alfred Hitchcock and belonged to a man in Elstree.

181

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453. Charles Octave Levy (French 1820-1899). A large bronze figure of a miner, standing bare chested on a naturalistic base holding his pickaxe and with a lamp, inscribed ‘Mineur par Levy Salon des Beaux Arts’, signed ‘CH LEVY’ and with a pastille inscribed ‘BRONZE GARANTI AU TITRE L.V. DEPOSEE’, numbered ‘7109’, 101.4cm high. £1,500-2,000 Provenance: The Collection of Sir Jeremy Lever.

453

454. An early 20th century French bronze group of St. George and the dragon, the plinth base signed ‘Lenoir’, possibly for Pierre Charles Lenoir, 48cm high. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

455. Anton Nelson (Belgian 1880-1910). An Art Nouveau patinated and painted bronze figure of Flora, standing holding flowers in both hands, on a circular onyx base, signed ‘NELSON’, 25.2cm high. £400-600 Provenance: The Collection of Sir Jeremy Lever.

455

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456. Hermann Haase-Ilsenberg (German 1862-1934). An Art Deco bronze group of Europa and the bull, depicting a nude female astride the beast holding its reins, signed ‘H. Haase’, inscribed ‘Aktien Gesellschaft Gladenbeck, Berlin-Friedrichschagen’, 43cm high, 46.5cm long. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

457. Jean-René Debarre (French 1907-1968). An Art Deco bronze group of a young satyr riding a wild boar, signed ‘JEAN DEBARRE’, inscribed ‘Susses Frs Edes Paris’. ‘cire perdure’ and with two Susses Frères pastilles, 32cm high, 39.4cm wide. £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever.

183

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458. Emmanuel Hannaux (French 1855-1934). An Art Deco cold painted bronze of the naked Nereid Thetis, holding aloft a dragon helmet, standing on a wavy mound, with a dragon wrapped around her legs, stamped ‘EL2’, the stepped marble plinth signed ‘Hannaux’, 39cm high. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever. See Bryan Catley, Art Deco and other Figures, p.177.

458

459. Demetre H. Chiparus (Romanian 1888-1950). An Art Deco gilt and silvered bronze of three young girls, one with her doll, sat on an onyx wall, signed ‘D. H. Chiparus’, 23.7cm high, 22cm wide. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

459

184

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460. Bruno Zach (Ukraine 1891-1945). A large Art Deco bronze figural lamp, modelled with a standing nude female, the base signed ‘B. Zach’, mounted with a brass Corinthian capital column fitted with three lights, on a veined black marble plinth, c.1925, the bronze: 80.5cm high, overall: 137.2cm high. £5,000-8,000 Provenance: The Collection of Sir Jeremy Lever.

185

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461. Marcel-André Bouraine (French 1886-1948). A French Art Deco bronze model of Penthesilia Queen of the Amazons, lying firing her bow, signed ‘Bouraine’ and ‘Susses Fre Edts Paris’, ‘cire perdure’ with the Susse Frères foundry pastille, 29cm high, 45.2cm wide. £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever. See Bryan Catley, Art Deco and other Figures, p.49.

462. Amadeo Gennarelli (Italian 1880-1943). An Art Deco bronze bust of a lady, signed ‘A. Gennarelli’, 32.3cm high, 42cm wide, on an oak plinth. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

186

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463. A pair of Art Deco patinated bronze owl andirons attributed to Edgar Brandt (French 18801960), each in the form of a horned owl perching on a pair of entwined snakes, on an inverted breakfront plinth, (struts lacking), 52.5cm high, 35.7cm wide. (2) £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever. For similar examples see: Sotheby’s, New York, 6th December 1996, lot 304. A single, signed, unmounted version of this andiron sold at Sotheby’s, Monte Carlo, 11th March 1984, lot 343. A similar pair sold at Neal Auction Company, New Orleans, 21st April 2012, lot 545.

187

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464. André Vincent Becqurel (French 1893-1981). An Art Deco bronze model of a seagull in flight, the wave base signed ‘BECQUEREL’ and numbered ‘16’, on a black marble plinth, 62.6cm high, 48.5cm wide. £500-800 Provenance: The Collection of Sir Jeremy Lever.

464

465. An Art Deco pottery group, with a crackle glaze, of a lady kneeling on a lion skin rug before a young satyr, signed in underglaze blue ‘Fagera’, 36.6cm high, 49.4cm wide. £300-400 Provenance: The Collection of Sir Jeremy Lever.

466. A Royal Copenhagen porcelain Art Deco style blue parrot, modelled perching on a plinth, underglaze marks and numbered ‘2235’, with monogram, 40.6cm high. £150-200 Provenance: The Collection of Sir Jeremy Lever.

466

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467. Glyn Warren Philpot (1884-1937). A modern British bronze of Perseus, with the head of Medusa, numbered 1/8 from the Fine Art Society edition, 32.5cm high. ÂŁ1,500-2,000 Provenance: From the estate of Dr. John Birch, Woolley & Wallis, 12th December 2012, lot 281. The Collection of Sir Jeremy Lever.

189

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FURNITURE & WORKS OF ART

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468. An early 19th century mahogany drum table, the circular revolving top inlaid with green gilt tooled leather, above four frieze drawers and four false fronts, on a turned stem and brass lion’s paw sabots, 75.7cm high, 91.5cm diameter. £800-1,200 Provenance: The Collection of Sir Jeremy Lever

468

469. A George IV mahogany lyre shape armchair, button upholstered with damask fabric, with a reeded frame, terminating in turned rondels, on ribbed tapering legs and brass castors. £300-500

469

470. A pair of George IV rosewood occasional tables by Gillows, the scroll carved tops above a lappet and fluted stem, on wing carved lion’s paw feet, formerly pole firescreens, 57.8cm high, 45cm wide. (2) £600-800

Provenance: Bonhams, The Chelsea Collection of Severin Wunderman, 30th September 2009, lot 437. The Collection of Sir Jeremy Lever. Gillows supplied an identical ‘rosewood triangular screen stand on paw feet’ for Sir E. Antrobus on 31st October 1826. See Gillows’ Estimate Sketch Books, p.3549, at Westminster City Archives.

470

191

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471

471. A George IV goncalo alves breakfront side cabinet, the later marble top above a plain frieze and a central gilt brass lattice and pleated fabric door enclosing a shelf, flanked by leaf capital pilasters and two further conforming cupboards, 91.5cm high, 126.2cm wide, 40.5cm deep. £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

472. A George IV mahogany tea table, the hinged and swivel top with a reeded edge, on a ring turned stem, on leaf carved hipped downswept legs and foliate cast brass sabot and castors, 75.8cm £200-300 high, 91.3cm wide, 45cm deep.

472

473. A Regency mahogany Canterbury, with three dipped divisions, supported by ring turned spindles, above a drawer, on brass castors, 51.7cm high, 46.2cm wide, 33.4cm deep. £300-400

474

192

474. A pair of Regency mahogany hall chairs in the manner of Gillows, each with a scroll and shell carved back, on moulded front sabre legs. (2) £400-600

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475

475. A Regency rosewood breakfront side cabinet, the Carrara marble top above a plain frieze and a central pleated silk cupboard door enclosing two shelves, flanked by a pair of giltwood ribbed columns and two further conforming cupboards, 92cm high, 134.7cm wide, 37cm deep. £800-1,200

Provenance: The Collection of Sir Jeremy Lever. 476. A William IV rosewood card table, the breakfront hinged and swivel top above a frieze carved with scrolling leaves and flowers, the stem carved with tulips on a quatreform base and winged lion’s paw feet on brass castors, possibly Irish, 73cm high, 91.6cm wide, 45.5cm deep. £300-400

476

477. A Regency mahogany Canterbury, with four divisions and a drawer, on turned legs and brass castors, 52.3cm high, 45.7cm wide, 30.5cm deep. £300-500 Provenance: The Collection of Sir Jeremy Lever. 478. A near pair of Regency mahogany hall chairs in the manner of Gillows, each with a scroll and shell carved back, on turned and ribbed front legs. (2) £200-300

478

193

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479

479. A late Regency mahogany scroll end sofa, with a detachable back, later covered with blue striped fabric, with a squab cushion and a pair of bolsters, the frame applied with lobed rondels and flame veneered tablets, on brass castors, 87.8cm high, 224cm wide, 66cm deep. £500-800 Provenance: The Collection of Sir Jeremy Lever.

480. An early Victorian mahogany bergère armchair, with a dropin seat with later leather upholstery, on baluster turned front legs and brass caps and castors. £400-600

481. An early 19th century mahogany four-tier whatnot, with twin baluster turned supports, the base with a drawer, on brass caps and castors, 139.2cm high, 45.1cm wide, 40.8cm deep. £300-400 Provenance: The Collection of Sir Jeremy Lever.

