Five Centuries | Furniture, Paintings & Works of Art Auction 18 & 19 May 2022 by Lyon & Turnbull

18TH & 19TH MAY 2022 EDINBURGH LIVE ONLINE

WEDNESDAY 18 & THURSDAY 19 MAY 2022 AT 10AM

Sale Number LT689

Lyon & Turnbull 33 Broughton Place EDINBURGH EH1 3RR

VIEWING Saturday, 14th May 12 noon - 4pm Sunday, 15th May 12 noon - 4pm Monday, 16th May 10am - 5pm Tuesday, 17th May 10am - 5pm

Front Cover Lot 504 [detail] Inside Front Cover Lot 184 [detail]

CONTACT EDINBURGH +44 (0) 131 557 8844 LONDON +44 (0) 207 930 9115 info@lyonandturnbull.com

BUYER'S GUIDE

This sale is subject to our Standard conditions of Sale (available at the back of every catalogue and on our website). If you have not bought before we will be delighted to help you.

BUYER’S PREMIUM

REGISTRATION

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, or on our website. Please note that first-time bidders, and those returning after an extended period, will be asked to supply the following documents in order to facilitate registration:

25% up to £500,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue). ADDITIONAL VAT

1 – Government issued photo ID (Passport/Driving licence)

†V AT at the standard rate payable on the hammer price

2 – Proof of address (utility bill/bank statement).

‡R educed rate of 5% import VAT payable on the hammer price ΩS tandard rate of import VAT on the hammer price Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. No VAT is payable on the hammer price or premium for books bought at auction. DROIT DE SUITE § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. More information on Droit de Suite is available at www.dacs.org.uk

We may, at our option, also ask you to provide a bank reference and/ or deposit. (Particularly for bidding on lots marked by the high value lot symbol ) By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website). BIDDING & PAYMENT For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue. REMOVAL OF PURCHASES Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction. CATALOGUE DESCRIPTIONS All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

IMPORT/EXPORT Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot. ENDANGERED SPECIES Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside Great Britain. For more information visit http://www. defra.gov.uk/ahvla-en/imports-exports/ cites COLLECTION OF PURCHASED LOTS All collections will be by appointment only (this applies to both carriers and personal collections). To make an appointment call 0131 557 8844 or email info@lyonandturnbull.com. Please ensure payment has been made prior to collection. This can be done by bank transfer, and debit/credit card online (powered by Opayo) - details will be shown on your invoice. Please note we are unable to take payments over the phone.

MEET THE SPECIALISTS

At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible. Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

Douglas Girton

Nick Curnow

Theodora Burrell

Katherine Wright

Furniture & Clocks

Paintings & Drawings

Ceramics, Glass & Works of Art

Ceramics & Glass

Gavin Strang

Katie Hannah

Jamie Russell

Kerstin Schaeffer

Rugs & Carpets

Furniture & Works of Art

Furniture & Clocks

Cataloguer & Sale Administrator

ORDER OF SALE Lot No.

WEDNESDAY, 18TH MAY AT 10AM

1-164

British Furniture & Works of Art Part One

165-202

Paintings Part One

203-409

British Furniture & Works of Art Part Two

THURSDAY, 19TH MAY AT 10AM

Above Lot 165 [detail]

410-429

Antiquities including Selected Items from the Collection of Charles Edward Fox (1796-1873)

430-452

Continental Furniture & Works of Art Part One

453-494

Paintings Part Two

495-597

Continental Furniture & Works of Art Part Two

598-605

Works from the Private Collection of Mark Gillette

606-624

Asian & Islamic Furniture & Works of Art

625-681

Rugs & Carpets

682-694

Garden

BRITISH FURNITURE & WORKS OF ART PART ONE 1 SMALL BOARDED OAK AUMBREY 19TH CENTURY in the 16th century style, the single board top above a door with strap hinges and two pointed arch airing holes, raised on trestle supports 79cm wide, 69cm high, 28cm deep

£300-500

2 CHARLES I OAK BOARD CHEST EARLY 17TH CENTURY the hinged single board top above a front panel carved with fleur de lis, opening to a void interior 94cm wide, 61cm high, 39cm deep

£600-800

3 TWO OAK PANEL CHAIRS 17TH AND 19TH CENTURY the first an early backstool, Yorkshire, the back panel carved with a leaf-filled lozenge; the other an armchair with a twin panel back carved with stylised leaf and flower motifs, mainly 19th century but including some earlier components (2) Backstool 47cm wide, 96cm high, 34.5cm deep; armchair 56cm wide, 58cm high, 37cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

4 THREE POLYCHROMED AND PARCEL-GILT OAK ARMORIALS, BY W. & A. MUSSETT, LONDON comprising two shields and a diamond shaped panel, decorated with pomegranate trees, stags, lions, and armorial devices, stamped maker’s marks (3) 46cm high, 33cm wide

£1,500-2,500

5 PAIR OF SMALL CARVED OAK PANEL CUPBOARDS 19TH CENTURY the projecting moulded cornices carved with foliate scrolls and shells, above pairs of panel doors, the upper panels carved with Bacchic and Green Man three-quarter portraits within scrolls and strapwork, opening to shelved interiors, on moulded bases raised on bun feet (2) 100cm wide, 146cm high, 39cm deep

£1,500-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

6 FLEMISH BIBLICAL TAPESTRY, THE DEPARTURE OF THE PRODIGAL SON LATE 17TH CENTURY in wool and silk, to the foreground a young man stands before a seated older bearded man, and gestures to a city in the distance, a staff in his hand, within a border with fruit, flowers, birds, and putti 315cm x 240cm

£1,500-2,500

Note: The Parable of the Prodigal Son, one of the most important of the New Testament parables of Jesus, teaches the virtues of repentance and forgiveness and the dangers of vice and extravagance. The Prodigal Son is the third and final parable of a cycle on redemption, Luke 15: 11-32, following the parable of the Lost Sheep and the parable of the Lost Coin. The scene in the tapestry depicts the younger son standing before his father before his departure, while his older sibling works in the field in the middle distance. He gestures to a far-off city on hill, where intends to go, and where he inevitably squanders his inheritance with extravagant and wasteful living.

7 WILLIAM AND MARY WALNUT AND MARQUETRY CUSHION FRAME MIRROR LATE 17TH CENTURY the rectangular mirror plate in a wide moulded frame inlaid with foliate scrolls and leaf tip border 76cm high, 62cm wide

£400-600

8 CARVED OAK COFFER EARLY 18TH CENTURY the hinged top opening to a void interior with candlebox, the front with three panels carved with architectural niches within scrolling foliate borders, on stile feet 109cm wide, 61cm high, 47cm deep

£500-700

9 QUEEN ANNE OAK FRAMED SETTEE EARLY 18TH CENTURY the oak framed padded back in a moulded frame carved with scrolls, flower heads, and centred by a palmette finial, above a stuffover seat flanked by scrolled arms, raised on turned and tapered legs joined by a wavy X stretcher, covered in worn green velvet 125cm wide, 134cm high, 43cm deep

£1,500-2,500

10 WILLIAM AND MARY KINGWOOD AND STEEL TABLE CABINET LATE 17TH/ EARLY 18TH CENTURY the exterior covered in parquetry with a hinged fall-front opening to reveal three drawers faced in cut steel premiere and contre partie and a baize lined writing surface 50cm wide, 38cm high, 27cm deep

£400-600

11 WILLIAM AND MARY STYLE WALNUT ARMCHAIR 19TH CENTURY the pierced and carved back with an oval caned centre panel above a caned seat flanked by foliate and flower carved arms, raised on spiral and block carved legs joined by an arched front stretcher and spiral carved stretchers 62cm wide, 118cm high, 44cm deep

£300-500

12 CHARLES II OAK CHEST OF DRAWERS 17TH CENTURY with two short over three long geometric moulded drawers, raised on bun feet 91cm wide, 99cm high, 52.5cm deep

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

13 WILLIAM AND MARY WALNUT STOOL the rectangular padded seat covered in red and gold cut velvet, raised on turned baluster legs joined by an H stretcher 69cm wide, 46cm high, 43cm deep Provenance: Estate of the late Col. H.J. Gillman

£300-500

14 PAIR OF WILLIAM AND MARY STYLE WALNUT WING ARMCHAIRS LATE 19TH/ EARLY 20TH CENTURY the arched back and deep wings above cushioned seats flanked by scrolled arms, raised on scroll legs joined by an arched and pierced scroll-carved stretcher; covered in red and gold cut velvet with silk tassel trim (2) 79cm wide, 128cm high, 54cm deep Provenance: Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£1,000-1,400

15 NEAR PAIR OF CHARLES II STYLE WALNUT STOOLS LATE 19TH CENTURY with double C scroll legs and arched pierced and carved stretchers joined by turned rails, the padded seats in red cut velvet upholstery with silk tassel trim (2) 51cm wide, 39cm high, 39cm deep Provenance: Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

16 Y QUEEN ANNE STYLE RED TORTOISESHELL TRIPLE DRESSING TABLE MIRROR EARLY 20TH CENTURY the central mirror plate pivoting in the frame, on ball feet 85cm wide, 69cm high overall

£1,500-2,500

17 WILLIAM AND MARY STYLE WALNUT WING ARMCHAIR LATE 19TH/ EARLY 20TH CENTURY the arched back and deep wings above cushioned seats flanked by scrolled arms, raised on scroll legs joined by an arched and pierced scroll-carved stretcher; covered in red and gold cut velvet with silk tassel trim 78cm wide, 121cm high, 56cm deep Provenance: Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£500-700

18 WILLIAM AND MARY OAK CHEST OF DRAWERS LATE 17TH CENTURY in two parts; the banded top with moulded edge above four long drawers with geometric moulded panel drawers, flanked by split spindles, raised on bracket feet 108cm wide, 103cm high, 62cm deep

£500-700

19 17TH CENTURY FLEMISH SCHOOL, PORTRAIT MINIATURE A YOUNG LADY IN A RED DRESS oval, oil on copper, the sitter wearing a dress embroidered with silver, and a wide white lace collar, pearls at her neck, black bows, and red and white feathers in her brown curled hair; in a later chased gilt-metal frame with pin back Portrait 5.6cm high, 4.8cm wide; 6.7cm high, 5.8cm wide overall

£400-600

20 19TH CENTURY ENGLISH SCHOOL, MINIATURE PORTRAIT GEORGE DIGBY, 2ND EARL OF BRISTOL (1612-77) rectangular, oil on copper, the sitter wearing cuirassier armour and white lawn collar, in a stained wood frame Portrait 9cm high, 7cm wide; 13.2cm high, 11.4cm wide overall Provenance: Bonhams, lot 318, 10th April 2002

£1,000-1,500

Note: This miniature portrait is based on a 17th century threequarter length portrait of Digby, one version in the collection of Royal Armouries, the other at Sherborne Castle. In that portrait Digby is depicted wearing Franco-Flemish cuirassier armour with his right arm raised holding a baton of command and gesturing towards a battle scene in the background. His left hand rests on his helm and the sash and jewel of the Order of the Garter are clearly visible. At present the artist of the original portrait has not been identified, although there is some research to indicate the 17th century portraitist John Michael Wright as a likely candidate. George was the son of John Digby, 1st Earl of Bristol. Firstly a member of the parliamentary opposition to Charles I, he later fought for the king in the English civil war. Afterward he served Louis XIV of France. In 1660, on his return to England after the Restoration, he was ineligible for office because of his conversion to Roman Catholicism. Having served Charles II in exile as Secretary of State, he exerted some influence at court until his attempt to impeach the Earl of Clarendon for treason failed in 1663.

21 WILLIAM AND MARY WALNUT ARMCHAIR 17TH CENTURY the tall back with an arched and pierced moulded crest above a caned back flanked by turned side rails with turned finials, above a stuffover seat flanked by open scrolled arms, raised on scroll carved legs joined by a conforming arch scroll stretcher, the rear legs with later castors 59cm wide, 125cm high, 48cm deep

£300-500

22 QUEEN ANNE ELM AND INLAID CHEST-ON-STAND EARLY 18TH CENTURY the moulded cornice above three short drawers over three long graduated drawers; the base with three short drawers arranged above a shaped apron, raised on baluster turned legs joined by wavy stretchers on bun feet 104cm wide, 160cm high, 58cm deep

£3,000-4,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

23 GEORGE II WALNUT KNEEHOLE SECRETAIRE DRESSING TABLE 18TH CENTURY the quarter veneered and crossbanded top with re-entrant corners, above a secretaire drawer fitted with pigeon holes and drawers, above kneehole recess with apron drawer and cupboard, flanked by banks of three drawers, raised on bracket feet 81cm wide, 86cm high, 47cm deep

£1,500-2,500

24 GEORGE I STYLE WALNUT FOOTSTOOL 19TH CENTURY the rectangular padded seat in a shaped seat rail carved with shells, raised on shell carved cabriole legs ending in trifid feet, bearing an ivorine trade label ‘Designed & Executed by Bartholomew & Fletcher/ Est. 1843/ LONDON W.1’ 78cm wide, 47cm high, 53cm deep

£500-700

25 GEORGE I WALNUT CHEST OF DRAWERS, POSSIBLY CHANNEL ISLANDS EARLY 18TH CENTURY in two parts, the quarter-veneered, crossbanded and featherbanded top above two short and three long drawers, on a moulded base with large bun feet 96cm wide, 94cm high, 54cm deep

£2,000-3,000

26 FINE GEORGE I WALNUT AND PARCEL-GILT PIER MIRROR EARLY 18TH CENTURY the shaped and divided mirror plates with a bevelled edge in a walnut and gilt moulded slip, surmounted by a scrolled eagle head crest with relief moulded decoration 167cm high, 67cm wide

£4,000-6,000

27 GEORGE I WALNUT BUREAU EARLY 18TH CENTURY the matchbook veneered slant front outlined with herringbone inlay, opening to an interior with pigeon holes, drawers, and covered well, over two short and two long graduated drawers, raised on bun feet 76cm wide, 101cm high, 49cm deep Provenance: Property from an East Lothian Country House

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

28 SCOTTISH GEORGE III WALNUT PARCEL-GILT MIRROR LATE 18TH CENTURY the arched mirror plate in a gilt moulded slip and mahogany frame with gilt foliate scrolls and pierced cresting, the apron centred by a thistle 80cm high, 44cm wide

£400-600

29 GEORGE II WALNUT BUREAU BOOKCASE MID 18TH CENTURY of neat size, the moulded straight cornice above a pair of mirrored doors with bevelled plates and gilt slips, opening to adjustable shelves; the lower part with a slope front enclosing an interior with pigeon holes and drawers, over four long graduated drawers raised on shaped bracket feet 96cm wide, 202cm high, 53cm deep

£600-800

30 GEORGE I STYLE WALNUT BUREAU LATE 19TH CENTURY the crossbanded slope opening to an interior with drawers and pigeon holes, on a serpentine base with a long frieze drawer, raised on shell-carved cabriole legs ending in trifid feet 60cm wide, 97cm high, 45cm deep

£700-1,000

31 GEORGE I WALNUT KNEEHOLE DRESSING TABLE EARLY 18TH CENTURY of small size, the quarter veneered and feather banded top with a moulded edge above a long drawer over a kneehole recess with an apron drawer and cupboard, flanked by banks of three short drawers, raised on bracket feet 54.5cm wide, 77cm high, 36cm deep Provenance: Estate of the late Col. H.J. Gillman

£2,000-3,000

32 GEORGE II STYLE WALNUT AND BURR WALNUT ‘MASTER’S’ ARMCHAIR, IN THE MANNER OF GILES GRENDEY EARLY 20TH CENTURY of large size, the curved toprail above a vasiform scrolled splat, above a shaped drop-in seat flanked by scrolled arms and hand terminals, raised on cabriole legs carved at the knees with shells and ending in claw and ball feet; the seat pad with a tan tweed cover 83cm wide, 103cm high, 59cm deep

£700-900

33 RARE GEORGE II YEW WOOD BUREAU 18TH CENTURY the slope opening to an interior with pigeon holes and drawers, above two short and two long drawers, raised on bracket feet 77cm wide, 96cm high, 45cm deep

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

34 GEORGIAN OAK MULE CHEST 18TH CENTURY of large size, the hinged top above a five chamfered panel front and a pair of base drawers, the frieze carved with initials G R and dated 1765, raised on bracket feet 155cm wide, 92cm high, 63cm deep

£300-500

35 GEORGIAN OAK SETTLE 18TH CENTURY the triple panel back fitted with a central hinged panel for use as a table, above a hinged plank flanked by open arms, on a panelled box base 187cm wide, 150cm high, 48cm deep

£800-1,200

36 SET OF OAK JOINT STOOL STEPS EARLY 19TH CENTURY the panel top above a single tread and ring turned supports joined by peripheral stretchers 47cm wide, 54cm high, 47cm deep

£600-800

37 OAK LIVERY CUPBOARD 18TH CENTURY the moulded cornice above a pair of panel doors enclosing shelves, on block feet 139cm wide, 188cm high, 38cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

38 GEORGIAN OAK DRESSER 18TH CENTURY the enclosed plate rack with a moulded cornice on a base with three short panel drawers above a pair of pointed arch moulded panel doors divided by a bank of three short drawers, on stile feet 157cm wide, 208cm high, 55cm deep

£1,500-2,500

39 SET OF THREE LARGE AMBER GLASS APOTHECARY BOTTLES EARLY 19TH CENTURY of onion form, with painted labels for ‘AQ. LAVAND/ 48’, ‘A. LAVAND.M./64’, and ‘A. PYROLIG.D/ 42’ (3) 30cm high

£1,500-2,500

40 GEORGE I OAK SPICE CABINET EARLY 18TH CENTURY the projecting cornice above a moulded panel door opening to an arrangement of small drawers, raised on bracket feet 41cm wide, 43cm high, 24cm deep

£300-500

41 APPRENTICE MADE MINIATURE OAK BUREAU 18TH CENTURY the slope front enclosing a covered well, pigeon holes and tambour compartment, above three long drawers flanked by fluted angles 44cm wide, 52cm high, 25cm deep Provenance: Property of an Edinburgh collector

£250-350 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

42 GEORGIAN OAK SIDE TABLE 18TH CENTURY the rectangular top with a moulded edge above a single long drawer, raised on square straight legs joined by peripheral stretchers 70.5cm wide, 74cm high, 42cm deep

£350-450

43 GEORGE III MAHOGANY WING ARMCHAIR LATE 18TH CENTURY the back with a serpentine top rail above a stuffover seat flanked by deep wings and scrolled arms, raised on square tapered legs with brass caps and castors joined by an H stretcher, covered in green plush upholstery 83cm wide, 119cm high, 54cm deep

£800-1,200

44 GEORGIAN OAK DRESSER LATE 18TH/ EARLY 19TH CENTURY the associated top with a moulded cornice above three open plate shelves; on a base with three short frieze drawers over a pair of graduated centre drawers flanked by panel door cupboards, raised on stile feet 175cm wide, 190cm high, 60cm deep

£600-800

45 GEORGIAN OAK MULE CHEST 18TH CENTURY the hinged top above a fielded panel front with a pair of short drawers to the base, raised on bracket feet 129cm wide, 77cm high, 60cm deep

£300-500

46 GEORGIAN OAK DRESSER LATE 18TH CENTURY, AND LATER the associated upper part with a moulded cornice above three shelves and cupboards; on a base with two short over two long drawers flanked by moulded panel doors, flanked and divided by fluted angles, raised on bracket feet 194cm wide, 202cm high, 56cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

47 GEORGE II MAHOGANY, PAINTED, AND PARCEL-GILT MIRROR 18TH CENTURY the fret carved cresting centred by Prince-of-Wales plumes, above a frieze panel painted with a floral still life, over a rectangular mirror plate in a gilt moulded slip 130cm high, 48cm wide

£700-1,000

48 GEORGE II MAHOGANY CARD TABLE SECOND QUARTER 18TH CENTURY the fold-over top with outset rounded corners, above a plain frieze, raised on lappet carved tapered legs ending in pad feet, opening to a green baize playing surface and counter wells 92cm wide, 72cm high, 44cm deep [closed]

£400-600

49 GEORGE II MAHOGANY DROP LEAF DINING TABLE MID 18TH CENTURY the oval top with drop leaf sides, raised on acanthus carved cabriole legs ending in claw and ball feet 130cm wide, 72cm high, 153cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

50 GEORGE II MAHOGANY BRASS BANDED WINE COOLER ON STAND MID 18TH CENTURY oval with brass bands and ring handles to the side, the interior compartmented, on a separate stand with chamfered legs 63cm wide, 33cm high, 48cm deep

£1,000-1,500

51 GEORGE III MAHOGANY KNEEHOLE DRESSING TABLE 18TH CENTURY the moulded rectangular top above a long frieze drawer and central kneehole with cupboard and apron drawer, flanked by three drawers to each side, raised on bracket feet 93cm wide, 79cm high, 51cm deep

£1,000-1,500

52 IRISH GEORGE II MAHOGANY DROP-LEAF DINING TABLE MID 18TH CENTURY the oval top with drop leaf sides above a frieze drawer to one end, raised on cabriole legs ending in hairy hoof feet 48cm wide, 156cm [open], 77cm high, 132cm deep

£1,000-1,500

53 GEORGE II MAHOGANY TRAY TOP TEA TABLE 18TH CENTURY the rectangular tray top above a plain frieze, raised on tapered cabriole legs ending in pad feet 75cm wide, 69cm high, 48cm deep

£600-800

54 GEORGE III MAHOGANY AND PAINTED CORNER CABINET 18TH CENTURY the upper part with a pair of panel doors opening to a green painted and parcel-gilt shelved interior with a large polychromed shell motif; the base with a further panel door opening to a shelf, all flanked by panelled angles and raised on block bracket feet 128cm wide, 225cm high, 65cm deep Provenance: Property of an Edinburgh collector

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

55 GEORGE III MAHOGANY AND PARCEL GILT-MIRROR, POSSIBLY IRISH 18TH CENTURY the shaped rectangular mirror plate in a moulded frame with pierced fretwork cresting centred by Prince-of-Wales plumes 109cm high, 60cm wide

£300-500

56 GEORGE III MAHOGANY CHEST-ON-CHEST 18TH CENTURY the key moulded cornice above a blind-fret frieze, over two short and three long drawers flanked by angles with further blind fret moulding; the base with three long graduated drawers, raised on bracket feet 108cm wide, 182cm high, 55cm deep

£500-700

57 GEORGIAN STYLE MAHOGANY SERPENTINE SERVING TABLE 19TH CENTURY the top with a moulded edge above along frieze drawer, raised on acanthus carved cabriole legs ending in pointed pad feet 109cm wide, 79cm high, 54cm deep

£600-800

58 GEORGE III MAHOGANY BUREAU 18TH CENTURY the featherbanded and matchbook veneered slope opening to an arrangement of pigeon holes and drawers, above four long graduated drawers, raised on ogee bracket feet 113cm wide, 106cm high, 63cm deep

£600-800

59 LATE GEORGE II MAHOGANY LARGE DROP LEAF DINING TABLE MID 18TH CENTURY the near circular top with drop sides, on six tapered legs ending in pad feet 182wide, 70cm high, 194cm deep Provenance: Property of an Edinburgh collector

£1,000-1,500

60 SET OF SIX GEORGIAN STYLE MAHOGANY DINING CHAIRS 19TH CENTURY in the Chippendale ‘Gothick’ style, with pierced splats above drop in seats raised on straight square legs joined by stretchers, the seat pads covered in rose fabric (6) 56cm wide, 98cm high, 40cm deep

£400-600

61 GEORGE III MAHOGANY WING ARMCHAIR LATE 18TH CENTURY the wide back with a serpentine top rail above a loose cushion seat flanked by scrolled wings and arms, raised on straight legs joined by stretchers; covered in gold and burgundy cut velvet upholstery 83cm wide, 111cm high, 50cm deep

£400-600

62 GEORGE III MAHOGANY ARCHITECT’S CHEST OF DRAWERS 18TH CENTURY the banded hinged top with ratchet adjustment above a long drawer fitted with a leather writing slope, over three further long graduated drawers, on bracket feet with brass handles to the sides 95cm wide, 83cm high, 53cm deep

£1,000-1,500

63 LATE GEORGE III MAHOGANY CHEST OF DRAWERS LATE 18TH CENTURY the top with a moulded edge above two short and three long graduated drawers flanked by reeded angles, raised on bracket feet 117cm wide, 94cm high, 52cm deep

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

64 FOUR GEORGIAN OPAQUE-TWIST STEM WINE GLASSES MID 18TH CENTURY all raised on double-series opaque-twist stems, comprising a near pair of ‘Lynn’ wine glasses, 14cm and 13.5cm high; and two glasses with moulded bowls, 14.5cm high (4) £400-600

65 FOUR GEORGIAN WHEEL-ENGRAVED WINE GLASSES MID-LATE 18TH CENTURY comprising two glasses with ogee bowls and opaque-twist stems, one decorated with fruiting vines, the other with latticework, 14cm and 13cm high; and a pair of small wine glasses, engraved with flowers, on faceted stems, 11.5cm high; together with an UNUSUAL GIN OR WINE GLASS, with a trumpet bowl on a slender opaque-twist stem, 12.5cm high (5) £300-500

66 FIVE TWIST-STEM WINE GLASSES MID-LATE 18TH CENTURY all with bell-shaped bowls, comprising two Dutch examples, with red enamel double-series twist stems, 16cm and 15.5cm high; a pair of air-twist stem glasses, 17cm high; and an opaque double-series twist stem glass, 16.5cm high (5) £400-600

67 FOUR GEORGIAN OPAQUE-TWIST STEM GLASSES MID-LATE 18TH CENTURY comprising a pair of ale glasses, with double-series twists, 17cm high; an ogeebowled wine glass, 14.5cm high; and a sweetmeat glass, with double-ogee bowl and double-series twist, on a domed and folded foot, 15.5cm high (4) £300-500

68 SIX GEORGIAN OPAQUE TWIST WINE GLASSES MID-LATE 18TH CENTURY with round funnel and ogee bowls, with double-series twist stems (6) Largest 15cm high

£400-600

69 SIX GEORGIAN OPAQUETWIST STEM WINE GLASSES MID-LATE 18TH CENTURY all with round-funnel bowls, two with single-series twists, and four with double-series twists (6) Largest 16cm high

£500-700

70 THREE LARGE VICTORIAN WHEEL-ENGRAVED RUMMERS 19TH CENTURY comprising two glasses with rounded bowls, each depicting Windsor Castle, a ship and Royal Coats of Arms, dated 1851, 13.5cm high; and a bucket-bowled glass engraved WILLIAM HILTON/ PPGM/ WIGAN DISTRICT/ 1837, depicting Faith, Hope and Charity, with the motto ‘Amicitia Amor et Veritas’, 16.5cm high (3) £400-600

71 SET OF TEN DUTCH OPAQUE-TWIST STEM WINE GLASSES MID-LATE 18TH CENTURY with bell bowls and knopped stems (10) 17cm high

£600-800

72 SET OF SIX DUTCH RED-ENAMEL TWIST-STEM WINE GLASSES MID 18TH CENTURY with bell bowls above red and white enamel knopped twist stems (6) 16.5cm high

£500-700

73 PAIR OF LARGE VENETIAN CRESTED GLASS CANDLESTICKS 20TH CENTURY with everted nozzles engraved with leaves, above large drip trays, raised on slender stems with twisted knops, the folded feet engraved with the Spencer family crest (2) 32.5cm high

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

74 Y GEORGE III MAHOGANY WORK TABLE LATE 18TH CENTURY the banding hinged top opening to a fabric lined void interior, the front with two dummy drawers over a base drawer with ivory escutcheons, raised on slender square tapered legs joined by an X stretcher outlined with stringing 42.5cm wide, 77cm high, 28cm deep

£600-800

75 NEAR PAIR OF GEORGE III MAHOGANY NIGHT COMMODES 18TH CENTURY the tray tops above tambour fronts and slide out shallow drawers, raised on square chamfered legs (2) 50cm wide, 80cm high, 44cm deep; and 48.5cm wide, 80cm high, 43cm deep

£2,500-3,500

76 GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS LATE 18TH CENTURY the crossbanded top with a serpentine front above a brushing slide and four long graduated drawers, raised on bracket feet 87cm wide, 87cm high, 51cm deep

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

77 78 GOOD GEORGE III MAHOGANY AND INLAY BUTTERFLY PEMBROKE TABLE 18TH CENTURY the shaped top with a moulded edge above a serpentine frieze drawer to one end, a dummy drawer opposing, raised on slender reeded square tapered legs headed by inlaid fan medallions and ending in foliate carved feet with brass caps and castors 51cm wide, 92cm [open], 72cm high, 74cm deep

£1,200-1,800

79 GEORGE III MAHOGANY SUPPER TABLE, POSSIBLY IRISH 18TH CENTURY the rectangular top with drop sides above a frieze drawer fitted with a baize slide, over a pair of concave moulded doors opening to a void interior, raised on chamfered square legs ending in brass caps and castors 110cm (open), 60cm (closed), 75cm high, 68cm deep

£1,500-2,500

GEORGE III MAHOGANY SIDE CHAIR 18TH CENTURY in the Chippendale style, the serpentine top rail above a pierced and carved splat and wide stuff-over seat covered in yellow damask with close nail trim, raised on square straight legs joined by stretchers and with leather castors 59cm wide, 96cm high, 43cm deep

£600-800

80 GEORGIAN STYLE MAHOGANY BUTLER’S TRAY-ON-STAND 20TH CENTURY with a serpentine gallery with cut out handles to the sides, on a stand with square legs

81 GEORGE III MAHOGANY TRIPOD TEA TABLE

65cm wide, 55cm high, 46cm deep

18TH CENTURY

£400-600

the circular dished tilt top with a moulded edge, on a baluster column with cabriole legs ending in slipper feet 60.5cm wide, 69.5cm high, 59.5cm deep

£500-700

82 GEORGE III MAHOGANY DOWER CHEST MID 18TH CENTURY the hinged top with a moulded edge, open to a void interior, with brass handles on the sides and raised on ogee bracket feet 128cm wide, 74cm high, 65cm deep

£400-600

83 GEORGE III EBONISED BRACKET CLOCK, THOMAS HINE, LONDON LATE 18TH CENTURY the bell top case with a brass handle above a break-arch dial plate with a silvered chapter ring with Roman and Arabic numerals, enclosing a signed aperture ‘Thomas Hine/ Fleet Street/ LONDON’, and a date aperture, with a subsidiary STRIKE/SILENT dial to the arch, pierced brass spandrels; the eight-day movement striking a bell, with verge escapement and bobpendulum, the engraved backplate signed Thos. Hine./ LONDON., on a moulded plinth base 26cm wide, 45cm high, 19cm deep Provenance: Estate of the late Col. H.J. Gillman

£1,500-2,500

84 GEORGE III SATINWOOD, GONCALO ALVES, AND BURR YEW TRAY LATE 18TH CENTURY the oval tray with a chequer gallery and banding centred by a shell motif medallion 60cm wide, 40.5cm deep

£300-500

85 GEORGIAN STYLE MAHOGANY AND INLAID CUTLERY URN LATE 19TH CENTURY the rising lid with a turned finial, enclosing a fitted interior, raised on a square plinth with ogee bracket feet 73cm high, 32cm diameter

£300-500

86 TWO GEORGIAN MAHOGANY BRASS BANDED BUCKETS 18TH CENTURY both with brass bands to the bodies, the larger with a bale handle (2) 36cm diameter, 37cm high; and 35cm diameter, 23cm high Provenance: Estate of the late Col. H.J. Gillman

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

87 GEORGE III MAHOGANY TRIPOD WINE TABLE

88 GEORGE III MAHOGANY BOOKCASE CABINET

18TH CENTURY

the circular top on a slender ringturned baluster support, on tripod legs ending in pointed pad feet

the dentil moulded cornice above a pair of moulded doors marks at the corners with carved roundels opening to adjustable shelves; the projecting base with a reeded edge above a slide and pair of moulded panel doors, raised on shaped bracket feet

35cm diameter, 65cm high

£300-500

129cm wide, 77cm high, 60cm deep

£1,200-1,800

89 LATE GEORGE III MAHOGANY BOTTLE STORE ON STAND LATE 18TH CENTURY the crossbanded domed hinged top opening to a void interior, on a stand with square tapered legs outlined with stringing and ending in brass castors 38cm wide, 58cm high, 28cm deep

£400-600

90 GEORGE III MAHOGANY TRAY TOP WINE TABLE, POSSIBLY IRISH 18TH CENTURY the rectangular trap top with a shaped edge, on a tapered column with spiral carved knop and base, raised on tripod legs ending in slipper feet 44cm wide, 64cm high, 39cm deep

£500-700

91 SET OF FOUR GEORGE III MAHOGANY DINING CHAIRS 18TH CENTURY over pierced baluster splats centred by carved flower heads, above stuff-over seats raised on channel moulded square legs joined by H stretchers; covered in wine red herringbone fabric (4) 52cm wide, 95cm high, 39cm deep

£400-600

92 GEORGE III MAHOGANY BRASS BANDED OCTAGONAL WINE COOLER ON STAND 18TH CENTURY the hinged top opening to a lined void interior, with brass bands and carrying handles, on a separate stand with square tapered legs with brass caps and castors 48cm diameter, 69cm high

£700-1,000

93 LATE GEORGE III MAHOGANY BEDSIDE COMMODE LATE 18TH CENTURY the shaped rectangular top with a moulded edge above a frieze drawer over a pair of concave cupboard doors, the base fitted with a slide and dummy drawers, raised on tall slightly splayed legs 59cm wide, 83cm high, 46cm deep

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

94 IRISH GEORGE III MAHOGANY TRIPOD TEA TABLE 18TH CENTURY, LATER ALTERED the turning circular tray top with a rope-twist edge, on a fluted and spiral carved baluster column with acanthus carved cabriole legs ending in pointed pad feet 50cm diameter, 79cm high

£400-600

95 GEORGE III MAHOGANY LONGCASE CLOCK, E. HAER, WINCHESTER EARLY 19TH CENTURY the silvered dial with Roman numeral chapter and subsidiary seconds dial, signed ‘E. Haer/ Winchester’, with one winding hole, the hood with a Gothic style pierced gallery, above a glazed trunk door on a plinth base 44cm wide, 187cm high, 23cm deep

£1,200-1,800

96 GEORGE III MAHOGANY WING ARCHAIR LATE 18TH CENTURY the arched back above a loose cushion seat flanked by deep wings and scrolled arms, raised on moulded tapered legs with later ceramic castors; covered in crimson silk cut velvet 76cm wide, 116cm high, 52cm deep

£400-600

97 GEORGE III MAHOGANY LAMP TABLE 18TH CENTURY the rectangular top above a long frieze drawer, raised on square chamfered legs with brass castors 62cm wide, 74cm high, 49cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

98 GEORGIAN STYLE MAHOGANY CHINA DISPLAY CABINET-ON-STAND 19TH CENTURY the inverted breakfront cornice with key moulding, above astragal glazed doors flanked and divided by fluted pilasters, enclosing shaped shelves, the centre section with three short drawers; the projecting base with a bead moulded edge over two frieze drawers and a dummy drawer, raised on square blind fret carved legs with pierced corner brackets and joined by a shaped undertier, on block feet 228cm wide, 215cm high, 69cm deep

£2,500-3,500

99 GEORGE III MAHOGANY BREAKFRONT BOOKCASE LATE 18TH CENTURY the moulded cornice above glazed doors with pointed arch astragals, enclosing adjustable shelves, the lower part with short frieze drawers over panel moulded doors enclosing further shelves, on a conforming plinth base 223cm wide, 260cm high, 52cm deep Provenance: Property of an Edinburgh collector

£2,000-3,000

100 GEORGIAN STYLE CHANNEL-BACK RED LEATHER WING ARMCHAIR EARLY 20TH CENTURY the curved channel-back above a cushion seat in red leather with close nail head trim, raised on square tapered legs with brass castors 75cm wide, 105cm high, 56cm deep

£1,200-1,800

101 FINE GEORGE III STYLE WALNUT PEDESTAL DESK 19TH CENTURY the rectangular top with a thumbnail moulded edge and a brown leather insert with gilt tooled border, above three frieze drawers, raised on banks of three graduated short drawers with cupboards opposing, on plinth bases with castors 145cm wide, 78cm high, 85cm deep

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

102 GEORGE III MAHOGANY AND BRASS BANDED WINE COOLER-ON-STAND 18TH CENTURY the hinged circular top with a moulded edge above a slightly tapered body with brass bands and handles and tap hole, opening to a lead-lined and compartmented interior, on a separate stand with slender ring-turned legs and pierced corner brackets joined by a turned cross stretcher 45cm diameter, 89cm high Provenance: Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£1,000-1,500

103 GEORGIAN STYLE MAHOGANY SUPPER TABLE 19TH CENTURY the shaped circular top with eight dish reserves and acanthus carvings, on a birdcage support and tripod base ending in dolphin feet 74cm diameter, 73cm high Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.