482

194

482. A pair of Regency mahogany and ebonised hall chairs, each with a scroll top rail above a waisted back, centred with a vacant oval panel, on a dished bell shaped seat, on rondel headed turned tapering front legs. (2) £400-600

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483

483. A Regency rosewood and brass marquetry inlaid scroll end day bed, later upholstered with studded red leather, with ribbed and gadrooned mouldings, on swept legs terminating in leaf and scroll cast brass sabot and castors, 83.2cm high, 206cm long, 66cm deep. £300-500

484. A Regency red lacquer open armchair, with parcel gilt decoration, the horizontal splat decorated with chinoiserie, above a cane seat, on sabre legs, the underside with a metal trade label, inscribed ‘BARBER DEALER IN ANTIQUES WINDSOR’. £200-300

485. A Regency mahogany four-tier whatnot, with turned urn finials, on twin baluster supports, the base with a cupboard, on brass castors, 150.8cm high, 40cm wide, 40.3cm deep. £500-800 Provenance: The Collection of Sir Jeremy Lever. 486. A pair of Regency mahogany hall chairs, each with a reeded oval back carved with a shell, above a bell shaped seat, on ring turned tapering front legs. (2) £400-600

486

195

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487. A pair of Regency ebonised and painted open armchairs, each with a tablet back, one painted with a country house and a church, the other with figures, a cottage and a distant cathedral, above a lattice panel and a cane seat, the frames painted with ribbons, laurel leaves and swags, the rails stamped with initials ‘GD’. (2) £200-300

487

488. A William IV mahogany side table, the top with a moulded edge, above two deep drawers flanking a kneehole and a shallow drawer, on turned legs, 84cm high, 106.3cm wide, 50.6cm deep. £200-300

488

489. A George III mahogany Pembroke table, inlaid with fine ebonised and boxwood stringing, the drop-leaf top with rosewood crossbanding, above a frieze drawer flanked by satinwood panels, the reverse with a false front, on square tapering legs and brass caps and castors, 71.9cm high, 81.7 x 105.4cm. £500-700

489

490. A Regency mahogany bowfront side table, the crossbanded top above a frieze drawer, on ring turned tapering legs, 80.7cm high, 97.5cm wide, 51.8cm deep. £200-300

490

196

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491. A Regency kingwood and rosewood side cabinet, applied with gilt bronze beading and mounts, with a verde antico marble top, above a pair of crossbanded cedar lined drawers inlaid with stylised Greek key and arrow stringing, with anthemion escutcheons and mounts, above a pair of mirrored doors enclosing two adjustable shelves and on ring turned mushroom feet, 109cm high, 109.5cm wide, 31.9cm deep. £1,500-2,500

491 492. A George III Sheraton period partridgewood combined work and writing table, inlaid with stringing, the hinged top on a ratchet and inset with a tooled suede leather surface, above pull-out candle slides, the right side with a drawer fitted with divisions for pens and inkwells, above a silk lined bag and a lift-up pleated silk screen, on square tapering legs and caps and castors, 73.5cm high, 51.2cm wide, 37.8cm deep. £600-800 Provenance: The Collection of Sir Jeremy Lever.

492

493. A George III Sheraton period rosewood side cabinet, inlaid with boxwood stringing, with a pair of glazed doors enclosing two adjustable shelves, on swept square tapering legs and brass caps and castors, 88.8cm high, 112cm wide, 30.2cm deep. £400-600

493

197

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494. A William IV rosewood and satinwood chiffonier, the raised mirrored back with scroll supports, above a frieze drawer and a pair of gilt brass trellis and mesh panelled doors enclosing a shelf, 134.8cm high, 104.2cm wide, 32cm deep. £300-500

Provenance: The Collection of Sir Jeremy Lever.

494

495. A George IV rosewood duet music stand, the revolving twinhinged top with lyre shape supports on a ratchet, with hinged rests, on a baluster turned stem, on a triform base and lion’s paw feet, 130.7cm high, 43.5cm wide. £200-300

495

496. A late George III mahogany sewing table, inlaid with stringing and satinwood banding, the octagonal top above a cedar lined frieze drawer, previously with divisions, on square tapering legs, 67.2cm high, 45.5cm wide, 35.2cm deep. £150-250

198

497. A Regency rosewood and brass marquetry centre table, the crossbanded top inlaid with panels of scrolling leaves and flowers, the stepped stem with nulled mouldings, on scroll legs terminating in brass lion’s paw sabot and castors, 71.2cm high, 127cm diameter. £1,000-1,500

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498. A Regency mahogany sideboard, inlaid with ebonised stringing, the top with a reel moulded edge, above two drawers, one with a recessed front and flanked by a deep cellaret drawer to the right and a drawer and a pot cupboard to the left, on ring turned and ribbed tapering legs, 92.1cm high, 183.3cm wide, 75.5cm deep. £800-1,200

499. A Regency mahogany bowfront bedside cupboard in the manner of Gillows, with a three quarter gallery above a reeded edge and a cupboard door, on slender ribbed legs, 81cm high, 37.2cm wide, 41cm deep. £500-700 500. A Regency mahogany open armchair, the curved scroll reeded back above a rondel decorated horizontal splat, and shepherd’s crook arms, above a cane seat and black leather and gilt tooled squab cushion, on ‘X’ shape supports united by a turned stretcher, the rail stamped with maker’s initials ‘E. T.’. £300-500

500

199

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501. A Regency mahogany and satinwood bookcase cabinet, inlaid with stringing, the detachable cornice above a pair of lancet astragal glazed doors enclosing three adjustable shelves, above a pair of oval panelled doors enclosing a shelf, on shaped bracket feet, 215.2cm high, 111.7cm wide, 49cm deep. £300-500

501 502. A mahogany waterfall open bookcase in Regency style, with reeded mouldings, the base with a drawer, on swept feet, 19th century and later, 116.3cm high, 78cm wide, 24.5cm deep. £200-300 503. An Irish ebonised and silvered wood oval wall mirror, the moulded frame decorated with faceted cut-glass cabochons, 19th century, 62 x 52cm. £300-500

503 504. A William IV oak trunk or box, of sarcophagus shape, the stepped hinged lid revealing a vacant interior, the panelled body with diamond lozenge mouldings, and brass side carrying handles, 39.2cm high, 53.2cm wide, 32.7cm deep. £250-350

200

504

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505. A Regency mahogany bookcase, with ebonised edging, the reeded cornice with a plain frieze, above four glazed doors with later brass trellis grills, enclosing a silk lined interior with adjustable shelves, the base with four conforming doors enclosing an adjustable shelf to each section, flanked by reeded uprights, on brass hairy paw feet, 244cm high, 280cm wide, 42cm deep. £4,000-6,000 Provenance: With Mallett’s. Christie’s, Fine English Furniture, 14th September 2000, lot 215. The Collection of Sir Jeremy Lever.

506. A mahogany open armchair in Regency style, the reeded lattice splat back carved with an oval pattera and husks, with moulded arms, on turned baluster supports, above a cane seat with a squab cushion. £300-500 Provenance: The Collection of Sir Jeremy Lever.

507. A Regency mahogany sofa table, the flame veneered drop-leaf top above a pair of cedar lined long frieze drawers, flanked by flower carved tablets, with scroll supports and with flowerhead rondels, on a turned and acanthus carved baluster stem and leaf capped downswept moulded legs, terminating in finely cast lion’s paw sabot and castors, 77.2cm high, 160 x 76.7cm (open). £400-600

201

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508. A Regency mahogany chest in the manner of Gillows, the rectangular top with a moulded edge, above two drawers with bone escutcheons, on fluted tapering legs with petal collars, 80cm high, 102cm wide, 40.6cm deep. £600-1,000

508

509. A George IV rosewood bobbin turned armchair in the manner of Gillows, originally on castors. £300-500

509

510. A George IV mahogany bedside cupboard attributed to Gillows, with a reeded three quarter gallery above a cupboard door with a turned rosewood handle, flanked by a pair of flame veneered tablet panels with outline mouldings, on turned and ribbed legs, 80.3cm high, 40cm wide, 35cm deep. £500-700

See N. Goodison & J. Hardy, ‘Gillows at Tatton Park’, Furniture History Society, 1970, pl.12B for five pairs of similar pot cupboards that were supplied by Gillows in 1812 for Tatton Park, Knutsford, Cheshire.

510

202

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511. A Regency rosewood and brass mounted centre table in the manner of Morel and Seddon, the circular tilt-top inlaid with a band of scrolling floral marquetry, the frieze applied with a gilt brass leaf moulding, above a simulated and giltwood stem, carved with acanthus and with nulled and egg and dart mouldings, on a dished base, the triform base inlaid with brass stringing and with a nulled edge on rosette and scroll carved winged lion’s paw feet and sunken brass castors, 73.5cm high, 148.5cm diameter. £5,000-8,000

203

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512. A pair of early Victorian rosewood side cabinets by Johnstone & Jeanes, each with a pink breche marble top, above a leaf carved edge and a mirrored door applied with leaf carved corbels, enclosing a shelf, the door stamped ‘JOHNSTONE & JEANES NEW BOND ST. LONDON 5405’ and ‘5406’, 90.5cm high, 63.8cm wide, 33.5cm deep. (2) £1,500-2,000

513. A Regency mahogany sewing table, inlaid with ebonised stringing and marquetry palmettes, the hinged lid revealing two lidded compartments and a trap door access for a bag, on square tapering legs, 72cm high, 51.2cm wide, 36.8cm deep. £200-300

204

514. Two late George III painted pole firescreens, each with an adjustable panel, one painted with winged cherubs, the other with a portrait of a lady within a seed pearl border, on tripod legs, 153.6cm high, 46.2cm wide (max). (2) £100-200

515. A Regency mahogany concave side cabinet, inlaid with stringing, the top with rosewood and satinwood crossbanding, above a frieze drawer, with later baize lined divisions, above a pair of gilt metal and pleated silk cupboard doors enclosing two adjustable shelves, 107.8cm high, 94.6cm wide, 37cm deep. £500-800

Provenance: The Collection of Sir Jeremy Lever.