£400-600

104

105

PAIR OF GEORGE III MAHOGANY CRESTED HALL CHAIRS

LATE GEORGE III MAHOGANY WHATNOT CABINET

18TH CENTURY

LATE 18TH CENTURY

the shaped backs with rectangular channel moulded tops centred with turned roundels above lyre form panels with further scrolling channel moulding enclosing cartouches painted with crests, above wide seats raised on ring-turned tapered forelegs headed by turned roundels, and outswept rear legs (2)

the square top with a moulded edge and turned finials marking the corners, above an open fretwork frieze with circular mouldings, raised on turned supports above a base with a drawer and moulded panel cupboard and similarly moulded side panels, raised on short turned feet with brass castors

50cm wide, 95cm high, 52cm deep

£1,500-2,000

48.5cm wide, 148cm high, 48.5cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

106 SET OF SIX GEORGE III SHIELD-BACK DINING CHAIRS LATE 18TH CENTURY in the Hepplewhite style, the shield backs centred by Prince of Wales plumes, above drop-in seats with needlework covers, raised on channel moulded square tapered legs joined by stretchers; to include five side chairs and an armchair (6) Armchair 57cm wide, 102cm high, 45cm; side chair 51cm wide, 99cm high, 41cm deep

£800-1,200

107 LATE GEORGE III MAHOGANY PEDESTAL DINING TABLE EARLY 19TH CENTURY the rounded rectangular tilt top with a reeded edge, on a turned column support and four hipped reeded legs ending in brass caps and castors 153cm wide, 113cm deep

£500-700

108 GEORGE III MAHOGANY LINEN PRESS LATE 18TH CENTURY the dentil moulded cornice above a pair of panel doors opening to sliding trays; the base with two short over two long drawers, raised on shaped bracket feet 127cm wide, 207cm high, 61cm deep Provenance: Dalbhan, Loch Linnhe, Argyllshire. Gifted to the Bishop of Argyll and the Isles in 1904 on the occasion of his marriage.

£600-800

109 GEORGIAN MAHOGANY BANDED HANGING SHELVES LATE 18TH/ EARLY 19TH CENTURY with two shelves and base with drawers outlined with banding, the centre sections of bowfront outline 154cm wide, 98cm high, 22cm deep

£400-600

110 GEORGE III MAHOGANY AND SATINWOOD INLAID DEMILUNE CARD TABLE LATE 18TH CENTURY the crossbanded fold-over top inlaid with a wavy fan medallion and penwork sunflower motif, opening to a baize lined surface, raised on square tapered legs outlined with stringing and ending in spade feet 91cm wide, 74cm high [closed]

£400-600

111 LATE GEORGE III MAHOGANY LINEN PRESS LATE 18TH CENTURY the cavetto moulded cornice above a pair of panel doors with ebony stringing opening to three sliding trays; on a base with two short over two long drawers and a shaped apron, raised on bracket feet 129cm wide, 202cm high, 56cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

112 GEORGE III MAHOGANY SERPENTINE SERVING TABLE LATE 18TH CENTURY with a platform back above a serpentine top and plain frieze, raised on square tapered legs on shaped block feet 147cm wide, 94cm high, 64cm deep

£1,200-1,800

113 ASSEMBLED SET OF THIRTEEN GEORGIAN STYLE MAHOGANY DINING CHAIRS LATE 18TH CENTURY AND LATER comprising a set of seven period chairs and a set of six similar chairs of a later date, with bar backs above double curved X form back stretchers, on square tapered legs, some with drop-in seats, the other with stuffover seats, all covered in green fabric (13) Armchair 53cm wide, 87cm high, 46cm deep Provenance: Property of an Edinburgh collector

£700-1,000

114 GEORGE III MAHOGANY BOWFRONT SIDEBOARD LATE 18TH CENTURY

115 LATE GEORGE III MAHOGANY BOWFRONT CHEST OF DRAWERS LATE 18TH/ EARLY 19TH CENTURY the bowfront top above a brushing slide and three long graduated drawers with brass handles embossed with a sphynx and pyramid, raised on French bracket feet 100cm wide, 91cm high, 49cm deep

£600-800

the crossbanded top above a central drawer and arched recess with tambour door, flanked by two drawers and deep drawer, raised on square tapered legs ending in spade feet 147cm wide, 90cm high, 59cm deep

£800-1,200

116 Y LATE 18TH CENTURY ENGLISH SCHOOL, PORTRAIT MINIATURE OF LADY SAID TO BE LADY BLESSINGTON oval, watercolour and body colour on ivory, the sitter with dark hair worn in loose curls around her face, pulled to the back and down her left shoulder, in a white chemise gown with neck scarf and black lace wrap, in an ebonised frame; paper label verso ‘Lady Blessington/ C. Freid [?] 7.5cm x 6cm excluding frame

£250-350

117 Y GEORGIAN IVORY SILVER MOUNTED SNUFF MULL 18TH CENTURY the slightly waisted body with silver band and hinged cover centred by an oval medallion monogrammed ‘DB’ 5cm wide, 6cm high, 4.5cm deep

£300-500

118 TWO GEORGIAN MOTHER-OF-PEARL SNUFF BOXES 18TH CENTURY the first in form of a shell, the lid carved in relief with a sitting dog with an upturned basket; the other of canted rectangular form, silver mounted with a central medallion monogrammed PJ, incised with floral motifs and dot borders; the second 6cm and 4cm deep (2) 6cm wide, 4cm deep; and 6.5cm wide, 3cm high, 4.5cm deep Provenance: Property of an Edinburgh collector

£300-500

119 Y SCOTTISH SILVER MOUNTED IVORY AND HORN SNUFF MULL 18TH CENTURY the hinged cover mounted with a cushion cut quartz gemstone; together with a CARVED LABURNUM AND IVORY ‘MONKEY HEAD’ SNUFF MULL, with glass eyes and ivory teeth (2) 4.5cm wide, 4.5cm high, 4cm deep; monkey 6.5cm long

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

120 Y GEORGE III IVORY, GOLD AND TORTOISESHELL TEA CADDY LATE 18TH CENTURY of decahedron form with a hinged lid, the front panel inset with an oval portrait miniature of two ladies on a settle, the corners set with piqué work, opening to a velvet-lined void interior 15.5cm wide, 15.5cm high, 8.5cm deep

£500-700

121

122

GEORGE III STAINED FRUITWOOD MELONFORM TEA CADDY

DATED BOW TEAPOT AND COVER

LATE 18TH CENTURY with an ebonised acorn finial and turned foot, opening to a void interior 21cm high

£600-800

CIRCA 1766 of globular form, the loop handle with a heart shaped terminal; painted with ‘fancy birds’ on a scale blue ground; underglaze blue crossed swords, the base inscribed in iron red and gilt ‘Mr. S. G, 1766’; together with a CONTINENTAL WORCESTER STYLE TEA CADDY AND COVER with similar ‘fancy birds’ decoration, blue square mark (2) Teapot 14cm high; caddy 13cm high

£300-500

123 LATE GEORGE III MAHOGANY CANTERBURY EARLY 19TH CENTURY with three divisions, two with removable inner frames above a wavy apron and tapered legs ending in brass caps and castors 51cm wide, 43cm high, 36cm deep

£400-600

124 GEORGE III MAHOGANY ARMCHAIR 18TH CENTURY in the Hepplewhite style, the shaped padded back above part padded arms and a wide serpentine stuff-over seat, raised on shell carved cabriole legs; covered in peach plush upholstery 65cm wide, 90cm high, 48cm deep

£400-600

125 GEORGE III MAHOGANY SERVING TABLE 18TH CENTURY the rectangular top above a moulded plain frieze, raised on chamfered straight legs with pierced corner brackets 131cm wide, 81cm high, 55cm deep

£1,000-1,500

126 LATE GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS LATE 18TH CENTURY the serpentine top with canted forecorners, above four long graduated drawers over a shaped apron, raised on French bracket feet 100cm wide, 88cm high, 53cm deep

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

127 GEORGE III MAHOGANY KETTLE STAND LATE 18TH CENTURY the square gallery top above a slide raised on slightly splayed square legs joined by scrolled X stretchers, ending in block feet with brass castors 29cm wide, 61cm high, 29cm deep

£800-1,200

128 SET OF GEORGIAN STYLE MAHOGANY QUARTETTO TABLES EARLY 20TH CENTURY the top outlined with cockbeading, raised on turned slender legs joined by curved rear stretchers on trestle bases with splayed feet 56cm wide, 69cm high, 35cm deep

£800-1,200

129 PAIR OF GEORGE III MAHOGANY BEDSIDE COMMODES LATE 18TH CENTURY the crossbanded tops with threequarter galleries above bowfront tambour doors, one with a pair of crossbanded drawers below, the other with a deep drawer, raised on French bracket feet (2) 52cm wide, 77cm high, 48cm deep

£1,200-1,800

130 Y LATE GEORGE III MAHOGANY BOWFRONT CHEST OF DRAWERS LATE 18TH/ EARLY 19TH CENTURY the top with a moulded edge above four long graduated drawers with ivory escutcheons, above a shaped apron and raised on French bracket feet 95cm wide, 95cm high, 58cm deep

£600-800

131 PAIR OF GEORGIAN STYLE GILTWOOD MIRRORS, IN THE MANNER OF JOHN LINNELL 19TH CENTURY the shaped mirror plates in rococo style frames carved with foliate scrolls, laurel garlands, and surmounted by shell finials (2) 110cm high, 37cm wide

£400-600

132 LATE GEORGE III GILTWOOD TORCHERE 19TH CENTURY the circular top above a pendant urn and tripartite supports with lion masks and monopodia, on a shaped circular base with rams’ masks and laurel swags 35cm diameter, 122cm high

£400-600

133 REGENCY SATINWOOD, MAHOGANY AND TULIPWOOD PEDESTAL PEMBROKE TABLE LATE 18TH CENTURY the rounded rectangular banded and crossbanded top with drop leaf sides, on a tapered column support and outswept legs ending in brass caps and castors 86cm wide, 69cm high, 50cm deep [100cm open]

£500-800

134 SCOTTISH GEORGE III MAHOGANY, SATINWOOD, AND INLAY TEA TABLE LATE 19TH CENTURY the banded octagonal top with flower head inlay, above a frieze drawer, and raised on square tapered legs outlined with line and dot inlay and ending on spade feet 101cm wide, 76cm high, 50cm deep Provenance: Property of an Edinburgh collector

£400-600

135 GEORGE III SATINWOOD, KINGWOOD, AND BRASS SECRETAIRE BOOKCASE LATE 18TH CENTURY the central cornice surmounted by a flaming urn finial flanked by scrolled brackets, above a pair of brass grille lined doors backed with blue pleated fabric, flanked by side cabinets, all enclosing adjustable shelves; the base with three frieze drawers, the centre drawer fitted with a ratchet adjusted writing slope, raised on square tapered legs inlaid with faux fluting and patera and joined by a shaped undertier, ending in spade feet 124cm wide, 230cm high, 56cm deep Provenance: Property of a Lady of Glasgow

£3,000-5,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

136 GEORGE III MAHOGANY ARMCHAIR 18TH CENTURY the curved back and stuffover seat covered in red damask outlined in brass stud trim, the arms with moulding facings and raised on fluted tapered legs headed by flower carved corner blocks 57cm wide, 81cm high, 47cm deep

£400-600

137 GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS LATE 19TH CENTURY the serpentine top with outset rounded corners, above four long graduated drawers flanked by reeded columns, raised on turned and tapered feet 111cm wide, 92cm high, 57cm deep

£1,200-1,800

138 GEORGIAN STYLE MAHOGANY SOFA EARLY 20TH CENTURY the squared back above a padded seat flanked by enclosed arms with baluster terminal supports, in a reeded frame and raised on tapered reeded legs, covered in a yellow neoclassical print fabric 179cm wide, 84cm high, 55cm deep Provenance: Property of an Edinburgh collector

£700-1,000

139 PAIR OF GEORGE III CARVED GILTWOOD GIRANDOLE MIRRORS, IN THE MANNER OF THOMAS JOHNSON MID 18TH CENTURY the asymmetrical shaped mirror plates enclosed by frames carved with rocaille, acanthus scrolls, and a pair of ho-ho birds, each frame issuing a pair of acanthus leaf carved candle branches fitted with later metal candle nozzles (2) 139cm high, 65cm wide Provenance: Sotheby’s, London, 14 November 1980, lot 54, where purchased by the vendor’s family and thence by descent

£15,000-20,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

140 GEORGE III MAHOGANY BRASS BANDED CELLARETTE ON STAND 18TH CENTURY of oblong octagonal form with lion mask handles to the sides, the hinged top opening to a compartmented interior, on a separate stand ending in brass caps and castors 64cm wide, 63cm high, 41cm deep

£400-600

141 SET OF EIGHT GEORGIAN STYLE SHIELD-BACK MAHOGANY DINING CHAIRS 20TH CENTURY to include six side chairs and a pair of armchairs, the backs carved with Prince-of-Wales plumes, the seats with needlework covers (8) Armchair 53cm wide, 92cm high, 44cm deep

£500-700

142 GEORGE III MAHOGANY PEDESTAL CUPBOARD LATE 18TH CENTURY the rectangular top above a single panel door flanked by reeded pilasters headed by carved rosettes, on a moulding plinth base 69cm wide, 100cm high, 51cm deep

£1,000-1,500

143 GEORGIAN MAHOGANY BUTLER’S TRAY ON STAND LATE 18TH/ EARLY 19TH CENTURY; THE STAND LATER the oval tray with quarter veneered top and hinges sides, on a later fixed stand with channel moulded legs joined by an H stretcher 88cm wide, 48cm high, 63cm deep

£500-700

144 GEORGE III MAHOGANY ARMCHAIR LATE 18TH CENTURY in the Hepplewhite style, the moulded arched top rail above a pierced vase shaped splat, above a serpentine drop-in seat flanked by scrolled arms, raised on channel moulded tapered square legs joined by stretchers, the seat pad covered in green damask 56cm wide, 97cm high, 44cm deep

£500-700

145 GEORGIAN STYLE MAHOGANY PEDESTAL DESK LATE 19TH CENTURY the top with a three-section black leather skiver above three frieze drawers, raised on banks of three drawers, the reverse plain, on plinth bases 152cm wide, 76cm high, 78cm deep

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

146 Y GEORGE III MAHOGANY, ROSEWOOD, AND MARQUETRY BIJOUTERIE TABLE 18TH CENTURY, LATER ADAPTED the hinges divided top opening to a glazed red plush lined lift-out display tray, with a further tray below, above a baize lined slide and pair of short drawers, the whole inlaid with flower bouquets, garlands, and foliate trails 66cm wide [closed] 81cm high, 55cm deep

£1,500-2,000

147 SET OF EIGHT GEORGE III MAHOGANY DINING CHAIRS LATE 18TH CENTURY with ‘brander’ backs above drop in seats, raised on square tapered legs joined by peripheral stretchers; to include six side chairs and a pair of armchairs (8) Armchair 53cm wide, 83cm high, 43cm deep; side chair 49cm wide, 84cm high, 39cm seat 46cm high

£600-800

148 LATE GEORGE III MAHOGANY AND INLAY TEA TABLE LATE 18TH CENTURY the shaped fold-over D top inlaid with feather banding, above central frieze drawer with an inlaid shell medallion, raised on square tapered legs 99cm wide, 73cm high, 49cm deep

£300-500

149 GEORGE III MAHOGANY KETTLE STAND LATE 18TH CENTURY the oval top with a wavy gallery above a frieze with a cup slide, raised on square tapered legs, with a paper label ‘J. Surtees’ 32cm wide, 73cm high, 24cm deep Provenance: Jeanetta Surtees [née Smith] Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£500-700

150 LATE GEORGE III MAHOGANY AND EBONY CYLINDER DESK LATE 18TH/ EARLY 19TH CENTURY the cylinder front opening to an interior fitted with pigeon holes and drawers, above a baize lined slide with a ratchet adjustable slope, over two short and one long drawer, raised on square tapered legs with brass caps and castors 71cm wide, 102cm high, 51cm deep

£1,500-2,000

151 GEORGIAN MAHOGANY AND INLAID SERPENTINE STAGEBACK SIDEBOARD LATE 18TH CENTURY the serpentine stageback with tambour doors above a central long drawer flanked by a deep cellarette drawer and pair of drawers, raised on square tapered legs ending in block feet, outlined with stringing and with harebell and flowering urn inlay 188cm wide, 112cm high, 68cm deep

£700-1,000

152 LATE GEORGE III MAHOGANY READING TABLE, BY GILLOWS OF LANCASTER LATE 18TH/ EARLY 19TH CENTURY the ratchet adjusted top with a brown leather skiver, moulded edge, and book rest, above two short drawers with dummy drawers opposing, raised on square tapered legs ending in brass caps and castors, stamped in the drawer GILLOWS LANCASTER 60cm wide, 77cm high, 42cm deep

£1,500-2,500

153 SCOTTISH GEORGE III MAHOGANY DEMILUNE TEA TABLE LATE 18TH/ EARLY 19TH CENTURY the fold-over top outlined with stringing above a central frieze drawer, raised on square tapered legs ending in spade feet outlined with further line and dot inlay, opening on double gatelegs 101cm wide, 73cm high, 48cm deep [closed]

£400-600

154 LATE GEORGE III MAHOGANY, GONCALO ALVES, MARQUETRY AND PENWORK CYLINDER BUREAU LATE 18TH CENTURY the top with a pierced brass gallery above a cylinder front opening to an interior with pigeon holes, drawers, and a brown leather slide, above a long frieze drawer, raised on square tapered legs ending in brass caps and castors; the whole with scrolling foliate, flowering cornucopia, and harebell trails inlay 108cm wide, 107cm high, 62cm deep

£2,500-3,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

155 GEORGE III MAHOGANY INVERTED SECRETAIRE PRESS CUPBOARD 18TH CENTURY the dentil moulded cornice above a blind-fret carved frieze, over two short and four long drawers, the bottom drawer fitted as a secretaire with pigeon holes and drawers; on a base with a pair of moulded panel doors marked at the corners with carved flower heads, opening to three sliding trays, raised on bracket feet 121cm wide, 186cm high, 64cm deep

£5,000-7,000

156 GEORGIAN STYLE MAHOGANY AND SATINWOOD BANDED LINEN PRESS LATE 19TH CENTURY the moulded cornice above a pair of oval panel doors opening to sliding trays, on a base with two short over two long drawers, on French bracket feet 132cm wide, 206cm high, 64cm deep

£600-800

157 LATE GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS EARLY 19TH CENTURY with three long drawers above a shaped apron, raised on French bracket feet 110cm wide, 94cm high, 62cm deep Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

158 PAIR OF GEORGE III MAHOGANY ARMCHAIRS 18TH CENTURY in the Hepplewhite taste, the oval medallion backs above wide seats flanked by part-padded arms on husk carved supports, raised on square tapered fluted legs ending in brass caps and castors; one in green damask, the other dark green plush upholstery (2) 59cm wide, 95cm high, 48cm deep

£800-1,200

159 LATE GEORGE III MAHOGANY HUNT TABLE, IN THE MANNER OF GILLOWS LATE 18TH/ EARLY 19TH CENTURY the demi-lune top with a reeded edge and hinged drop leaves to the back, the centre with a lift-out panel, raised on reeded tapered legs ending in brass caps and castors 151cm wide, 72cm high, 76cm deep Provenance: Estate of the late Col. H.J. Gillman

£3,000-5,000

160 GEORGIAN STYLE MAHOGANY PARTNER’S DESK 19TH CENTURY the top with a green leather and gilt tooled skiver, above three frieze drawers, the same on the reverse, raised on banks of three short drawers with cupboards to the reverse, on plinth bases with castors 152cm wide, 80cm high, 98cm deep

£1,500-2,500

161 PAIR OF GEORGE III SATINWOOD AND MARQUETRY DEMILUNE CONSOLE TABLES, ATTRIBUTED TO THOMAS CHIPPENDALE CIRCA 1760 the semi-elliptical tops inlaid with fan medallions and wide bands of leaves and anthemion, enclosed by narrow borders of anthemion and leaves separated by inlaid dot banding, the edges in Greek key, above friezes inlaid with conjoined floral paterae between carved leaf tip moulding and Vitruvian scroll inlay, raised on slender square tapering legs headed by carved elliptical paterae and inlaid with pendant husk trails ending in crisp laurel leaf carved square toupie feet (2) 115cm wide, 91cm high, 48cm high Provenance: Purchased Arthur S. Vernay, Inc., New York, 1920s The Collection of Mrs. John Rovensky, sold Sotheby’s New York, 26 January 1957, lot 632 Sotheby’s London, 3 June 1977, lot 137, where purchased by the vendor’s family and thence by descent Literature: Gilbert, Christopher The Life and Work of Thomas Chippendale, pp. 201-2, 215 Mauchline, Mary Harewood House, One of the Treasure Houses of Britain, pp. 86-103 Vernay, Arthur Stannard Decorations and English Interiors, 1927

£70,000-90,000

This pair of demilune console tables with their fine inlay

what appears to be gilding on the carved feet and the carved

and marquetry details demonstrate the Neoclassical

paterae heading the legs. When the tables appeared at

influence gaining in popularity in the second half of the

Sotheby’s in 1977, they were then attributed to Chippendale,

18 century. While deceptively simple in appearance, they

an attribution that remains today.

are of exceptional quality and workmanship. Utilising a design vocabulary based on Greek and Roman antiquity, they eschew the extravagant excesses of the Rococo. Gone are the curvilinear outlines and scrolling embellishments, replaced with ordered repetition and symmetry. The tables bear design similarities to the famed library table by Thomas Chippendale, made for Harewood House, and commissioned by Edwin Lascelles, 1st Baron Harewood, and now in the collection at Temple Newsam. What is most directly related is the marquetry design of the frieze, with its repeat pattern of linked paterae, interspersed with further elliptical carved paterae. In the Parke-Bernet Rovensky sale catalogue of 1957, the tables are listed as ‘parcel-gilded’, however there is no mention of gilding when they re-emerge for sale at Sotheby’s, London, thirty years later. An examination of the black and white image from the 1957 catalogue shows

The New York socialite and heiress Mrs. Mae Manwaring Plant Hayward Rovensky [née Caldwell] was married four times, and was one of the richest women in the United States, with homes in New York City; Newport, Rhode Island; Palm Beach, Florida; Hartford, Connecticut; and Groton, New York. A woman of considerable charm, wit, and beauty, she famously persuaded her second husband Morton F. Plant, to negotiate the sale of their lavish Italian Renaissance Revival mansion on East 52nd Street and Fifth Avenue with Pierre Cartier for a rare double strand of one hundred and twentyeight natural pearls. Maisie, as she was called, and Morton moved to their new, larger Italian Renaissance Revival mansion on East 89th Street and Fifth Avenue, and Cartier turned the 52nd Street mansion into the landmark Cartier New York headquarters and showroom, where it continues to this day.

As well as a lover of fine jewels, Mrs. Rovensky was a

Arthur Stannard Vernay (1877-1960) was one of the most

collector of the fine and decorative arts, and would have

successful and influential dealers in English antiques in the

been well-known to all the top New York dealers. When she

United States in the first decades of the 20th century. An

died in 1956, Parke-Bernet conducted the sale of her estate

Englishman, Vernay was born Arthur Avant but changed his

over two weeks in January 1957, with specialist catalogues

name and came to America as a young man in 1904. By 1906

dedicated to paintings, jewellery, silver, furniture, porcelain,

he had opened his first shop in New York City, called Arthur

and works of art. The news of her death, and the auction of

S. Vernay, Inc. on East 45th Street, near Madison Avenue.

her estate, was covered in Time magazine, in a story entitled

From the 1920s he had moved premises to East 54th Street,

“At The End Of An Avenue”.

as well as having a shop in London at 217 Piccadilly, and a

The present pair of tables were offered in Part Two of the sale, which included the contents of Clarendon Court, Newport, and the final portion of the collection from 1051 Fifth Avenue, New York. Sold as lot 632, they are listed in the sale catalogue as a pair of ‘Hepplewhite’ demilune consoles, having been purchased from Arthur S. Vernay, Inc. New York. Based on the order of the sale and catalogue notes, it is believed the tables came from the Fifth Avenue mansion.

summer shop in Newport, Rhode Island. Catering to an elite clientele of New York clients, his roster of customers reads like a who’s who of early 20th century society with names like Vanderbilt, Guggenheim, and Morgan among others. Vernay retired from his eponymous antiques business in 1942, but it continued to operate, undergoing a name change in 1978 to Vernay & Jussel, and continued until 1994, when it ceased trading. Vernay’s extensive sales archives are in the Winterthur library.

162 PAIR OF GEORGIAN STYLE GILTWOOD MIRRORED HANGING SHELVES 20TH CENTURY in the Chippendale ‘Gothick’ style, the ogee arched tops above mirrored backs and shelves with fretwork galleries (2) 59cm wide, 112cm high, 13cm deep wide, Provenance: Property of a Lady of Glasgow

£800-1,200

163 GEORGE III MAHOGANY FOLD-OVER TEA TABLE 18TH CENTURY the rectangular top with a bead and leaf carved edge above a blind fret carved long frieze drawer, raised on chamfered straight legs 92cm wide, 74cm high, 45cm deep [closed]

£400-600

164 GEORGE III ‘CHINESE CHIPPENDALE’ MAHOGANY ARMCHAIR, IN THE MANNER OF THOMAS CHIPPENDALE MID 18TH CENTURY Note: The open fretwork of these chairs is typical of the ‘Chinese manner’ popularised by Thomas Chippendale and derive from Plates XXIII, XXIV and XXV of the First Edition of his Gentleman and Cabinet-maker’s Director (1754). The fret-carving of the present chair relates to a design seen in Plate XXV. Chippendale’s designs included open lattice-work backs, here though, the chair back has been fully upholstered. A pair of identical chairs to the present lot, sold Parke-Bernet Galleries, New York, The Walter P. Chrysler Collection, Part One, 29 and 30 April, 1960, previously the Collection of Mrs. John E. Rovensky, Parke-Bernet Galleries, 1957.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

the square back above a wide square seat flanked by fret carved arms, raised on square fret carved fore legs with pierced corner brackets, and squared slightly splayed rear legs, the blue patterned faille upholstery with close nail trim 69cm wide, 93cm high, 46cm deep

£2,000-3,000

Detail, Plate XXV, Chippendale’s Director

PAINTINGS PART ONE

165 17TH CENTURY SCOTTISH SCHOOL THE DAUGHTERS OF LOT, GENESIS XIX, VS. 30-32 Inscribed ‘GENESIS XIX’ and dating from c.1605-1627, oil on oak panel 51.5cm x 124.5cm (20.25in x 49in) Provenance: Property from the Estate of the Late Lord David Douglas-Hamilton On loan to John Knox House Dean House Edinburgh until circa1845 Literature: Michael Bath, Renaisance Decorative Painting in Scotland (Edinburgh, NMSE, 2003), pp. 241-2 M. R. Apted, Painted Ceilings of Scotland (Edinburgh, HMSO, 1966), plates 46-48 of others from Dean House

£3,000-5,000

166 CIRCLE OF GASPAR VAN DEN HOECKE THE PARABLE OF THE RICH MAN AND LAZARUS Oil on canvas, unframed 107cm x 183cm (42in x 72in)

£1,200-1,800

Note: This panel is believed to have been painted in the early 17th century for Dean House, Edinburgh. The House was demolished in 1845 to make way for Dean Cemetery. The National Museum of Scotland hold seven panels from Dean House in the C. K. Sharpe Collection, each depicting various Biblical scenes. One further panel is still on display at John Knox House. Stylistic affinities between the panel paintings, particularly apparent in the handling of the figures’ heads and bodies, would suggest that they were produced by the same hand(s). This panel is thought to have been bought at auction in Edinburgh in the latter part of the 20th century. How it was separated from the others now in the NMS is unknown.

167 MANNER OF SIR PETER LELY PORTRAIT OF A LADY SAID TO BE LADY EVELYN Oil on panel, and a companion portrait, said to be the Duchess of Richmond (2) 39cm x 30cm (15.25in x 11.75cm

£3,000-5,000

168 17TH CENTURY BRITISH SCHOOL PORTRAIT OF A YOUNG MAN WITH LACE COLLAR AND ORNAMENTAL HEADWARE Oil on canvas 50cm x 43cm (19.5in x 17in) Provenance: Estate of the late Col. H.J. Gillman

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

169 ATTRIBUTED TO HENDRICK MARTENSZ SORGH HEAD AND SHOULDER PORTRAIT OF A MAN WITH RUFF Oil on panel 30.5cm x 23cm (12in x 9in)

£800-1,200

170 17TH CENTURY DUTCH SCHOOL PORTRAIT STUDY OF YOUNG WOMAN WITH A RUFF COLLAR Oil on canvas 33cm x 25.5cm (13in x 10in)

£3,000-5,000

171 ATTRIBUTED TO MATHYS SCHOEVAERDTS A WOODED RIVER LANDSCAPE WITH TRAVELLERS AND ANIMALS Oil on panel 28cm x 24cm (11in x 9.5in)

£1,000-1,500

172 AFTER PHILIPS WOUWERMAN TRAVELLERS OUTSIDE A BLACKSMITH Oil on canvas 40.5cm x 53cm (16in x 21in) Provenance: Lowood House, Melrose Note: A copy after the painting formerly in the collection of Lord Lonsdale. Literature: B. Schumacher, Philips Wouwerman - Horse Painter of the Golden Age (Doornspijk, Davaco, 2006) p.185, under no.A38, copy 10

£700-1,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

173 MANNER OF GEORGE JAMESONE HALF LENGTH PORTRAIT OF A LADY WITH LACE COLLAR Inscribed ‘Elizabeth Cunninghame, wife of William, Tutor of Calder’, oil on canvas 67cm x 51cm (26.5in x 20in) Provenance: Property from the Estate of the Late Lord David Douglas-Hamilton

£600-800

174 17TH CENTURY SCOTTISH SCHOOL HALF LENGTH PORTRAIT OF A LADY IN WHITE Inscribed ‘Isobel Mure, wife of Sir W.G. Hamilton’, oil on canvas, oval 71cm x 58cm (28in x 22.75in) Provenance: Property from the Estate of the Late Lord David Douglas-Hamilton

£800-1,200

175 MANNER OF JOHN THOMAS SETON HALF LENGTH PORTRAIT OF A GENTLEMAN IN A BROWN FROCK COAT Label inscribed ‘Sir James Hamilton’, feigned oval, oil on canvas 76cm x 63.5cm (30in x 25in) Provenance: Property from the Estate of the Late Lord David Douglas-Hamilton

£600-900

176 FRANCIS HOLMAN (BRITISH FL.1767-90) THE GALLEY FRIGATE JAMAICA OFF DOVER Signed and dated 1780, oil on canvas 61cm x 130cm (24in x 51.25in)

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

177 GEORGE MORLAND (BRITISH 1763-1804) GAMEKEEPER WITH NURSING MOTHER Signed with initials, oil on canvas 30.5cm x 25.5cm (12in x 10in)

£800-1,200

178 DUTCH SCHOOL PORTRAIT OF A BOY WITH HAWK Oil on canvas 81cm x 65cm (31.75in x 25.5in)

£600-800

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179 MANNER OF PAULUS POTTER MILKING-TIME Oil on panel 52cm x 72cm (20.5in x 28.25in) Provenance: Property of an Edinburgh collector

£800-1,200

180 CIRCLE OF JAN VAN GOOL A PASTORAL SCENE WITH FIGURES TENDING ANIMALS Oil on canvas, and another by the same hand a pair (2) 33cm x 40.5cm (13in x 16in) Provenance: Property of an Edinburgh collector

£800-1,200

181 CHARLES GREGORY (BRITISH 1810-1896) AN EAST-INDIAMAN OFF HARWICH Indistinctly signed, oil on canvas 66cm x 91cm (26in x 36in)

£1,500-2,000

182 FOLLOWER OF JOHN CHRISTIAN SCHETKY A NAVAL ENGAGEMENT Indistinctly signed and dated 1870, oil on board in a gilt frame with naval emblems 32cm x 42cm (12.5in x 16.5in)

£600-900

183 JOHN PAUL (BRITISH 1804-1887) LONDON BRIDGE WITH THE MONUMENT AND CHURCH OF ST. MAGNUS Oil on canvas 76cm x 127cm (30in x 50in)

£2,000-3,000

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184 JAMES HARRIS OF SWANSEA (BRITISH 1810-1887) PICKING UP THE PILOT OFF WORMS HEAD Oil on canvas 51cm x 76cm (20in x 30in) Literature: G. Howell, Under Sail: Swansea Cutters, Tallships and Seascapes 1830-1880 (Swansea, SMS, 1987), p.19, in which the author identifies the Swansea pilot cutters in service 1840-1860. The cutter in the painting is numbered S2 and is identified as the ‘Tom Rosser’.

£6,000-8,000

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185 CIRCLE OF CHARLES BROOKING SHIPS OF THE FLEET AND SMALLER CRAFT OFF AN ISLAND Oil on canvas 84cm x 124.5cm (33in x 49in)

£3,000-5,000

186 MATTHEW KENDRICK R.H.A. (IRISH 1797-1874) A SCHOONER RIGGED YACHT UNDER FULL SAIL Signed and dated 1862, oil on canvas 38cm x 61cm (15in x 24in)

£800-1,200

187 CIRCLE OF PETER MONAMY DUTCH MAN-OF-WAR IN STORMY SEAS Oil on canvas 25.5cm x 30.5cm (10in x 12in)

£800-1,200

188 CIRCLE OF RICHARD WILSON A WOODED LANDSCAPE WITH COTTAGES With inscription verso, oil on panel 16.5cm x 20cm (6.5in x 8in)

£500-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

189 ATTRIBUTED TO THOMAS POOLEY (IRISH 1646-1723) HALF LENGTH PORTRAIT OF JONATHAN SWIFT AS A STUDENT IN DUBLIN COLLEGE With later inscription, feigned oval, oil on canvas 71cm x 58cm (28in x 22.75in) Provenance (supporting documents sold with the lot): 1) Thomas Percy (1729-1811), Bishop of Dromore; acquired by him in 1801 from Anthony Trail or Traill (1755-1831) of Mount Druid, Ballycastle, later Archdeacon of Connor, who in two letters to Percy (27 April and 5 May 1801) describes his own acquisition of the work c.1790 from ‘Gonne, a carver and gilder in Abbey Street’, evidently the Henry Gonne (fl.1765-99) who is recorded as a carver and looking-glass seller at 26 Abbey Street, Dublin (Glin & Peill, Irish Furniture, 2007, p. 293): ‘An old family mansion house in the Co of Louth was about to be pull’d down, previous to the erection of a new one, and all the pictures in it were sent up to Dublin to be sold, as the proprietor did not chuse to be at the expence of new frames for them, and thought they would be unsuitable ornaments for a new house in their old black ones. Not chusing to sell them separately, I was oblig’d to purchase the whole in order to get three or four of them that I lik’d. The account given me of the Dean’s picture was as follows – He had been while at college an intimate companion of the young gentlemen of the above family, and frequently spent his vacations with them in the country. During one of these visits a painter was employed to paint some portraits in the family, and the Dean’s was painted along the rest, and had remain’d in the house ever since. As no particular value was set upon the picture, and as I had express’d no particular desire of purchasing it, it is improbable that such a story should have been told me, if it had not been true. I am sorry however that I have forgot the name of the family, but it has escap’d my memory.’ Thence by descent to: 2) Mr Edward Richard Meade (1805-1890) of 5 Gloucester Place, Portman Square, London, the picture with him by 1867, when exhibited at South Kensington (see below). Meade was the grandson of Thomas Percy by the marriage of Percy’s daughter Elizabeth to Pierce Meade

(1776-?), Archdeacon of Dromore (John Sharpe, Peerage of the British Empire, [1833], volume I, f. 2A6 v.). 3) Miss Constance Meade (1852-1941), of 15 Eaton Terrace, Knightsbridge, London, daughter of Edward Richard Meade. 4) Mr Kenneth George Francis Balfour (19091998), of Quoitings, Marlow, Buckinghamshire, nephew of Constance Meade. 5) Mrs Virginia Cardwell Moore, of Coupar Angus, Perthshire. Exhibited: 1) South Kensington Museum, Second Special Exhibition of National Portraits commencing with the Reign of William and Mary and ending the Year 1800, 1867. (Catalogue no. 139, described as ‘Jonathan Swift, D.D., Dean of St Patrick’s ... Bust. as a young man in student’s black gown, when a student at Trin. Coll. Dublin’, owner recorded as Mr. E. Meade, a copy of the catalogue with presentation plate to Meade sold with the lot, q. v.). 2) Exhibition Palace, Dublin, Exhibition of Arts, Industries and Manufactures, 1872. 3) National Library of Ireland, Fair Liberty! was all his cry: Jonathan Swift and his Contemporaries, 1999. Published: A Series of Historical Portraits Selected from the National Portrait Exhibitions at South Kensington: Photographed from the Original Paintings (London, [1867]) (plate 139). The Prose Works of Jonathan Swift, D. D., edited by Temple Scott (London, 1911) (frontispiece). Bruce Arnold, Swift: An Illustrated Life (Dublin, 1999) (cover illustration). Literature: David Woolley, ‘Miscellanea in Two Parts: I. An Autograph, II. A Portrait’, Swift Studies, 8 (1993), 94-99. Jane Fenlon, ‘More about the Portrait of Jonathan Swift when a Student at Trinity College, Dublin’, Swift Studies, 15 (2000), pp. 33-38. David Woolley, ‘A Rejoinder from the Author of The Doubtful Portrait, etc.’, Swift Studies, 15 (2000), pp. 39-41. Joseph McMinn, Jonathan Swift and the Arts (Newark, DL: University of Delaware Press, 2010), p. 168 n. 7. Supporting documents: Full information available on request. Note: The earliest supposed likeness of one of the greatest writers in English, and the embodiment of the elusiveness or otherwise of the historical Swift, this remarkable portrait comes to market by direct descent from Thomas Percy, Bishop of Dromore, who acquired it in 1801 as ‘a small portrait of Dean Swift’, and is now offered for sale for the first time in 200 years, with documented provenance to the late 18th century. First exhibited at South Kensington in 1867, for the next century it drifted in and out of public view. In 1898 Leslie Stephen, writing in the Dictionary of National Biography, declared that ‘the present whereabouts of this portrait is unknown’. It reappeared c.1967 in the collection of a descendant of Percy’s and came to the attention of Swift scholars, at which point there first emerged an attribution to Thomas Pooley which is now current: ‘A portrait thought to be of the young Jonathan Swift, c.1682, is clear and direct in Pooley’s early manner. The attribution is

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probable because the Pooley family married into the Swift family’ (Dictionary of Irish Biography). The attribution to Pooley, and the longstanding identification of Swift as the subject, were on the occasion of the portrait’s exhibition at the National Library of Ireland in 1999 advanced by Bruce Arnold in support of the theory that Swift was in fact the illegitimate son of his benefactor Sir John Temple (1600-1677), master of the rolls in Ireland, and hence a more likely candidate for such a sumptuous likeness. Originally developed by Denis Johnston (In Search of Swift, 1959), this theory has been used to explain otherwise intractable ambiguities in Swift’s relationships with the two most important women in his life, firstly ‘Stella’ (Esther Johnson), who on this view is supposed to have been the daughter of William Temple and therefore Swift’s niece, and ‘Vanessa’ (Hester Vanhomrigh). Writing in 1993, David Woolley (q.v.), editor of The Correspondence of Jonathan Swift (5 vols, 1999-2014), presented several arguments against Swift’s being the subject of the portrait, chiefly that ‘The dress style is of c.1710. By this time, however, Swift was into his forties’, and that ‘The portrait style is of the school of Kneller. When Swift graduated, in the reign of James II, the dominant portrait style was still of the school of Sir Peter Lely’. In 2000, art historian Jane Fenlon noted that Woolley had only seen the painting in reproduction, that his analysis contained no reference to the attribution to Thomas Pooley, who had various connections to Swift, and that the sitter’s costume is similar to known examples of academic dress from the late 17th century: ‘The portrait in question has a long-standing attribution to the painter Thomas Pooley. The attribution is sound in that the style and manner of painting compare well with other portraits by the artist. The age of the sitter, between fifteen and nineteen years, is appropriate for the years 1682-86, the time spent by Jonathan Swift at Trinity College, Dublin. The costume worn by the sitter would also seem to be appropriate to the period in question. Social and familial links have been established between the painter and the sitter. In art-historical terms, after such close examination of the evidence, a portrait with a long-standing provenance and attribution such as this one has a sound basis for acceptance’. In a brief response to Fenlon’s article (published in the same volume of Swift Studies) Woolley reiterated a few of his original arguments while conceding the strength of ‘the Pooley connection’. ‘His life and works continue to vex as well as instruct and amuse his readers … Rumours and legends about Swift’s parentage, alleged marriage, misanthropy, and madness started early and developed freely, not least during the Victorian period … His work has provoked strong responses from each generation of readers, and he is one of those writers whose effect on our minds and imagination will not go away. In the words of a fellow Irishman, who also believed that Swift was the founding figure in Irish political nationalism, “Swift haunts me; he is always just around the next corner” (W. B. Yeats)’ (Clive Probyn in ODNB)

£30,000-50,000

190 MANNER OF ALEXANDER NASMYTH FIGURES ON A WOODED PATH, STIRLING CASTLE IN THE DISTANCE Oil on canvas 73cm x 100cm (28.75in x 39.25cm) Provenance: Property of an Edinburgh collector

£800-1,200

191 RICHARD H. HILDER (BRITISH 1813-1852) FIGURES ON A WOODED COUNTRY ROAD Oil on canvas 38cm x 46cm (15in x 18in)

£500-800

192 ATTRIBUTED TO ROBERT CRONE CLASSICAL FIGURES IN A WOODED ARCADIAN LANDSCAPE Oil on canvas 71cm x 91cm (28in x 36in)

£1,000-1,500

193 PATRICK NASMYTH (SCOTTISH 1787-1831) IN THE MEADOWS, EVENING Signed and dated 1829, oil on canvas 23cm x 28cm (9in x 11in) Provenance: John Lyall, Blunsden Abbey, Wiltshire

£800-1,200

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194 MANNER OF JAN VAN OS MIXED FLOWERS IN AN URN ON A MARBLE LEDGE Bears signature, oil on panel 71cm x 61cm (28in x 24in)

£2,000-3,000

195 DUTCH SCHOOL ASSORTED FLOWERS IN A BASKET Oil on board, and a companion a pair (2) 30.5cm x 23cm (12in x 9in)

£600-800

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196 ELOISE HARRIET STANNARD (BRITISH 1828-1915) STILL LIFE OF ASSORTED FRUIT ON A BANK Signed and dated 1850, oil on canvas, circular 30.5cm (12in) diam. Provenance: Property of a Lady of Glasgow

£1,000-1,500

197 ELOISE HARRIET STANNARD (BRITISH 1828-1915) STILL LIFE OF ASSORTED ROSES ON A LEDGE Signed and indistinctly dated, oil on canvas, circular 30.5cm (12in) diam. Provenance: Property of a Lady of Glasgow

£1,000-1,500

198 ELOISE HARRIET STANNARD (BRITISH 1828-1915) WILD FLOWERS AND BIRD’S NEST Signed, oil on canvas, circular 30.5cm (12in) diam. Provenance: Property of a Lady of Glasgow

£1,000-1,500

199 WILLIAM SHAYER THE ELDER (BRITISH 1799-1879) UNLOADING THE CATCH Oil on cradled panel 76cm x 102cm (30in x 40in)

£4,000-6,000

200 SAMUEL EDMUND WALLER (BRITISH 1850-1903) THE CAVALIER’S REST Signed and dated 1885, oil on canvas 41cm x 61cm (16in x 24in)

£2,000-3,000

201 CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916) THE VILLAGE CHAMPION Signed and dated ‘87, oil on canvas 69cm x 92cm (27.25in x 36.25in)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

202 JOHN VINE OF COLCHESTER (BRITISH 1809-1867) A PRIZE PIG Signed, inscribed and dated 1844, oil on canvas 36cm x 46cm (14in x 18in)

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

BRITISH FURNITURE & WORKS OF ART PART II

203 Y

204

PAIR OF REGENCY ROSEWOOD, PARCELGILT AND BRASS SIDE CABINETS

REGENCY CAST IRON COAT AND STICK STAND

EARLY 19TH CENTURY

the rectangular tops above plain friezes marked at the corners with gilt roundels, above brass grille insert doors backed with pleated pale blue silk and flanked by moulded pilasters, opening to adjustable shelves, raised on turned bun feet (2)

with three tiers of scrolled branches above a stick holder and drip pan with removable liners, raised on acanthus scrolled feet, painted black

56cm wide, 88cm high, 35cm deep

£400-600

185cm high

£2,000-3,000

205 Y REGENCY ROSEWOOD LIBRARY TABLE, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the top with a brown leather insert above a bead moulded frieze with three short drawers and dummy drawers on the reverse, raised on tapered column supports to both ends on trestle bases with lobed bun feet with brass castors, and joined by a turned stretcher 116cm wide, 75cm high, 66cm deep

£2,000-3,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

206 LATE REGENCY MAHOGANY CANTERBURY, IN THE MANNER OF GILLOWS 19TH CENTURY with three division above a base drawer, raised on turned legs with brass caps and castors 53cm wide, 58cm high, 43cm deep

£300-500

207 PAIR OF REGENCY MAHOGANY URN SHAPED MARBLE TOPPED POT CUPBOARDS, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the circular tops with green marble inserts above part-reeded cylinder bodies with cupboard doors, on octagonal bases (2) 40cm diameter, 88cm high

£1,000-1,500

208 REGENCY TRIPOD LAMP TABLE, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the rectangular top on a lotus carved baluster and triple cluster column support, the tripod legs carved with leaf scrolls and ending in slipper feet 59cm wide, 49.5cm high, 76cm deep

£1,000-1,500

209 FINE REGENCY MAHOGANY LOW PRESS CUPBOARD, ATTRIBUTED TO GILLOWS EARLY 19TH CENTURY the single board top with a reeded edge above a pair of moulded panel doors opening to sliding trays, flanked by banks of four graduated drawers, raised on turned ball feet 198cm wide, 116cm high, 54cm deep

£1,500-2,000

210 PAIR OF REGENCY STYLE GILTWOOD AND EGLOMISE PIER MIRRORS MODERN the inverted breakfront cornices with leaf and bead mouldings above eglomisé landscape panels, over rectangular bevelled mirror plates flanked by triple cluster columns (2) 112cm high, 68cm wide

£600-800

211 EBONISED PLASTER FIGURAL TORCHERE OF CERES, IN THE MANNER OF HUMPHREY HOPPER EARLY 19TH CENTURY ebonised and gilded plaster, depicted standing and holding a torch with an etched glass shade in one hand and wheat in the other, robed in classical dress, on a rectangular plinth decorated with husk garlands 191cm high Provenance: The Peter Rose and Albert Gallichan Collection, acquired circa 1970 Literature: B. Coleman, The Best of British Arts & Crafts, Atglen, PA, 2004, p. 51

£1,500-2,500

212 PAIR OF LARGE REGENCY PATINATED AND GILT BRONZE CANDLESTICK LAMPS EARLY 19TH CENTURY with acanthus leaf cast nozzles above reeded columns, on triform scrolled leaf and shell feet and bases, with white pleated shades (2) 47cm high excluding fittings

£1,500-2,000

213 ’GOTHIC’ PAINTED, GILTWOOD, AND BRASS MOUNTED CONCERT HARP, JACOB AND JAMES ERAT, LONDON EARLY 19TH CENTURY double action with 43 strings, in simulated satinwood with stencil decoration, the fluted pillar with winged caryatids on the capital, the brass neck plate engraved ‘I & I ERAT/ PATENT HARP MANUFACTURES/ 23 Berners Strt London No. 1875 165cm high Provenance: The Estate of the Late Lord David Douglas-Hamilton

£800-1,200

214 REGENCY EBONISED AND PARCEL GILT DECORATED ARMCHAIR EARLY 19TH CENTURY the curved tablet back painted with urns and sphinxes above a pierced splat carved with an eagle surmounting an urn, over a wide padded seat and raised on tapered legs carved with palmettes 58cm wide, 91cm high, 50cm deep

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

215 PAIR OF REGENCY PATINATED AND GILT BRONZE LAMPS EARLY 19TH CENTURY the urn nozzles above palette leaf cast columns, with an ornate cast gilt bronze base raised on three paw feet and a triform plinth base, with taupe pinch-pleated shades (2) 27cm high excl. fittings

£1,000-1,500

216 REGENCY STYLE MAHOGANY BRASS MOUNTED BRACKET CLOCK EARLY 20TH CENTURY the domed case carved with shells, swags, and fluted bands, with a brass handle, above a circular silvered dial with Roman numerals, signed MUIRHEAD & ARTHUR/ GLASGOW, outlined and inlaid with brass, the eight-day Winterhalder & Hoffmeier movement striking on two gongs, mounted with a presentation plaque and raised on brass ball feet 31cm wide, 51cm high, 19cm deep

£800-1,200

217 Y REGENCY ROSEWOOD TEAPOY EARLY 19TH CENTURY of sarcophagus form outlined with bead moulding, the interior with four tea caddies and reserves for two mixing bowls, on a tapered lotus carved column support and quadripartite base with carved paw feet with brass castors 41cm wide, 78cm high, 31cm deep Provenance: The Estate of the late J E Adam

£300-500

218 REGENCY MAHOGANY WHATNOT EARLY 19TH CENTURY the ratchet adjusted top with a moulded edge over three tiers and a base with drawers, outlined with faux bamboo moulding, on short legs with brass caps and castors 47cm wide, 92cm high, 39cm deep

£500-700

219 PAIR OF REGENCY MAHOGANY ARMCHAIRS EARLY 19TH CENTURY the reeded tablet backs above curved cross stretchers centred by carved rosettes, above stuff-over seats raised on square tapered legs joined by stretchers (2) 53cm wide, 90cm high, 47cm deep Provenance: Property of an Edinburgh collector

£300-500

220 REGENCY MAHOGANY PARTNER’S DESK EARLY 19TH CENTURY neat size, the top with a moulded edge and dark green gilt tooled leather insert, above a central frieze drawer flanked by banks of five graduated drawers, with dummy drawers and cupboards opposing, on a plinth base with castors 137cm wide, 74cm high, 87cm deep

£3,000-4,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

221 REGENCY STYLE GILT BRONZE, CRYSTAL AND JASPERWARE MOUNTED CHANDELIER EARLY 20TH CENTURY the foliate cast frame hung with prism drops and swags, the central ring with rams’ masks and issuing four scrolling candle arms and mounted with oval green jasperware plaques with classical figures 88cm diameter, 75cm high approximate Provenance: Property of an Edinburgh collector

£800-1,200

222 REGENCY GILT TRIPLE PLATE OVERMANTEL MIRROR EARLY 19TH CENTURY the rectangular mirror plate enclosed by columns capped with lambrequins 56cm high, 134cm wide

£400-600

223 SET OF EIGHT REGENCY MAHOGANY DINING CHAIRS EARLY 19TH CENTURY the tablet backs above cross stretchers centred by foliate shaped panels, above stuff-over seats raised on square tapered legs joined by H stretchers, the seats covered in yellow fabric covers; to include six side chairs and a pair of armchairs (8) Armchair 55cm wide, 83cm high, 44cm deep

£800-1,200

224 Y SCOTTISH REGENCY ROSEWOOD CENTRE TABLE, ATTRIBUTED TO WILLIAM TROTTER EARLY 19TH CENTURY the circular top above a bead moulded frieze, raised on four scrolled supports with flower head terminals, on a quadripartite base with four hipped sabre legs ending in brass caps and castors, the caps cast with thistles 132cm diameter, 73cm high

£6,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

100

225 REGENCY OAK HALL SEAT IN THE MANNER OF GEORGE BULLOCK EARLY 19TH CENTURY the channel moulded plank seat with a reeded seat rail, flanked by turned armrests on stylised lotus supports, raised on turned and tapered legs 108cm wide,69cm 39cm deep

£600-800

226 SET OF SIX REGENCY BRASS INLAID DINING CHAIRS EARLY 19TH CENTURY the bar backs with brass line inlay above a spiral turned stretcher, over drop-in seats raised on moulded sabre legs, to include four side chairs and a pair of armchairs (6) Armchair 55cm wide, 85cm high, 42cm deep

£400-600

227 SCOTTISH REGENCY AND EBONY MAHOGANY SIDEBOARD EARLY 19TH CENTURY with a stage back with sliding compartments and drawers above a long central drawer flanked by a deep drawer and a cupboard, outlined with ebony stringing with brass lion mask handles, raised on turned and tapered reeded legs 213cm wide, 108cm high, 74cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

101

228 REGENCY MAHOGANY AND SATINWOOD TEA TABLE EARLY 19TH CENTURY the D shaped fold-over top with crossbanding, on ring turned and reeded tapered legs, the top opening on double gate legs 92cm wide, 76cm wide, 45.5cm deep

£500-700

229 REGENCY MAHOGANY DISPLAY CABINET, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the moulded cornice above a pair of astragal glazed doors, enclosing shelves with green and gilt leather dust guards and lined with pleated yellow fabric; the base with a pair of crossbanded moulded doors enclosing further shelves, raised on turned feet 125cm wide, 240cm high, 58cm deep

£1,200-1,800

230 REGENCY MAHOGANY BERGERE EARLY 19TH CENTURY the square caned back and enclosed part-padded arms above a caned seat, in a reeded frame on turned legs 60cm wide, 87cm high, 62cm deep

£400-600

102

231 SET OF FIVE REGENCY EBONISED BRASS MOUNTED DINING CHAIRS EARLY 19TH CENTURY the backs with a top rail with brass handle above a midbar and turned stretcher, all with brass mounts, above pad seats raised on sabre legs, all outlined with brass bead mouldings (5) 48cm wide, 88cm high, 44cm deep Provenance: The Estate of the late J E Adam

£300-500

232 Y REGENCY ROSEWOOD AND BRASS INLAID CARD TABLE EARLY 19TH CENTURY

233 Y REGENCY MAHOGANY , ROSEWOOD, AND BRASS INLAID BREAKFAST TABLE EARLY 19TH CENTURY the banded tilt top with brass line inlay, above a bead moulded frieze, on a tapered square column and quadripartite base with outscrolled legs ending in leaf cast brass caps and castors 127cm diameter, 74cm high

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

the crossbanded fold-over top opening to a green baize playing surface, above a frieze centred by a brass inlaid panel, supported on a facetted column and outswept legs ending in brass hairy paw caps and castors 88cm wide, 73cm high, 44cm deep

£500-700

103

234 REGENCY GILT AND EBONISED MIRROR EARLY 19TH CENTURY the circular mirror plate in an ebonised slip and deep moulded frame with ball mounts, surmounted by a carved eagle and acanthus scrolls 104cm high, 64cm wide

£400-600

235 REGENCY MAHOGANY SOFA TABLE EARLY 19TH CENTURY the rounded rectangular top with drop leaf ends, above a pair of frieze drawers with dummy drawers opposing, raised on squared end supports and reeded outswept legs ending in brass caps and castors 99cm wide, 161 [open], 71cm high, 75cm deep

£400-600

236 Y REGENCY STYLE ROSEWOOD, BRASS, AND PARCEL-GILT SIDE CABINET LATE 19TH CENTURY of breakfront outline, the frieze with a baize lined and compartmented centre drawer, above brass grille doors backed with blue pleated fabric and flanked by fluted gilt pilasters, on a plinth base 137cm wide, 90cm high, 43cm deep Provenance: Property of an Edinburgh collector

£600-800

104

237 GEORGE IV MAHOGANY PEDESTAL SIDEBOARD EARLY 19TH CENTURY the panel back with a carved flower head and scrolled brackets above three frieze drawers, raised on pedestals with cupboards enclosing drawers and shelves, raised on lobed bun feet 184cm wide, 127cm high, 68cm deep

£700-1,000

238 REGENCY MAHOGANY EXTENDING DINING TABLE, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the extending rounded rectangular top with a thumbnail moulded edge, above a plain frieze raised on eight turned and reeded tapering legs ending in brass caps and castors, with four leaf inserts 362cm long, 70cm high, 136cm deep

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

105

239 SET OF EIGHT REGENCY MAHOGANY DINING CHAIRS, IN THE MANNER OF THOMAS HOPE EARLY 19TH CENTURY the tablet backs carved with scrolls and anthemion, above cross stretchers centred by rosettes, over padded seats on reeded sabre legs (8) 48cm wide, 85cm high, 47cm deep Provenance: Rathbeale Hall, Swords, Co. Dublin

£2,000-3,000

240 MATCHED PAIR OF REGENCY MAHOGANY CELLARETTES, BY T. & G. SEDDON EARLY 19TH CENTURY of near identical sarcophagus form, with carved lobed knobs to the hinged covers above panelled fronts, one with a lead lined interior, the other paper lined, on castors, both stamped T & G Seddon (2) 99cm wide, 66cm high, 57cm deep; and 99cm wide, 70cm high, 60cm deep Note: Thomas and George Seddon took over the family business and continued to operate from the existing premises at London House until 1826 when they opened a showroom at 16 Lower Grosvenor Street. In 1827 they entered into a four-year partnership with Nicholas Morel to provide furnishings for Windsor Castle, resulting in the firm being awarded a Royal Warrant in 1832.

£2,000-3,000

106

241 Y REGENCY ROSEWOOD, LEATHER, AND GILT METAL MOUNTED ETAGERE EARLY 19TH CENTURY the circular top with a green leather and gilt tooled insert, above two further tiers and a base all with conforming leather inserts, raised and divided by columns with brass mounts 67cm diameter, 85cm high

£800-1,200

242 REGENCY MAHOGANY INLAID PEDESTAL SIDEBOARD 19TH CENTURY of inverted breakfront outline with three frieze drawers above cupboard doors outlined with stringing and bead moulding and inlaid with shell motifs, raised on bracket feet 136cm wide, 96cm high, 54cm deep Provenance: Sold in these rooms, 28 June 2007, lot 725

£500-700

243 Y WILLIAM IV ROSEWOOD LOW OPEN BOOKCASE EARLY 19TH CENTURY with two adjustable shelves on a plinth base 107cm wide, 91cm high, 39cm deep

£600-800

107

244 Y REGENCY ROSEWOOD OCCASIONAL TABLE, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the oval top on a fluted column and acanthus carved legs ending in scrolled toes with brass castors 91.5cm wide, 73cm high, 75cm deep

£600-800

245 Y REGENCY ROSEWOOD, GONCALO ALVES, EBONY, TROMPE L’OEIL, AND BRASS MOUNTED SIDE CABINET EARLY 19TH CENTURY the shelved superstructure on brass columns, above a long frieze drawer with ebony stringing and a pair of glazed doors with eglomisé panels depicting shelves of books, flanked by spiral turned columns carved with lotus and surmounted with brass capitals, on ring turned feet; the painting signed ‘James Maggs - Painter/ Bath/ July 1832’ 91cm wide, 120cm high, 44cm deep Note: The James Maggs whose signature appears on the door is probably the James Maggs who worked as a furniture japanner in Bath and whose offspring included the painter John [James] Maggs.

£700-1,000

246 REGENCY CHAISE LONGUE EARLY 19TH CENTURY with a button upholstered cushion and scrolled end, covered in red plush with cord trim with a large bolster cushion, raised on stained, turned and tapered legs ending in brass castors 152cm long, 88cm high, 68cm deep

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

108

247 REGENCY GILT AND EBONISED PIER MIRROR EARLY 19TH CENTURY the moulded inverted breakfront cornice with ball mounts, above a gesso moulded frieze depicting Ceres accompanied by putti above a rectangular mirror plate flanked by spiral and leaf-clasped columns 116cm high, 77cm wide

£1,000-1,500

248 PAIR OF REGENCY GILT BRONZE TABLE LAMPS EARLY 19TH CENTURY the urn-form nozzles above collars cast with grapes and flowers over tapered stems with engine-turned bands, the circular bases cast with acanthus leaves, with taupe pinch-pleated shades; converted from candlesticks (2) 28.5cm high excluding fittings

£1,000-1,500

249 REGENCY STYLE MAHOGANY THREE PILLAR DINING TABLE 19TH CENTURY with two D ends and centre section on turned baluster columns, on reeded outswept legs ending in brass caps and castors; with four leaf inserts 454cm long, 73cm high, 123cm deep

£800-1,200

109

250 SET OF TEN REGENCY STYLE EBONISED AND PARCEL-GILT CANED ARMCHAIRS 19TH CENTURY the curved top rails above triple spar backs and wide caned seats flanked by curved arms with urn supports, raised on turned and tapered legs (10) 54cm wide, 84cm high, 46cm deep

£1,000-1,500

251 GEORGE IV MAHOGANY WINE COOLER EARLY 19TH CENTURY of open sarcophagus form, with panel sides and corners marked with scrolled volutes, on a plinth base with brass castors 87cm wide, 50cm high, 59cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

110

252 AUGUSTE EDOUART (1789-1861) THREE SILHOUETTES OF A MINISTER DELIVERING A SERMON in black card laid on buff paper, the preaching bands applied in white paper, all signed in ink along the bottom margin ‘Aug. st Edouart fecit 1828’, mounted in a triptych frame Each 22cm x 19cm; 32cm x 75cm overall Note: A skilled portraitist who mastered the art of silhouette making, French-born Auguste Edouart initially began his career producing portraits from hair. After resigning from his position in Napoleon’s army, Edouart travelled extensively around Europe and America where he developed his skill at free-hand paper cutting, producing life-like portraits in minutes. Edouart settled in Edinburgh for three years in 1829, producing around 5,000 silhouettes during this time.

253 Y REGENCY ROSEWOOD WRITING BOX, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the hinged and divided top opening to a pen tray and compartments, with a turned handle and bead moulded base with a drawer 24cm wide, 13cm high, 15cm deep

£300-500

254 BRONZE BUST OF JOHN FLAXMAN, BY SAMUEL PARKER, AFTER THE MODEL BY SAMUEL JOSEPH CIRCA 1830 brown/black patina, inscribed JOHN FLAXMAN/ S. PARKER FECIT XII ARGYLL PLACE/ PUBLISH THE ACT DIRECTS/ LONDON FEB. III/ MDCCCXXX/ SAML. JOSEPH SCULPSIT 29cm high

£700-1,000

255 REGENCY MAHOGANY BRACKET CLOCK EARLY 19TH CENTURY the brass inlaid pedimented case above an enamelled dial with Roman numerals, signed H. CHILD/ CHELMSFORD., flanked by twin loop handles and glazed side panels, the eight-day movement striking a bell, with anchor escapement, raised on a plinth base with reeded moulding and squat bun feet 30cm wide, 42cm high, 16cm deep

£700-900

Provenance: The Estate of the late J. E. Adam

£300-500

111

256 SPODE PORCELAIN INKSTAND CIRCA 1820-25 the oval tray on paw feet, with three covered pots, painted with pattern 711, with polychrome flowers on a gilt ground, painted marks SPODE 711 Tray 20cm wide Note: For similar examples see Bonhams, The Contents of Trelissick House including the Copeland China Collection, 24/07/13, lot 526; Woolley & Wallis, Fine Porcelain and Pottery, 25/02/14, lot 266.

£400-600

257 Y GEORGE IV ROSEWOOD, WALNUT AND MARQUETRY WORKBOX EARLY 19TH CENTURY the sloping top with two hinged covers inlaid with floral marquetry, opening to green plush lined interiors, above a drawer with fitted compartments 19cm high, 35.5cm wide, 25cm deep

£400-600

258 Y REGENCY ROSEWOOD BOOKSTAND, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY with spindle gallery and a base drawer 39cm wide, 26cm high, 32cm deep

£300-500

259 Y REGENCY ROSEWOOD, GONCALO ALVES, AND MARQUETRY BRACKET CLOCK, ROBERT ROSKELL, LIVERPOOL EARLY 19TH CENTURY the arched cream enamel dial with twin winding holes, Roman number chapter, and STRIKE/SILENT dial, signed ‘R Roskell/ Liverpool’, in an arched case with brass handles, grilles, and ball feet and finial, the eight-day twin-chain movement with pull repeat and striking a bell, the backplate stamped ROSKELL/ LIVERPOOL/ 791 32cm wide, 66cm high, 18cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

112

260 REGENCY MAHOGANY HANGING SHELVES EARLY 19TH CENTURY with two graduated shelves with bead moulding, raised on S scroll supports 86cm wide, 76cm high, 15cm deep

£400-600

261 LATE REGENCY MAHOGANY WARDROBE EARLY 19TH CENTURY the moulded cornice above pairs of panel doors opening to hanging space and shelves, on a plinth base 120cm wide, 213cm high, 57cm deep Provenance: Estate of the late Col. H.J. Gillman

£600-800

262 REGENCY MAHOGANY DRESSING TABLE EARLY 19TH CENTURY the hinged rounded rectangular top with a moulded edge opening to a compartmented interior, raised on turned and tapered legs ending in brass caps and castors stamped COLE & COLLINSON 76cm wide, 74cm high, 56cm deep

£400-600

113

263 REGENCY MAHOGANY BED STEPS EARLY 19TH CENTURY with two green and gilt tooled leather treads on turned supports 47cm wide, 41cm high, 46cm deep

£400-600

264 REGENCY MAHOGANY CANTERBURY EARLY 19TH CENTURY with four divisions above a base drawer with brass handles embossed with thistles, raised on turned feet with brass caps and castors 51ccm wide, 51cm high, 35.5cm deep

£400-600

265 REGENCY MAHOGANY LAMP TABLE EARLY 19TH CENTURY the top with a moulded edge above two drawers, one with a double drawer front, raised on ring turned and tapered legs ending in brass caps and castors 44.5cm wide, 75cm high, 33cm deep

£400-600

266 REGENCY MAHOGANY CHIFFONIER EARLY 19TH CENTURY the superstructure with two shelves on baluster supports with ring-turned finials, the lower part with a pair of bead moulded panel doors enclosing a shelf, raised on ring-turned feet 113cm wide, 143cm high, 43cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

114

267 REGENCY MAHOGANY AND INLAID SOFA TABLE EARLY 19TH CENTURY the rounded rectangular top with drop leaf ends outlined with banding and key motifs, above a pair of short frieze drawers with dummy drawers on the reverse, raised on squared end supports joined by a turned stretcher and ending on outswept legs with brass caps and castors 101cm wide, 156cm [open]; 74cm high, 65cm deep

£1,000-1,500

268 Y WILLIAM IV ROSEWOOD BREAKFAST TABLE EARLY 19TH CENTURY the circular tilt top on a large facetted baluster column and tripartite base with disc feet with castors 130cm diameter, 74cm high

£500-700

269 Y REGENCY STYLE ROSEWOOD MARBLE TOP SIDE CABINET EARLY 20TH CENTURY the veined green marble top above three frieze drawers, over a pair of central doors flanked by outer doors, all with brass grille inserts backed with yellow pleated fabric, flanked and divided by lotus carved pilasters, the interior with shelves, on a plinth base 183cm wide, 90cm high, 42cm deep

£2,000-3,000

115

270 FINE REGENCY LARGE MAHOGANY BREAKFRONT BOOKCASE, ATTRIBUTED TO GILLOWS OF LANCASTER EARLY 19TH CENTURY the moulded cornice above a frieze marked with carved flower heads, above glazed and mullioned doors with Bramah locks enclosing adjustable shelves, flanked by fluted pilasters with acanthus carved capitals; the lower part with four moulded panel doors flanked and divided by similar fluted pilasters capped with acanthus scrolls and flower heads, on a plinth base 306cm wide, 273cm high, 62cm deep Note: This bookcase relates to a group of furniture supplied by Gillows to the Langford-Brooke family of Mere Hall, Knutsford, Cheshire, in the first quarter of the 19th century. The pilasters with their acanthus capitals are identical to the group of library furniture sold by Christie’s on behalf of the executors of the late Mrs. Helen Langford-Brooke, 23 May, 1994, lot 188.