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516. A George III satinwood cylinder bureau attributed to Gillows, with rosewood banding and purpleheart panels, the removable bookcase top with a shaped three quarter gallery, above a pair of concave fronted cedar lined drawers, the interior fitted with an arrangement of drawers and pigeonholes, with ivory handles and with a pull-out writing surface inset with leather on a ratchet, above a pair of frieze drawers, on square tapering legs united by a galleried undertier, 154.2cm high, 91.4cm wide, 58.5cm deep. £3,000-5,000

517. A George IV burr oak and satin birch writing table, with kingwood banding, the crossbanded top inlaid with a gilt tooled green leather writing surface, above a pair of frieze drawers with false fronts to the reverse, on open trestle ends and scroll feet, united by a baluster turned stretcher, on sunken brass castors, 74cm high, 117.5cm wide, 60.5cm deep. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever.

205

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518. A Regency mahogany sofa table, inlaid with ebonised stringing, the drop-leaf top above a pair of cedar lined frieze drawers, with a high stretcher on trestle ends and scroll legs, with brass caps and castors, 72cm high, 65.5 x 144.1cm. £400-600

518

519. A Regency mahogany occasional table, inlaid with ebonised stringing, the rectangular tilt-top with canted corners, on an adjustable stem with a brass collar, on three scroll legs and a triform base, 84.7cm high, 54cm wide. £150-250

519 520. A Regency rosewood and brass inlaid open bookcase, with two adjustable shelves, on turned feet, 91.6cm high, 63.5cm wide, 24.5cm deep. £400-600

Provenance: The Collection of Sir Jeremy Lever.

520

521. A George IV mahogany toilet mirror in the manner of Gillows, with a rectangular plate and fluted scroll supports and a rectangular tray base with a reeded edge, 53cm high, 66cm wide, 25.7cm deep. £150-250

206

521

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522. A quartetto nest of George IV occasional tables attributed to Gillows, the crossbanded tops veneered with amboyna, rosewood and maple, the smallest table inlaid with a rosewood and satinwood chequer board, each on rosewood baluster turned spindle supports, the smallest table with a curved undertier, 73.8cm high, 58.2cm wide, 40.4cm deep. (4) ÂŁ3,000-4,000

See Ralph Edwards and Margaret Jourdain, Georgian Cabinet Makers, p.221, pl.193 for a similar set of tables recorded at Leighton Hall.

207

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523. A Regency mahogany breakfront bookcase, inlaid with ebonised decoration, the detachable moulded cornice above a pair of reeded astragal glazed doors enclosing adjustable shelves, flanked by a pair of Gillows style tablet panels and conforming single cupboards, the base fitted with an arrangement of five drawers, 240cm high, 200cm wide, 49cm deep. £3,000-5,000 Provenance: Purchased from Lewis & Lloyd Antiques, Olympia Fine Arts Fair, 2005. The Collection of Sir Jeremy Lever.

524. A Regency mahogany waterfall open bookcase, the base with a panelled cupboard door, on square tapering legs and brass caps and roller castors, 125cm high, 52.8cm wide, 27.3cm deep. £300-500

208

525. A Regency rosewood tripod wine table, the oval tilt-top on a ring turned baluster stem and scroll legs, 67.2cm high, 38cm wide. £400-600

Provenance: The Collection of Sir Jeremy Lever.

526. An early Victorian rosewood serpentine three-tier whatnot, with turned twin baluster supports, on brass caps and castors, 84.4cm high, 41.6cm wide, 32.6cm deep. £100-150

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527. A Regency giltwood convex wall mirror, the circular plate within an ebonised reeded slip and a carved laurel leaf, berry and acanthus frame, 78.1cm diameter. £800-1,200

527

528 label 528. Naval interest. A William IV ebonised concave shaving wall mirror by Jacob Abraham, the circular plate within a moulded frame, the back with a printed trade label, inscribed ‘J. Abraham Optician & Mathematical Instrument Maker to His R. H. THE DUKE OF GLOUCESTER and His Grace the Duke of Wellington, 7. BARTLETT STREET BATH & at His Shop adjoining Mr THOMPSON’S Pump Room CHELTENHAM’, 24.2cm diameter. £400-600 Provenance: This mirror belonged to William Mark, also known as William Wardlaw, (1782-1849) Royal Naval Purser & Consul of Malaga. Thence by descent. William Mark joined the Royal Navy and obtained his first sea-going appointment in 1801 as Captain Clerk in the frigate Hydra. In 1803 he transferred to the Amphion and subsequently met and served under Admiral Lord Nelson in the Victory. In 1808 he was appointed Purser of the San Juan, the depot-ship at Gibraltar and finally became H.M. Consul at Malaga. His life story is documented in his autobiography ‘At Sea with Nelson, Being the life of William Mark, A Purser who served under Admiral Nelson’, edited by Captain William Penrose Mark-Wardlaw, published in 1929. The mirror has always been known in the family as ‘Nelson’s mirror’. Jacob Abraham was an optician active in Bath between 1809-1842.

528

209

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529 top 529. A Regency ebonised occasional table, the rectangular Bradley Woods ‘featherstone’ marble inset top with canted corners, the frieze applied with lion’s masks, on ring turned tapering legs united by an undertier, 74.1cm high, 44cm wide, 35cm deep. £400-600

529

530. A Regency ebonised and parcel gilt occasional table, the rectangular faux marble painted top with canted corners and a reeded edge, on a baluster and urn turned stem and part moulded cabriole legs and stylised shoe feet, 73.5cm high, 49.3cm wide. £300-500

531. A 19th century painted picture frame, decorated with feathers on a simulated marble ground, 37.5 x 32.3cm (external), 29.7 x 24.5cm (internal). £150-200

531

210

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532 top

532. A George III Sheraton period rosewood and painted card table, the ‘D’ shape fold-over top banded in tulipwood and with a wide band of flowers, including roses and passion flowers, on a gilt ground, on twin gate supports, the frieze painted with tablets of musical trophies and paterae, on square tapering legs and brass caps and castors, 75cm high, 91.5cm wide, 44cm deep. £800-1,200

532

533. A pair of Regency rosewood wall shelves, each with a mirrored back and with three shelves supported by finely turned baluster spindles, 73.4cm high, 25.7cm wide, 12cm deep. (2) £1,200-1,500

Provenance: Purchased from a Grosvenor House Antiques Fair. The Collection of Sir Jeremy Lever.

533

211

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534. A George IV Scottish ash hall chair by G. Troup, carved with game birds, leaves, flowers, thistles, the back with a coat of arms for Duff and probably commemorating a mariage, above a horizontal banner inscribed ‘RMWD 1828 MAD’, on spiral twist front legs, the back signed in a banner ‘G. TROUP Fecit’, £200-300 See Sotheby’s ‘Two great Scottish selections: Property from the Forbeses of Pitsligo and the Marquesses of Lothian’, 28th March 2017, lot 2.

535. A Regency ebonised and painted wall mirror, the rectangular plate within a frame decorated with palmettes, flowers, husks and oval laurel leaves, 56 x 45.7cm. £200-300

535 536. A George IV ebonised occasional table, the circular fixed top with a reeded edge on a spiral ribbed stem, the triform base applied with rondels and on brass paw lion’s paw feet, 69.2cm high, 39.5cm wide. £100-150

212

536

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537. A Victorian Irish bog oak bookslide in the manner of Cornelius Goggin, the hinged folding ends carved with a wolf hound, a harp and shamrocks, applied with an amethyst cabochon, the centre with another harp, with shamrock, oak leaf and acorn borders, 24cm high, 56cm wide, 20.2cm deep. £200-300

537

538. A Victorian lignum vitae policeman’s truncheon, painted with a ‘crown above VR and a shield’, with a ribbed handle and a brass terminal, 34.7cm long. £100-150 Provenance: This truncheon belonged to the vendor’s great grandfather. He was a village policeman in Kelston, near Bath and later in Bath. By repute he was on Bath railway station one day and he used the truncheon to keep away a large group of unruly men, as he was the only policeman there.

539. A small early 19th century Scottish Mauchline ware sycamore and penwork snuff box by George Sliman of Catrine, the hinged lid decorated with a bird, the foil lined interior stamped ‘G. SLIMAN CATRINE’, 4.8cm wide. £100-150

540. A George III Irish mahogany work box by George Austin, inlaid with boxwood stringing, the banded hinged top with a marquetry conch shell revealing a divided interior, with a printed paper label to the lid, inscribed ‘GEO. AUSTIN CABINETMAKER 7 ST. ANDREW ST. One door from Exchequer St. DUBLIN Manufacturers of portable writing desks, dressing cases. work boxes, Military Canteens & plate chests’, with a divided base drawer and brass side carrying handles, 16.1cm high, 33cm wide, 25.2cm deep. £100-150

540

213

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541

541. A pair of gilt bronze Rococo style wall brackets, each with a breakfront top above a leaf edge and a pierced scroll support, late 19th / early 20th century, 20cm high, 21cm wide, 11.6cm deep. (2) £300-500 Provenance: The Collection of Sir Jeremy Lever. 542. A mahogany wall bracket in 18th century style, the dished top above a Vitruvian scroll and a fan moulded support, 22.5cm high, 20.7cm deep. £100-150 Provenance: The Collection of Sir Jeremy Lever. 543. A pair of 19th century giltwood wall brackets, each with a fan shaped support, with shell pendants, 26cm high, 24cm wide. (2) £600-800 Provenance: The Collection of Sir Jeremy Lever.