£12,000-18,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

116

271 REGENCY MAHOGANY, CAMPHOR, AND BRASS BANDED CAMPAIGN CHEST 19TH CENTURY the sides and hinged top with oval sectional veneers and brass corner mounts and handles to the sides; the camphor lined interior with a candle box 104cm wide, 52cm high, 50cm deep

£600-800

272 Y LATE REGENCY ROSEWOOD SOFA TABLE EARLY 19TH CENTURY the rounded rectangular top above a pair of scroll moulded frieze drawers, raised on square end supports with pierced foliate panels and trestle bases with bun feet and brass castors, joined by a beaded stretcher 130cm wide, 73cm high, 67cm deep

£800-1,200

273 REGENCY STYLE MAHOGANY OCTAGONAL CENTRE TABLE LATE 19TH CENTURY the crossbanded top with sectional veneers on a ring-turned and tapered column and four outswept legs ending on brass paw feet 123cm diameter, 74cm high

£700-1,000

117

274 REGENCY GILTWOOD AND GESSO OVERMANTEL MIRROR EARLY 19TH CENTURY the arched mirror plate with margin plates with a beaded inner frame and lappet and flower outer frame, surmounted by a shell motif and flower scrolls 193cm high, 127cm wide

£1,000-1,500

275 LATE REGENCY MAHOGANY HALL BENCH EARLY 19TH CENTURY the seat with a thumbnail edge and turned scroll ends, raised on turned and tapered legs 101cm wide, 52cm high, 36cm deep

£600-800

276 SET OF SIX REGENCY MAHOGANY DINING CHAIRS EARLY 19TH CENTURY with bar backs above curved X splats and drop-in seats, raised on square tapered legs joined by stretchers (6) 47cm wide, 86cm high, 40cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

118

277 GOOD GEORGE IV BURR WALNUT, MAHOGANY, EBONY, AND GILT BRASS MOUNTED CENTRE TABLE EARLY 19TH CENTURY the top with ebony and boxwood banding outlined with a gilt brass leaf tip cast border mount, above a panel frieze with two short drawers and dummy drawers on the reverse, marked at the corners with carved flowerheads, raised on trestle supports with relief carved panels with palmettes, leaf scrolls and flowerheads, the channel moulded bases joined by stretcher rail with a central pad 115cm wide, 75cm high, 51cm deep

£3,000-4,000

278 FINE WILLIAM IV BURR ELM CENTRE TABLE EARLY 19TH CENTURY the circular quarter-veneered tilt top above a bead moulded frieze, raised on triple cluster column support and tripartite base with bun feet and brass castors 127cm diameter, 72cm high

£3,000-4,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

120

279 SET OF SIX REGENCY MAHOGANY DINING CHAIRS EARLY 19TH CENTURY the bar backs carved with fan motifs above pierced and carved splats, over drop-in seats raised on turned and tapered reeded legs, the pads covered in cream stripe upholstery (6) 46cm wide, 89cm high, 39cm deep

£500-700

280 WILLIAM IV MAHOGANY EXTENDING DINING TABLE EARLY 19TH CENTURY the rounded rectangular top with a moulded edge raised on turned and reeded tapered legs ending in brass caps and castors, with three full and one half leaf inserts 336cm long, 71cm high, 128cm deep

£800-1,200

121

281 WILLIAM IV MAHOGANY WING ARMCHAIR EARLY 19TH CENTURY the squared back above a loose cushion seat flanked by enclosed arms with scroll carved hand terminals, raised on reeded tapered legs ending in brass caps and ceramic castors 68cm wide, 109cm high, 58cm deep

£500-700

282 VICTORIAN MAHOGANY AND NEEDLEWORK OCCASIONAL TABLE/ FIRESCREEN EARLY 19TH CENTURY the square tilt top with a gadroon moulded edge and a needlework panel worked en grisaille depicting a wagon on a woodland path, monogrammed and dated 1858, on a spiral and lobed column on a tripod base 51.5cm wide, 73cm high, 51.5cm deep

£600-800

283 Y GEORGE IV ROSEWOOD SOFA EARLY 19TH CENTURY with a scroll and shell carved frame with high arms with lotus and reeded column facings, raised on reeded turned legs with two brass and two ceramic castors; in pale blue upholstery with two bolster cushions 190cm long, 94cm high, 64cm deep

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

122

284 Y WILLIAM IV ROSEWOOD AND AMBOYNA WORK TABLE EARLY 19TH CENTURY the banded top with drop leaf sides, above a drawer fitted with a writing slope to one side and a drawer and sliding fabric lined work box to the other, on a quadripartite base with carved lion paw feet with castors 49cm wide, 88cm wide [open]; 78cm high, 48cm deep

£300-500

285 WILLIAM IV MAHOGANY DOUBLE-SIDED CHEVAL MIRROR EARLY 19TH CENTURY the rectangular mirror plates in a cushion moulded frame between uprights with facetted pointed finials, on a trestle base with serpentine stretcher and bun feet with brass castors 86cm wide, 170cm high

£400-600

286 WILLIAM IV MAHOGANY DRESSING TABLE, IN THE MANNER OF GILLOWS EARLY 19TH CENTURY the top with a moulded edge and gallery back above a central short drawer flanked by dummy drawers, raised on turned and reeded tapered legs ending in brass caps and ceramic castors 107cm wide, 82cm high, 48cm deep

£500-700

123

287 WILLIAM IV MAHOGANY PEDESTAL SIDE TABLE EARLY 19TH CENTURY the rounded rectangular top above a panel frieze and acanthus scroll carved brackets, a drawer to one end, on a facetted column carved with leaves on a quadripartite base and scrolled feet with brass castors 104cm wide, 75cm high, 53cm deep

£300-500

288 Y WILLIAM IV ROSEWOOD WHATNOT/ CANTERBURY EARLY 19TH CENTURY the top with a three quarter pierced scroll gallery with turned corner finials, raised on spiral carved supports above a three partition canterbury with a base drawer, raised on turned baluster legs ending in brass caps and castors 56cm wide, 98cm high, ,39.5cm deep

£600-800

289 WILLIAM IV MAHOGANY AND BRASS DWARF CREDENZA EARLY 19TH CENTURY the superstructure with a foliate carved crest above two shelves with brass stringing, above a pair of brass grille insert doors backed with pale yellow fabric, raised on carved paw feet with brass castors 84cm wide, 91cm high, 38cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

124

290 LARGE GEORGE IV GILTWOOD OVERMANTEL MIRROR EARLY 19TH CENTURY the cornice with anthemion and lotus moulding above a rectangular mirror plate flanked by panel columns with lappet scroll capitals 230cm high, 173cm wide Provenance: By repute from Baskerville Hall, Powys, Wales

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

125

291 PAIR OF CELADON GLAZED AND GILT METAL LAMPS 19TH CENTURY converted from oil lamps, the baluster bodies painted floral motifs with gilt details, raised on gilt metal chinoiserie bases, with white swirl pleated shades (2) 35cm cm high excl. fittings

£800-1,200

292 Y GEORGE IV ROSEWOOD AND SIMULATED ROSEWOOD MIRRORED CHIFFONIER EARLY 19TH CENTURY

293 WILLIAM IV MAHOGANY SOFA

the superstructure with a shelf and a bevelled mirror back with scroll supports, above a pair of panel cupboard doors flanked by lotus-carved columns, on an inverted breakfront plinth base

EARLY 19TH CENTURY

113cm wide, 144cm high, 43cm deep

214cm long, 81cm high, 59cm deep

£700-1,000

£500-700

the low back and high scrolled arms over a loose cushion seat with bolsters, raised on bulbous turned legs with brass caps and castors, in blue stripe upholstery

126

294 Y WILLIAM IV ROSEWOOD AND MOTHER-OF-PEARL STICK BAROMETER EARLY 19TH CENTURY with arched ivory gauge plates and ivory knob, the mercury filled tube in a case inlaid with mother-of-pearl exotic birds and flowers, terminating in a circular cistern 94cm high

£400-600

295 PAIR OF WILLIAM IV MAHOGANY HALL TABLES EARLY 19TH CENTURY with panel backs with bead and reel moulding above inverted breakfront tops, raised on ring turned tapered columns joined by conforming undertiers and raised on carved paw feet (2) 125cm wide, 128cm high, 58cm deep

£2,000-3,000

296 Y GEORGE IV ROSEWOOD AND BRASS MOUNTED LOW BOOKCASE, OF ROYAL INTEREST EARLY 19TH CENTURY with a brass lined frieze above a pair of glazed doors opening to adjustable shelves, flanked by brass and tapered rosewood columns, raised on lobed feet, stamped on reverse with a crown and ‘866/ WINDSOR CASTLE/ ROOM 153’ with paper label ‘WINDSOR CASTLE/ ROOM 153 No. 13’ 115cm wide, 82cm high, 28cm deep

£700-1,000

127

297 WILLIAM IV MAHOGANY BOOKCASE EARLY 19TH CENTURY the inverted breakfront cornice above three arched glazed doors enclosing shelves, on a base with three moulded panel doors flanked by carved ribbon-tied flower trails, on a conforming plinth base 225cm wide, 249cm high, 43cm deep

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

128

298 WEST INDIAN SHELLWORK OCTAGONAL SAILOR’S VALENTINE MID 19TH CENTURY of large form; composed from a variety of shells in concentric and geometric patterns, centred with a heart motif, surrounded by three flowers; within a stained wood frame 35.2cm wide, 35.1cm high

£1,200-1,800

299 WEST INDIAN SHELLWORK OCTAGONAL SAILOR’S VALENTINE MID 19TH CENTURY of large form; composed from a variety of shells arranged in concentric and geometric patterns; centred with a pink peony enclosed within a pointed star; within a stained wood frame 34.8cm wide; 35cm high

£1,200-1,800

300 Y SCRIMSHAW WHALE’S TOOTH 19TH CENTURY decorated with flowering baskets and three-masted sailing ships to the front and reverse, on a wood stand 21cm excl. stand

£400-600

301 Y TWO SCRIMSHAW WHALE’S TEETH MID 19TH CENTURY the larger with a three-masted sailing ship flying an American flag and an eagle representing the Great Seal of the United States, the reverse with a flowering basket and bird-of-paradise on a tree; the smaller with a continuous scene of a couple in a haystack discovered by a pitchfork wielding farmer, inscribed ‘Why, Stroike me lucky if I arnt found a nest, and here’s the Cock bird, the Hen can’t be far off.’ 12cm high (2) 17cm and 12cm high

£400-600

129

302 SAILOR’S WOOLWORK PICTURE 19TH CENTURY depicting five rigged ships by a port, in a mahogany frame 32.5cm x 55cm

£300-500

303 LARGE OAK AND IRON BOUND DEED BOX 19TH CENTURY the box with a hinged fall front inscribed ‘BOX No 1 Saughton Titles, opening to an interior fitted with an arrangement of drawers, variously named and numbered for different properties ‘Old Saughton’, ‘New Saughton’, ‘Cranshaws’, and ‘Redheughs’, with a card inscribed ‘Mr John Hope/ 31 Moray Place’ 90cm wide, 59cm high, 47cm deep

£700-900

304 LEATHER, BRASS, AND CAMPHOR WOOD CHEST EARLY 19TH CENTURY covered in brown leather with brass stud decoration and brass mounted bands, the hinged top opening to a void interior 103cm wide, 50cm high, 52cm deep

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

130

305 RARE IRISH MILITIA FIELD OFFICER’S RED CLOTH UNIFORM COATEE, THE ROYAL QUEEN’S COUNTY MILITIA CIRCA 1793-1810 with bullion shoulder epaulettes, black facings with hook and eye front fasteners with silver buttons pressed with GR in the centre and Queens County Regiment and seems ,the two tails with concealed pockets and terminating in a decorative silver wire knot Provenance: Likely to have belonged to Major Jonathan Cope Chetwode (b. 31 May 1757, d. 11 May 1839) traced from an internal label inscribed Woodbrook (the family seat in Ireland) The Estate of the late J. E. Adam

306 COLLECTION OF VARIOUS BRITISH UNIFORMS AND ACCESSORIES LATE 19TH/ EARLY 20TH CENTURY to include a Civil Uniform gentleman’s great coat, cape, and two pairs of black evening dress breeches worn by members of the Royal Household, c. 1900-1920; a scarlet shell jacket with dark blue collar and pointed cuffs [buttons lacking], c. 1890s; two pairs of officer’s dark blue overalls, one with broad scarlet seam stripes, the other with narrow scarlet seam stripes; a scarlet waistcoat with plain brass buttons; a pair of spatterdashes with plain brass buttons; and a white cotton shirt frill (QTY) Provenance: The Estate of the late J. E. Adam

£250-350

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

Note: The militia regiment of Queen’s County (now Co. Laois), the Royal Queen’s County Militia, was originally raised in 1793 as the 25th Militia Battalion, one of only six Irish militia regiments allowed to bear the title ‘’Royal’’. Re-designated the 104th Battalion following the militia reforms of 1833, it became the 4th Battalion Leinster Regiment (Queen’s County Militia) following the army reforms of 1881. When initially raised, the Queen’s County Militia was apparently a fine unit. A commentator of the time (December 1793), who had been expecting to see an ‘’undisciplined rabble’’, in fact found the Queen’s County Militia to be by ‘’no means inferior (in appearance) to that of any veteran regulars I ever met with, in point of personal consequence and acquired uniformity’’. They took to the life of soldiering, and in 1796 they and the Dublin City Militia became the first two militia regiments to volunteer to serve outside Ireland. Major Jonathan Cope Chetwode (b. 31 May 1757, d. 11 May 1839), was the son of Valentine Knightley Chetwode and Henrietta Maria Cope. His estate was Woodbrook, near Portarlington, and Burke’s Landed Gentry of Ireland (1958) and Lewis’s Topographical Dictionary of Ireland (1837) acknowledge him as a Major in the Militia. Edith Mary Johnston-Liik (History of the Irish Parliament, (6 vols., Belfast, 2002) iii, 409) has him in his youth as a (?) Cornet in the Arlington Light Cavalry. Strickland (viz., Walter G. Strickland, ‘The Chetwoods of Woodbrook in the Queen’s County. With a portrait and book plate of Knightley Chetwood, d. 1752 and a portrait of Hester Brooking his wife’, in Journal of the County Kildare Archaeological Society, Vol. IX, pp. 205-26, 273-6, 381-6, 410-15, 1918-22; Vol. X, pp. 32-6, 100-6, 150-3, 195-6, 19228) mentions service as Ensign in the 102nd and 14th Regiments. In 1781 he was High Sheriff of Queen’s County, and from 1790 to 1797 M.P. for Downpatrick. He was twice married, but had no issue.

£400-600

132

307 EARLY VICTORIAN NEEDLEWORK SAMPLER, BY SARAH JANE REDDISH DATED 1839 of square form, worked in silks and wools on a linen ground, with a verse above a large building with birds, deer and sheep, flanked by boucle trees, with floral and fruit motifs in satin stitch, all within a strawberry border, in an oak frame 53cm x 51cm

£500-700

308 Y 19TH CENTURY ENGLISH SCHOOL NAIVE PAINTING OF A HORSE AND SPANIEL oil on canvas, in a period rosewood frame 26.5 x 31cm excluding frame

£300-400

133

309 ENGLISH SCHOOL, MINIATURE PORTRAIT OF A LADY SECOND QUARTER, 19TH CENTURY gouache and bodycolour on card, the sitter with dark hair in curls framing her face, wearing a large bonnet with grey ribbons and bows, and dressed in a ruffled neck flounce and grey jacket with gigot sleeves and a muslin pelerine collar; in a gilt wood and gesso frame 10.5cm x 9cm excluding frame

£250-350

310 VICTORIAN WAX DOLL DIORAMA IN DOME 19TH CENTURY the doll with a hollow wax head, arms, and legs, with a human hair wig, dressed in silk brocade robes, seated in a garden landscape with dried seed pods, gourds and moss, in an associated glass dome and ebonised stand 52cm high, overall; doll 43cm approx.

£300-400

311 VICTORIAN PAINTED WOOD, IRON, AND LEATHER PERAMBULATOR 19TH CENTURY with a black leather buttonupholstered seat and three wheels with iron sprung frame 60cm wide, 99cm high, 125cm long

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

134

312 PAIR OF BRASS SHIP’S LAMPS, BY DAVEY & CO., LONDON LATE 19TH CENTURY, WITH LATER ADAPTATIONS the domed tops above three bevelled glass panels, one hinged for opening, with embossed plaques DAVEY & CO./ LONDON LTD/ LONDON/ ENGLAND, converted to electricity (2) 23cm wide, 46cm high, 17.5cm deep

£1,000-1,500

313 Note: John Ede started making his ‘Patent American Eye Liquid’ in 1872, claiming it was after a recipe passed down from his father. With promises to cure ‘every disease of the eye’, Ede seemed more skilled in promotion than health. Previously, he had a wholesale business purchasing and reselling job lots of clothing and accessories of all kinds. Ede must have been convinced he had a great business on hand, as he got rid of his wholesale stock and started referring to his Birmingham premises as Eye Liquid Depot. Where exactly the American connection comes from is not clear. Although Ede declared his Eye Liquid’s worldwide fame and demand, nearly all the ads are in Birmingham papers. Despite boastful claims (‘The Greatest Wonder of the Age’) and a fortune spent on advertisements, the product did not catch on. The last advertisements around 1880 recommend the Eye Liquid for horses and puppies in an attempt to gain traction in a different market – obviously unsuccessful as he went out of business shortly after.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

VICTORIAN PAINTED ‘QUACK’ ADVERTISING CHEST FOR EDE’S PATENT AMERICAN EYE LIQUID MID 19TH CENTURY the hinged cover open to a void interior, the black painted exterior decorated with eyes, house, and various mottos and slogans, for ‘J. EDE BIRCHFIELD ROAD BIRMM’ 97cm wide, 50cm high, 48cm deep

£2,500-3,500

135

314 THREE VICTORIAN NOVELTY CROWN DESK ITEMS 19TH CENTURY comprising a cut and etched amber flash glass desk weight on a red velvet cushion, 12cm high; a brass and red velvet string holder, 12.5cm high; and a bronze inkwell with red velvet, 18cm high (3) £300-500

315 WHITE STATUARY MARBLE BUST OF A GENTLEMAN MID 19TH CENTURY the sitter with a moustache, goatee, and sideburns, on a socle base, unsigned 68cm high

£600-800

316 SCAGLIOLA COLUMN 19TH CENTURY of Doric form simulating green serpentine marble 35cm diameter, 108cm high

£400-600

317 VICTORIAN OAK LETTER BOX 19TH CENTURY the gable top with twin post slots, the pediment mounted with a nickel-plated plaque engraved in red enamel FOR POST/ RECEIVED/ LETTER BOX., above a glazed door, opening to a compartmented interior 23.5cm wide, 37cm high, 19cm deep

£700-1,000

136

318 EARLY VICTORIAN PAPIER MÂCHÉ TWO TIER TRAY TABLE MID 19TH CENTURY the piecrust tray top decorated with flowers and an exotic bird, raised on cabriole legs joined by a conforming smaller tray below, similarly decorated, and enhanced with gilt details throughout 78cm wide, 67cm high, 58cm deep

£500-700

319 VICTORIAN EBONISED, AMBOYNA, AND BRASS MOUNTED CENTRE TABLE 19TH CENTURY the rounded rectangular top with a gilt metal mounted edge, above slender tapered legs joined by a curved X stretcher centred by a finial, on ceramic castors 112cm wide, 74cm high, 58cm deep

£400-600

320 VICTORIAN EBONISED, PIETRA DURA, AND GILT METAL MOUNTED SIDE CABINET MID 19TH CENTURY of breakfront D form, the frieze with brass inlay, mounts and a floral hardstone panel, above a central cupboard door mounted with various hardstone reserves depicting fruits, flowers, and a bird, flanked by curved glazed doors enclosing shelves, on a conforming plinth base, the whole outlined with gilt metal mounts 166cm wide, 117cm high, 44cm deep

£2,500-3,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

137

321 TWO PAIRS OF GILT IRON WALL LIGHTS, BY BEAUMONT & FLETCHER OF RECENT MANUFACTURE comprising a pair of ‘Devon’ girandoles and a pair of ‘Wheatsheaf’ models; wired for electricity (4) 60cm and 39.5cm high

£400-600

322 EARLY VICTORIAN EBONISED AND PARCEL GILT MIRRORED CREDENZA, CHARLES NOSOTTI, LONDON MID 19TH CENTURY the shaped mirrored top above two further mirrored tiers with mirrored backs, raised and divided by fluted columns with foliate capitals, the frame with applied gilt gesso shell motifs, scrolls, and flowers, stencil maker’s stamp to the reverse C. NOSOTTI/ MAKER GLASS MIRROR FURNITURE/ 397.398 OXFORD ST. 399.399/ ESTD 1822 181cm wide, 92cm high, 52cm deep Literature: Graham Child, World Mirrors 1650-1900 p.22 J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167.

£2,500-3,500

Note: Charles Andrea Nosotti is listed as a carver, gilder, upholsterer and cabinetmaker at 2 Dean Street, Soho, from 1835-1840, although he appears to have set up a ‘looking glass manufactory’ in 1831. Almost certainly born in Milan, his high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave’s drawing room at Strawberry Hill. The cabinet is illustrated in J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167. Further commissions came from the millionaire industrialist John Allcroft at Stokesay Court, Shropshire. Nosotti advertised furniture in the Art Journal Catalogue of the International Exhibition, 1867, noting that his firm enjoyed the patronage of the Princess of Wales. He later collaborated with the leading Victorian makers Howard and Sons and this piece certainly has the hallmarks of this collaboration. A comparable piece was sold at Sotheby’s lot 136 28 August 1994.

138

323 VICTORIAN GILTWOOD AND GESSO OVERMANTEL MIRROR 19TH CENTURY the shaped arch mirror plate in a laurel moulded frame with foliate scroll cresting centred by a cartouche 150cm high, 120cm wide

£400-600

324

325

VICTORIAN WALNUT LARGE CENTRE STOOL

VICTORIAN WALNUT MUSIC CABINET

MID 19TH CENTURY

the top with a pierced brass gallery and outset rounded corners, above a glazed door enclosing shelves with leather dusters embossed SACRED, SONGS, DANCE, GEN’L MUSIC, flanked by fluted and ring turned columns, raised on ceramic castors, the whole outlined with stringing

the rectangular seat pad inserted in a moulded frame carved with leafy scrolls, on cabriole legs; covered in striped plush upholstery 112cm wide, 47cm high, 64cm deep

£800-1,200

19TH CENTURY

63cm wide, 105cm high, 41cm deep

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

139

326 PAIR OF EARLY VICTORIAN WALNUT FRAMED ARMCHAIRS MID 19TH CENTURY the horseshoe shaped padded open backs on double C scroll supports, leading to scrolled hand terminals above a wide stuffover seat, raised on flower-carved cabriole legs with brass castors (2) 68cm wide, 77cm high, 58cm deep

£1,500-2,500

327 VICTORIAN WALNUT KIDNEY SHAPED LADY’S WRITING TABLE MID 19TH CENTURY the top with a moulded edge and blue leather insert, above a pair of frieze drawers and foliate scrolled brackets, raised on fluted and bead moulded supports joined by a turned stretcher and ending on trestle bases with fret carving, on scrolled feet with castors 124cm wide, 77cm high, 61cm deep

£1,000-1,500

328 EARLY VICTORIAN WALNUT SOFA MID 19TH CENTURY the low back and scroll arms above a padded seat, the arm facings carved with foliate scrolls leading to cabriole legs, upholstered in mustard yellow plush fabric 203cm wide, 74cm high, 52cm deep

£400-600

140

329 EARLY VICTORIAN MAHOGANY HALL BENCH MID 19TH CENTURY with scroll ends raised on lotus carved tapered and turned legs 91cm wide, 49cm high, 33cm deep

£600-800

330 VICTORIAN MAHOGANY HALL COAT AND HAT STAND 19TH CENTURY with four scrolling arms with four turned hanging pegs, with a metal lined stick stand base 103cm wide, 200cm high, 22cm deep

£400-600

331 EARLY VICTORIAN MAHOGANY CHEST OF DRAWERS, A. SOLOMON MID 19TH CENTURY with two short over two long drawers flanked by lotus carved pilasters, on a bead moulded plinth base, the drawers stamped ‘A. SOLOMON 59 GT QUEENS ST’ 97cm wide, 84cm high, 52cm deep

£400-600

Note: Abraham Solomon, furniture broker, is listed at 23 Little Queen Street in 1839 and by 1844 he also occupied 59 Great Queen Street. A library table and a davenport stamped ‘A. SOLOMON’ are illustrated in Christopher Gilbert, The Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, fig. 639, fig. 70. Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

141

332 MATCHED PAIR OF VICTORIAN MARBLE TOPPED POT CUPBOARDS, ONE BY HOLLAND & SONS SECOND HALF 19TH CENTURY one walnut, the other mahogany; both with circular white marble tops above a door enclosing two shelves on a plinth base, the mahogany example stamped ‘HOLLAND & SONS’ on the door (2) Walnut 74 cm high, 39 cm diameter; mahogany 71cm high, 39 cm diameter

£1,000-1,500

333 EARLY VICTORIAN MAHOGANY PRESS CUPBOARD, POSSIBLY WILLSON OF QUEEN ST. MID 19TH CENTURY the moulded cornice above a pair arch moulded doors enclosing four sliding trays; on a base with an arrangement of four short drawers over two long drawers, on a plinth 153cm wide, 227cm high, 72cm deep

£600-800

142

334 LARGE VICTORIAN CARVED OAK TABLE CABINET/ HUMIDOR 19TH CENTURY the moulded and carved stepped top above a single door centred with a carved armorial amongst borders of oak leaves and acorns in high relief, opening to four baize-lined drawers, the side panels carved with entwined monograms within similar borders, the lock plate stamped V/R/ EVERLOCK 43cm wide, 60cm high, 35.5cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

143

335 OAK FOLIO STAND LATE 19TH CENTURY with a book rest and rising double ratchet adjustment 80cm wide, 66cm deep

£400-600

336 LARGE MAHOGANY PERPETUAL CALENDAR 19TH CENTURY the dentil moulded top above a panel front with circular aperture revealing a scrolling date painted canvas, flanked by fluted columns, on an inverted breakfront base, with turning knobs to the sides 60cm wide, 75cm high, 25.5cm deep

£1,000-1,500

337 VICTORIAN LARGE MAHOGANY FRAMED CURVED BANQUETTE SOFA 19TH CENTURY the low curved padded back and arms above a padded curved seat, the carved arm facings and moulded seat rail raised on short tapered feet with ceramic castors, now covered in green leatherette 318cm wide, 64cm high, 54cm deep

£500-700

144

338 TWO PAIRS OF GILT METAL WALL LIGHTS OF RECENT MANUFACTURE comprising a pair with pineapple-shaped tracery; and a pair with open frameworks united by central horizontal bands and laurel leaf swags; each with two outscrolling arms, wired for electricity (4) 42cm and 48.5cm high

£300-500

339 Y EARLY VICTORIAN ROSEWOOD, MAPLE, AND TUNBRIDGEWARE WINE TABLE MID 19TH CENTURY the circular top inlaid with Tunbridgeware floral panels within a ribbon inlay border, on a slender hexagonal support with corresponding inlay and ending in a tripod umbrella base 45cm diameter, 74cm high

£700-900

340 EARLY VICTORIAN MAHOGANY WASHSTAND/ DRESSING TABLE MID 19TH CENTURY the gallery back above a pair of short frieze drawers, raised on scroll moulded trestle supports with flattened bun feet with brass castors and joined by a shaped stretcher 122cm wide, 75cm high, 61cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

145

341 EARLY VICTORIAN IRISH SATIN BIRCH OCCASIONAL TABLE, BY WILLIAMS & GIBTON MID 19TH CENTURY the crossbanded rectangular top with canted corners above a frieze drawer, raised on pierced trestle supports on brass castors, joined by a scrolled arch stretcher, stamped on the drawer WILLIAMS & GIBTON 64cm wide, 74cm high, 43cm deep Note: The firm of Mack, Williams and Gibton were established at 39 Stafford Street, Dublin and were appointed Upholsterers & Cabinet Makers to his Majesty, His Excellency the Lord Lieutenant and His Majesty’s Board of Works. After the death of John Mack in 1829, the firm continued to trade as Williams and Gibton (1830-1844). They made furniture for many prominent Irish houses such as Ballynegall, Co. Westmeath, Oakley Park, Co. Meath and Strokestown Co. Roscommon. The firm is recognized for the high quality of their workmanship and were compared in quality to their English contemporary, Gillows.

£400-600

342 EARLY VICTORIAN WALNUT, KINGWOOD, AND MARQUETRY SERPENTINE DESK MID 19TH CENTURY the shaped rectangular crossbanded top with a pierced three-quarter brass gallery and a green leather insert flanked by floral marquetry ovals, above a central frieze drawer fitted with small drawers and compartments, raised on cabriole legs outlined with gilt metal mounts 136cm wide, 76cm high, 74cm deep

£1,500-2,500

343 PAIR OF EARLY VICTORIAN MAHOGANY ARMCHAIRS MID 18TH CENTURY with curved arched backs with carved flower and C scroll cresting, above stuffover serpentine seats and scroll carved hand terminals, raised on reeded lotus form legs ending in brass castors (2) 62cm wide, 102cm high, 51cm deep

£500-700

146

344 PAIR OF DERBY CROWN PORCELAIN MOONFLASKS LATE 19TH CENTURY of flattened ovoid form with twin loop handles, decorated with polychrome birds and gilt leaves on turquoise grounds, raised on scrolled feet, underglaze maker’s marks (2) 19cm high Provenance: Property of a Lady of Glasgow

£300-500

345 SEVEN ROYAL WORCESTER FRUIT PAINTED DEMI TASSE CUPS AND SAUCERS 1917-1926 all cups with interior painted decoration and gilded exterior; comprising two fruit painted examples, the cups signed by Austin and Hale, the saucers signed by Ricketts and Rushton; and four rose painted examples, all signed by Twin; puce factory marks, various dates (12) Saucers 9.8cm diameter; cups 3.5cm high Provenance: Property of an Edinburgh collector

£400-600

346 AESTHETIC PERIOD ‘ORIENTAL’ BRASS BRACKET CLOCK, HERBERT MASON & CO. BIRMINGHAM LATE 19TH CENTURY the dial set with white enamel numbers in a pierced brass case with elephants heads, taotie symbols, ruyi, and sacred objects, surmounted by a mythical dragon-beast, the eight-day movement striking a gong and stamped ‘G.V.’ 33cm wide, 53cm high, 28cm deep Note: Mason was formerly a student of the Birmingham and South Kensington Schools of Art. This clock, design no. 82300, was registered on 28th September 1887.

£300-500

147

347 VICTORIAN SILVER PLATED AND GLASS THREE PIECE TABLE GARNITURE MID 19TH CENTURY comprising a large centrepiece and a pair of accompanying comports; with frosted and cutglass dish tops raised on knopped stems mounted with elephant heads, on dished bases raised on paw feet, the comports stamped 3576 (3) Centrepiece 60cm high; comports 23cm high

£400-600

348 COLLECTION OF GILT AND ORMOLU DISHES 19TH CENTURY comprising a footed comport and two scalloped oval dishes by Martin & Hall engraved with flowers and fruit with central monogram ‘TG’, impressed maker’s marks and numbered 2134 and 2372 9; the comport engraved to the foot rim ‘Hamilton, Crichton & Co, 41 George Street, Edinburgh’, 15.5cm high, 23.5cm diameter; 31.5cm and 15.5cm wide; a Continental round tazza in the Renaissance style with cast and chased decoration, on a circular foot, 18cm high; a Baroque style ormolu centrepiece with cast and chased decoration, the shell-shaped body with masks and floral swags, the handles in the form of putto, 22cm high; and a gilt metal tazza, the rim applied with oval micromosaic floral panels, on a circular foot, 26.5cm diameter, 9.5cm high (6) £400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

148

349 WILLIAM IV MAHOGANY BALLOON CASE TIMEPIECE, GRIFFITH, WESTMINSTER MID 19TH CENTURY the circular brass dial with Roman numerals and a single winding hole, signed GRIFFITH/ KING STREET/ WESTMINSTER, raised on rounded feet, with a non-striking single fusée movement 25cm wide, 30.5cm high, 14cm deep

£400-600

350 NOVELTY BOOK DECANTER BOX MID 20TH CENTURY comprising four stacked leatherbound books, hinged and opening to reveal a gilt glass decanter and eight shot glasses 26cm wide, 19cm high

£400-600

351

352

TWO NOVELTY BOOK DECANTER BOXES

LARGE MAHOGANY CHIMING BRACKET CLOCK

MID 20TH CENTURY

19TH CENTURY

comprising one with four stacked leather bound books, hinged and opening to reveal a small gilt glass decanter and four glasses; and the other with two leather bound books, hinged and opening to reveal six glasses, 24cm wide, 8cm high, 17cm deep (2) 17cm wide, 14cm high

the domed case with inlaid banding above the enamelled dial with Roman numerals, marked SILENT/ CHIME, the musical movement playing two tunes on eight bells and striking a gong, the backplate stamped 6873, with inlaid cornucopia to the lower part of the case, raised on a moulded base and brass squat bun feet

£500-700

34cm wide, 49.5cm high, 22.5cm deep

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

149

353 GROUP OF EIGHT GILTWOOD WALL BRACKETS OF RECENT MANUFACTURE with serpentine platforms over carved scrolls, foliage and grapes (8) 18cm high, 15.5cm wide, 10cm deep

£300-500

354

355

RUBY GLASS PARAFFIN LAMP BASE

VICTORIAN BRASS BOUND MAHOGANY DECANTER BOX

19TH CENTURY

of facetted mallet shape, with lacquered brass mounts Provenance: Property of an Edinburgh collector

the squared case with a blank brass cartouche and twin handles, opening to a fitted plush-lined interior with four cut-glass decanters with stoppers, the lock stamped J. BRAMAH/ 124 PICCADILLY

£300-400

22cm wide, 26cm high, 22cm deep

63cm high

£1,500-2,500

356 VICTORIAN BRASS BOUND MAHOGANY DECANTER BOX 19TH CENTURY the rectangular case with a carrying handle to the lid, opening to a fitted velvet-lined interior with two cut-glass decanters with lips, the lock indistinctly stamped B. S. & CO/ LONDON 25cm wide, 30cm high, 14.5cm deep

£500-700

150

357 VICTORIAN WALNUT, TULIPWOOD, AND INLAID BRASS MOUNTED ETAGERE MID 19TH CENTURY with three tiers with line inlay, the rectangular top with a three-quarter brass rail, all raised and divided by turned supports, on turned feet with brass caps and ceramic castors 60cm wide, 101cm high, 40cm deep

£700-900

358 BRASS TELESCOPIC STANDARD LAMP, HART, SON, PEARD & CO. 19TH CENTURY in the Greek Revival style, on a tripartite black slate base 158cm high [lowest]

£500-700

359 VICTORIAN MAHOGANY CENTRE TABLE MID 19TH CENTURY the circular tilt top on a facetted baluster column and tripartite base with scrolled legs ending in foliate scrolled toes with brass castors 128cm diameter, 71cm high

£500-700

360 VICTORIAN WALNUT AND INLAID MARBLE TOPPED CREDENZA 19TH CENTURY the shaped white marble top with a moulded edge, above three arched mirror doors with carved and pierced spandrels, divided by scrolled pilasters, on a conforming plinth base 169cm wide, 91cm high, 52cm deep

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

151

361 VICTORIAN GILTWOOD AND GESSO PIER MIRROR 19TH CENTURY the rectangular bevelled mirror plate in a beaded and leaf tip moulded frame surmounted by an oval profile portrait of a bacchante with husk garlands and palm fronds, the corners with fruiting urns 160cm high, 84m wide

£700-1,000

362 PAIR OF CARVED GILTWOOD AND MARBLE WALL BRACKETS LATE 19TH/ EARLY 20TH CENTURY the deep demilune shelves with leaf moulded edges and later blue/grey marble tops, raised on beaded foliate scroll supports (2) 45cm wide, 42cm high, 29cm deep Provenance: Property of a Lady of Glasgow

£300-500

363 Y VICTORIAN ROSEWOOD, INLAY, AND MARBLE TOPPED SIDE CABINET 19TH CENTURY the nero portoro marble top of breakfront outline with a moulded edge, above a line inlaid frieze over a central oval glazed door with yellow pleated silk lining and marked at the corners with scrolling foliate inlay, flanked by further glazed cupboards enclosing shelves, on a conforming plinth base 184cm wide, 105cm high, 38cm deep

£1,000-1,500

152

364 LATE VICTORIAN MAHOGANY, MARQUETRY, AND PENWORK CYLINDER DESK LATE 19TH CENTURY with a pierced brass gallery with drawer above a cylinder close opening to pigeon holes, drawers, well, and a leather ratchet adjusted slope, over a dummy frieze drawer, raised on square tapered legs ending in spade feet

366 MAHOGANY, SATINWOOD, AND PENWORK URN STAND, IN THE MANNER OF EDWARD & ROBERTS 19TH CENTURY the octagonal top with foliate and flower inlay within a gallery border, above a frieze with swag inlay and a cup slide, raised on square tapered legs joined by an X stretcher 34cm wide, 77cm high

£300-500

365 VICTORIAN MAHOGANY LIBRARY BOOKCASE 19TH CENTURY the moulded cornice above three glazed doors enclosing adjustable shelves, on a projecting base with three panel doors on a plinth base

76cm wide, 106cm high, 51cm deep

190cm wide, 229cm high, 48cm deep

£400-600

£800-1,200

153

367 NEAR PAIR OF VICTORIAN WALNUT AND NEEDLEWORK DRESSING TABLE STOOLS 19TH CENTURY of identical design, one slightly smaller than the other, the rectangular needlework seat pads on scrolled X supports joined by a turned stretcher (2) Larger 59cm wide, 44cm high, 37cm deep; smaller 53cm wide, 44cm high, 35cm deep

£1,000-1,500

368 VICTORIAN KINGWOOD, MARQUETRY, AND GILT METAL BOMBE BUREAU DE DAME, BY S &H JEWELL LATE 19TH/ EARLY 20TH CENTURY in the Louis XV style, the slant front with flower and foliate scroll marquetry, opening to a fitted interior, above a long frieze drawer bearing a metal maker’s label 79cm wide, 102cm high, 46cm deep

£2,000-3,000

369 WALNUT AND GILT METAL MOUNTED DISPLAY CABINET MODERN in the Georgian taste, the case with gilt metal mounts and bevelled glass sides enclosing a blue fabric lined interior with mirror back, raised on tall cabriole legs ending in claw and ball feet 64cm wide, 82cm high, 34cm deep Provenance: Property of a Lady of Glasgow

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

154

370 Y MOUNTED TAXIDERMY GHARIAL HEAD 19TH CENTURY with glass eyes, on a wood wall bracket mount

371 Y VICTORIAN DOMED TAXIDERMY BIRDS OF SOUTH AMERICA DIORAMA 19TH CENTURY

Provenance: The Peter Rose and Albert Gallichan Collection

comprising twenty-five specimens, including a golden oriole, a scarlet tanager, a honeycreeper, and various hummingbirds, on a canted oak base with an old paper label

£1,000-1,500

52cm wide, 71cm high, 27cm deep

67cm long, head 57cm long, 11cm high

£500-700

372 THREE LEATHER STICK STANDS INCLUDING AN EXAMPLE BY GEORG HULBE EARLY 20TH CENTURY the tallest of tapering form, embossed and decorated with scrolling briars in flowers, 43cm high; a cylindrical stick stand by Georg Hulbe, embossed with poppies in the Art Nouveau taste, the leather stamped with maker’s mark to the base, 37cm high; and a canvas cordite case with a print of the Royal coat of arms and motto Dieu Et Mon Droit, the leather strap handle with indistinct stamped marks (3) 30cm high

£500-700

373 Y EDWARDIAN MAHOGANY SNOOKER/BILLIARDS SCORE MARKER, COX & YEMAN, LONDON EARLY 20TH CENTURY with a slate board, painted break rollers and ivory ball markers 98.5cm wide, 53cm high

£300-400

155

374 LATE VICTORIAN TOOLED LEATHER JEWELLERY BOX, BY HUNT & ROSKELL, LONDON LATE 19TH CENTURY the trellis embossed brown leather case with a brass handle-plate engraved A.H.A, opening to blue lined interior with two lift-out trays; the interior bearing a gilt stamp HUNT & ROSKELL. LATE STORR & MORTIMER, the lock stamped J. T. NEEDS/ 6 DOWN ST./ PICCADILLY/ LATE J. BRAMAH/ 124 PICCADILLY 32.5cm wide, 14.5cm high, 28cm deep

£400-600

375 Y LEATHER CASED SILVER MOUNTED TRAVELLING TOILET SET EARLY 20TH CENTURY the green leather case with monogram initials A.E; opening to a green moiré silk lined interior fitted with four glass toilet jars, the covers engraved A E, a vesta case, an ink bottle, a manicure set, an easel mirror, a blotter pad, a clothes brush, a hairbrush and a tortoiseshell comb; the jars with silver mounts marked for William Amaziah Ellwick, London, 1914, the brushes with silver mounts marked for Chester 1914, maker’s mark indistinct 36cm wide, 17cm high, 29cm deep

£300-500

376 VICTORIAN CROCODILE SKIN AND MOROCCAN LEATHER LAP DESK 19TH CENTURY opening to a black leather fitted interior with stationery compartments and a folio, above three ceramic memo boards and a fold-out writing slope, the lock stamped BRAMAH/ LONDON 33.5cm wide, 15.5cm high, 26cm deep

£600-800

377 LATE VICTORIAN MAHOGANY HABERDASHERY AND NOTIONS CABINET LATE 19TH CENTURY the case with two banks of seven drawers with recessed brass handles and numbered with labels for the contents, on bun feet 90cm wide, 81cm high, 34.5cm deep

£2,000-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

156

378 SHERATON REVIVAL PAINTED MAHOGANY BIJOUTERIE TABLE LATE 19TH/ EARLY 20TH CENTURY the hinged glazed top opening to a silk lined interior, raised on slender square tapered legs joined by an X stretcher 53cm wide, 79cm high, 36cm deep

£1,000-1,500

379 SHERATON REVIVAL SATINWOOD DISPLAY CABINET LATE 19TH CENTURY the arched and crossbanded cornice with finials to the corners above a lancet moulded frieze over glazed and mullioned doors and side panels, opening to shelves and a fabric lined interior, the projecting base outlined with further crossbanding and line inlay above a shaped frieze and raised on square tapered legs ending in spade feet 95cm wide, 209cm high, 44cm deep

£1,500-2,000

380 SHERATON REVIVAL PAINTED SATINWOOD CREDENZA LATE 19TH CENTURY of serpentine outline, the superstructure with a shelf, the base with a pair of serpentine doors with circular reserves painted with scenes of courting couples, opening to shelves, decorated throughout with ribbon-tied flower garlands, swags, trophies, and husk trails, raised on square tapered legs ending in block feet 107cm wide, 116cm high, 40cm deep

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

157

381 PAIR OF SHERATON REVIVAL PAINTED SATINWOOD DISPLAY CABINETS EARLY 20TH CENTURY of D shape outline with an arched glazed door opening to glass shelves and curved glazed side panels, raised on square tapered legs ending in spade feet and joined by a conforming undertier, decorated with classical maidens emblematic of the Arts, trophies, harebell trails, and ribbon-tied swags (2) 74cm wide, 158cm high, 34cm deep Provenance: Property of a Lady of Glasgow

£2,500-3,500

158

382 Y SHERATON REVIVAL SATINWOOD, ROSEWOOD, AND MARQUETRY ETAGERE LATE 19TH CENTURY with two oval trays inlaid with shell motifs and husk garlands within banded borders and wavy galleries, raised on slender outset legs with urn finials 73cm wide, 83cm high, 54cm deep

£400-600

383 SHERATON REVIVAL PAINTED SATINWOOD BOWFRONT CORNER CABINET LATE 19TH/ EARLY 20TH CENTURY the arched cornice with painted lobed finials, above a bowfront glazed door enclosing glass shelves, over a central bowfront cupboard and drawer, decorated with harebell trails, figural reserves, and flower garlands, raised on slender square legs joined by stretchers 64cm wide, 196cm high, 52cm deep Provenance: Property of a Lady of Glasgow

£600-800

384 SHERATON REVIVAL MAHOGANY AND SATINWOOD INLAID BUREAU EARLY 20TH CENTURY of small size, the crossbanded slant front with ribbon tied swags and scrolling laurel marquetry, opening to pigeon holes and drawers, above four graduated long drawers similarly inlaid, on bracket feet 66cm wide, 92cm high, 47cm deep

£400-600

159

385 EDWARDIAN SATINWOOD REVOLVING BOOKCASE EARLY 19TH CENTURY the circular quarter veneered top above four book compartments with fret panels, raised on a revolving tripod base joined by an undertier 46cm diameter, 76cm high Provenance: Property of a Lady of Glasgow

£300-400

386 SHERATON REVIVAL INLAY, PENWORK, AND PAINTED SATINWOOD BOWFRONT CORNER DISPLAY CABINET LATE 19TH/ EARLY 20TH CENTURY the dentil moulded frieze above a frieze with a musical trophy over a bowed glass door enclosing shelves; the base with a cupboard door with an oval reserve painted with a classical figure with a lyre, decorated throughout with swags, trails, and palm fronds, raised on square tapered legs with spade feet 90cm wide, 220cm high, 58cm deep

£700-1,000

387 SHERATON REVIVAL SATINWOOD AND MARQUETRY OVAL DRUM CABINET EARLY 20TH CENTURY the tray top with a wavy edge and inlaid with a central fan medallion, anthemion, and husk garlands, above a frieze with further husk garlands and a pair of cupboard doors with oval panel inlay and anthemion, raised on lappet moulded legs ending in carved paw feet 72wide, 75cm high, 54cm deep Provenance: Property of a Lady of Glasgow

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

160

388 TWO GEORGIAN STYLE BELL JAR HALL LANTERNS OF RECENT MANUFACTURE each with a cylindrical glass shade and circular glass smoke-shade suspended by chains, engraved with stars and stylised leaves, fitted for electricity (2) Larger 50cm high approx.; smaller 45cm high approx.

£500-700

389 GEORGIAN STYLE MAHOGANY KINGWOOD GUN CABINET EARLY 19TH CENTURY the pierced swan neck pediment above a lancet moulded frieze, over a pair of astragal glazed doors lined with red fabric and opening to an interior fitted to hold seven shotguns; the base fitted with a drawer and hinged leather writing surface above a pair of oval panel doors enclosing eight drawers, raised on bracket feet 107cm wide, 245cm high, 42cm deep

£400-600

390 PAIR OF GEORGIAN STYLE LEATHER TUB ARMCHAIRS 20TH CENTURY one in brown leather, the other in green, with brass stud trim, raised on acanthus carved cabriole legs ending in claw and ball feet (2) 66cm wide, 74cm high, 52cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

161

391 PAIR OF GEORGIAN STYLE MAHOGANY OCCASIONAL TABLES, PROBABLY ARTHUR BRETT OF NORWICH MODERN the rectangular tray tops with canted corners above a deep frieze with moulded borders, raised on square chamfered legs with C scroll corner brackets and joined by pierced X stretchers (2) 50cm wide, 67cm high, 43cm deep

£700-900

392 PAIR OF GEORGIAN STYLE MAHOGANY FRAMED SOFAS 20TH CENTURY with hump backs and high scrolled arms above loose cushion seats, raised on eight shell-carved cabriole legs ending in paw feet; covered in yellow foliate patterned fabric (2) 214cm wide, 95cm high, 60cm deep

£1,500-2,500

393 GEORGIAN STYLE MAHOGANY EXTENDING DINING TABLE EARLY 20TH CENTURY the rounded rectangular top with a reeded edge, raised on acanthus carved cabriole legs ending in carved claw and ball feet with castors, with a wind-out mechanism to accommodate three additional leaves 302cm long [extended], 75cm high, 113cm deep

£1,000-1,500

162

394 EDWARDIAN MAHOGANY AND MARQUETRY LAMP TABLE EARLY 20TH CENTURY the octagonal top centred with flower and urn marquetry within a chequer border, raised on square tapered legs joined by cross stretchers and ending in brass caps and castors 68.5cm diameter, 73cm high

£300-500

395 TWO EDWARDIAN MAHOGANY FRAMED FLOOR SCREENS EARLY 20TH CENTURY one with three panels, the other with two and a folding shelf, lined with striped fabric (2) Larger 184cm wide, 198cm high; smaller 116cm wide, 198cm high

£400-600

396 PAIR OF MAHOGANY BEDSIDE CABINETS 19TH CENTURY, WITH ALTERATIONS the tops with rounded forecorners and a moulded edge, above a frieze drawer and panelled cupboard door, on plinth bases (2) 40cm wide, 70cm high, 37cm deep

£900-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

163

397 NEAR PAIR OF EDWARDIAN TUB ARMCHAIRS EARLY 20TH CENTURY with low scrolled backs and arms above cushion seats, one in button upholstered sage green plush fabric with square tapered legs and castors, the other in pale blue fabric with tapered legs and brass castors (2) 76cm wide, 75cm high, 55cm deep

£500-700

398 EDWARDIAN BRASS, GLASS, AND GILTWOOD ETAGERE EARLY 20TH CENTURY with three oval glass tiers raised and divided by fluted giltwood supports, on toupie feet 50cm wide, 83cm high, 37cm deep

£400-600

399 UPHOLSTERED ‘NAPOLEON’ ARMCHAIR, AFTER A DESIGN BY SIR EDWIN LUTYENS EARLY 20TH CENTURY with a high end with scrolled arms and a low scroll end opposing, raised on square tapered legs with brass castors; covered in faun plush upholstery with cord trim 82cm wide, 76cm high, 63cm deep

£700-1,000

400 HOWARD & SONS ‘BRIDGEWATER’ ARMCHAIR EARLY 20TH CENTURY with a low padded back and scroll arms above a loose cushion seat, raised on square tapered mahogany legs ending in brass castors, the rear leg stamped 13223/ 1050 HOWARD & SONS LTD/ BERNERS ST, the castors unstamped; covered in a modern jacquard fabric 74cm wide, 85cm high, 67cm deep

£800-1,200

164

401 PAIR OF PORTA ROMANA SILVERED METAL ‘FLORENTINE’ LAMP BASES MODERN with waved leafy stems raised on acrylic bases, with oval coffee-au-lait silk shades (2) 50.5cm high (excluding shades); 70cm high overall

£300-500

402 PAIR OF GILT BRONZE AND MIRROR OCCASIONAL TABLES MODERN the rectangular tops with mirrored inserts on slender square tapered legs joined by three-quarter stretchers (2) 50cm wide, 62cm high, 35cm deep

£800-1,200

403 UPHOLSTERED TUB ARMCHAIR MODERN the high arched back above a loose cushion seat and slightly scrolled arms, raised on square tapered legs ending in brass castors, covered in mustard/gold fabric with grey piping 70cm wide, 103cm high, 58cm deep

£500-700

165

404 CARVED AND LIMED OAK MIRROR MODERN the oval plate in a frame carved with grapes, leaves, and flowers 85cm high, 65cm wide

£500-700

405 ART DECO MAHOGANY AND BRASS MOUNTED DRINKS TROLLEY EARLY 20TH CENTURY with three tiers with three-quarter galleries raised and divided by square brass supports with brass bead mounts, on castors 63cm wide, 75cm high, 43cm deep

£700-1,000

406 PAIR OF WHYTOCK & REID COUNTRY HOUSE ARMCHAIRS LATE 20TH CENTURY in the Howard & Sons style, with wide padded backs, scroll arms and deep cushion seats, on square legs with modern castors; with pale yellow slipcovers over houndstooth check upholstery, one black the other green (2) 91cm wide, 85cm high, 78cm deep

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

166

407 HAMILTON WATCH COMPANY CHRONOMETER WATCH, MODEL 22 20TH CENTURY the 2 1/4 inch dial with subsidiary seconds and wind dials, in a brass gimbal, with inscription to back of case, in a three-part mahogany case with glass panel, with plaques to front inscribed 276-1943 and HAMILTON WATCH CO./ LANCASTER, PA., U.S.A. 15cm wide, 15cm high, 15cm deep

£600-800

408 LARGE RED SIMULATED LACQUER MIRRORED DISPLAY CABINET, BY WHYTOCK & REID 20TH CENTURY in the Chinese taste with a pagoda style top above a glazed door and side panels and a mirror back with glass shelves, on bracket feet; the surface carved with prunus and lingzhi 101cm wide, 237cm high, 36cm deep Provenance: Property of an Edinburgh collector

£800-1,200

409 POLISHED SET OF SCALES, BY VENDROME & HART LTD., LONDON MID-20TH CENTURY the central scale with maker’s mark, above the weighing platform and scoop, with maker’s plaque and serial no. 9096, with a graduated set of brass weights, variously marked 46cm high, base 36cm wide

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

END OF DAY ONE

DAY TWO WEDNESDAY 19 MAY 2022 FROM 10AM ANTIQUITIES

168

410 ANCIENT EGYPTIAN LATE PERIOD BRONZE OSIRIS 26TH DYNASTY, C. 600 BCE hollow cast bronze, Osiris is shown with elegant sweeping brows, recessed eyes with cosmetic lines above, the mouth formed into a subtle smile, broad shouldered and holding a crook and flail in crossed hands, displaying a beautiful emerald and azurite patina, raised on a bespoke mount 14cm tall Provenance: Private collection, Holland, acquired from Kunsthandel J. Polak, Amsterdam between 1977 - 1987

£3,000-5,000

169

411 COLLECTION OF ANCIENT EGYPTIAN AND NEAR EASTERN AMULETS 1ST MILLENIUM BCE three wooden stands each presenting a group of ancient amulets; the first bearing an Egyptian faience amulet of Sekhmet, a lapis frog amulet, faience scarab, Near Eastern standing figure and Bastet amulet in carnelian; the second with a lapis frog, an ancient Egyptian banded agate amulet of a goose, rock crystal frog and rock crystal dove; the third with a lapis scarab, lapis amulet of an ibis, lapis amulet of a goose and dark stone scarab (14) largest 4.5cm high Provenance: Private collection, London, United Kingdom, formed between 1965 - 2018

£4,000-6,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

170

412 ANCIENT ROMAN-CYPRIOT GOLD CRESCENT EARRINGS LIKELY 1ST CENTURY BCE - 1ST CENTURY AD sheet gold worked into crescents with a filigree border, hook and catch above (2) 3.5cm high, 2.5cm wide Provenance: Private collection, United Kingdom, formed over the past forty years, formerly with Brigantia Antiques, York Note: Although this type of earring was made in Cyprus over a long period of time, most examples are probably Roman. For similar examples from the Cesnola Collection please see; The Metropolitan Museum, accession number 74.51.3881.

£500-800

413 HELLENISTIC GOLD WREATH 4TH - 3RD CENTURY BCE five gold rosettes mounted on a thin gold band, the central one mounted with a garnet 28cm long

£1,500-2,500

414 PAIR OF HELLENISTIC AND BYZANTINE GOLD PENDANTS C. 3RD CENTURY BCE - 5TH CENTURY AD the Hellenistic pendant with central garnet and dual pearl drops below; the Byzantine pendant with a seated pair, dual garnets to the sides and loop for attachment above (2) 3cm wide Provenance: Private collection, United Kingdom, formed over the past forty years, formerly with Brigantia Antiques, York

£700-900 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

171

415 ANCIENT GREEK APULIAN RED FIGURE BELL KRATER SOUTH ITALY, 400-300 BCE with added white details, the front showing a youth and maenad with thyrsi, a basket and drums, the back with two draped men 28cm high, 29.5cm diameter Provenance: Private collection, United Kingdom, formed over the past forty years, formerly with Brigantia Antiques, York

£2,000-4,000

416 ANCIENT GREEK APULIAN RED FIGURE BELL KRATER SOUTH ITALY, CIRCA 400-300 BCE with added white, the front showing young Dionysos with thyrsus receiving gifts from a maenad, the verso with two youths holding staffs 31.5cm high, 32cm diameter Provenance: Private collection, United Kingdom, formed over the past forty years, formerly with Brigantia Antiques, York

£3,000-5,000

417 ANCIENT GREEK CALENE WARE GUTTOS 3RD CENTURY BCE fired and stamped terracotta, black-glazed with vertical striations around the shoulder, strap handle and trumpet spout, with a profile head of a Nubian on the discus 10.5cm diameter, 8cm high Provenance: Private collection, United Kingdom, acquired Helios Gallery c. 2010 Elias-Vaes collection, Netherlands, acquired 1960’s - 1970’s Exhibited on long term loan: Kralings Museum, Rotterdam-Kralingen

£500-800

172

418 CYPRIOT LATE BRONZE AGE DIPPER CUP / MILK BOWL C. 1400 BCE terracotta, of typical shape, with deep bowl decorated with linear geometric pattern and strap handle 11cm wide, 6.5cm high Provenance: Private collection, Scotland, acquired 1990s

£400-600

419 CYPRIOT LIMESTONE HEAD OF A GODDESS, LIKELY APHRODITE LATE 5TH - EARLY 4TH CENTURY B.C. carved limestone, depicted wearing a mural crown with a himation drawn up over the back of the headdress, the hair parted at the centre and drawn across the forehead, soft featured, with large eyes, dainty nose and thin lips, raised on a bespoke mount 21cm high, 20cm wide (excl. stand) Provenance: Private collection, United Kingdom, acquired from the below Vagabond Antiques, West Sussex, United Kingdom Private collection, France, acquired prior to 1990

£3,000-5,000

420 TARENTINE TANGARA TERRACOTTA STATUETTE OF AJAX ABDUCTING CASSANDRA 3RD - 4TH CENTURY BCE standing on an integral base, remnants of original pigment 23cm high, 17cm wide, 9.5cm deep

£400-600

173

421 ROMAN CORINTHIAN COLUMN CAPITAL 1ST - 2ND CENTURY A.D. carved marble, with dual tiers of acanthus leaves, floral ornaments and scrolling vines above 32.6cm tall Provenance: French and Co., New York, United States Private collection, California, United States, acquired from the above prior to 1981

£8,000-12,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

175

422 LIFE-SIZED ANCIENT ROMAN MARBLE TORSO OF A YOUNG MAN C. 1ST - 2ND CENTURY AD carved marble, the figure shown in resting contrapposto, with the weight placed on the left leg, the torso with a subtle twist to further define the well-muscled pectorals and abdomen, the remnant of a wooden stump is seen on the upper right leg 31cm wide, 69cm high, 19cm deep Provenance: Northern European collection, acquired circa late 1970s - early 1980s. Subsequently in a United Kingdom private collection, acquired on the Milanese art market. Note: This Roman form is heavily influenced by the work of the Greek sculptor in bronze Polykleitos (fl. 5th century B.C.). Specifically, this piece takes its inspiration from the Doryphoros, one of the best-known Greek sculptures of Classical antiquity, depicting a solidly built standing warrior, bearing a spear balanced on his left shoulder. The lost bronze original was cast in c. 440 B.C., but it is today known only from later (mostly Roman) marble copies such as the present example.

£30,000-50,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

176

SELECTED ITEMS FROM THE COLLECTION OF CHARLES EDWARD FOX (1796-1873) LOTS 423 - 426 423 THREE ROMAN OIL LAMPS CIRCA 300 AD the largest depicting Sol on a chariot, 12cm long; one with discarded gladiator weapons and armoury, 11cm long; the smallest with a rooster and a sheaf of grain to represent Mercury, 7.5cm long. One with handwritten label at the bottom. (3) 12cm long, 9cm wide Provenance: The Estate of the late J. E. Adam

£400-600

424 ATTIC BLACK FIGURAL STEMMED KYLIX CIRCA 500 BCE painted front and back with bull fighting scenes 18.5cm wide, 8cm high Provenance: The Estate of the late J. E. Adam

£800-1,200

425 CORINTHIAN GEOMETRIC PATTERN SQUAT OINOCHOE LATE 6TH BCE together with a red figure pyxis, a Roman oil lamp (broken), a head of a Tarentine lady of fashion, a terracotta fragment with the head of a goddess and an ancient Greek terracotta bird (6) oinochoe 12cm wide, 11.5cm high Provenance: The Estate of the late J. E. Adam

£700-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

426 EASTERN MEDITERRANEAN MINIATURE CORE FORMED GLASS OINOCHOE 6TH - 5TH CENTURY BCE translucent dark blue glass, the trefoil rim over a cylindrical neck and ovoid body on uneven splayed foot with an arched handle. The body with opaque lines and zigzag pattern. 7.5cm high Provenance: The Estate of the late J. E. Adam

£1,000-2,000

The labels with these items were

Fox was an acclaimed numismatist,

The coin collection was bought by the

handwritten by the collector himself,

collecting vast amounts of Greek coins

Royal Museum of Berlin after his death,

Charles Richard Fox (1796-1873).

and writing several books about them.

where they are still on view today.

He was the son of Henry Richard

His travels, both with the army and

Vassall-Fox, 3rd Baron of Holland,

privately later in life, led him across

and Lady Elizabeth Webster, herself a

Europe and Asia Minor, and gave him a

fascinating character, well-known as an

chance to acquire coins and antiquities

intellectual.

from an array of places.

The antiquities have remained in the family until now, they were passed down from Charles Richard Fox to his nephew Charles Frederick Fox Adam, to his son (F E F Adam) who had no children and left his possessions to Janet Adam’s father.

178

427 ROMAN GLASS PERFUME BOTTLE 1ST CENTURY A.D. translucent purple with opaque white marbled mosaic pattern; the everted, slightly bevelled rim over cylindrical neck and squat globular body 11cm high Provenance: Private collection, United Kingdom

£1,000-2,000

428 ROMAN STYLE PORTRAIT GLASS VESSEL AFTER THE ANTIQUE mould-blown in translucent light blue colour with silver iridescence, with trefoil spout and handle, the body shaped as the head of an emperor, likely Nero 24cm high Provenance: Private collection, United Kingdom

£400-600

429 ROMAN POMEGRANATE SHAPED SPRINKLER FLASK EUROPE, 4TH CENTURY A.D. glass, sitting on a pinched base, the globular body with a series of six pinched ribs, the short cylindrical neck leading to a flaring mouth with banded decoration 16.5cm tall Provenance: Private collection, United Kingdom

£1,500-2,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

CONTINENTAL FURNITURE & WORKS OF ART PART ONE 430 PLASTER CAST OF THE PARTHENON FRIEZE, JOHN HENNING (ENGLISH 1771-1851) 19TH CENTURY the single panel with six frieze bands depicting classical figures in relief, mounted in a period carved wood frame 34cm high, 130cm wide; 185cm overall Provenance: Purchased in these rooms, The Lord and Lady Sutherland of Houndwood Collection, Lyon & Turnbull, 5 July 2017, lot 14

£500-700 Note: The Parthenon frieze was famously brought to London by Lord Elgin in the early 1800s, and exhibited in his house on the corner of Park Lane and Piccadilly from 1808. It features Great Panathenaia, the festival in Athens in honour of the Goddess Athena, and is now on display to the public in the Acropolis Museum in the city. The Scottish sculptor, John Henning, was one of the first to see Elgin’s collection and following his visit created models of both the Parthenon and Phigaleian friezes, using carved slate moulds. It took twelve years to complete the reliefs, many of which were signed, as well as numbered and labelled according to the original location of the friezes

431 GRAND TOUR GIALLO ANTICO MARBLE TAZZA, IN THE MANNER OF BENEDETTO BOSCHETTI MID 19TH CENTURY the fluted dished top with angular handles and lion masks, raised on a spreading fluted foot and square base 21cm wide, 14cm high

£800-1,200

432 ITALIAN GRAND TOUR STYLE MAHOGANY MODEL OF ROMAN RUINS OF RECENT MANUFACTURE with three Corinthian columns with bronzed metal capitals, surmounted by a partial frieze and pediment, on a simulated stone wall section and faux marble base 26.5cm wide, 55cm high Provenance: Property of an Edinburgh collector

£250-350

181

433 LARGE GROUP OF FRAMED PLASTER INTAGLIOS 19TH CENTURY comprising one hundred examples of various size and shape, all labelled, titled CASTS FROM ENGRAVED STONES, &C. IN THE BRITISH MUSEUM/ ARCHAIC GREEK ISLAND & PHOENICIAN GEMS, ETRUSCAN & GREEK SCARABS, EARLY & LATER GREEK & GRAECO-ROMAN GEMS. 53cm high, 105cm overall

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

182

434 LARGE CONTINENTAL CARVED WALNUT PANEL 19TH CENTURY carved in relief with a central oval reserve depicting Cupid and attending putti emblematic of love, flanked by masks and putti holding flower garlands against a stippled ground, in a moulded frame

435

192cm wide, 42cm high

CARVED WHITE MARBLE FRIEZE

£400-600

LATE 18TH/ EARLY 19TH CENTURY carved in relief with putto holding fruit and flower swags 80cm long, 19cm high, 7cm deep Provenance: The Estate of the late J. E. Adam

£400-600

436 SOUTH GERMAN/ SWISS WALNUT RENT TABLE 17TH CENTURY the sliding panel top over an interior fitted with peripheral drawers, above a moulded frieze and trestle supports fitted with further drawers 118cm wide, 78cm high, 91cm deep

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

183

437 FLEMISH OAK HANGING CUPBOARD 17TH CENTURY the moulded cornice above a frieze with moulded panels and bosses and lappet corbels, above a pair of raised panel doors with further bosses and moulded details, opening to a shelved interior 85cm wide, 93cm high, 26cm deep

£400-600

438 CONTINENTAL CARVED OAK PRESS CUPBOARD 19TH CENTURY INCORPORATING EARLIER ELEMENTS the upper section with a fall front panel and long drawer carved with fruiting vines and masks; over a base with a pair of moulded panel doors flanked and divided by carved figural pilasters, on bun feet 151cm wide, 154cm high, 67cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

184

439 Y CONTINENTAL CARVED IVORY AND BONE MIRROR, DIEPPE OR SOUTH GERMAN LATE 19TH CENTURY the oval bevelled mirror plate within a border applied with carved leaves, cherubs and scaled sea creatures below a heraldic shield and the motto ‘SCOTORUM’ 84cm high, 51cm wide

£600-800

Note: Mirror frames like the present lot are traditionally attributed to ivory carvers in the port of Dieppe in Northern France. As a result of several centuries of trade with West Africa it became a centre of ivory carving, a tradition that was revived in the 19th century thanks to the efforts of the Duchesse de Berry among others. The ivory carvers specialised in jewellery, ship models, and finely carved small objects such as parasol handles. They also created figures and statues of famous historical or religious figures, often opening to reveal a carved scene from the person’s life in triptych form. It is possible that the Dieppe carvers were also producing mirror frames such as the present example, but they are stylistically closer to the neo-renaissance carved ivory tankards and oliphants produced in the 1870s and 80s in southern Germany.