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544. A Regency gilt bronze tazza in the manner of Alexis Decaix, the beaded and leaf moulded rim above a lobed body and a stiff and acanthus leaf decorated baluster stem, the triform base with a band of lappets, on winged and rosette scrolled lion’s paw feet, 40.2cm high, 25.5cm diameter. £8,000-12,000 Provenance: By repute one of a pair that belonged to a London based architect who worked on the refurbishment of Fortnum & Mason. The Collection of Sir Jeremy Lever. Alexis Decaix was a French émigré bronze and ormolu manufacturer who came to London as refugee from the French Revolution. He worked for Garrard’s and produced a range of gilt bronzes between 1799 and 1804 for wealthy aristocratic clients, including George, Prince of Wales. One of his best known works is a ‘krater’ vase produced for Thomas Hope from designs outlined in his seminal publication ‘Household Furniture and Interior Decoration’. The vase now resides in the V & A Museum, m.33-1983.

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545

546

545. A William IV ebony and brass boulle marquetry inkstand, in the manner of Leuchars, with a pair of glass inkwells flanking a leaf scroll and lappet brass handle and a lidded compartment, with two dipped pen trays above a concave drawer, on disc feet, 16.1cm high, 31cm wide. £300-400 546. A Victorian tortoiseshell and brass boulle marquetry box by Asprey, the lid with initials ‘A.M.G’, the base inscribed ‘ASPREY & CO. LONDON’, 11.5cm wide. £40-60 547. Six Victorian cases, in lacquer, tortoiseshell and leather, comprising: an aide mémoire / card case, with an ivory panel, a dance card case, a notebook case, a needle case and two purses, each with a pencil, 12cm (max). (6) £150-200

548. A Victorian coromandel scent bottle box, with brass strapwork mounts and applied with pietra dura cabochons, the domed lid revealing three cut glass bottles and stoppers, 15.7cm high, 23.3cm wide, 11.2cm deep. £300-400 549. A Victorian burr walnut box, with brass strapwork mounts, the domed lid with a swing handle, revealing a vacant interior, originally with divisions for stationery, 15.4cm high, 21.8cm wide, 12.4cm deep. £100-150

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550. A Victorian slate sundial by Richard Melvin, with bronze gnomons (two missing), the central dial with a compass and Roman numerals, signed ‘R. MELVIN Fecit LONDON Latitude 51° and 50° North’ with further faint inscriptions to North and South, with subsidiary dials to the corners for morning, afternoon, evening and night, c.1850, 35.5 x 36cm. £400-600

550

551. A George III brass botanist’s field pocket microscope, with a folding turned bone/ivory handle and lense, in a leather case, 7.4cm, together with a Victorian brass cased travelling tool set, containing a corkscrew, screwdrivers and a stiletto, 8cm. (2) £100-150

551

552. A mahogany and rosewood gallery glass, with a moulded frame and a turned baluster handle, 19th century, handle and glass possibly associated, 46.8cm long. £150-200

552

553

553. A Victorian ivory double sided proof rule by Loftus, with white metal fittings, inscribed ‘LOFTUS MAKER 321 OXFORD ST LONDON’, in its original leather case, together with a similar slide rule by Buss, inscribed ‘BUSS MAKER 48 HATTON GARDEN LONDON’, 32.3cm long. (2) £300-500

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555 554

554. Two Victorian papier-mâché oval trays by Jennens and Bettridge, each inlaid with mother of pearl leaves and flowers, stamped ‘JENNENS & BETTRIDGE MAKERS TO THE QUEEN’, 76.5cm wide (max). (2) £200-300 555. A late Victorian glass bead stand, decorated with husk swags, within a circular mahogany moulded frame inlaid with boxwood stringing, 23.7cm diameter. £50-100 556. A 19th century gilt metal pin cushion, in the form of a well dressed monkey carrying a lantern and with a wicker basket on his back, standing on an amethyst crystal base, 9.3cm high. £150-200 557. An early 20th century ‘Paragon’ parasol by S. Fox & Co., with a guilloche green enamel and gilt handle, inset with a stone carved scarab beetle, with maker’s marks and also inscribed ‘BEN COX, LONDON’, 93.6cm long. £200-300 558. Four Victorian tortoiseshell hair combs, mounted with paste gems, together with two buckles and a hair clip, 11.7cm (max). (7) £100-150

556

557

558

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559. Theatrical interest. A Regency tortoiseshell and gold mounted make-up brush holder, the hinged lid with a circular faux opal rondel, the body mounted either side with a portrait miniature on ivory of a lady, the back she is fully clothed, the front she emerges from curtains bare breasted and with her hair down, the interior with eleven circular apertures and with a silver plaque inscribed ‘Edmund Keane born 1787 Obt 15 May 1833’, the interior of the lid with remains of a foil lining, 13cm high, 10.2cm wide. £2,000-3,000

Provenance: By repute once the property of Laurence Olivier. Edmund Kean (1787-1833) was a celebrated British Shakespearean stage actor who performed in London, Belfast, New York, Quebec and Paris. Kean first appeared on stage at the age of four, as Cupid in the ballet Cymon. As a teenager he played at the York Theatre and the travelling Richardson’s Theatre. In 1814 he got his big break and signed a three year contract with the Drury Theatre. His opening role as Shylock was certainly popular with the audiences. Successive appearances as Richard III, Hamlet and MacBeth demonstrated his mastery of tragic emotion. In 1820 he appeared in New York for the first time to unequivocal success. His most powerful character was probably Sir Giles Overreach in Philip Massinger’s ‘A New Way to Pay Old Debts’. His performance caused the pit to rise en-masse. He died in Surrey in 1833 and his last words were alleged to be ‘dying is easy, comedy is hard.’

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560

560. A Victorian ivory Staunton pattern part chess set, natural and stained red, (one rook replaced), the king: 7.3cm high, the pawn: 3.6cm high. (32) £100-150

Provenance: The Collection of Sir Jeremy Lever. 561. A 19th century Swiss musical box, the 16cm brass cylinder playing eight airs and with three bells, with a printed tune sheet to the lid, in a rosewood ebonised and simulated case inlaid with marquetry instruments, 21.9cm high, 48.2cm wide. £300-400

561

562. A quantity of Victorian stereoscope slides, relating to ancient Greek monuments, sculpture and places of interest, published by ‘UNDERWOOD & UNDERWOOD, NEW YORK, LONDON, TORONTO-CANADA, OTTAWA-KANSAS’, contained in a blue fabric covered book spine shape box. (A lot) £40-60 563. A Charles Hull 1864 Patent Royal Club single lever corkscrew, of roller type, with a brass oval plaque, inscribed ‘C. HULL, PATENTEE, BIRMINGHAM, ROYAL CLUB CORKSCREW’, 25cm long. £500-800 See Fletcher Wallis, British Corkscrew Patents, p.47.

563 562

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564. A 19th century oil on board armorial coaching panel, painted with the coat of arms for William Baring, 2nd Baron Ashburton (d. 1864), with a motto ‘Probitate et Labore’, the top corners with a stag and a fox crest, the bottom corners with applied brass winged orb and turret crests, 30.8 x 36cm, in an ebonised and gilt frame. £300-500

565. A 19th century oil on board armorial coaching panel, painted with the coat of arms for the Earls of Lichfield, with the motto 'NIL DESPERANDUM', 36.5 x 46.4cm, in a bird's eye maple frame. £400-600

566. A 19th century oil on board oval armorial coaching panel, painted with the coat of arms for 8th Lord Arundell of Wardour Castle, Wiltshire, the back with a description of the arms authenticated by F. W. Steer and with an inscription ‘One of the two heraldic plates from the 8th Lord Arundell of Wardour’s carriage. These were removed after his death in 1808. Apart from its family and heraldic interest, this is a most unusual example of a large carriage plate, painted on metal.’, £200-300 24 x 29cm, in a later glazed and ebonised frame.

567. A Victorian ebonised wood coaching ladder, in two sections, with six treads and an iron hook, 175cm long. £200-300 568. Heraldry interest. Three carved and painted wood coats of arms, parcel gilt, two with inscriptions ‘Sam. Bracebridge Arm Lector pro Anno 1731.’ and ‘JOHANNES LUDFORD ... miger Lector. Anno 1772’. 25.2cm (max). (3) £300-400

568

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569. A French cylindrical glass vase in the manner of Baccarat, the petal rim above a body cut with flowers and leaves, with an ormolu Rococo mount, late 19th century, 37.2cm high. £300-500 Provenance: The Collection of Sir Jeremy Lever. 570. A Monart style glass vase, 35.7cm high, together with a modern bone china vase decorated with mermaids, marked ‘ Cosmo Place Studio, Northington St. studio’ and signed ‘M hoyt 1992’, 31.2cm high. (2) £100-200 Provenance: The Collection of Sir Jeremy Lever.