440 Y CONTINENTAL IVORY CORPUS CHRISTI 19TH CENTURY the sectional carved figure mounted on an ebonised cross with square moulded base figure 29cm high, 87cm high overall

£500-700

441 NORTHERN EUROPEAN CARVED OAK MADONNA AND CHILD WITH GRAPES 17TH CENTURY the Madonna seated with the child Christ held in her left arm, who reaches for a cluster of grapes in her right hand, with some remnants of gesso and paint, mounted on a later metal base 41cm high, excluding stand

£300-500

185

442 CONTINENTAL CARVED CARRARA MARBLE BUST OF A CHILD 19TH CENTURY with head turned, unsigned 19.5cm high

£250-350

443 FLORENTINE CARVED AND SILVERED MIRROR LATE 19TH CENTURY the oval bevelled mirror plate in a pierced frame carved with acanthus scrolls 98cm high, 69cm wide

£600-800

444 AFTER SEBASTIANO DEL PIOMBO (ITALIAN 1485-1547) TWO 19TH CENTURY ITALIAN MINIATURE PAINTINGS the first PORTRAIT OF A LADY WITH A FUR STOLE, LA FORNARINA, in a carved Florentine frame with a crown mounted on a velvet lined board; the other THE VIOLINIST, in a moulded and gilt wood frame (2) 12 x 9.5cm; and 15 x 11.5cm excluding frames

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

186

445 VENETIAN CARVED GILTWOOD MIRROR 19TH CENTURY the rectangular mirror plate in a frame pierced and carved with leaf scrolls 100cm high, 86cm wide

£600-800

446 PAIR OF VENETIAN CARVED GILTWOOD ARMCHAIRS 19TH CENTURY the arched padded backs above wide drop-in seats in vermilion plush upholstery, flanked by scrolling open arms, above seat rails carved with rocaille, raised on cabriole legs ending in stylised paw feet (2) 73cm wide, 120cm high, 47cm deep Provenance: Property from a Scottish Country House

£600-800

447 PAIR OF ITALIAN CARVED AND POLYCHROMED BLACKAMOOR STOOLS 19TH CENTURY the circular seat pads supported by kneeling figures, on circular bases (2) 55cm high, 27cm diameter Provenance: Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£500-700

448 FLORENTINE GILTWOOD FRAME 19TH CENTURY the rectangular mirror plate in a pierced frame carved with acanthus 71cm high, 64cm wide

£400-600

449 PAIR OF VENETIAN CARVED AND POLYCHROME PAINTED BLACKAMOOR TORCHERE STANDS EARLY 19TH CENTURY each draped figure standing contrapposto and wearing a turban supporting a feathered platform, on a rocky base (2) 166cm high Provenance: Lady Gort, née Elizabeth [Bessie] Surtees, wife of the 7th Viscount Gort Estate of the late Col. H.J. Gillman

£3,000-5,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

188

450 CASTELLI MAIOLICA PLAQUE, POSSIBLY BY BERNARDINO GENTILE THE YOUNGER (1726-1813) MID-LATE 18TH CENTURY the rectangular panel depicting ‘The Conversion of St Paul’; showing Paul’s horse rearing in shock and Paul fallen to the ground during the dramatic moment of his revelation; with a banner above inscribed ‘SAVLE SAVLE QVID ME PERSEQ VARIS; within a yellow border; in a moulded wood frame the plaque 32cm wide, 23.3cm high; the frame 29cm wide, 30.5cm high

£4,000-6,000

451 CASTELLI MAIOLICA PLAQUE, POSSIBLY PAINTED BY BERNARDINO GENTILE THE YOUNGER (1726-1813) MID-LATE 18TH CENTURY the rectangular panel depicting the ‘Adoration of the Magi’, showing the baby Jesus seated on Mary’s knee, and the three kings presenting their gifts; with the three camels in the background and the star of Bethlehem overhead; within a yellow border 26.8cm wide; 22.4cm high

£3,000-4,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

189

190

There are two figures in the Poniatowski family to whom the plaque may have belonged. The first being Prince Josef Anton Poniatowski (1763-1813). He was the nephew of the last king of independent Poland, Stanislas Auguste Poniatowski. He was a famous general who fought in the polish army against the Russians in 1792 and took part in the anti-Russian revolt of 1794, led by Kosciuszko. In 1807 Napoleon appointed him commander-in-chief of the Duchy of Warsaw and he was made a marshal of France during the Battle of Leipzig in 1813. During that battle he was wounded. The bridge across the Elster river had been blown up and he drowned while attempting to lead his troops across, giving his life for his homeland and becoming a national hero. Prince Josef had a cousin, Stanislaw Poniatowski (1754-1833), a wealthy nobleman, politician and diplomat. He had a passion for the arts and for collecting and among other things had a large collection of carved intaglios. He emigrated to Italy, living there for over thirty years. He owned property in Rome and Florence, including the Palazzo Capponi in via Larga, Florence, where he housed his art collection. Works of art from his collection, and apparently from his cousin Prince Josef, were sold by Christie’s in 1839, primarily including the intaglio gems, but also works of art and maiolica, then known as ‘Raffaelle Ware’. While the Urbino plaque in the current lot is not believed to have been listed in the contents of the sale it shows that maiolica did feature in the collection of either Prince Josef and/or Stanislaw and suggests that the Urbino plaque in this lot may have originally belonged to Prince Josef Poniatowski. The second possible owner of the plaque is a figure who was also, in later life, known as Prince Joseph (Michal) Poniatowski (1816-1873). He was the son of Stanislaw Poniatowski and the nephew of the Polish general discussed above, Prince Josef Anton Poniatowski. He was born out of wedlock but he was legitimated as a son of Stanisław Poniatowski in 1847 and he was awarded the title Prince Poniatowski by the Austrian Emperor in 1850. A singer, opera composer and politician, he spent all his life abroad, firstly in Italy, then in France. After the fall of the Second Empire Poniatowski accompanied Napoleon III into exile in London in 1871. He died in Kent in 1873. It is possible that he inherited the Urbino plaque in this lot from his father’s art collection. The history of the Earls of Breadalbane and Holland stretches far back into the late 17th century in Scotland, and the family can trace their origins to the early 13th century. During the 19th century the power and wealth of the family was at its peak, as was their influence on Scottish society. The family seat, Taymouth Castle, was built between 1806 and 1842 by John Campbell, 4th Earl and 1st Marquess of Breadalbane, to a dramatic Neo-Gothic design, on the banks of the river Tay. In September 1842 the 2nd Marquess, John Campbell, played host to a splendid fourday visit from Queen Victoria and Prince Albert and it is believed that the Queen’s visit to Taymouth confirmed her love of Scotland and the Highlands, where she went on to purchase Balmoral in 1852. The plaque was most likely acquired by a member of the Breadalbane family at some point during the 19th century, when the elaborately carved frame, bearing the Breadalbane family crest, would have been specially commissioned to display the plaque. It is not currently known precisely where or when the plaque was acquired, but this could be revealed with further research. However, there is a firm connection between the Breadalbane family and Poniatowski works of art. John

Spasimo di Sicilia by Agostino Veneziano. R. D’AMICO, M. TAMASSIA, Incisori veneti dal 15. al 18. secolo, 32, p 00027, 1980, Property of the Accademia dei Lincei; image no. 385741

Campbell, the 2nd Marquess of Breadalbane (1796-1862) was a man of extreme wealth who spent vast fortunes on his homes, their contents and works of art. Sometime around 1850-1860 he commissioned the ‘Breadalbane Vase-Candelabrum’, a massive six-foot-tall silver, silver gilt and damascened piece, made by Antoine Vechte for Hunt & Roskell. It was inset with forty-six hardstone intaglio gems from the Poniatowski collection. The vase was displayed to great acclaim at the International Exhibition in London in 1862. It is not currently known if the 2nd Marquess acquired the Poniatowski gems himself or if they were provided for the vase by Hunt & Roskell. However, if John Campbell, the 2nd Marquess, purchased the gems himself, either when they were offered for sale at Christie’s in 1839 or at a subsequent date this connection with works of art from the Poniatowski collectiont suggests that it may have been him who acquired the Urbino maiolica plaque in this lot. The plaque was passed by family descent to the current vendor, through the ownership of The Hon. Caroline Mary Morgan Grenville (18861972), a granddaughter of the third Duke of Buckingham and Chandos, whose mother, Lady Mary, was the daughter of the 4th Earl and 1st Marquis of Breadalbane.

191

452 RARE FRAMED MAIOLICA RECTANGULAR PLAQUE OF LARGE SCALE, DATED 1541 PAINTED IN URBINO BY A FOLLOWER OF FRANCESCO XANTO AVELLI depicting The Road to Calvary, after Raphael; showing Christ, bearing the weight of the cross, fallen on his knees, the four Mary’s alongside, his mother suffering a swoon of agony, with guards all around, leading Christ to Calvary in the distance; dated ‘1541’ near the foreground of the plaque, on the stony path; within a later 19th century walnut frame carved with scrolling acanthus leaves, flowers and C-scrolls, surmounted by the crest of the Earls of Breadalbane, showing a boars head over a B; the reverse of the frame with carved inscription ‘From the Collection of Prince Joseph Pornatowski’; there are fragments of a label (probably spurious and 18th century) bearing an Italian inscription to the reverse, and a further paper label, partially obscured by the frame, inscribed ‘Appartement / un / Prince Joseph Poniatowski’ Plaque approximately 43cm high, 23cm wide; the frame 57cm high, 43cm wide Note: The scene is after Raphael’s ‘Christ Falls on the Way to Calvary’ (1515-1516), originally painted for the Church of S.Maria dello Spasimo in Palermo, and now in the Prado Museum, Madrid. The composition derives from a printed source, Agostino Veneziano’s engraving The Bearing of the Cross[1]. This was a printed source that had been used during the 1520s on similar plaques by the distinguished Urbino decorators Francesco Xanto Avelli[2] and Nicola da Urbino[3]. The plaque was previously attributed to the workshop of Baldessare Manara but more recent research suggests that it was most likely to have been painted in Urbino, rather than being a product of other pottery centres producing ‘istoriato’ maiolica at this date such as Faenza. It was painted by a decorator who knew Xanto’s work and who had possibly worked in Nicola da Urbino’s workshop in the mid to late 1530s. It is a fine, interesting, and well painted piece, the figures confidently and coherently placed within the space with distinctive facial features that closely follow the printed source and reflect the ‘istoriato’ styles of Urbino, found in Nicola Da Urbino and more especially Xanto’s work of the mid to late 1530s. However, by 1541 Nicola is dead and Xanto’s style diminished and after 1542 we lose trace of him. Furthermore, it is not the work of Xanto’s followers or collaborators from the mid-1530s onwards, such as Giulio da Urbino, “Lu. Ur.”, or Sforza di Marcantonio. A more convincing comparison can be made to a shallow bowl in the Widener collection (NGA Washington), with the image of the ‘Death of Laocoön and his Two Sons’, attributed to an as yet unidentified follower of Xanto.[4] [5] This has many of the stylistic features of the present plaque, and is dated 1539 only two years earlier. The fragmentary label to the reverse appears to read: Questo [...] o/ Appassionato/ [...] in [...] croce in spalla/ fu fatto come si vede, l’anno/ 1541. Le pi[...] in Terra C[otta]/ in [..]riaf[..] simili à qu[esto?]/ e [...] [?]allera [...]/ [...] Vasari nelle Vi [=Vite]/ [...] 263 sul/ [...] Robbia,/ quale [...]/ Francia [...] a/ Girolamo suo [...]

Literature: Bartsch, Adam von Le peintre-graveur, Degen, Vienna, 1803-21 Gabbarelli, Jamie, Bober, Jonathan, Sharing Images – Renaissance Prints into Maiolica and Bronze, National Gallery of Art Washington, Washington 2018 Mallet, J.V.G. Xanto. Pottery-Painter, Poet, Man of the Italian Renaissance with contributions by Giovanna Hendel and Elisa Paola Sani, Wallace Collection, London 2007 Rackham, Bernard, Victoria & Albert Museum: Catalogue of Italian Maiolica, London [re-issued with additions by J.V.G. Mallet, London 1977] Ravanelli Guidotti, Carmen, Museo Internazionale delle Ceramiche in Faenza. La Donazione Angiolo Fanfani. Ceramiche dal Medioevo al XX secolo. Faenza 1990 [1] Bartsch XIV.34.28 https://www.britishmuseum.org/collection/object/ P_H-1-24 [2] Rackham, Cat799, p22 [3] Ravanelli Guidotti, Cat120, p216 [4] Sani in J.V.G. Mallet, 2007. APPENDIX C, List of Works by or attributed to Francesco Xanto Avelli, Unsigned pieces attributable to Xanto from c.153042, Cat413, p201 [5] Gabbarelli, Jamie, pl20, p70 Lyon & Turnbull would like to thank to Celia Curnow for assisting with the research and cataloguing of this lot.

£30,000-40,000

453 BRITON RIVIERE R.A. (BRITISH 1840-1920) HAWKING Signed with a monogram and dated 1900, oil on canvas 133cm x 91cm (52.25in x 36in)

£5,000-8,000 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

194

454 DUTCH SCHOOL FIGURES IN A BUSY STREET Oil on board 41cm x 33cm (16in x 13in)

£800-1,200

455 JULES BOULANGER (FRENCH 19TH CENTURY) FRUIT FOR THE TABLE Signed, with seal with initials J.B verso, oil on panel 51cm x 41cm (20in x 16in)

£1,000-1,500

456 HUBERTUS VAN HOVE (DUTCH 1814-1865) PREPARING THE TABLE Signed and dated 1851, oil on panel 51cm x 41cm (20in x 16in) Provenance: Property of an Edinburgh collector

£1,000-1,500

195

457 REGINALD BARBER (BRITISH 19/20TH CENTURY) WE LOOK BEFORE AND AFTER AND PINE FOR WHAT IS NOT Signed with a monogram and dated 1889, oil on canvas 91cm x 56cm (36in x 22in)

£3,000-5,000

458 LIONEL PERCY SMYTHE (BRITISH 1839-1918) THE FISHER GIRL Signed and dated 1876, oil on canvas 92cm x 64cm (36.25in x 25.25in)

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

196

459 ATTRIBUTED TO WILLIAM COLLINS RETURN FROM FISHING Oil on canvas 36cm x 46cm (14in x 18in) Provenance: Property of an Edinburgh collector

£600-900

460 CHARLES MARTIN HARDIE R.S.A. (SCOTTISH 1858-1916) FISHING FOR TIDDLERS Signed and dated 1882, oil on canvas 61cm x 91cm (24in x 36in)

£800-1,200

461 FOLLOWER OF WILLIAM FETTES DOUGLAS THE MONEY LENDERS Oil on canvas 36cm x 48.5cm (14in x 19in)

£500-800

197

462 THOMAS FALCON MARSHALL (BRITISH 1818-1878) GATHERING WILD FLOWERS Signed and dated 1852, painted oval, oil on board 35.5cm x 31cm (14in x 12in)

£500-800

463 19TH CENTURY CONTINENTAL SCHOOL HALF LENGTH PORTRAIT OF A YOUNG LADY Pastel on paper laid down on canvas, oval 86cm x 66cm (33.75in x 26in)

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

198

464 WILLIAM H. BARTLETT (BRITISH 1858-1932) MILTON’S VILLAGE, CHALFONT ST. GILES Signed, oil on board 20cm x 38cm (8in x 15in)

£500-700

465 BENJAMIN WILLIAMS LEADER R.A. (BRITISH 1831-1923) DISTANT RAMPARTS Signed and dated 1895, oil on panel 20cm x 30.5cm (8in x 12in)

£500-800

199

466 JOHN FREDERICK HERRING JNR (BRITISH 1816-1907) RETURNING FROM THE FIELDS Signed, oil on canvas 30.5cm x 46cm (12in x 18in)

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

200

467 WILLIAM LINNELL (BRITISH 1826-1906) GATHERING WILD BERRIES Signed and indistinctly dated, oil on canvas 59cm x 69cm (23.25in x 27.25in) Provenance: Property of an Edinburgh collector

£800-1,200

468 FOLLOWER OF JOHN FREDERICK HERRING TALLY-HO Bears signature, oil on board, and a companion, a pair, ‘The Kill’ (2) 15cm x 20cm (6in x 8in)

£600-900

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

201

469 SIR GEORGE HARVEY P.R.S.A. (SCOTTISH 1806-1876) THE MOUNTAIN MIRROR Signed and dated 1863, oil on panel 81cm x 122cm (32in x 48in) Exhibited: Scottish National Exhibition 1908, no.1 Note: There is a handwritten note from Harvey himself outlining how to care for the painting. As a student of painting, George Harvey so distinguished himself that at the age of twenty he was invited to become an associate of the Royal Scottish Academy. His genre paintings showing scenes of daily Scottish life proved popular, and usually conveyed a moralising or religious sentiment. Later in life, Harvey focused on landscape painting. He became a full member of the Royal Scottish Academy in 1829, and was elected president in 1864.

£2,000-3,000

470 JAMES FAED JNR (SCOTTISH 1856-1920) A STREAM OFF THE HILLS Signed and dated 1888, oil on canvas 41cm x 51cm (16in x 20in) Provenance: Property of an Edinburgh collector

£600-800

202

471 JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) GREENOCK Signed inscribed and dated ‘T.20.92’, signed, inscribed and dated verso ‘Quayside Greenock T.20.92’, oil on canvas 31cm x 46cm (12in x 18in) Provenance: Christie’s, 20 July 1979, lot.42 £8000 where purchased by the vendor’s family and thence by descent

£80,000-120,000

John Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truthto-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century.

Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions. His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town. Atkinson Grimshaw travelled to various towns and harbours to study

their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest. By 1870 he was successful enough to rent Knostrop Hall, a seventeenthcentury mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for

the rest of his life. Evening in Knostrop depicts a solitary, fashionably-dressed figure waiting at the gate to the house. The shadowy landscape under the pale sky successfully evokes the ambience of Knostrop’s grounds in twilight. Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’. This Greenock scene exemplifies Atkinson Grimshaw’s mastery of ephemeral light. Greenock is situated

on the River Clyde around 22 miles from Glasgow, and in the 18th and 19th centuries was a thriving and populous shipbuilding hub. Atkinson Grimshaw delineates the architecture with sharp precision, which serves as a visual counterpoint to the soft, delicate palette. While muted tones evoke the damp evening haze, points of tonal intensity draw the eye to the bustle of activity across the quayside, from the moored ships’ blinking lights, to the carriages conveying silhouetted figures, to the warm glow emanating from the row of smart shops. Greenock was painted a year before his untimely death from tuberculosis in 1893. Several of his children also became painters, including Louis Grimshaw, a son born in 1870. Louis trained under his father, and for a

spell the pair painted collaboratively, with John executing the sky and landscape and Louis working on the figures. Like his father, Louis generally painted nocturnes, but he diverged by predominantly representing London. Louis’ career as an artist was relatively brief, as he gave up painting in 1905 to work as a cartographer for the Manchester Guardian, and his paintings are consequently rare. Houses of Parliament was painted in 1899, and is a particularly fine example of Louis Grimshaw’s oeuvre. His father’s influence is clear in the muted palette, luscious atmosphere and accomplished handling of light. Despite electing to portray a quintessential London view, Grimshaw approaches the scene with remarkable insight and originality.

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472 JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) EVENING IN KNOSTROP Signed and dated 1881, oil on board 34cm x 44cm (13.5in x 17.25in) Provenance: Thos Agnew & Sons Ltd, London, No.28603

£60,000-80,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

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473 LOUIS GRIMSHAW (BRITISH 1870-1943) THE HOUSES OF PARLIAMENT Signed and dated 1899 lower left, oil on canvas 29.5cm x 44.5cm (11.75in x 17.5in)

£10,000-15,000

206

474 WILLIAM GEDDES (BRITISH 1841-1884) BEFORE Signed, oil on canvas, and a companion a pair ‘After’ (2) 41cm x 54cm (16in x 21.25in)

£1,200-1,800

475 JOHN ROBERTSON REID R.I., R.B.S., R.O.I. (SCOTTISH 1851-1926) A FINE CATCH Signed and dated ‘94’, oil on canvas 25.5cm x 36cm (10in x 14in) Provenance: Anonymous sale; Sotheby’s, Belgravia, 2 December 1980, lot 197. with J.S. Maas & Co., London.

£1,000-1,500

207

476 EDWARD STOTT A.R.A., N.E.A.C. (BRITISH 1859-1918) THE PIPING SHEPHERD BOY Signed with initials, oil on canvas 51cm x 47cm (20 in x 18.5 in) Exhibited: London, Royal Academy, 1916, no. 866. London, The Fine Art Society, and Rochdale, Rochdale Art Gallery, William Stott of Oldham and Edward Stott ARA, 2 June - 29 August 1976, no 97. London, Christie’s, New English Art Club Centenary Exhibition, 27 August - 17 September 1986, no. 105 Provenance: The Peter Rose and Albert Gallichan Collection

£2,000-3,000

477 WILLIAM GALE (BRITISH 1823-1909) A NEW BEE-HIVE Signed with monogram, oil on panel 30.5cm x 25.5cm (12in x 10in)

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

208

478 JAMES ABBOTT MCNEILL WHISTLER R.B.A. (AMERICAN 1834-1903) BILLINGSGATE (KENNEDY 47; GLASGOW 51) Etching and drypoint, 1859, Glasgow’s ninth state (of nine), signed and dated in plate plate size 15cm x 22.5cm (6in x 8.75in)

£500-700

479 REMBRANDT VAN RIJN (DUTCH 1606-1669) THE GOLF-PLAYER Etching, 1654, from the 2nd state (of two), signed and dated in plate plate size 9.5cm x 14cm (3.75in x 5.5in) Provenance: Harrods, London.

£1,500-2,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

209

480 AVRIL MARY BURLEIGH (BRITISH 1883-1949) THE FUR STOLE Signed, oil on canvas 66cm x 54cm (26in x 22in)

£600-900

481 CIRCLE OF WILHELM MARIA HUBERTUS LEIBL HEAD AND SHOULDER PORTRAIT OF A YOUNG GIRL Oil on panel 32cm x 26cm (12.5in x 10.25in)

£800-1,200

210

482 ARTHUR BOYD HOUGHTON (BRITISH 1836-1875) SLEEPING CHILD ON A CHAISE LONGUE Signed with initials, pencil, watercolour and bodycolour with scratching out on paper 25cm x 35.5cm (9.5in x 14in) Provenance: Abbott & Holder, London, 1974, probably where purchased for the present collection The Peter Rose and Albert Gallichan Collection Note: A picture entitled The Mystery of Folded Sleep “Tennyson” , which it seems likely relates to the present watercolour, was exhibited at the RA in 1864 with the caption: ”With that sharp sound the white dawn’s creeping beams/ stol’n to my brain, dissolved the mystery/ of folded sleep. The captain of my dreams/ Ruled in the eastern sky” (A Dream of Fair Women).

£1,500-2,000

483 LOUISA, MARCHIONESS OF WATERFORD (BRITISH 1818-1891) FIVE CHILDREN Pencil and watercolour 15cm x 25cm (6in x 9.75in) Provenance: Anonymous sale; Christie’s, South Kensington, 7 August 1985, lot 68. Anonymous sale; Christie’s, London, 15 December 1987, lot 143. with Abbott & Holder, London, December 1987, where purchased for the present collection. The Peter Rose and Albert Gallichan Collection

£300-500

484 ROBERT WALKER MACBETH (SCOTTISH 1848-1910) A RHINELAND FARMSTEAD Signed with initials and dated 1873, pencil and watercolour 18.5cm x 30.5cm (7.5cm x 12in) Provenance: Abbott & Holder 1980, where purchased for present collection The Peter Rose and Albert Gallichan Collection

£600-900

211

485 LIONEL PERCY SMYTHE R.A., R.W.S., R.I. (BRITISH 1839-1918) THE FIELD OF THE CLOTH OF GOLD: ‘TWIXT CALAIS AND GUINES’ Signed and inscribed ‘Smythe L.P./ “The Field of Cloth of Gold”/...’ verso, pencil and watercolour 62.5cm x 125.5cm (24.5in x 49.5in) Provenance: Sir George Findlay. Anonymous sale; Sotheby’s Belgravia, 18 May 1976, lot 36, where purchased for the present collection. The Peter Rose and Albert Gallichan Collection Exhibited: London, New Watercolour Society, Summer Exhibition, 1883, no. 92. Chicago, World’s Columbian Exhibition, 1893, no. 363; New Haven, Yale Center for British Art, Cleveland, Cleveland Museum of Art; Birmingham, Birmingham Museum & Art Gallery, Victorian Landscape Watercolours, 1992-93, no. 102. Literature: R.M. Whitlaw and W.L. Wyllie, Lionel Percy Smythe, R.A., R.W.S., his life and work, London, 1923, p. 106. R.M. Whitlaw, ‘Lionel Percy Smythe, R.A., R.W.S.’, The Old WaterColour Society’s Club, London, 1924, I, pp. 64 and 72.

486 JAMES PRINCEP BARNES BEADLE (BRITISH 1863-1947) 17TH LANCERS, 1893 Signed and dated lower right, watercolour 22.5cm x 34.5cm (9in x 13.5in)

Note: Smythe, born in London, lived in Normandy from 1879, although he had been visiting the area since he was a boy. He went to Guines on his honeymoon in 1869, where he first conceived of this picture, with its historical title alluding to the meeting between Henry VIII of England and Francois I of France which took place in Guines in 1520. Smyth also produced an oil of the subject, exhibited at the Royal Academy in 1884, and an etching. The present watercolour was exhibited at the New Watercolour Society in 1883, a year after Smythe’s election to the membership, where Whitlaw and Wyllie (op. cit.) describe it as ‘one of the note-worthy drawings of the exhibition’.

£1,500-2,000

Provenance: The Estate of the late J. E. Adam

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

212

487 GEORGE SHALDERS R.I. (BRITISH 1826-1873) LANDSCAPE WITH SHEPHERD AND SHEEP Pencil, watercolour and bodycolour 30.5cm x 51cm (12in x 20in) Provenance: Abbott & Holder, London, mid-1960’s. Charles Monteith, by whom bequeathed to the present collection, May 1995.

£1,000-1,500

488 ALBERT HOFLINGER (GERMAN 1855-1933) SIESTA Signed, inscribed and dated Paris, Oct. 1901, oil on canvas 46cm x 33cm (18in x 13in)

£800-1,200

213

489

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) OUTSIDE A DEVON LINHAY Signed, watercolour 33cm x 53.5cm (13in x 21in) Provenance: Frost & Reed, London, D15143

£3,000-5,000

490

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) ON THE BEACH Signed, watercolour 36cm x 48cm (14in x 18.75in)

£2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

214

491

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) RIVAL POSTERS - LES CABANNES Signed, signed and inscribed on the backboard, watercolour 68cm x 50cm (26.75in x 19.75in)

£4,000-6,000

492

SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) OUTSIDE THE GRANARY Signed, watercolour 51cm x 66cm (20in x 26in)

£4,000-6,000

215

493 SAMUEL JOHN LAMORNA BIRCH R.A., R.W.S., R.W.A. (BRITISH 1869-1955) SHAG RIVER, NEW ZEALAND Signed, inscribed and dated ‘N.Z. 1937’ pencil and watercolour on buff paper 38cm x 56cm (15in x 22in) Note: A hand written letter dated ‘Dec.12 1944’ from the artist to the original purchaser explains where the watercolour was painted....’The Shag is not a very big river but was formerly a famous one for its trout. I fished and painted there quite a lot....’

£500-800

494 SAMUEL JOHN LAMORNA BIRCH R.A., R.W.S., R.W.A. (BRITISH 1869-1955) THE BRIMMING RIVER Signed, watercolour 25.5cm x 36cm (10in x 14in) Note: Inscribed with label verso

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

CONTINENTAL FURNITURE & WORKS OF ART PART TWO

217

495 BAROQUE STYLE SILVERED EIGHT LIGHT CHANDELIER EARLY 20TH CENTURY the central leaf-cast baluster stem mounted with bacchic heads and issuing six scroll candle arms, with a pendant berry finial 74cm diameter, 61cm high Provenance: Property of an Edinburgh collector

£700-1,000

496

497

FLORENTINE GILTWOOD MIRROR

CONTINENTAL PAINTED AND GILT FOUR-FOLD SCREEN

19TH CENTURY the rectangular mirror plate in a pierced frame carved with acanthus scrolls and shells 103cm high, 81cm wide

£800-1,200

19TH CENTURY each panel painted in the manner of Jean Berain, in giltwood frames, with a fabric lined back, now distressed 280cm wide, 168cm high

£500-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

218

498 Y FRENCH RÉGENCE BRASS, TORTOISESHELL, AND IVORY BOULLE MARQUETRY BRACKET CLOCK, SIGNED JACQUES COGNIET, PARIS EARLY 18TH CENTURY the gilt embossed dial with white enamel cartouche Roman numerals, in a brass and red tortoiseshell case mounted with gilt bronze masks, acanthus scrolls, and surmounted by a censer, the movement signed ‘Jacques Cogniet a Paris’ 36cm wide, 74cm high, 19cm deep

£1,000-1,500

499 JEAN-BAPTISTE MASSÉ, AFTER CHARLES LE BRUN, TEN ENGRAVINGS FROM LA GRANDE GALERIE DE VERSAILLES CIRCA 1752 to include ‘Résolution prise de faire la guerre aux Hollandois 1671’; ‘Le roi arme sur terre et sur mer 1672’; ‘La Franche Comté conquise pour la seconde fois 1674’; ‘le roi donne ses ordres pour attaquer en même tems quatre des plus fortes places de la Hollande 1672’; ‘Passage du Rhin en présence des ennemis 1672’; ‘Le roy prend Maestrich en treize jours 1673’, 52 x 68cm sight size; ‘Mercure et la Paix descendant de Ciel’; ‘Renommees qui vons répandre la Gloire du Roy’, 33 x 49cm signt size; ‘Le Allemagne’; and ‘L’Espagne’ 34 x 79cm sight size; framed (10) Provenance: Private Collection, Stirlingshire, Scotland

£600-800

500 FRENCH KINGWOOD AND MARQUETRY CHIFFONNIÈRE, IN THE MANNER OF CHARLES TOPINO 19TH CENTURY the oval top crossbanded top with a pierced brass gallery and trophy marquetry, above three short drawers raised on cabriole legs united by a kidney shaped undertier with conforming brass gallery and trompe l’oeil marquetry 50cm wide, 80cm high, 36cm deep

£400-600

219

501 LARGE BRASS AND CRYSTAL BIRDCAGE CHANDELIER 19TH CENTURY the gilt brass frame hung with crystal drops, flower heads, teardrops, and mounted with facetted glass spikes, fitted with eight branches and eight further internal lights 66cm diameter, 103cm high, approximate Provenance: Property of an Edinburgh collector

£1,000-1,500

502 CONTINENTAL GILTWOOD MIRROR LATE 19TH CENTURY the rectangular mirror plate in a moulded inner frame enclosed by pierced and carved acanthus scrolls

503 FRENCH ACAJOU MARBLE TOPPED AND GILT METAL MOUNTED JARDINIERE STAND LATE 19TH CENTURY

134cm high, 82cm wide

in the Louis XV style, the shaped square green mottled marble top with brass banding, above two undertiers outlined with gilt metal bead moulding, raised on cabriole legs ending sabots

£600-800

30cm wide, 97cm high, 30cm deep

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

220

504 PROFESSOR GIUSEPPE LAZZERINI (ITALIAN 1831-1895) PAUL AND VIRGINIA white Carrara marble figure group, on a veined white marble column, signed ‘Prof. Giuseppe Lazzerini fece Carrara (2) Group 104cm high; column 100cm high Provenance: Sotheby’s 19th and 20th Century Sculpture, lot 141, London, 4 June, 1998 where purchased by the vendor’s family and thence by descent

£15,000-20,000

Guiseppe Lazzerini descended from a family of sculptors in Carrara and in 1848 entered the Carrara Accademia di Belle Arti under the direction of Ferdinando Pelliccia. While there he won the Rome scholarship which sent him to work in the studio of Pietro Tenerani, where he completed a statue of St. Sebastien followed by Hagar and Ishmael. Lazzerini returned to Carrara to work in, and eventually supervise, the family studio where he produced a wide range of his own works as well as works of other sculptors. His sculpture demonstrated the strong influence of Tenerani, which he in turned passed on to students of the Carrara Academy for which he was the director from 1889-1893. Lazzerini’s sculpture Paul and Virginia is based on the popular romance novel by Jacques-Henri Bernadin de Saint-Pierre, first published in 1788. Set in the years before the French Revolution, it tells the story of the idyllic childhoods of the title characters and the fate of a child of nature corrupted by the artificial sentimentality of the French upper classes in the late eighteenth century. Born and raised on the island of Mauritius, John and Virginia are childhood sweethearts who are separated when Virginia is sent to Paris at the behest of a wealthy aunt, with the promise of an inheritance and education. While there she is miserably treated and unhappy, and is pressured to marry a nobleman but refuses, vowing to return to Paul and her simpler, more authentic life. On her return journey the ship enters a hurricane within sight of the island and is wrecked just off the coast. Paul tries in vain to swim out and rescue her, but fails, and Virginia is drowned. Lazzerini chose as his subject the moment in the story when the two young lovers lose their way in a remote part of the island and are confronted by a river which Paul helps Virginia to cross.

221

222

505 FRENCH ROCOCO STYLE GILT METAL MIRROR LATE 19TH CENTURY the shaped mirror plate in a pierced frame cast with rocaille, flowers, and C-scrolls 81cm high, 55cm wide

£300-500

506 FRENCH ROCOCO REVIVAL GILT METAL MANTEL CLOCK LATE 19TH CENTURY

507 PAIR OF FRENCH GILT BRONZE CHENETS 19TH CENTURY with lyres and satyrs’ masks on a curved base with foliate scrolls, swags, and lions’ masks (2) 45cm wide, 45cm high

£400-600

the cream enamel dial with Roman numbers and twin winding holes, in a rococo style case with foliate scrolls, rocaille, and flowers, the eight-day movement striking a bell, stamped ‘MOULINEUF/ PARIS’ no. 1481, the case stamped ‘MJ 232’ 24cm wide, 37cm high, 13cm deep

£400-600

223

508 PAIR OF IMARI AND GILT METAL WALL GIRANDOLES 19TH CENTURY the circular porcelain dishes depicting vases of flowers within foliate borders, surmounted by gilt meta l ribbon swags and above three outscrolling arms (2) 41cm high, 27.5cm wide

£300-500

509 SÈVRES STYLE PORCELAIN AND GILT METAL MOUNTED MONTEITH LATE 19TH CENTURY the oval body painted to either side with a reserve depicting a courting couple enjoying music, within a gilt border enclosed within rocaille scrolls, on a bleu céleste ground; with a gilt metal liner and a gilt metal mount of fruiting vines, the twin handles modelled as male and female bacchanalian figures, raised on a stand modelled as four winged horses on a naturalistic foliate ground with rabbits and bunnies, raised on four tortoise feet; gilt painted interlaced LL mark 30.5cm high, 40cm wide Provenance: Property of an Edinburgh collector

£600-800

510 PAIR OF SÈVRES STYLE PINK GROUND VASES AND COVERS LATE 19TH CENTURY the domed covers with pinecone finials above baluster bodies with twin strap handles, painted with reserves of Classical nymphs and putti in riverscapes within beaded borders and gilt details, blue crossed L marks (2) 41cm high Provenance: Property of an Edinburgh collector

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

224

511 PAIR OF ROCOCO STYLE GILTWOOD MIRRORS 20TH CENTURY the rectangular mirror plates in pierced frames carved with flowers, foliage, and C-scrolls, surmounted by a pierced shell cresting (2) 152cm high, 105cm wide Provenance: Property of an Edinburgh collector

£1,500-2,500

512 FRENCH GILTWOOD AND PAINTED BERGERE 19TH CENTURY the giltwood frame carved with rocaille and flower heads, with a loose cushion seat covered in cream upholstery with green trim, raised on cabriole legs 72cm wide, 103cm high, 52cm deep Provenance: Property of an Edinburgh collector

£300-500

513 Y FRENCH KINGWOOD, TULIPWOOD, AND SATINWOOD DRUM TABLE LATE 19TH CENTURY the circular breche d’alep top with a pierced brass gallery, above quarter-veneered sides with opposing tambour doors, raised on square tapered legs with brass caps 67cm high, 46cm diameter

£1,400-1,800

225

514 BACCARAT EIGHTEEN-LIGHT GLASS CHANDELIER EARLY 20TH CENTURY with two tiers of barley-twist scrolled arms hung with prisms, drops and swags, and terminating with etched glass shades, wired for electricity 80cm diameter, 140cm high Provenance: Private Collection from an Ambassador’s Residence

£1,500-2,500

515 FRENCH WALNUT AND GILT METAL MOUNTED BUREAU DE DAME 19TH CENTURY in the Louis XV style, the bombe slant front opening to a satinwood interior fitted with covered wells, drawers, and a recess, above a shaped frieze and raised on cabriole legs 79cm wide, 88cm high, 48cm deep

£800-1,200

516 NORTH EUROPEAN PURPLEHEART AND MACASSAR EBONY SERPENTINE MARBLE TOPPED COMMODE 19TH CENTURY the later veined white marble top above a pair of crossbanded bombé doors with dummy drawer fronts, opening to shelves, raised on bracket feet 144cm wide, 94cm high, 66cm deep Provenance: Private Collection, Stirlingshire, Scotland

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

226

517 FINE ELEVEN-PIECE SUITE OF LOUIS XVI PAINTED AND PARCEL-GILT AUBUSSON COVERED SEAT FURNITURE CIRCA 1770 comprising a canape and ten fauteuils, with arched backs with carved ribbon cresting, above bow-front seats flanked by partpadded arms with stop-fluted supports, raised on tapered stopfluted legs ending in toupie feet, one armchair inscribed ‘66’ or ‘GG’; covered in Aubusson tapestry with floral garland borders enclosing laurel-wreath medallions depicting children, animals, and scenes from Jean de la Fontaine’s Fables (11) Canape 184cm wide, 115cm high, 65cm; chairs 64cm, 102cm high, 55cm deep Provenance: Originally commissioned for the Château de Vaulserre, Saint-Albin-de-Vaulserre, Isère, France Sotheby’s, London, 1 December, 2005, lot 218, Property of a Lady, where purchased by the vendor’s family and thence by descent

£15,000-20,000

Note: The Château de Vaulserre, originally the seat of the de Clermont family, was considered one of the finest château of the Dauphiné, and later was owned by the Corbeau de Aint Franc family. The Aubusson covers mostly appear to be taken from Jean de la Fontaine’s series of tales published from 1668-1694. Taken from various sources but relying heavily on the works of Aesop, Babrius, and Phaedrus, among others, as well as the Indian Bidrai, the tales often incorporated anthropomorphic animals in moralist predicaments, and were widely popular.