570

569

571. A set of six hand-coloured botanical engravings, each inscribed in the top left corner ‘H. N. Botanique par M. Delile’, with illustrations of exotic plants, 78.7 x 62.5cm, in later glazed frames. (6) £100-200 Alire Raffeneau Delile (1778-1850) was a French botanist who participated in Napoleon Bonaparte’s Egypt Campaign. In 1798 more than a hundred and fifty engineers, astronomers, physicists, chemists, doctors, botanists, naturalists, and artists made the arduous journey to Egypt. They later presented their discoveries in the publication titled ‘Description de l’Egypte’, including these botanical illustrations. Delile carried on with his botanical studies in North America and then in France and was named director of the botanical garden in Montpellier in 1832.

571

572. Lionard Morel-Ladeuil (1820-1888). A Victorian electro-type rondel of a Pompeian lady at her toilet by Elkington, depicting a lady reclining on a couch attended by three maidens with a garden beyond, signed and dated ‘Morel-Ladeuil inv e fecit 1876’, 33.7cm diameter, in a glazed velvet mounted circular frame with an easel back. £100-200 Provenance: The Collection of Sir Jeremy Lever.

573

This model of plaque was designed and conceived by Morel-Ladeuil for the 1876 Philadelphia Exhibition.

573. After Benedetto Pistrucci (Italian 1783-1855). A Victorian electrotype rondel with a bronze finish of the obverse side of the Waterloo medal, relief decorated, depicting the four rulers of the nations triumphant at the battle of Waterloo, with an outer band with a mythological allegory evoking peace, 13cm diameter, mounted in a rosewood frame, together with a bronze medallion depicting a relief bust of a lady, inscribed ‘ELEONORA.MED.FRAN.I.M D ETR.FILIA.MANT.DVX’, 8.7cm diameter. (2) £200-300

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ORIENTAL FURNITURE, WORKS OF ART & RUGS

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574. A Chinese hardwood low stand, the top inset with a marble panel, the pierced and carved frieze decorated with auspicious symbols, a bat, bamboo, fruit and leaves, on reeded legs and scroll feet, 52.4cm high, 43.7cm wide, 33.2cm deep. £150-250

574

575. A 19th century Chinese export black lacquer box, decorated in gilt with panels of buildings and figures in various pursuits, the interior with a later lift-out divided tray, probably formerly a tea chest, 13.8cm high, 28cm wide, 19.7cm deep. £100-150

576. A bone and bamboo mahjong set, contained in a blue leather case with two trays of tiles above four smaller trays containing counters and spare tiles, the case stamped ‘YAMANAKA & CO. LONDON’, 12.2cm high, 28.6cm wide. £50-100

577. A late 19th century Chinese hardwood low stand, the top inset with a marble panel, above a carved and pierced frieze, 46.5cm high, 43.2cm wide, 42.7cm deep. £200-300 Provenance: The Collection of Sir Jeremy Lever.

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578. A pair of bronze models of horses, possibly Chinese, 11.8cm high, 16.5cm long. (2) £100-200

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579 579. A pair of early 19th century Chinese reverse glass paintings, one depicting an Emperor with attendants, the other with two warriors fighting from the story of Heroes in Sui and Tang dynasty, 49 x 34.1cm, in moulded hardwood frames. (2) £120-180 580. A Chinese root-wood scholar’s low table, 37.7cm high, 71cm wide. £300-500

580

581. An Anglo-Chinese padouk or huali library table in Regency style, fitted with three panelled front frieze drawers, on ribbed baluster ends and stylised lion’s paw feet united by a turned stretcher, late 19th century, 80.8cm high, 123.7cm wide, 54.5m deep. £200-400

582. A Japanese bamboo ikebana basket, late 19th / early 20th century, 33.7cm high. £100-150

582

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583. A 19th century Ceylonese ebony stool, with a cane seat and a fluted frieze, on palmette headed lappet carved legs, 20.2cm high, 33.2cm wide, 28.7cm deep. £300-400

583

584. A late 19th century Ceylonese ebony and porcupine quill book stand, inlaid with ivory and bone dots with three flowerheads, on turned ivory feet, 14.2cm high, 41.2cm wide, 15.1cm deep. £100-150

584

585. An Anglo-Indian horn and ivory box, the hinged lid inlaid with a chequer board type panel with a lac decorated border of scrolling foliage, with a vacant sandalwood interior and ribbed decoration to the body, mid-19th century, 9.5cm high, 27cm wide, 12cm deep. £150-250

585

586. A Kashmiri lacquered papier-mâché desk set by Ganemede, decorated with blue flowers on an ivory ground and with gilt highlights, comprising: a domed stationery box, a blotter and pen tray, each piece signed ‘GANEMEDE NO.’, together with a pair of papiermâché urns, early 20th century. (5) £100-150

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587

587. An Indian ebony and tortoiseshell table cabinet, inlaid with bone with geometric designs and fitted with six drawers, one with a label inscribed in ink ‘May 1848. This little chest of drawers I wish my niece, Emily Christiana Anderson should have it, Frances Lee’, with brass corner mounts and wrought iron side carrying handles, together with a handwritten letter stating the provenance of the chest going back to the 18th century, 32.7cm high, 60cm wide, 26.5cm deep. (2) £800-1,200

588. An Indo-Portuguese carved ivory group of the Pieta, depicting the Virgin Mary sitting on a rocky mound strewn with instruments of torture, cradling the dead body of Christ, traces of polychromy, probably 17th / 18th century Goa, 17cm high. £300-400

588

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589. An Anglo-Indian red and black lacquer octagonal occasional table, the detachable top decorated with figures seated in a temple setting, with inscribed panels, on a folding base, early 20th century, 70.7cm high, 79cm wide. £300-400

589 590. An Anglo-Indian hardwood octagonal occasional table, inlaid with bone and ivory and with ebony stringing, with scrolling leaves and flowers, the detachable top on a conforming folding base with mihrab arches, Hoshiarpur, late 19th / early 20th century, 62.2cm high, 65.3cm wide. £200-300

590

591. An Anglo-Indian hardwood octagonal occasional table, inlaid with bone with scrolling flowers and foliage, with ebony banding, the detachable top on a folding base with mihrab arches, Hoshiarpur, early 20th century, 51cm high, 55cm wide. £300-500

591

592. An Anglo-Indian hardwood octagonal occasional table, inlaid with brass and ebony with scrolling foliage borders, the detachable top on a folding base with mihrab arch panels and chevron inlay, probably Lahore, early 20th century, 61.3cm high, 66.3cm wide. £400-600

592

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593. An Anglo-Indian hardwood octagonal occasional table, inlaid with amber stained bone and ivory, ebony and white stringing, with a star and urns of flowers with bands of scrolling foliage, the detachable top on a conforming folding base with pierced panels, late 19th / early 20th century, 51.5cm high, 55cm wide. £150-250

593

594. A Moorish ebonised wood octagonal occasional table, inlaid with bone and mother of pearl, with star and flower designs, with white metal stringing, on arched legs, late 19th / early 20th century, 52.7cm high, 42cm wide. £150-250

594

595. A late 19th century Islamic brass bowl in Mamluk revival style, inlaid with silver and copper, with an iridescent damascened finish, decorated with panels of script and scrolling leaves on a lattice ground, 21.5cm high, together with two other bowls and an occasional table, with an engraved circular brass top, on an ebonised folding base. (4) £200-400

595

596. A 19th century Dutch brass and copper cachepot, the body decorated with scrolls, cabochons and lion’s masks, on paw feet, 8.7cm high, 16cm diameter, together with an Islamic brass bowl, repoussé decorated with script, 13cm diameter. (2) £100-150

596

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597. An Ottoman Turkish linen hand towel, worked with coloured thread with a pair of horses and with gilt metal embroidery, 117.6 x 40.8cm. £80-120

598. A Kuba Konagkend rug, North East Caucasus, 200 x 130cm. £100-200

598

599

599. A fine Shahsavan as a Sumak Mafrash, North West Persia, traditionally used as a tribal storage bag, with six applied wool carrying handles, late 19th / early 20th century, 47.5cm high, 105cm wide, 55cm deep. £300-500

600. An Afshar rug, with all over floral lattice fields, South Persia, early 20th century, 168 x 129cm. £150-250

600

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601. A fine silk and silver metal thread ‘Salting group’ rug in Safavid style, with a floral central medallion on a burgundy ground, decorated with bands of clouds, Chinese style dragons and lions, with birds and scrolling leaves and flowers, with an ivory cartouche border, each panel inscribed with Persian verses, 193 x 132cm. £6,000-8,000 Provenance: Sir Edward George Warris Hulton (1906-1988) was a British magazine publisher and writer. He was the founder of the Picture Post which pioneered photo-journalism and in 1938 highlighted the plight of Germany’s Jews. The photographic archive of Picture Post became an important historical documentary resource. He was knighted for services to journalism in 1957. Hulton was married twice, first to Kira Goudime-Lekovitsch in 1927 and then later in 1946 to Princess Nike Yourievitch. This rug relates to the famous ‘Salting Carpet’, now in the V & A collection, and shares similarities in design. The ‘Salting Carpet’ was made during the Safavid period (1560-1580), probably in Qazwin, Iran and is inscribed with Persian poetry. In the mid-20th century scholars questioned the dating of this group of rugs and carpets and they believed them to be 19th century Turkish copies of Persian originals. But this theory has now been disproved. The ‘Salting Carpet’ group also relate to the famous niche prayer rugs in the Topkapi collection, Istanbul. For another example see The David Collection, Copenhagen. For a discussion of the ‘Salting group’ see: Dr. John Mills, ‘The Salting Group: A History and a Clarification’, in Murray L. Eiland and Robert Pinner (eds.), ‘The Salting Carpets, Oriental Carpet and Textile Studies’, 5/2, 1999, pp.1-17. Jennifer Wearden, ‘The Riddle of the Salting Carpet’, Oriental Art, 43/1, 1997, pp.21-27.

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602. A Kashan carpet, West Persia, first half of 20th century, 376 x 282cm. £200-400

602

603. A Heriz carpet, North West Persia, 346 x 248cm. £500-700

603

604. A Kashan carpet, West Persia, early 20th century, 262 x 178cm. £400-600

604

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605. A large Turkish Ushak carpet, with a palmette design, West Anatolia, early 20th century, 556 x 414cm. £800-1,200

605

606. A Turkish Ushak carpet, with an all over design, West Anatolia, early 20th century, 373 x 507cm. £300-500

606

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607. A pair of Fars runners, with all over Herati design fields, South Persia, 671 x 89cm, 655 x 89cm. (2) £500-800

609

607

608

608. A Shirvan long rug, South East Caucasus, early 20th century, 250 x 95cm. £200-300

609. A North West Persia / Azerbaijan runner, c.1930, 388 x 115cm. £100-200 610. A North West Persia runner, 310 x 114cm.

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£200-300

610

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NATURAL HISTORY, LUGGAGE & SPORTING

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611

611. A brown leather trunk by Finnigans, brass studded, the interior with a lift-out tray, with a maker’s label inscribed ‘FINNIGANS LD MAKERS LONDON MANCHESTER AND LIVERPOOL 18 NEW BOND ST.’, early 20th century, 35.2cm high, 91.5cm wide, 51.7cm deep. £400-600 612. A French studded vellum trunk, with brass mounts, the interior with two lift-out trays, early to mid-20th century, 47.6cm high, 89cm wide, 54.5cm deep. £300-400

612

613. A canvas and leather trunk in Louis Vuitton style, brass studded and with gilt metal mounts, with a vacant interior, 30.4cm high, 99.5cm wide, 56.5cm deep. £300-400 614. A leather hat box, with space for four hats, impressed with initials ‘W.S.’, late 19th / early 20th century, 31.2cm high, 51.1cm wide, 36.1cm deep. £200-300

613

614

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615. A brown leather hat box, with space for three hats, impressed with initials ‘J. F. C.’, with a brass lock, late 19th / early 20th century, 29cm high, 38.2cm wide, 36.3cm deep. £200-300

615

616. A brown leather bucket shape hat box by Greaves, with brass mounts and with a green silk lined interior, stamped ‘MADE BY H. GREAVES 35 & 36...MINGHM’, late 19th / early 20th century, 36.7cm high, 35.2cm wide. £200-300

617. A milliner’s brass hat stand by Clements, Newling & Co., with three pairs of adjustable holders, stamped ‘CLEMENTS, NEWLING & CO. 95 & 96 WOOD ST. LONDON E.C.’, late 19th / early 20th century, 129cm high. £300-400

617

618

618. A leather top and bowler hat box, with brass mounts, impressed with initials ‘C. P. J.’, containing a bowler hat by Meakers, late 19th century / early 20th century, 32cm high, 35.8cm wide, 29.6cm deep. £200-300

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619. An Edwardian crocodile leather fitted suitcase, with brass mounts, the lid with gilt tooled initials ‘T. G. W.’ the watered silk interior fitted with various silver topped glass bottles and jars, brushes and a hand mirror, some inscribed ‘Tom’, some items associated, hallmarked for London 1910, with a leather cased ‘Rolls Razor’ box and a tortoiseshell comb, with a canvas storm cover, 54cm wide, 37cm deep. £500-800

619

620. A 19th century French red leather jewellery case, with brass mounts, the hinged lid with a shield shape plaque, engraved with initials ‘NH’, the interior with a trade label, inscribed ‘HTE. MARRET JOAILIER BIJOUTIER RUE VIVIENNE 16’, originally with a tray, with side carrying handles, 22cm high, 50.6cm wide, 32.5cm deep. £200-300

620

621. A black canvas and leather trunk by Finnigans, with brass mounts painted with initials ‘B. J. C.’ and marked ‘FINNIGANS LTD MANCHESTER & LIVERPOOL PORTMANTEAU AND DRESSING BAG MAKERS’, 41.7cm high, 77cm wide, 48.5cm deep, together with a brown leather Gladstone bag, impressed with initials ‘S.H.H.’. (2) £300-400

621

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622. An Edwardian country house carved and painted dapple grey see-saw rocking horse in the manner of G & J Lines, with a leather saddle and reins, with glass eyes, the stirrups stamped ‘MADE IN ENGLAND NEVER RUST’, the bow base with a child’s captain’s chair to either end, 108cm high, 240.5cm long. £1,000-1,500

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623. An Austrian cold painted bronze dead game paperclip, modelled as a hare, mounted on a walnut panel, with a suspension ring for hanging on the wall, 31.6cm long. £600-800

623

624. A mahogany boot jack by Tom Hill, with an ivorine plaque, inscribed ‘TOM HILL LONDON S.W.1. (KNIGHTSBRIDGE) Ltd’, 84.4cm high. £150-200

624

625. A late Victorian oak and fruitwood stirrup cup tray, in the form of a horseshoe, with brass stirrup handles, 39.7cm wide, together with an oak and brass wall thermometer and paperclip decorated with a horseshoe and horse’s head, 51cm high. (2) £200-300

625

626. An Austrian cold painted bronze dead game wall plaque, modelled with three birds, including a mallard duck, with a scroll and pierced border, stamped ‘2238’, late 19th / early 20th century, 46 x 33.2cm. £400-500

626

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627. A carved wood and polychrome decorated gazelle head mount, with real horns and glass eyes, with a gilt gadrooned plaque, late 19th century, 70cm high. £200-300

628. A late Victorian oak novelty stick rack by Swaine & Adeney, in the form of a five bar gate, applied with brass hooks, the back with a brass trade label, inscribed ‘SWAINE & ADENEY 185 PICCADILLY LONDON’, 55 x 63.4cm. £400-600 629. A late Victorian rhinoceros horn riding whip, with a silver ferrule hallmarked London 1900, engraved with a monogram and with a leather thong, weight 199g, 72.2cm long. £800-1,200 630. A rhinoceros horn riding whip, mounted with a white metal ferrule, late 19th / early 20th century, weight 94g, 80cm long. £500-700

627

629

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631

631. A leather salmon fishing rod case, 184.5cm long. £300-400

632

632. A brass mounted horse measuring stick by John Rabone & Son, with an adjustable arm and with a scale from twelve hands to eighteen hands, late 19th / early 20th century, 199cm high. £200-300

633. Two late Victorian table croquet sets, each with a mahogany stand supporting mallets, balls and metal hoops, 40.4cm high (max). (2) £400-600

634. Taxidermy. A pair of preserved nightjars, mounted in a naturalistic setting, in an ebonised and gilt bowfront case in the manner of Cooper, early 20th century, 31.6cm high, 53.5cm wide. £400-600

633

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635. An Edwardian carved wood and painted half-block model of a salmon, mounted on a stained beech plaque, inscribed ‘Caught by MAJOR WATERFIELD Wye Salmon WEIGHT 48 1/2 lbs.’, 46 x 147.3cm. £4,000-6,000

636. Taxidermy. An Edwardian preserved brown trout by P. D. Malloch, mounted on a painted board with a trade label, inscribed ‘P.D. MALLOCH, NATURALIST PERTH’ and a further printed label ‘ Killed on LOCH RANNOCH, 20th June, 1904. Weight, - 9 1/2Lbs.’, on a gilt and ebonised frame, 35.5 x 88.9cm. £500-800

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637. A carved and painted wood sea trout in Malloch style, mounted in a glazed and ebonised barrel front case, 21.3cm high, 66cm wide. £500-700

637

638. Taxidermy. An Edwardian preserved trout by J. Miller, mounted in a naturalistic setting, with a printed trade label, inscribed ‘Mounted by J. E. Miller, 19 New Station Street LEEDS’, in a glazed, ebonised bowfront case with gilt lettering, inscribed ‘TROUT Caught by H. HOPTON at Ripon, 20th April 1908, Wgt 2 3/4lbs, 34.2cm high, 62.7cm wide. £500-700

638 639. Taxidermy. An Edwardian preserved rudd by Homer, mounted in a naturalistic setting, with a printed paper trade label, inscribed ‘PRESERVED BY W. F. HOMER, 157 Forest Lane, Forest Gate, LONDON, E.’ and with a handwritten label ‘RUDD. 1lb 0 1/2o, Caught by E. THOR... 25th July 1905’, in a glazed, ebonised and gilt bowfront case, 26.5cm high, 43.7cm wide. £500-700 640. Taxidermy. A late Victorian preserved pike by J. Cooper, mounted in a naturalistic setting, with a printed trade label ‘Preserved by J. COOPER, 28, RADNOR ST. St. Luke, London, E. C.’ and with a further label inscribed ‘PIKE TAKEN BY MARTIN SCHMIDT. AT HENLEY, FEBRUARY 1ST 1887, WEIGHT, 17 1/2lbs’, in a glazed, ebonised and gilt bowfront case, 44.9cm £500-700 high, 108.5cm wide.