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

228

518 PAIR OF LOUIS XIV STYLE GILTWOOD AND EBONISED MIRRORS 19TH CENTURY the arched and bevelled mirror with margin plates surmounted by flowering urns hung with garlands and flanked by ebonised putti (2) 162cm high, 102cm wide

£1,500-2,500

519 LOUIS XV STYLE KINGWOOD AND MARQUETRY MARBLE TOPPED COMMODE EARLY 20TH CENTURY the serpentine brocatelle marble top with a moulded edge above a pair of long bombé drawers with flower marquetry and foliate scrolled gilt bronze handles, raised on cabriole legs outlined with gilt bronze mounts and ending in sabots 131cm wide, 87cm high, 53cm deep Provenance: Property of an Edinburgh collector

£1,500-2,500

229

520 TWO GILT BRASS AND CRYSTAL BIRDCAGE CHANDLIERS LATE 19TH/ EARLY 20TH CENTURY one hung with crystal drops and central finial with three candle arms; the other with a wire cage hung with crystal strands with six candle arms (2) 62cm and 75cm high Provenance: Property of an Edinburgh collector

£600-800

521 LOUIS XV STYLE KINGWOOD AND AMARANTH PARQUETRY BUREAU PLAT 19TH CENTURY the shaped rectangular top above three frieze drawers with dummy drawers to the reverse, raised on cabriole legs with gilt metal mounts 126cm wide, 81cm high, 66cm deep Provenance: Private Collection, Stirlingshire, Scotland

£500-700

522 PAIR OF FRENCH BEECH BERGERES EARLY 20TH CENTURY the shaped backs with moulded frames carved with flowers above cushion seats flanked by part-padded enclosed arms, raised on flower-carved cabriole legs ending in brass caps and castors (2) 71cm wide, 97cm high, 55cm deep Provenance: Property of a Lady of Glasgow

£500-700

523 LOUIS XVI STYLE KINGWOOD AND MARQUETRY MARBLE TOPPED BOMBÉ COMMODE MODERN the serpentine marble top with a moulded edge over two long bombe drawers with flower marquetry enclosed by gilt metal mounts, on cabriole legs with sabots 104cm wide, 85cm high, 51cm deep

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

230

524 PAIR OF FRENCH EMPIRE GILT AND PATINATED BRONZE WALL LIGHTS EARLY 19TH CENTURY cast as a putto holding a ring with three eagles sitting atop spheres, each issuing a candle nozzle, fitted for electricity (2) 16cm wide, 23cm high, 23cm deep

£300-500

525 DUTCH NEOCLASSICAL SATINWOOD AND JAPANNED SIDE CABINET 19TH CENTURY the tray top with canted corners above a frieze drawer and crossbanded doors centred by japanned panels flanked by angles headed by leaf motif marquetry medallions, raised on square tapered legs with brass ball feet 80cm wide, 88cm high, 46cm deep Provenance: Property of an Edinburgh collector

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

231

526 EMPIRE STYLE BRASS CHANDELIER LATE 19TH CENTURY the central reservoir suspended from a corona by linked rods, issuing five foliate cast candle arms in the form of cornucopia, with a pine cone pendant finial 112cm high, 65cm diameter, approximate

£400-600

527 PAIR OF FRENCH EMPIRE GILT AND PATINATED BRONZE FIGURAL CANDELABRA EARLY 19TH CENTURY

528

each with the figure of Victory supporting a fruit-filled basket issuing three scrolled candle arms and a central stiff arm with flame finial, standing on an orb and reeded pedestal on a square base (2)

PAIR OF BALTIC STYLE BRASS, MARBLE AND CRYSTAL CANDELABRA

69cm high

£500-700

20TH CENTURY each with a central spike and figural stem surmounted by a crescent moon, issuing arched branches hung with prisms, above a ring with three candle nozzles, on a white marble column and square base (2) 52cm high

£300-500

232

529 PAIR OF SMALL FRENCH GILT AND PATINATED BRONZE CANDLESTICKS CIRCA 1820 with reeded stems and laurel leaf cast circular bases (2) 18cm high

£400-600

530 FRENCH MINIATURE BRASS AND PORCELAIN CARRIAGE CLOCK AND BAROMETER 19TH CENTURY each with porcelain dial panel painted with birds and enamel beading 12cm wide, 10.5cm high

£300-500

531 FRENCH EMPIRE GILT BRONZE MANTEL CLOCK EARLY 19TH CENTURY the white enamel dial with Roman numerals, signed JAS. MURRAY/ 1 ROYAL EXCHANGE/ LONDON, surmounted by an artist and his companion, on a plinth base with anthemion 40cm wide, 46cm high, 1.5cm deep Provenance: Property of an Edinburgh collector

£800-1,200

233

532 FRENCH GILT METAL AND CHALCEDONY TWIN HANDLED CHALICE 19TH CENTURY the pale creamy grey cup with banded and mottled patterns, mounted with a rose and leaf rim, the handles modelled as a winged male and female figures, on a knopped stem over a hexagonal foot with rocaille and floral details 11.5cm high, 13cm wide

£300-500

533 NAPOLEON III PALAIS ROYAL TYPE GLASS, GILT BRONZE AND SILVER EGG SHAPED TRINKET BOX MID-LATE 19TH CENTURY the hinged glass box surmounted by a recumbent figure with a looking glass flanked by floral swags and united by winged figures, opening to encased pierced silverwork, raised on a scroll and foliate formed foot and a white marble base, unmarked 18.5cm wide, 19.5cm high

£800-1,200

534 FRENCH EMPIRE ORMOLU MANTEL CLOCK 19TH CENTURY the Roman numeral dial in a column case surmounted by a bust of the artist Raphael attended by the archangel Raphael holding a palm and laurel crown, on a plinth base with garlands and urns; the movement with silk suspension and striking a bell 28cm wide, 35cm high, 10cm deep

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

234

535 FRENCH PORCELAIN MOUNTED GILT AND SILVERED BRASS BIRDCAGE AND SINGING BIRD AUTOMATON, BONTEMS, PARIS LATE 19TH CENTURY the bird pivoting on its perch with movement to the beak, head, and tail, the domed cage mounted with lovebirds and flower sprays, on an octagonal base set with Sèvres style porcelain plaques alternately painted with birds and Cupid, stamped on the base BONTEMS/ PARIS 44cm high, 23cm diameter Provenance: Property of an Edinburgh collector

£5,000-7,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

235

536 DOMINIQUE GRENET (1821-1885) GLAZED PORCELAIN PLAQUE, DATED 1879 depicting figures and boats by a river, painted marks verso DG, Dom. Grenet 1879, in a heavy ebonised frame with decorative gilt border 43cm x 50.5cm Provenance: The Peter Rose and Albert Gallichan Collection

£500-700

537 LOUIS PHILIPPE EBONISED, MOTHER-OF-PEARL, AND GILT METAL MOUNTED BONHEUR DU JOUR MID 19TH CENTURY the superstructure with a brass gallery and three drawers, above a blue velvet lined writing surface and frieze drawer flanked by dummy drawers, all with mother-of-pearl and brass diaper pattern inlay, raised on turned and tapered legs joined by a turned H stretcher 79cm wide, 96cm high, 54cm deep

£700-1,000

538 LOUIS PHILIPPE EBONISED, GILT AND PATINATED BRONZE MARBLE TOPPED MEUBLE D’APPUI, STAMPED BEFORT JEUNE MID 19TH CENTURY the black marble top over a breakfront frieze and pair of doors mounted with bronze relief roundels depicting putti emblematic of the seasons and marked at the corners with gilt metal rosettes, flanked by gilt-metal leaf-clasped columns, raised on toupie feet, the outlined with gilt metal mounts 122cm wide, 121cm high, 50cm deep Note: Mathieu Befort Jeune (1813-1880) is listed as working in Paris from 1836 until 1880. The son of renowned cabinetmaker Jean-Baptiste Befort who supplied furniture for the apartments of the Duc d’Orleans, Befort Jeune was descended from a family of noted ébénistes. Both Befort Père and son were known for furniture in the style of André-Charles Boulle, and for pieces of vernis matin and porcelain mounted furniture, in the manner of Riesener. The firm received a medal at the 1844 Exposition de l’Industrie Française, and as a result of their reputation for the high quality of their work, Befort Jeune supplied furniture to Napoléon III and Empress Eugénie.

£1,000-1,500

236

539 FRENCH SILVERED BRASS CARTEL CLOCK, J. LEFEBVRE FILS, PARIS LATE 19TH CENTURY the Baroque style case set with white enamel dial numbers, the eight-day movement stamped and numbered 8250 and striking a gong, with a Medaille Bronze stamp 60cm long, 22cm wide

£500-700

540 FRENCH MAHOGANY, VERNIS MARTIN, AND GILT METAL MOUNTED VITRINE CABINET LATE 19TH CENTURY the serpentine and bombe cornice above a pair of serpentine glazed doors enclosing plush lined shelves, above Vernis Martin panels depicting courting couples, raised on cabriole legs, the whole outlined with foliate scrolling gilt metal mounts 124cm wide, 203cm high, 33cm deep

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

237

541 542 PAIR OF FRENCH GILT AND PATINATED BRONZE FIGURAL CANDELABRA, WITH ASSOCIATED ONYX PEDESTALS 19TH CENTURY the candelabra in the manner of Clodion, with seated putto supporting flower-form candle branches, on rococo bases; the pedestals in brown onyx with laurel cast gilt metal mounts (4)

each back with a rectangular Sèvres style porcelain plaque painted with putti, in a carved ribbon-tied and foliate frame, above stuffover seats raised on slender fluted and tapered legs, in pale blue and taupe silk upholstery (2) 42cm wide, 85cm high, 36cm deep Provenance: Property of a Lady of Glasgow

£2,000-3,000

£300-500

NAPOLEON III RED BOULLE MARQUETRY CARD TABLE 19TH CENTURY the fold-over serpentine top opening to a green baize playing surface, above a shaped frieze, raised on squared cabriole legs with gilt metal mounts £500-700

LATE 19TH CENTURY

Candelabra 87cm high; pedestals 109cm high

543 Y

85cm wide, 78cm high, 43cm deep

PAIR OF FRENCH GILTWOOD PORCELAIN MOUNTED SALON CHAIRS

238

544 AFTER CARPEAUX, SÈVRES TERRACOTTA FIGURE ‘EVE AFTER THE FALL’/ ‘ÈVE APRÈS LA FAUTE’ DATED 1927 with impressed and incised maker’s marks SEVRES/ S 1927 DN/ MADE IN FRANCE/ E. R. 36cm high

£1,500-2,500 Note: This piece is based on an 1871 composition by the French sculptor Jean-Baptiste Carpeaux (b.1827, Valenciennes, d. 1875, Courbevoie). Carpeaux was one of the most influential sculptors of the 19th century, both through his work and his teaching. He studied at the Petite Ecole and the Ecole de Beaux-Arts (1844-54), winning the Grand Prix de Rome in 1854. He spent a period in Italy between 1856 to 1861, where he picked up a taste for movement and spontaneity in his work, influenced by the Baroque and by the frescos and sculpture of Michelangelo. This is where he produced his masterpiece, ‘Ugolino and his Sons’. Upon his return to France Carpeaux was a leading sculptor of the period, and his work was favoured by the Imperial family of Napoleon III, who commissioned various pieces. After the fall of Napoleon III in 1870 Carpeaux fled briefly to London, in search of new patrons, and it was during this period in 1871 that he produced ‘Eve After the Fall’. Aside from portrait commissions from wealthy patrons Carpeaux produced statuettes including female nude models, which displayed the eroticism which was present in much French sculpture of the period. This is clearly evident in ‘Eve After the Fall’, in which the viewer can appreciate the sensual form of Eve’s body as she casts her gaze downwards, a tree branch spreading its way across her thigh. In 1866 Carpeaux established his own atelier in which his work could be easily reproduced and reach a wider audience, particularly as pieces with an erotic tone, though controversial in public commissions, were widely acceptable in private collections. Sèvres made later reproductions of Carpeaux’s work, including examples of ‘Eve After the Fall’ in both terracotta and biscuit porcelain.

545 FRENCH CHAMPLEVÉ ENAMEL MANTEL CLOCK, RETAILED BY D. CRICHTON, EDINBURGH LATE 19TH CENTURY in the form a longcase clock, the white enamel dial with Arabic numerals and painted with floral garlands, the dial inscribed D. Crichton, 89 Princes Street, Edinburgh; with rococo gilt metal mounts and a putto standing alongside; raised on foliate lion paw feet and an onyx base; the movement stamped 11976 34cm high Provenance: Property of an Edinburgh collector

£600-800

546 FRENCH GILT METAL, MARBLE, AND PORCELAIN MOUNTED MANTEL CLOCK LATE 19TH CENTURY the white enamel dial with Roman numbers and twin winding holes, in a fluted cylinder case on an acanthus carved base set with a Sèvres style porcelain plaque painted with a peacock, on a serpentine white marble base raised on lobed gilt metal feet, the eight-day movement striking a bell and stamped JRD and no. 29204 17-1 24cm wide, 29cm high, 11cm deep

£300-500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

239

547 FRENCH SLATE AND MALACHITE MANTEL CLOCK WITH CALENDAR DIAL 19TH CENTURY the white enamel two-part dial with a Roman numeral chapter ring, twin winding holes, and visible Brocot escapement, above a white-enamelled calendar dial with English month abbreviations framing a ‘rolling moon’ phase flanked by subsidiary days of the week and terrestrial calendar dials, in an arched moulded case on bracket feet; the eight day twin-train movement striking a bell, the movement stamped W. EDWARDS/ BIRMINGHAM, and no. 23438 21 9; the barometer stamped 22545 32cm wide, 42cm high, 16cm deep

£600-800

548 LARGE FRENCH SLATE AND MALACHITE CALENDAR MANTEL CLOCK WITH BAROMETER 19TH CENTURY with a two piece dial with Roman number chapter and a partially visible Brocot escapement, above a bevelled glass lenticle flanked by a subsidiary aneroid barometer dial marked ‘HOLOSTERIC BAROMETER’, and a white-enamelled calendar dial with English month abbreviations framing a ‘rolling moon’ phase flanked by subsidiary Days of the Week and terrestrial calendar dials, in a black slate case with malachite panels and gilt line details; the movement stamped 2947; together with an embossed and gilt red Morocco leather presentation book, hand-lettered and illuminated by the Wortley Testimonial Committee, with the list of subscribers to the ‘CALENDAR CLOCK AND PURSE OF 375 SOVEREIGNS Presented to Mr. Edward Wortley. of Ridlington May 6th 1875 ... for services as an Officer of the Rutland Agricultural Society’. 50cm wide, 53cm high, 17cm deep

£800-1,200

240

549 Y 19TH CENTURY CONTINENTAL SCHOOL, PORTRAIT MINIATURE OF ANDREAS HOFER IN THE MANNER OF JEAN-BAPTISTE JACQUES AUGUSTIN circular, watercolour on ivory, the sitter depicted in a gilt metal frame 6.7cm diameter

£300-500

Note: Andreas Hofer (1767-1810) was a Tirolean military leader and famous patriot, a popular hero who fought Napoleonic France and Bavaria in 1809-10, to try and return Tirol to Austrian rule. Even though Hofer was an innkeeper (Wirt in German), wine merchant and cattle dealer with no military experience, he led several successful minor actions against the Bavarian and Italo-French troops occupying his homeland. One of his most notable victories was the defeat of the Bavarians at the second Battle of Berg Isel near Innsbruck in August 1809, which forced them to leave the province. However, in October 1809 the Austrian emperor Francis I ceded Tirol to Napoleon in the Treaty of Schönbrunn, abandoning Hofer to the French. He was captured shortly after and taken to Mantua, where he was executed on Napoleon’s orders. In 1823 his bones were transferred to Innsbruck. Hofer remains a popular folk hero in Austria, and the poem “Sandwirth Hofer” is still the Tirolese anthem.

550 TWO NORTHERN EUROPEAN REVERSE PAINTINGS ON GLASS EARLY 19TH CENTURY depicting vagrants in landscape settings, one in giltwood frame, the other an ebonised frame (2) 24cm x 19cm; 23.5cm x 18cm Provenance: Property of an Edinburgh collector

£300-500

551 COLLECTION OF POLYCHROME PAINTED DELFTWARE 18TH CENTURY comprising an ‘Ann Gomm’ type charger, in manganese with radiating lines centred by a flower; a pair of plates with a red flower enclosed within flower and feather panels, painted 13 and 23 to the reverse, 22.8cm diam; a plate with panels of blue flowers and red diaper ground, 22cm diam; a plate with iron red flowers and stylised leaves, the rim with blue scrolls and red fruit, 22.5cm diam; and a plate with a leaf motifs, surrounded with sprigs of red and yellow flowers, within a blue line rim, 23cm diam. (6) Largest 34cm diameter

£300-500

552 COLLECTION OF DUTCH DELFTWARE 18TH CENTURY comprising a blue and white plate painted with initials representing an acrostic prayer, ‘Hearing God, Seeing God, Knowing God , Watching God’, within a border of flower heads, foliage and a yellow rim, 23cm diam; a plate painted with a chrysanthemum, within a blue leaf and dot border, 23cm diam; a pair of plates polychrome painted with baskets of flowers, 23cm diam; and a charger, polychrome painted in the chinoiserie taste (5) Largest 34.5cm diameter

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

241

553 DUTCH WALNUT AND MARQUETRY CANTERBURY 19TH CENTURY with four divisions and urn finials to the corners, above a shaped undertier raised on turned legs with brass castors, with flowering urn marquetry throughout 41cm wide, 54cm high, 35cm deep

£500-700

554 Y DUTCH WALNUT AND ROSEWOOD MARQUETRY BOMBE BUREAU 19TH CENTURY the bombe slope front opening to an arrangement of pigeon holes and drawers, the interior with trompe l’oeil marquetry, above a long frieze drawer, raised on square cabriole legs, the exterior covered in further marquetry of scrolling foliate, flowering baskets, cornucopias, and ribbon-tied flower sprays 93cm wide, 99cm high, 48cm deep

£1,500-2,500

555 DUTCH MAHOGANY AND MARQUETRY SIDE CABINET 19TH CENTURY the rectangular top above a long frieze drawer over a pair of doors flanked by brass capped columns, raised on round straight legs, the whole with floral marquetry 87cm wide, 95cm high, 49cm deep

£600-800

242

556 GERMAN PORCELAIN PLAQUE, BEATRICE CENCI, AFTER GUIDO RENI 19TH CENTURY impressed no 106 to the reverse, housed in a brass frame with easel back, stamped MARION/ LONDON Plaque 15 x 11cm

£300-400

557 BLACK FOREST DOG-FORM INKWELL LATE 19TH/ EARLY 20TH CENTURY carved as the head of a hound wearing a feathered hat, opening to a single glass reservoir, on a moulded circular base 18cm high

£600-800

558 BLACK FOREST CARVED BEAR PIANO STOOL LATE 19TH CENTURY the adjustable circular seat carved with oak leaves and ‘INTERLAKEN’, on a seated bear with glass eyes 30cm diameter, 50cm high

£2,500-3,500

559 BLACK FOREST DOG-FORM DESK STAND LATE 19TH/ EARLY 20TH CENTURY carved as a terrier wearing an apron and cap, with a shovel and standing by a fence, an open basket to one side, raised on a stone bridge base 27.5cm wide, 26cm high, 13.5cm deep

£700-1,000

243

560 Y FRENCH IVORY, TORTOISESHELL, AND GILT METAL BOX LATE 18TH/ EARLY 19TH CENTURY the cover with a circular miniature painting depicting Venus enthroned attended by Cupid with artist’s monogram A.S., the interior lined in red tortoiseshell, the mounts unmarked; in a fitted red leather and gilt embossed case stamped ‘Hund’; the box with old collection label inscribed ‘No. 1390’ with initials FMyK. Box 8cm diameter

£300-500

561 CONTINENTAL PORCELAIN SCENT BOTTLE 19TH CENTURY with gilt brass bird form finial and collar above the plum-form body, impressed 35/ S, in a leather-clad case 8.5cm high Provenance: Property of an Edinburgh collector

£300-500

562 FOUR CONTINENTAL PORCELAIN SCENT BOTTLES MID 19TH CENTURY to include a Meissen figural bottle modelled as a tree trunk with a boy standing alongside and gripping the horns of a goat, the gilt metal mounts lacking, blue crossed swords, incised 23, 7cm high; a Chelsea style figural bottle modelled as a lady in 18th century dress holding a fan; 9.3cm high; and two flower encrusted scent bottles applied with leaves and children gathering flowers (4) Par 15cm high Provenance: Property of an Edinburgh collector

£300-500

563 GROUP OF AUSTRIAN MINIATURE GILT METAL AND ENAMELLED FURNITURE LATE 19TH/ EARLY 20TH CENTURY all painted with 18th century style scenes of courtship; comprising two parlour chairs and a circular stool, chairs 6.6cm high; a three-fold screen, 7.5cm high; and a music box in the form of a grand piano (5) Piano 6cm high Provenance: Property of an Edinburgh collector

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

244

564 MEISSEN FIGURE GROUP OF LOVERS LATE 19TH CENTURY modelled with a fluted column and urn flanked by a pair of courting lovers holding a flower garland, to the reverse a girl with a flower garland, on a naturalistic rocky ground and a circular base; underglaze blue crossed swords, F.88; together with a MEISSEN SWEET MEAT BASKET, modelled as a lady lying alongside a pierced basket with applied flowers, blue crossed swords, incised 2858, 16.5cm high, 30cm wide (2) Group 22cm high Provenance: Property of a Lady of Glasgow Note: The other item in this lot can be viewed at www.lyonandturnbull.com

£500-800

565 MEISSEN FIGURE OF THE LADY OF MOPSORDEN 20TH CENTURY after the model by J.J. Kaendler; the lady standing with a pug dog under her left arm and another at her feet; on a pedestal base with marbled panels and canted corners, with gilt rim; underglaze blue crossed swords, incised 549, red painted 49 29.5cm high Provenance: Property of an Edinburgh collector

£600-800

566 567

MEISSEN FIGURE OF A CAVALIER AND LADY

MEISSEN WINE PRESS FIGURE GROUP

MID 19TH CENTURY

LATE 19TH CENTURY

after the model by J.J. Kaendler, modelled as a lady seated at a table sewing, a pug at her feet, a cavalier with a tricorn hat leaning over her, on a naturalistic ground with a gilt rim; blue crossed swords with blue dash, incised 551

after the model by J.J. Kaendler, modelled as a wooden press being worked by children, a girl kneeling in the foreground to gather the freshly pressed juice in a cup, on a naturalistically painted base, blue crossed swords with blue dash, incised J.3 26cm high, 22cm wide Provenance: Property of a Lady of Glasgow

£600-800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

20.5cm high, 28cm wide Provenance: Property of a Lady of Glasgow

£400-600

246

568 PAIR OF MEISSEN FIGURES, FROM THE FIVE SENSES 19TH CENTURY emblematic of Touch and Smell, with blue crossed swords marks, incised E.4. and E.5., and impressed 36 (2) 15cm high Provenance: The Estate of the late J. E. Adam

£300-500

569 MEISSEN FIGURE GROUP, ‘THE GOOD MOTHER’ LATE 19TH CENTURY after the model by M.V. Acier; the mother seated in an armchair with a boy scrambling over her shoulder and a baby on her lap, an older boy sitting on a stool and playing with a pack of cards which fall from the baby’s lap; on a painted naturalistic ground and oval base, underglaze blue crossed swords, incised E.69 24cm high Provenance: Property of a Lady of Glasgow

£300-500

570 MEISSEN CHILD AND DOG GROUP (“DIE SANFTHEIT DER KINDHEIT”) LATE 19TH CENTURY after the model by Acier, modelled as a baby lying on a stool, a dog leaping up to lick her fingers, on a naturalistic rectangular base with moulded gilt rim and canted corners; underglaze blue crossed swords, incised E.77 21cm wide, 19cm high Provenance: Property of an Edinburgh collector

£600-800

571 TWO MEISSEN FIGURE GROUPS SECOND HALF 19TH CENTURY comprising an allegorical group emblematic of Winter, with figures of putti warming their hands by a fire, blue crossed swords marks, incised 2495, impressed 120 and 121; and a figure group of a gardener passing his companion a flower from a basket of posies, blue crossed swords marks, incised 1584, painted 54. (2) 17cm high and 18cm high

£500-700

247

572 MEISSEN PORCELAIN FIGURAL GROUP OF TWO MUSICIANS LATE 19TH/ EARLY 20TH CENTURY the figures sitting on a settee, the lady playing a lute while the man plays a flute, a pug dog seated between them, underglazed blue crossed swords, incised W56 15.2cm high, 20.4cm wide Provenance: Property of an Edinburgh collector

£400-600

573 PAIR OF MEISSEN FIGURES OF A SHEPHERD AND SHEPHERDESS SECOND HALF 19TH CENTURY the shepherd with a basket of apples and a dog at his feet, the shepherdess with a skirt full of posies with a sheep by her side, on rococo bases, with blue crossed swords marks, incised no. 1, painted 42., impressed 69 (2) 27.5cm and 26cm high

£500-700

574 PAIR OF MEISSEN FIGURES OF A SHEPHERD AND SHEPHERDESS MID 19TH CENTURY the shepherd singing and holding a sheet of music, the shepherdess with a flower in her hand, each figure with a sheep at their feet; raised on moulded rocaille scroll bases; underglaze blue crossed swords, incised no. 5, painted number 26, impressed numbers (2) 26.5cm and 25cm high

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

248

575 TWO MEISSEN PORCELAIN FIGURES SECOND HALF 19TH CENTURY comprising a figure of a boy wearing a pink coat, standing beside a goat, on an oval base with gilded rim; incised H.82; and a smaller figure of a boy wearing a red coat and carrying some grapes in a handkerchief tied to a stick carried on his shoulder, incised G.7; both with under glaze blue crossed swords; together with a CONTINENTAL PORCELAIN BODKIN CASE/ NEEDLE HOLDER, modelled as a swaddled baby with a white metal mount and hinged cover, unmarked, 8.5cm long (3) 16cm high and 9.2cm high Provenance: Property of an Edinburgh collector

£300-500

576 PAIR OF MEISSEN FIGURES OF A SHEPHERD AND SHEPHERDESS SECOND HALF 19TH CENTURY the shepherd with a bird perched on his hand, both raised on rococo bases with sheep, with blue crossed swords marks, incised no. 6, painted no. 25 (2) 27cm high

£500-700

577 TWO MEISSEN FIGURE GROUPS SECOND HALF 19TH CENTURY comprising a lady seated in an armchair beside a table with a spinning wheel, the base moulded with gilt edged rocaille scrolls, underglaze blue crossed swords, incised 2685; the other with amorini sharpening arrows, on a rocky ground and a gilt rimmed base; underglaze blue crossed swords and dot, incised E26 (2) 15cm high and 22cm high Provenance: Property of an Edinburgh collector

£600-800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

249

578 PAIR OF MEISSEN FIGURE GROUPS EMBLEMATIC OF THE SEASONS MID 19TH CENTURY the first with two putti representing Winter, who warms his hands over a fire, and Spring, who carries a pierced basket of flowers and holds a posy in each hand, on a naturalistic rocky base with moulded gilt edged rocaille scrolls; blue crossed swords; incised 1239; the other with two putti representing Autumn, who carries a scythe, and Summer, who carries a bunch of grapes; on a naturalistic rocky base with moulded gilt edged rocaille scrolls; underglaze blue crossed swords, incised 1230 (2) 26cm high and 23cm high Provenance: Property of a Lady of Glasgow

£600-800

579 MEISSEN FIGURE GROUP OF APPLE PICKERS LATE 19TH CENTURY after the model by J.J. Kaendler, modelled as a boy on a ladder picking apples, with a lady below gathering them in her apron and a boy gathering them in his hat, with a further boy slicing and eating an apple; on a naturalistic giltedged base; underglaze blue crossed swords, incised 1998 29cm high Provenance: Property of an Edinburgh collector

£400-600

580 TWO PIECES OF MEISSEN PORCELAIN SECOND HALF 19TH CENTURY comprising a small schneeballen vase applied with flowers, trailing green branches, and two colourful birds, blue crossed swords; and a Commedia dell’Arte figure of Pulcinella, underglaze blue crossed swords, faint incised line, incised 941 (2) 14.5cm high and 16cm high

£400-600

581 PAIR OF MEISSEN FIGURAL SALTS LATE 19TH CENTURY the figures in Ottoman dress, the gentleman wearing a plumed red hat, the lady wearing a domed hat, each seated beside a floral painted basin, on a naturalistic ground with gilt rim, underglaze blue crossed swords, incised 1231 and 771 (2) Salts 19cm high Provenance: Property of an Edinburgh collector

£500-700

250

582 PAIR OF MEISSEN FLORAL ENCRUSTED BOTTLE VASES MID 19TH CENTURY applied with blue forget-me-nots and trailing foliage, and painted with insects, cancelled underglaze blue crossed swords; together with a PAIR OF MEISSEN STYLE SCHNEEBALLEN DOUBLE GOURD VASES, Meissen style marks (4) 20cm high and 17.7cm high Provenance: Property of an Edinburgh collector

£300-500

583 GROUP OF MEISSEN YELLOW GROUND CUPS AND SAUCERS 19TH CENTURY comprising a quadrilobe cup and saucer painted in puce with flower panels and putti; a matched quadrilobe cup and saucer painted with floral panels courting couples; a chocolate cup and cover with a trembleuse saucer, the cup painted with a courting couple; and a twin handled cup and associated cover, the cup painted with pastoral scenes within a quadrilobe cartouche; all with underglaze blue crossed swords; some with gilded marks (9) puce painted saucer 14.2cm wide; puce painted cup 7.6cm high

£300-500

584 MEISSEN PART TEA SET CIRCA 1740 painted with Chinoiserie scenes depicting figures engaged in various pursuits, within concentric iron-red circles, with gilt rims, comprising five teacups and seven saucers, blue crossed swords, impressed numerals, gilt no.4 (12) saucers 12cm diameter, cups 4.4cm high Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.

£500-700

585 DRESDEN PORCELAIN MOUNTED WALL SHELF LATE 19TH/ EARLY 20TH CENTURY with three lobed ebonised shelves, united by porcelain columns decorated with insects, applied and painted flowers, and moulded with ribbons 65cm wide, 51cm high Provenance: Property of an Edinburgh collector

£300-500

251

586 SET OF SIX MEISSEN BLUE AND WHITE ‘ONION PATTERN’ CANDLESTICKS 20TH CENTURY with moulded nozzles above rococo stems with C scrolls, typically decorated with flowers, with blue crossed swords marks, variously incised, impressed and underglaze numbers (6) 25cm high Provenance: The Estate of the late J. E. Adam

£300-500

587 MEISSEN STYLE CABARET SET LATE 19TH CENTURY comprising two cups and saucers, a sugar basin and cover, a coffee pot and cover, a cream jug and a shaped tray; outside decorated, each piece painted with panels depicting scenes of courtship within gilt scroll borders, on a blue turquoise ground with gilt decorated borders and rims; blue crossed swords with incised lines (8) tray 41cm wide, coffee pot 22.5cm high Provenance: Property of an Edinburgh collector

£300-500

588 MEISSEN BLUE AND WHITE ‘ONION PATTERN’ RETICULATED DESSERT SERVICE MOSTLY 20TH CENTURY comprising ten plates, 21.2cm diam; five pierced shallow bowls, 28.5cm diam; a tall comport and a knopped stem, 22cm high, 22.2cm diam; together with a MEISSEN BLUE AND WHITE ‘ONION PATTERN’ PART TEA SET, comprising six quadrilobed cups; three quadrilobed saucers; two small coffee cups with barbed rims; three small saucers with barbed rims, 10.5cm diam; a quadrilobed sugar basin; a fluted oval dish, 25.7cm wide; and a square stand on bun feet, 12.5cm x 12.5cm; underglaze blue crossed swords, impressed numbers, some painted numbers (qty) Provenance: The Estate of the late J. E. Adam

£300-500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

252

589 PAIR OF KPM PORCELAIN THREELIGHT CANDELABRA 19TH CENTURY with central nozzles above two outscrolling arms each, mounted with putti on rococo bases, with red printed marks, one with a faint sceptre mark (2) 26.5cm high Provenance: Property of a Lady of Glasgow

£300-500

590 CONTINENTAL GREEN GROUND PUNCH BOWL 19TH CENTURY painted with a central Böttger style harbour scene, with four floral panels to the sides within gilt borders 32.5cm diameter

£300-400

591 LARGE VIENNA STYLE PORCELAIN CENTERPIECE LATE 19TH/ EARLY 20TH CENTURY of oval form with gilt metal handles and mounts, painted with reserves titled CONSTANTIN VERKUNDET DIE ANERKENNUNG DES CHRISTENTHUMS, and ATHENE SETZT DEN AREOPAC EIN, on a puce ground with gilt highlights, overglaze blue bildenshield mark 47cm wide, 32.5cm high Provenance: Property of a Lady of Glasgow

£400-600

592 LARGE PAIR OF HEREND FIVE-LIGHT CANDELABRA 20TH CENTURY with central nozzles above four outscrolling arms, raised on moulded stems and bases, with pink and gilt highlights, printed marks; together with a HEREND ‘PINK APPONYI’ PATTERN TRAY, moulded with ribbon swags, printed marks, 40.5cm wide (3) 47.5cm high

£300-500

253

593 LARGE PAIR OF FRENCH PORCELAIN COVERED VASES, MARX EUGEN CLAUSS 19TH CENTURY the domed covers surmounted by seated putti, on shouldered bodies decorated with floral swags in relief and painted flower sprays, underglaze maker’s marks (2) 45.5cm high Provenance: Property of a Lady of Glasgow

£300-500

594 EXTENSIVE HEREND GREEN ‘CHINESE BOUQUET’ (APPONYI) PATTERN DINNER SERVICE 20TH CENTURY Comprising: 18 teacups and saucers; 12 coffee cups and saucers; coffee pot; cream jug; sugar basin and cover; 12 dinner plates, 26cm diam; 12 luncheon plates, 23cm diam; 12 soup bowls, 24cm diam; 12 cereal bowls, 16.5cm diam; 12 crescent dishes; 18 side plates, 15.5cm diam; 12 smaller sides, 12.5cm diam; 12 napkin rings; an hors d’oeuvres set; 2 oval twin handled dishes, 30.5cm wide; a twin handled dish raised on four feet, 31cm wide; a double lipped sauce boat on stand; 3 oval serving platters, 38cm wide, 38cm wide and 42cm wide; a triangular form dish; a circular comport on raised stand; a twin handled oblong tray, 44cm long; a round twin handled serving plate, 33cm wide; 2 round twin handled serving tureens and covers; a large twin handled soup tureen and cover; a round tray, 38cm diam; 3 oval ashtrays; a double salt with ring handle; a square section flower holder/pot pourri; a large ladle and a small porcelain spoon; all with blue printed factory marks, blue painted numbers and letters and impressed marks (QTY) £2,000-3,000

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

254

595 COLLECTION OF BOHEMIAN OVERLAY GLASS ENGRAVED WITH THE BREADALBANE CREST AND THE ORDER OF THE THISTLE, MID 19TH CENTURY all pieces with clear ground body overlaid in opaque white and pale blue, cut through with shaped panels engraved with the Breadalbane crest and the Order of the Thistle; comprising two large decanters, one with a stopper; and two smaller decanters, both with stoppers; two matching cylindrical glass beakers; a group of four finger bowls and two posy bowls of tapering cylindrical form (12) Largest decanter 36cm high ; smaller decanters 25cm and 26cm high (including stoppers), beakers 8.8cm and 9cm high, finger bowls 11cm high, posy bowls 7.9cm high Provenance: The 2nd Marquess of Breadalbane, Taymouth Castle, Perth and Kinross. Thence by family descent. On 1st May 1851 The Great Exhibition was declared open by John Campbell, 2nd Marquess of Breadalbane, as Lord Steward. By family repute the collection of layered Bohemian glass was a presentation gift to the Marquess to commemorate the occasion of his opening the Great Exhibition. It is likely that the glass was manufactured by an exhibitor participating in The Great Exhibition.