639

640

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641. A pair of large petrified wood specimens, of sliced cross-section form, the tops polished to reveal a multitude of colours and some growth rings visible, the majority of the bark texture to edges preserved, probably Snake River, North America, Triassic period, 225 million years old, 46.8 x 75.2cm, 3.8cm deep. (2) ÂŁ3,000-4,000 Provenance: Acquired from Peclard, Zurich in 1973.

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642. A polished petrified wood tree stump specimen, probably Indonesia, Miocene (c.20 million years ago), 33.3cm high, 42cm wide. £500-700

642 643. A polished petrified wood specimen, carved in the form of a bowl, 35cm wide. £100-150

643

644. A petrified wood specimen, of sliced cross-section form, the top polished to reveal a multitude of colours, with some growth rings visible, probably Snake River, North America, Triassic period, 225 million years old, 48 x 50cm, 3cm deep. £500-700 Provenance: Acquired from Peclard, Zurich in 1973.

644

645. A polished petrified wood tree stump specimen, of various colours, probably Indonesia, Miocene (c.20 million years ago), 26.3cm £250-350 high, 37.3cm wide.

645

646. Two polished petrified wood tree stump specimens, probably Indonesia, Miocene (c.20 million years ago), 40.9cm high, 40.7cm wide (max). (2) £600-800

646

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647. A coral specimen group, mounted on an ebonised circular base, applied with paper labels, ‘LONDON No. 5’, under a glass dome, 56.4cm high, 37.4cm diameter. £500-700

648. An unusual mineral and quartz encrusted casket of sarcophagus shape, the lid with a central quartz group on a bed of green quartz, applied with turquoise stones and with lapis lazuli borders, with a vacant interior, on flattened bun feet, 15cm high, 27cm wide, 22.5cm deep. £200-300

647

649. A pair of wall hanging mineral display cases, each containing one hundred numbered mineral specimens, including: tiger eye, obsidian, goldstone, purple fluorspar, sulphur, basalt and jasper, the backs with a handwritten numbered key, each in a glazed brass mounted mahogany frame, 38.5cm square. (2) £200-300

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650 650. A Victorian giltwood and gesso landscape overmantel mirror, with three bevelled rectangular plates flanked by Corinthian cluster columns, the frieze decorated with Aurora leading Apollo’s chariot, with a ball decorated frieze, 89.8cm high, 162cm wide. £400-600

651. A William IV rosewood breakfast table, the circular tilt-top with a moulded edge, on a baluster turned stem, on scroll and cartouche carved legs and brass castors, 72.4 x 136cm. £300-400

651

652. A George IV rosewood library table, on ring turned supports and chamfered scroll legs united by a baluster turned stretcher, on brass caps and castors, 75.5cm high, 96.6cm wide, 51.8cm deep. £300-500

653. A pair of Victorian oak hall chairs, each with a scroll carved back, centred with a vacant shield, on turned front legs, possibly Irish. (2) £150-200

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653

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654. A Victorian satin birch cheval mirror, with ebonised decoration, the rectangular plate between square uprights, united by turned stretchers, with vase finials and on brass caps and castors, 174.4cm high, 83cm wide, 75cm deep. £800-1,200 Provenance: Yester House, Gifford, East Lothian.

654

655

655. A pair of Victorian bird’s eye maple open armchairs, each with a buckle back carved with leaves and with a central lyre shaped splat, above a rush seat, on stretchered supports. (2) £300-400

656. A Victorian day bed, later button upholstered with leather, on walnut supports and brass caps and castors, stamped ‘COPE COLLINSON PATENT’, inside of the back left leg stamped ‘4532’, 64cm high, 186cm long, 103cm deep. £500-700

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657. An early 19th century mahogany table book or linen press, the base fitted with a drawer, 43.4cm high, 40.7cm wide, 21.9cm deep. £200-300

657

658. A late Victorian oak gong, with a beater, 92.3cm high, 53cm wide, 36cm deep. (2) £100-150

658

659. A novelty oak display cabinet in the form of a trolley, with brass mounts and glass panels with a hinged side door and on wheels and castors, late 19th / early 20th century, 78.3cm high, 84cm wide, 42cm deep. £100-200

659

660. An early 19th century mahogany book or linen press, of conventional form, 36.3cm high, 40.5cm wide. £200-300

660

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661. A pair of walnut wing armchairs in George II style, each with scroll arms, on shell capped cabriole front legs and trefid feet, late 19th century. (2) £2,000-3,000 Provenance: The Collection of Sir Jeremy Lever. 662. Two similar walnut stools in George II style, each with a stuffed-over seat, on leaf capped cabriole legs with claw and ball feet, late 19th / early 20th century, 49cm high, 60.5cm wide, 52.5cm deep, 48.2cm high, 60.7cm wide, 50cm deep. (2) £200-300

662

663. A mid-19th century walnut armchair, later button upholstered with studded red leather, with a moulded showframe, with a serpentine front seat, with cabriole legs on wooden castors. £300-500 Provenance: The Collection of Sir Jeremy Lever.

663

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664

664. A late Victorian walnut open bookcase, with three adjustable shelves, 121.7cm high, 185.58cm wide, 35cm deep. £400-600 665. A Victorian walnut three-tier whatnot, with a serpentine front and spiral twist supports, 88cm high, 51cm wide, 32cm deep. £150-200 Provenance: The Collection of Sir Jeremy Lever. 666. A William IV rosewood library table, the rectangular top with a leaf carved and nulled edge, above a frieze drawer, on turned and lappet carved ends and scroll feet and brass castors, 76.2cm high, 133cm wide, 66cm deep. £500-700

665

667. A Victorian mahogany coaching table, on scroll supports united by baluster turned stretchers, now fixed, 73cm high, 47.2 x 85cm (open). £100-200

666

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668. A set of twelve mahogany dining chairs in early George III style, each with a serpentine top rail, above a pierced splat and a drop-in seat, on square tapering front legs united by an ‘H’ stretcher, comprising: an open armchair and eleven side chairs, some stamped with initials ‘GTS’, 19th century. (12) £600-1,000 Provenance: This set of chairs was formerly part of a set of ninety-six chairs belonging to Lady Kylsant at Chelsea House, London.

669. A mahogany triple pillar dining table in Regency style, the crossbanded top inlaid with stringing and with a reeded edge, with two additional leaves, on vase turned stems and reeded splay legs terminating in brass lion’s paw sabots and castors, early 20th century, 74.4cm high, 107cm wide, 298cm long. £600-1,000

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670. A Victorian mahogany campaign chest, in two halves, with brass mounts and two short and three long drawers, fitted with military style sunken brass handles, 91.5cm high, 91.4cm wide, 44.2cm deep. £300-500

671

670 671. A late Victorian maritime style captain’s tray, with a gallery and a pair of handles, with four tumblers, each in a brass glass holder, 44cm wide. (5) £150-200

672. An early 19th century mahogany campaign tabletop desk, the hinged fall revealing an interior with pigeonholes, a cupboard enclosing a drawer with a bone handle, with two further drawers with sunken brass military style handles and with a plush lined writing surface, with brass side carrying handles, 49.3cm high, 73.2cm wide, 26.2cm deep. £250-300

672 673. A teak campaign style folding easel by Hatherley, stamped ‘HATHERLEY EASEL PATENT’ and ‘WINDSOR & NEWTON LONDON’, late 19th / early 20th century, 175cm high, 71.3cm wide, 91cm deep. £150-200

673

674

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674. A Victorian oak campaign chest, in two halves, with brass mounts fitted with two short and three long drawers and sunken brass military handles, 100.8cm high, 98.6cm wide, 47.6cm deep. £200-300

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675

675. A pair of Victorian Scottish oak hall chairs in Pugin style by Wylie & Lochhead, each with a Gothic pierced rondel back carved with oak leaves and acorns, above a solid seat with a moulded edge, on cluster column front legs united by a pierced arch, the rails stamped ‘2015 WYLIE & LOCHHEAD GLASGOW’. (2) £800-1,200 Provenance: The Collection of Sir Jeremy Lever.

676. An early Victorian rosewood Gothic style prie dieu, carved with oak leaves, pinnacles and a trefoil motif, the padded back and seat covered with contemporary needlework, on brass castors. £150-250

677. A pair of Victorian brass coffin stands, of hinged easel form, with scroll work panels, 58.2cm high, 53.3cm wide, 36cm deep. (2) £500-700 Provenance: The Collection of Sir Jeremy Lever.

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678. A Victorian mahogany two seater sofa, with a moulded showframe and a serpentine wing back, on cabriole front legs and scroll toes, 105.6cm high, 160.5cm wide, 76cm deep. £500-800 Provenance: The Collection of Sir Jeremy Lever.

679. A late Victorian mahogany wing armchair, inlaid with satinwood banding, the frame carved with leaves, on square tapering legs and ceramic castors. £500-800 Provenance: The Collection of Sir Jeremy Lever.

256

680. A mahogany and brass music stand in Regency style, the lyre rest on an adjustable brass stem, on tripod supports, 172.5cm high (max), 43.2cm wide. £100-150

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681. A set of eight Edwardian mahogany and satinwood banded dining chairs, inlaid with boxwood stringing, each with a pierced fret triple splat back, above a green leather stuffed-over seat on square tapering legs, comprising: a pair of open armchairs and six side chairs. (8) £500-700

682. A mahogany music stand in Regency style, with a lyre support above a rest, with an adjustable brass stem, on swept legs, late 19th century, 161.6cm high (max), 48.7cm wide. £1,000-1,500 Provenance: The Collection of Sir Jeremy Lever. Formerly the property of Sir George Trenchard Cox, CBE, FSA (19051995). Sir George used it as an easel for watercolours and prints in his office at the V & A Museum.

683. A late Victorian mahogany and brass inlaid open armchair, the scroll top rail centred with a rosewood tablet flanked by a pair of pierced foliate panels, with scroll carved splat back, above a stuffedover seat. £300-500

Provenance: The Collection of Sir Jeremy Lever.

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684. An Edwardian walnut revolving bookcase, on ceramic castors, 86cm high, 49cm square. £300-400 Provenance: Purchased from Christie’s, South Kensington, c.2001. The Collection of Sir Jeremy Lever.

684 685. A late Victorian mahogany demi-lune card table, inlaid with stringing, the fold-over top with satinwood crossbanding and a marquetry sunburst, on a single gate support, 77.4cm high, 91.5cm wide, 45.2cm deep. £100-200

685 686. A late 19th century mahogany vide poche, with a serpentine edge gallery and fitted with two drawers on slender legs and brass feet, stamped to underside ‘120387’, 80.4cm high, 36cm wide, 24cm deep. £300-500 Provenance: The Collection of Sir Jeremy Lever.

686

687. A late Victorian walnut and cast iron reading table by John Carter, the adjustable rest on a brass arm, the back with an ivorine plaque, inscribed ‘JOHN CARTER TRADE MARK LITERARY MACHINE 6A NEW CAVENDISH ST. Portland Place, LONDON W.’ and also stamped ‘2791’, with a circular top on a reeded stem with leaf decorated legs and lion’s paw feet, 147.2cm high (max), 48cm wide. £200-300

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688. A 19th century mahogany hall bench, with a pair of bolster lifts, on turned tapering legs, 49cm high, 117.5cm wide, 27.7cm deep. £400-600

688

689. A William IV oak two-tier buffet in the manner of Gillows, with three quarter galleries, on plain trestle ends, applied with scroll corbels, on lobed bun feet and sunken brass castors, 116.8cm high, 134.8cm wide, 58.4cm deep. £500-800

689

690. A pair of 19th century mahogany stools, each with a stuffed-over studded seat, on turned and ribbed tapering legs, 49cm high, 82cm wide, 39.5cm wide. (2) £300-500

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691. A large gilt composition wall mirror, the bevelled rectangular plate within a flower, shell and scroll moulded frame, 211.3 x 150cm. £300-500 Provenance: The Collection of Sir Jeremy Lever.

692. A blue painted cockpen open armchair in George III style, gilt painted with flowers. £40-60

691

693. A pair of early 20th century painted wood classical rondels, carved with crossed flaming torches, with traces of original gilding, 101.5 x 77.7cm. (2) £300-400

693

694. A late Victorian easy armchair, upholstered with peacocks and pines material by Warner & Sons, on square tapering walnut front legs and ceramic castors. £150-250

260

694

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695. A two seater sofa by Howard & Sons Ltd., later upholstered with ivory lattice design fabric, on mahogany cabriole legs and pad feet, the back left leg stamped ‘HOWARD & SONS LTD BERNERS ST. 1211 1376’, 85cm high, 186.5cm wide, 89cm deep. £1,000-1,500

696

696. A banquette by Howard & Sons Ltd., on square tapering mahogany front legs, originally on castors, the inside of the back left leg stamped ‘HOWARD & SONS LTD. BERNERS ST.’ and numbered ‘1669 3214’, with four cushions, late 19th / early 20th century, 71.7cm high, 108.3cm wide, 65cm deep, together with a modern banquette on castors to make a matched pair, 75.2cm high, 106.7cm wide, 65cm deep. (2) £500-800

697. A Lenygon & Morant ‘Howard’ tub armchair, with part ‘H & S’ monogrammed ticking, on beechwood supports and brass castors, the underside with a printed label ‘LENYGON & MORANT LTD. MAKERS OF HOWARD CHAIRS & SETTEES 48 SOUTH AUDLEY ST. LONDON. W.1. 53004’. £500-700

697

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698

698. A mahogany serpentine sofa in George III style, the padded camel back above scroll arms, on blind fret carved legs with pierced brackets and stretchers, late 19th / early 20th century, 96.3cm high, 216cm wide, 85cm deep. £300-500

699

699. A mahogany urn stand in Chinese Chippendale style, with an undulating pierced quatrefoil gallery, above a pull-out slide and blind fret carved frieze, with channelled legs and pierced fret corner brackets on block feet, 73.5cm high, 30.4cm wide, 30.1cm deep. £300-500

700. A mahogany tripod table in George II style, the oval tilt-top with a pie crust moulded edge,on a turned and fluted stem and leaf and cabochon carved legs with claw and ball feet, late 19th / early 20th century, 62.8cm high, 52.2cm wide. £100-150

701. A mahogany twin pedestal desk in Chippendale style by Spillman, the top inset with a tooled leather writing surface within a ribbon and floret carved edge, above an arrangement of nine drawers, one with an ivorine trade label inscribed ‘SPILLMAN & CO. ST. MARTINS LANE, LONDON’, on castors, late 19th century, £250-350 77.3cm high, 123.3cm wide, 77cm deep.

701

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702 702. A late Victorian satinwood and marquetry demi-lune card table by Filmer, the crossbanded fold-over top inlaid with a fan and palmettes, above a panelled frieze decorated with husk swags and paterae, with a frieze drawer, on square tapering legs, the underside applied with an enamel plaque inscribed ‘T. H. FILMER & SON, 31 & 32 BERNERS STREET, LONDON W. 1., CABINET MAKERS & UPHOLSTERERS’, 74cm high, 94cm wide, 47cm deep. £800-1,200

703. A late Victorian mahogany lamp stand in Adam style, the circular dished top above a fluted frieze and with ram’s head monopodia supports, with carved hoof feet, 93.9cm high, 51cm wide. £150-250

703

704. A satinwood serpentine chest in George III style, the crossbanded top above a baize lined brushing slide and four long graduated drawers, on bracket feet, late 19th / early 20th century, 88cm high, 80.1cm wide, 53.2cm deep. £600-1,000 Provenance: The Collection of Sir Jeremy Lever.

END OF SALE

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Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 4.95% + VAT charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies.

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.

PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us.

The colours printed in the catalogue are not necessarily true.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter.

SALE RESULTS These will be posted on our website shortly after the sale. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

Kimdan Ltd.

07973 389436 andy@kimdan.co.uk

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

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

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of 10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The omega symbol ( ) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. 6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale). 7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. 8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

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

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue. 6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7. 7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it. 11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is

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unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 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. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. Subject to our normal trading conditions, payment will be made by BACS or cheque 5 weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% inclusive) thereafter. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or . Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

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10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

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

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of 1,000 and the maximum royalty payable on any single lot is the sterling equivalent of 10,000. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to 50,000 3% 50,000.01 - 200,000 1% 200,000.01 - 350,000 0.5% 350,000.01 - 500,000 0.25% In excess of 500,000 Up to a maximum levy of 10,000

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PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you. This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you. DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and, once in force, the General Data Protection Regulation (GDPR). If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. • By email – privacyofficer@woolleyandwallis.co.uk • By telephone – +44 (0)1722 424599 HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: From you when you: • interact with us before entering into a contract with us, for example when you express your interest in our Services; • instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; • communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; • in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below. From third parties such as: • other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; • the-saleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on the-saleroom.com) of individuals who register for one of our auctions (please see thesaleroom.com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (the-saleroom.com’s payment provider); • sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); • shipping companies whom you hire to collect items you purchased from us. THE CATEGORIES OF PERSONAL DATA WE COLLECT

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents. In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies. LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

We may collect the following personal data about you:

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

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

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

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

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

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CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services. SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events). INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company. We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey. PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market. YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications. • to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights. Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply. If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available

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

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

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

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Design & Production by Jamm Design Ltd. 020 7424 7830 jammdesign.co.uk

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WOO L LE Y & WA L LI S

Absentee Bid Form Furniture, Works of Art & Clocks

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 9th January 2019 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

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www.woolleyandwallis.co.uk

Auction Calendar FURNITURE, WORKS OF ART & CLOCKS 9th January 2019 3rd April 2019 3rd July 2019 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk Jim Gale +44 (0) 1722 339161 • jg@woolleyandwallis.co.uk SILVER 22nd January 2019 – The KB Collection of Pencils 23rd January 2019 – Silver & Objects of Vertu 16th & 17th April 2019 – Fine Silver & Objects of Vertu 16th & 17th July 2019 – Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 24th January 2019 – Jewellery 18th April 2019 – Fine Jewellery 18th July 2019 – Jewellery Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 19th February 2019 – Fine Porcelain & Pottery 30th April 2019 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th February 2019 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk PAINTINGS 6th March 2019 – Old Masters, British & European Paintings 5th June 2019 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 446961 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 446962 • jb@woolleyandwallis.co.uk 20TH CENTURY DESIGN 20th March 2019 – Clarice Cliff, Art Deco & Design 19th June 2019 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk MEDALS & COINS, ARMS & ARMOUR 1st May 2019 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk ASIAN ART, CHINESE PAINTINGS & JAPANESE WORKS OF ART 21st & 22nd May 2019 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 fyr@woolleyandwallis.co.uk Alex Aguilar +44 (0) 1722 424583 • aa@woolleyandwallis.co.uk