£1,000-1,500

596 PAIR OF HELENA WOLFSOHN YELLOW GROUND VASES AND COVERS 19TH CENTURY with domed covers above rounded bodies with squared twin handles, decorated with puce scenes of putti, with underglaze AR marks (2) 28cm high Provenance: Property of a Lady of Glasgow

£300-500

597 FRENCH JACOB PETIT PORCELAIN MANTEL CLOCK 19TH CENTURY the white enamel dial with Roman numerals within a rococo case with a painted floral reserve, surmounted by two knights in battle, the movement stamped ROLLIN A PARIS/ 979, striking a bell 22cm wide, 41cm high, 11cm deep

£300-500

255

WORKS FROM THE PRIVATE COLLECTION OF MARK GILLETTE

598 AFTER THE ANTIQUE, ITALIAN BRONZE FIGURE OF NARCISSUS LATE 19TH/ EARLY 20TH CENTURY dark green/black patina, on a circular base 42cm high

£300-500

Mark Gillette is a distinguished interior architect and designer concerned with historic and modern built environments. His signature talent for seamlessly blending contemporary with historic design affords a sophisticated and relaxed interior that feels distinctly modern and warm. The current collection is a selection of works from

599

Gillette’s own personal collection

ITALIAN GRAND TOUR MARBLE TORSO, AFTER THE ANTIQUE

and offer a great insight into the multidisciplinary nature of his practise and tastes.

19TH CENTURY the naked headless figure in athletic pose, inclined to sinister, on a black marble stand 51cm high Provenance: Purchased Bonhams, London, 1 Jul 2003, lot 15

£1,000-1,500

600 PAIR OF ITALIAN GILTWOOD URNS 19TH CENTURY the baluster bodies with moulded stars, swags, and stiff leaf motifs flanked by high angled handles (2) 68cm high, 43cm wide

£500-700

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

256

601 FRENCH ART DECO TERRACOTTA FIGURE OF A HIPPOCAMP 1920S with traces of old paint 38cm high, 52cm wide, 27cm deep Provenance: Purchased Christopher Jones

£400-600

602 PAIR OF WHITE MARBLE ARCHITECTURAL FINIALS EARLY 19TH CENTURY each carved as a flaming urn on circular bases (2) 54cm high Provenance: Purchased Anthony Outred

£700-1,000

603 FRENCH GILT METAL AND JAPANESE LACQUER LOW OCCASIONAL TABLE, ATTRIBUTED TO MAISON BAGUES, PARIS MODERN the inset lacquer panel top with chrysanthemums, prunus, and a bird, in a gilt metal simulated bamboo frame marked with rings at the corners, the legs joined by a shaped H stretcher 93cm wide, 44cm high, 49cm wide

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

257

604 PAIR OF GILT METAL AND LACQUER OCCASIONAL TABLES, ATTRIBUTED TO MAISON BAGUES MODERN; THE LACQUER 19TH CENTURY the lacquer panels depicting Asian landscapes highlighted with gilt, mounted on gilt metal stands to resemble bamboo (2) 54cm wide, 52cm high, 32cm deep

£1,200-1,800

605 PAIR OF GILT METAL AND GLASS THREE TIER OCCASIONAL TABLES, ATTRIBUTED TO MAISON BAGUESV MODERN the tiers raised on reeded supports with cross stretchers and berry finials (2) 40cm wide, 62cm high, 31cm deep

£1,000-1,500

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

ASIAN & ISLAMIC FURNITURE & WORKS OF ART

606 Y LARGE JAPANESE IVORY OKIMONO OF A WOOD CARRIER, SIGNED GYOKUSHI MEIJI PERIOD carved as a walking man with logs on his back, and a teapot in his hand, on a lobed base, with signature 31cm high

£400-600

607 JAPANESE LACQUER WORK TABLE 19TH CENTURY the hinged top worked in taka maki-e lacquer depicting a peacock and peahen with abalone inlay to the feather, opening to a compartmented interior above a frieze drawer and sliding work box, raised on twin turned end supports on trestle bases with ceramic castors 80cm wide, 79cm high, 50cm deep

£400-600

259

608 PAIR OF CHINESE HARDWOOD AND MOTHER-OF-PEARL HARDWOOD STOOLS LATE 19TH CENTURY the oval tops above waisted friezes with pierced aprons, raised on carved legs ending in claw and ball feet, inlaid with mother-of-pear scrolling foliate, fruit, and flower motifs (2) 46cm wide, 52cm high, 34cm deep

£600-800

609 ANGLO-CHINESE HARDWOOD BRASS BANDED BOX-ON-STAND 19TH CENTURY the box with a hinged cover with brass corner mounts, on a stand with two short drawers, raised on square chamfered legs 60cm wide, 76cm high, 40cm deep

£900-1,200

610 CHINESE RED PAINTED APOTHECARY CABINET 19TH CENTURY the projecting cornice above a recessed three panel frieze, over an arrangement of thirty-nine small drawers, all with loop handles and paper labels inscribed with Chinese characters, raised on stile feet 128cm wide, 152cm high, 53cm deep

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

260

611 Y INDIAN VIZAGAPATAM SANDALWOOD AND IVORY JEWELLERY BOX LATE 19TH CENTURY covered throughout with ink decorated pierced ivory panels, the cover with central medallions with the god Kama and flowers, raised on ivory paw feet, opening to a fitted interior with lift-out tray; together with its original wood shipping box (2) 27cm wide, 11cm high, 21.5cm deep

£300-500

612 Y VIZAGAPATAM SANDALWOOD AND IVORY WRITING SLOPE EARLY 19TH CENTURY the hinged top and slant front opening to a blue leather writing surface and an arrangement of compartments and wells, the whole banded in ivory with scrolling foliate penwork decoration 38cm wide, 12cm high, 28cm deep

£300-500

613 Y VIZAGAPATAM IVORY WORK BOX EARLY 19TH CENTURY of sarcophagus form, the lobed hinged cover with a flowerhead finial and foliate engraved bands, opening to reveal a liftout compartmented interior, raised on lobed bun feet 35cm wide, 20.5cm high, 27cm deep

£800-1,200

614 ANGLO-INDIAN CAMPHOR WOOD AND BRASS CAMPAIGN LAP DESK 19TH CENTURY of large size, with a tambour top and baize lined slope above a base drawer, the interior fitted with compartments and original ebony bar rest, banded with brass with recessed brass handles 60wide, 32cm high, 48cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

261

615 RARE CARVED ANGLO-INDIAN HARDWOOD ARMCHAIR, FOR THE 1911 DELHI DURBAR DATE 1911 the arched back panel carved with ribbons and swags inscribed ‘DELHI 1911’ and ‘GRI’, with a silver mounted presentation plaque inscribed ‘PRESENTED TO MR G MCLEAN ON THE OCCASION OF HIS MARRIAGE BY HIS BROTHER ENGINEERS OF THE R.M.S. MANTUA 1913’, and surmounted by carved crown finials, above a wide padded seat flanked by open arms ending in carved lion head terminals, raised on acanthus carved scroll legs joined by a turned H stretcher 73cm wide, 107cm high, 50cm deep

£2,000-3,000

Note: The 1911 Delhi Durbar was held at Coronation Park in Delhi to commemorate the coronation of George V and Queen Mary, and to proclaim the royals as Emperor and Empress of India. Official events, which included a large military parade and an award ceremony, lasted from 7th to 16th December, with the proclamation taking place on 12th. The Durbar was attended by almost every prince and nobleman in India, as well as thousands of landed gentry and people of note. A coloured feature film of the event was released in February 1912, and many paintings, photographs, postcards, press cuttings and memoirs about the festivities documented the occasion. The Mantua was launched as a commercial liner in 1909, used to transport passengers and mail to India and China (which may explain the plaque’s reference to R.M.S Mantua). Following the outbreak of World War I, she became H.M.S Mantua, and was commissioned into the Royal Navy. In 1918 Mantua sailed to Freetown, Sierra Leone. Some of her passengers had influenza, and as a result they may have spread the pandemic to the African continent. She returned to civilian service in 1920, before being scrapped in 1935.

616 ANGLO-INDIAN CARVED HARDWOOD CABINET 19TH CENTURY the associated upper part with a scroll carved and pierced gallery above a pair of glazed doors; the lower part with a pair of pierced and carved doors on a carved base raised on ball feet, the whole with floral, foliate, and scroll carving 128cm wide, 168cm high, 33cm deep

£400-600

262

617 RARE ANGLO-INDIAN EBONY AND EBONISED CELLARETTE-ON-STAND 19TH CENTURY of sarcophagus form, the hinged moulded panel top and sides with carved fan medallions, opening to a void interior, on a separate base with a lobed column support and base with four reeded scrolled legs ending in stylised paw feet 62cm wide, 102cm high, 41cm deep

£1,200-1,800

618 PAIR OF ANGLO BURMESE CARVED HARDWOOD ARMCHAIRS LATE 19TH CENTURY the square backs with arched top rails and turned finials, pierced and carved with exotic birds and dense scrolling foliage, above square seats with pads flanked by open arms carved with dragons, above conforming wavy seat rails and raised on carved and tapered legs (2) 60cm wide, 100cm high, 55cm deep

£800-1,200

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

263

619 Y INDIAN CARVED HARDWOOD ELEPHANT STOOL 19TH CENTURY the octagonal seat with a scalloped apron resting on the back of an elephant mounted with ivory tusks, on an oblong base carved with gadrooning and leaf tips, inscribed ‘Prepared by Ganpatram Jatram Mibtry and Sons Pirametar Road, Bazar Baroda’ 58cm wide, 50cm high, 33cm deep

£1,000-1,500

620 TWO INDIAN CARVED HARDWOOD TABLES LATE 19TH CENTURY both with octagonal tops, the taller example with a figural carved frieze on supports carved with serpents, joined by a conforming undertier, raised on carved paw feet; the other top carved with a border with animals and deities, above a pierced frieze on a square base raised on elephant heads (2) Tallest 59cm diameter, 77cm high; shorter 60cm wide, 53cm high

£400-600

621 Y TWO INDIAN CARVED HARDWOOD TABLES LATE 19TH CENTURY the first oval example on carved lions head supports with ivory tusks, united by a X stretcher; the other with a square top and figural corner supports, on baluster legs joined by an undertier; alternately carved with geometric motifs, animals, and other exotic figures (2) Oval 92cm wide, 64cm high, 61cm deep; square 47cm wide, 61cm high, 46cm deep

£400-600

264

622 MARBLE INLAID HUQQA BASE 18TH CENTURY the body carved and inlaid with scrolling flowering vines and borders in various hardstones 21cm diameter, 17cm high

£400-600

623 DAMASCUS HARDWOOD, EBONISED, AND MOTHER-OFPEARL HANGING SHELVES LATE 19TH CENTURY of architectural form with mashrabiyya, script panels, and mother-of-pearl moon and star inlay 73cm wide, 103cm high, 21cm deep

£400-600

624 THREE-FOLD DAMASCUS HARDWOOD, MOTHER-OFPEARL, AND ENAMEL PANEL MASHRABIYYA SCREEN LATE 19TH CENTURY each panel profusely decorated with mashrabiyya, and inset with copper enamel panels depicting figures, birds, and deities, some with script, within carved borders set with mother-of-pearl stars 180cm wide, 199cm high overall

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

266

RUGS & CARPETS 625 SAROUK MAHAL CARPET WEST PERSIA, LATE 20TH CENTURY the cream field with red and light brown medallion, blue and light brown spandrels, within red border 340cm x 239cm

£500-700

626 TABRIZ CARPET NORTHWEST PERSIA, MID 20TH CENTURY

627 ISFAHAN CARPET CENTRAL PERSIA MID/LATE 20TH CENTURY the cream field with allover palmette and vine pattern, within red border 445cm x 310cm

£3,000-5,000

the crimson field with allover palmette pattern, within ivory border 438cm x 340cm

£2,000-3,000

267

628 TABRIZ CARPET NORTHWEST PERSIA, MID 20TH CENTURY the cream field with allover foliate pattern, within light brown border 410cm x 296cm

£1,500-2,500

629 TABRIZ CARPET NORTHWEST PERSIA, MID/ LATE 20TH CENTURY

630

the cream field with allover palmette and vine pattern, within light brown border

NORTHWEST PERSIA, MID/ LATE 20TH CENTURY

472cm x 302cm

£800-1,200

TABRIZ CARPET

the light brown field with allover palmette and vine pattern, within red border 420cm x 306cm

£1,200-1,800 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

268

631 PAIR OF TABRIZ HADJI JALILI RUGS NORTHWEST PERSIA, LATE 19TH/EARLY 20TH CENTURY each with rust field with camel medallion, camel spandrels, within rust border (2) each approx. 172cm x 125cm

£2,000-3,000

632 MESHED CARPET NORTHEAST PERSIA, 20TH CENTURY the red field with indigo and rust medallion, indigo spandrels, within indigo border, signed to one end 405cm x 300cm

£600-800

633 KASHAN CARPET CENTRAL PERSIA, MODERN the red field with indigo and cream medallion, similar spandrels, within indigo border 425cm x 300cm

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

269

634 KASHAN CARPET CENTRAL PERSIA, LATE 20TH CENTURY the eau de nil field with indigo lattice medallion, similar spandrels, within light brown border 385cm x 278cm

£800-1,200

635 KASHAN CARPET CENTRAL PERSIA, MID/ LATE 20TH CENTURY the cream field with grey medallion, within grey border 424cm x 305cm

£800-1,200

636 KASHAN CARPET CENTRAL PERSIA, MID/LATE 20TH CENTURY the red field with indigo and ivory medallion, similar spandrels, within indigo border 434cm x 298cm

£700-1,000

270

637 SHIRVAN RUG EAST CAUCASUS, EARLY 20TH CENTURY the indigo field with allover floral lattice pattern, within ivory border 118cm x 78cm

£300-500

638 BAKHTIARI RUG WEST PERSIA, LATE 19TH/EARLY 20TH CENTURY the light brown field with allover stylised foliate pattern, within red border 230cm x 163cm

£400-600

639 KIRMAN PRAYER RUG CENTRAL PERSIA, LATE 19TH/EARLY 20TH CENTURY the dark indigo mihrab with floral vase flanked by trees, grey spandrels, within cream border 200cm x 130cm

£300-500

271

640 CENTRAL PERSIAN SILK RUG LATE 20TH CENTURY the pink field with red medallion, light blue spandrels, within cream border 190cm x 125cm

£500-700

641 KASHAN SILK RUG CENTRAL PERSIA, 20TH CENTURY the red field with indigo and cream medallion, similar spandrels, within cream border 213cm x 132cm

£1,200-1,800

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

272

642 KYRGYZ CARPET KYRGYZSTAN, EARLY/MID 20TH CENTURY the red field with three indigo lattice rectangular medallions, within brown border 298cm x 158cm

£300-500

643 ERSARI CARPET TURKMENISTAN, LATE 19TH/EARLY 20TH CENTURY the red field with three columns of eight guls, within red border 287cm x 239cm

£400-600

644 BELOUCH CARPET NORTHEAST PERSIA, EARLY/MID 20TH CENTURY the dark indigo field with column of four lozenge medallions, within dark brown border 279cm x 161cm

£300-500

645 TEKKE CARPET TURKMENISTAN, EARLY/MID 20TH CENTURY the red field with five columns of thirteen guls, within multiple borders 290cm x 205cm

£300-500

273

646 KASHKULI CARPET SOUTH PERSIA, LATE 19TH/EARLY 20TH CENTURY the red field with allover boteh pattern, within slate blue border 250cm x 160cm

£500-700

647 BIDJAR CARPET WEST PERSIA, LATE 19TH/ EARLY 20TH CENTURY the indigo field with allover palmette and vine lattice pattern, within red border 267cm x 151cm

£1,000-1,500

648 BAKHTIARI CARPET WEST PERSIA, LATE 19TH/ EARLY 20TH CENTURY the red field with three columns of polychrome hexagonal medallions, within red border 335cm x 216cm

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

274

649 SARAB CARPET NORTHWEST PERSIA, MODERN the indigo field with red medallion and cream spandrels, with allover herati pattern, within red border 376cm x 280cm

£1,000-1,500

650 KASHAN CARPET

651 TABRIZ CARPET NORTHWEST PERSIA, MID 20TH CENTURY the red field with cream medallion, turquoise spandrels, within indigo border, signed to one end 341cm x 244cm

£500-700

CENTRAL PERSIA, LATE 19TH/EARLY 20TH CENTURY the indigo field with red and blue medallion, similar spandrels, within red border 535cm x 321cm

£4,000-6,000

275

652 TABRIZ HADJI JALILI CARPET NORTHWEST PERSIA, LATE 19TH/EARLY 20TH CENTURY the plain rust field with cream and grey medallion, similar spandrels, within grey border 428cm x 345cm

£3,000-5,000

653

654

LARGE KHORASSAN CARPET

TABRIZ CARPET

NORTHEAST PERSIA, EARLY 20TH CENTURY

NORTHWEST PERSIA, MID 20TH CENTURY

the plain burgundy field with blue medallion, camel spandrels and sides, within indigo border 670cm x 367cm

of Ardabil design, the indigo field with cream medallion, similar spandrels, within green border

£5,000-7,000

402cm x 302cm

£1,000-1,500 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

276

655 LAKAI FLATWEAVE RUG UZBEKISTAN, MID 20TH CENTURY the striped field with five columns of five polychrome guls, within wave scroll border 179cm x 173cm

£300-500

656 ERSARI CARPET TURKMENISTAN, LATE 19TH/EARLY 20TH CENTURY the burgundy field with three columns of six guls, within burgundy border 295cm x 226cm

£400-600

657 TEHRAN PRAYER RUG CENTRAL PERSIA, LATE 19TH/EARLY 20TH CENTURY the dark indigo mihrab with tree flanked by floral vases, blue spandrels, within dark indigo and ivory border 244cm x 140cm

£400-600

658 TABRIZ CARPET NORTHWEST PERSIA, EARLY/MID 20TH CENTURY the cream field with allover rosette, palmette and vine pattern, within rust red border 291cm x 205cm

£400-600

277

659 KARABAGH CARPET SOUTH CAUCASUS, POSSIBLY WOVEN WITH DATE 1928 the red field with elongated brown and olive-green medallion, green spandrels, within brown border 260cm x 138cm

£400-600

660 KURDISH LONG RUG

661

LATE 19TH/EARLY 20TH CENTURY

ISFAHAN CARPET

the indigo field with allover geometric lattice pattern, within polychrome border

CENTRAL PERSIA, EARLY/ MID 20TH CENTURY

290cm x 128cm

the red field with allover palmette and vine pattern, within indigo border

£400-600

385cm x 285cm

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

278

662 TABRIZ CARPET NORTHWEST PERSIA, LATE 19TH/EARLY 20TH CENTURY the field with allover mihrab lattice pattern, with pictoral medallion, within indigo border 405cm x 320cm

£600-800

663 664 ERSARI CARPET TURKMENISTAN, EARLY 20TH CENTURY the red field with three columns of seven guls, within red border 293cm x 217cm

£400-600

KARABAGH CARPET SOUTH CAUCASUS, LATE 19TH/EARLY 20TH CENTURY the green and red field with two green and red medallions, within indigo border 335cm x 158cm

£1,000-1,500

279

665 BAKHTIARI CARPET WEST PERSIA, MID/LATE 20TH CENTURY the field with allover polychrome floral lattice pattern, within ivory border 490cm x 406cm

£5,000-7,000

666 BIDJAR CARPET WEST PERSIA, LATE 19TH/ EARLY 20TH CENTURY the cream field with allover rosette, palmette and vine pattern, within red border 318cm x 208cm

£3,000-5,000

667 ERSARI CARPET TURKMENISTAN, EARLY/MID 20TH CENTURY the red field with four columns of six guls, within multiple borders 414cm x 316cm

£400-600 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

280

668 TABRIZ CARPET NORTHWEST PERSIA, MID/LATE 20TH CENTURY the red field with allover palmette and vine pattern, within indigo border 394cm x 296cm

£800-1,200

669 TABRIZ CARPET NORTHWEST PERSIA, MID 20TH CENTURY the ivory field with allover palmette pattern, within red border 361cm x 270cm

£500-700

670 NAIN CARPET

671

CENTRAL PERSIA, LATE 20TH CENTURY

QUM CARPET

the indigo field with allover palmette and vine pattern, small rosette medallion, within cream border

CENTRAL PERSIA, MID/LATE 20TH CENTURY the cream field with red medallion, similar spandrels, within light blue border

347cm x 249cm

366cm x 241cm

£400-600

£500-700

281

672 TABRIZ CARPET NORTHWEST PERSIA, MID 20TH CENTURY the brick red field with indigo medallion, blue spandrels, within indigo border 430cm x 330cm

£1,200-1,800

673 TABRIZ CARPET NORTHWEST PERSIA, MID 20TH CENTURY

674

the salmon pink field with allover foliate ‘Mustafavi’ pattern, within indigo border

NORTHWEST PERSIA, MID/LATE 20TH CENTURY

294cm x 208cm

£600-800

TABRIZ RUG

the light blue field with allover rosette, palmette and vine lattice pattern, within salmon pink border 236cm x 162cm

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

282

675 MALAYER RUNNER WEST PERSIA, LATE 20TH CENTURY the indigo and red field with three and a half polychrome lozenge medallions, within indigo and cream border 306cm x 112cm

£500-700

676 QASHQAI RUNNER SOUTH PERSIA, MID/LATE 20TH CENTURY the dark indigo field with three shaped cream and red medallions, yellow spandrels, within red border 320cm x 116cm

£800-1,200

677 GENDJE RUNNER SOUTH CAUCASUS, LATE 19TH/ EARLY 20TH CENTURY the indigo field with allover foliate lattice pattern, within red border 334cm x 124cm

£300-500

678 HOSSEINABAD RUNNER WEST PERSIA, MODERN the red field with allover herati pattern, within indigo border 597cm x 120cm

£500-700 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

283

679 TETEX CARPET GERMANY, EARLY/MID 20TH CENTURY the red field with allover palmette and vine pattern, within indigo border 395cm x 297cm

£1,000-1,500

680 LARGE TABRIZ CARPET NORTHWEST PERSIA, EARLY 20TH CENTURY the camel field with allover foliate pattern, within indigo border 594cm x 341cm

£800-1,200

681 KIRMAN CARPET CENTRAL PERSIA, MID/ LATE 20TH CENTURY of Garden design, the compartmentalised field with cream and indigo medallion, within indigo border 429cm x 310cm

£600-800

284

GARDEN 682 PAIR OF COMPOSITION STONE RECUMBENT LIONS MODERN on rectangular plinths (2) 70cm long, 47cm high, 32cm deep

£700-1,000

683 SET OF FOUR LARGE COMPOSITION STONE URNS 20TH CENTURY the everted leaf tip cast rims above basket weave bodies, on short circular bases (4) 77cm diameter, 45cm high

£2,000-2,500

684 PAIR OF COMPOSITION STONE JAGUARS MODERN in seated position, on oval plinths (2) 26cm wide, 60cm high, 43cm long

£400-600

Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

285

685 COMPOSITION STONE FIGURE OF THE THREE GRACES, AFTER CANOVA 20TH CENTURY on a semi-circular base 82cm high, 42cm wide

£1,000-1,500

686 SET OF FOUR POURED STONE FIGURES OF THE SEASONS MODERN each figure raised on a separate square plinth (4) 164cm high overall

£1,500-2,500

286

687 SCOTTISH FIRECLAY PEDESTAL 19TH CENTURY the square top above a spiral fluted column on a square base 51cm wide, 73cm high, 51cm deep

£300-500

688 SET OF FOUR COMPOSITION STONE URNS MODERN of lobed Campana form on square bases (4) 45cm diameter, 39cm high

£700-1,000

689 PAIR OF LARGE SCOTTISH FIRECLAY GARDEN URNS 19TH CENTURY moulded with lilies of the valley (2) 98cm high, 82cm diameter

£1,000-1,500

690 CARVED STONE COLUMN 19TH CENTURY of octagonal form, the hollow interior with a clay liner 55cm wide, 52cm high

£300-400

287

691 TWO LEAD PLANTERS 20TH CENTURY the first of campana form on a square base, the other of tapered banded form (2) 57cm and 41cm high

£250-350

692 PAIR OF LARGE PAINTED SPELTER FIGURAL TORCHERES 19TH CENTURY modelled as putti standing and holding flower garlands on rococo style bases, fitted for electricity (2) 137cm high [excluding fitting] Provenance: Property from a Scottish Country House

£600-800

693 PAIR OF LARGE CAST IRON GARDEN URNS 20TH CENTURY of flattened campana form, with lobed sides on square bases, painted green (2) 76cm dianeter, 50cm high Provenance: Property of an Edinburgh collector

694

£500-700

PAIR OF LARGE LEAD PLANTERS 20TH CENTURY of square tapered form (2) 52cm wide, 75cm high

£800-1,200 Other fees apply in addition to the hammer price: see the ‘Buyer’s Guide’ section on page 2

AUCTION 25 MAY 2022 LIVE ONLINE

311 LITRES OF 32-YEAR OLD MACALLAN SINGLE MALT WHISKY HOLDING THE UNDISPUTED GUINNESS WORLD RECORD FOR THE LARGEST BOTTLE OF WHISKY

THE INTREPID: THE MACALLAN 1989 32 YEAR OLD Bottled on 9 September 2021, vatted from hogshead #6986 and #6992, 311 LITRES / 43% ESTIMATE UPON REQUEST

THE INTREPID: THE MACALLAN 1989 32 YEAR OLD COMPLETE SET OF 12 LIMITED EDITION 50CL BOTTLES, vatted from hogshead #6986 and #6992, all with presentation cases, each 50cl / 43% £15,000-25,000 (+ fees)

For more information please contact Colin Fraser | 0131 557 8844 colin.fraser@lyonandturnbull.com

JEWELLERY & WATCHES AUCTION 15 JUNE 2022 LIVE ONLINE EDINBURGH

A SOUTH SEA PEARL AND DIAMOND BROOCH, BY BOODLE & DUNTHORNE £2,000-3,000

A PAIR OF SOUTH SEA PEARL AND DIAMOND EARRINGS, BY BOODLE & DUNTHORNE £1,500-2,500

For more information please contact Ruth Davis | 0131 557 8844 ruth.davis@lyonandturnbull.com

FORM THROUGH TIME

AUCTION 08 JUNE 2022 LIVE ONLINE

Form Through Time is a journey through world history and culture, bringing together Fine Ancient Art, Tribal Art & Natural History into a curated whole. These works offer a glimpse onto the distant peoples who created them, and reveal how the art of the remote past stimulated many of the great twentieth century artists, with a tangible connection to our modern day.

FINE KUSURA IDOL ANATOLIA, EARLY BRONZE AGE, C. 2700 – 2100 B.C.

£4,000-6,000

For more information please contact Alex Tweedy | 0131 557 8844 alex.tweedy@lyonandturnbull.com

. HINTS . ON . . HOUSEHOLD . TASTE . . BY . PAUL . REEVES .

AUCTION 28 JUNE 2022 | LIVE ONLINE | EDINBURGH

For more information please contact John Mackie | 0131 557 8844 john.mackie@lyonandturnbull.com

292

CONDITIONS OF SALE FOR BUYERS (UK) These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used. Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales. In these Conditions the words “Us”, “Our”, “We” etc. refers to Lyon & Turnbull Ltd, the singular includes the plural and vice versa as appropriate. “You”, “Your” means the Buyer. Lyon & Turnbull Ltd. acts as agent for the Seller. A. BEFORE THE SALE 1. DESCRIPTIONS OF LOTS 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the Auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of Lots, express, implied or statutory, are given. Please note that photographs/ images provided may not be fully representative of the condition of the Lot and should not be relied upon as indicative of the overall condition of the Lot. All dimensions and weights are approximate only. 2. OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS We do not provide any guarantee in relation to the nature of a Lot apart from our authenticity warranty contained in paragraph E.2 and to the extent provided below.

22.1

(a) Condition Reports: Condition Reports are provided on our Website or upon request. The absence of a report does not imply that a Lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the Lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the Lot. Lots are available for inspection prior to the sale and You are strongly advised to examine any Lot in which You are interested prior to the sale. Our Condition Reports are not prepared by professional conservators, restorers or engineers. Our Condition Report does not form any contract between us and the Buyer. The Condition Reports do not affect the Buyer’s obligations in any way. (b) Estimates: Estimates are placed on each Lot to help Buyers gauge the sums involved for the purchase of a particular Lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon. (c) Catalogue Alterations: Lot descriptions and Estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the Catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred. 3. WITHDRAWAL Lyon & Turnbull may, at its discretion, withdraw any Lot at any time prior to or during the sale of the Lot. Lyon & Turnbull has no liability to You for any decision to withdraw. 4. JEWELLERY, CLOCKS & OTHER ITEMS (a) Jewellery: (i) Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to enhance their look, through methods such as heating and oiling. These methods are accepted practice but may make the gemstone less strong and/or require special care in future. (ii) All types of gemstones may have been improved by some method. You may request a gemmological report for any Lot which does not have a report if the request is made to us at least three weeks before the date of the sale and You pay the fee for the report in advance of receiving said report. (iii) We do not obtain a gemmological report for every gemstone sold in our sales. Where we do get gemmological

reports from internationally accepted gemmological laboratories, such reports may be described in the Sale Particulars. Reports will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the Catalogue, or at the time of sale, nor in respect of Lots sold for less than £300.

(iv) For jewellery sales, all Estimates are based on the information in any gemmological report or, if no gemmological report is available, You should assume that the gemstones may have been treated or enhanced.

(f) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

(b) Clocks & Watches: All Lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed. Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally. Clocks may be sold without pendulums, weights or keys. (c) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, You affirm that You are at least that age. All collections must be signed for by a person over the age of 18. We Reserve the right to ask for ID from the person collecting. Buyers of alcohol must make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the Buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given. (d) Books-Collation: If on collation any named item in the sale Catalogue proves defective, in text or illustration the Buyer may reject the Lot provided he returns it within 21 days of the sale stating the defect in writing. This, however, shall not apply in the case

(e) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

B. REGISTERING TO BID 1. NEW BIDDERS (a) If this is Your first time bidding at Lyon & Turnbull or You are a returning Bidder who has not bought anything from us within the last two years You must register at least 48 hours before an auction to give us enough time to process and approve Your registration. We may, at our discretion, decline to permit You to register as a Bidder. You will be asked for the following: (i) Individuals: Photo identification (driving licence, national identity card or passport) and, if not shown on the ID document, proof of Your current address (for example, a current utility bill or bank statement) (ii) Corporate clients: Your Certificate of Incorporation or equivalent document(s) showing Your name and registered address together with documentary proof of directors and beneficial owners, and; (iii) Trusts, partnerships, offshore companies and other business structures please contact us directly in advance to discuss requirements. (b) We may also ask You to provide a financial reference and/or a deposit to allow You to bid. For help, please contact our Finance Department on +44(0)131 557 8844. 2. RETURNING BIDDERS We may at our discretion ask You for current identification as described in paragraph B.1.(a) above, a finance reference or a deposit as a condition of allowing You to bid. If You have not bought anything from us in the last two years, or if You want to spend more than on previous occasions, please contact our Finance Department on +44(0)131 557 8844.

293 3. FAILURE TO PROVIDE THE RIGHT DOCUMENTS If in our opinion You do not satisfy our Bidder identification and registration procedures including, but not limited to, completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register You to bid, and if You make a successful bid, we may cancel the contract between You and the Seller. 4. BIDDING ON BEHALF OF ANOTHER PERSON (a) As an authorised Bidder: If You are bidding on behalf of another person, that person will need to complete the registration requirements above before You can bid, and supply a signed letter authorising You to bid for him/ her. (b) As agent for an undisclosed principal: If You are bidding as an agent for an undisclosed principle (the ultimate Buyer(s)) You accept personal liability to pay the Purchase Price and all other sums due, unless it has been agreed in writing with us before commencement of the auction that the Bidder is acting as an agent on behalf of a named third party acceptable to us and we will seek payment from the named third party. 5. BIDDING IN PERSON If You wish to bid in the saleroom You must register for a numbered bidding paddle before You begin bidding. Please ensure You bring photo identification with You to allow us to verify Your registration. 6. BIDDING SERVICES The bidding services described below are a free service offered as a convenience to our clients and we are not responsible for any error (human or otherwise), omission or breakdown in providing these services. (a) Phone bids Your request for this service must be made no later than 12 hours prior to the auction. We will accept bids by telephone for Lots only if our staff are available to take the bids. If You need to bid in a language other than English You should arrange this Well before the auction. We do not accept liability for failure to do so or for errors and omissions in connections. (b) Internet Bids For certain auctions we will accept bids over the internet. For more information please visit our Website. We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding. (c) Written Bids While 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. 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. Bids must be expressed in the currency of the saleroom. The Auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the Reserve. If You make a written bid on a Lot which does not have a Reserve and there is no higher bid than Yours, we will bid on Your behalf at around 50% of the lower Estimate or, if lower, the amount of Your bid.

responsible for any error (human or otherwise) omission or breakdown in providing these services.

C. DURING THE SALE

7. SUCCESSFUL BIDS Unless the Auctioneer decides to use their discretion as set out above, when the Auctioneer’s hammer falls, we have accepted the last bid. This means a contract for sale has been formed between the Seller and the successful Bidder. We will issue an invoice only to the registered Bidder who made the successful bid. While we send out invoices by post/or email after the auction, we do not accept responsibility for telling You whether or not Your bid was successful. If You have bid by written bid, You should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of our bid to avoid having to pay unnecessary storage charges.

1. ADMISSION TO OUR AUCTIONS We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. We may refuse admission at any time before, during or after the auction.

8. RELEVANT LEGISLATION You agree that when bidding in any of our sales that You will strictly comply with all relevant legislation including local laws and regulations in force at the time of the sale for the relevant saleroom location.

2. RESERVES Unless indicated by an insert symbol (∆), all Lots in this Catalogue are offered subject to a Reserve. A Reserve is the confidential Hammer Price established between us and the Seller. The Reserve is generally set at a percentage of the low Estimate and will not exceed the low Estimate for the Lot.

D. THE BUYER’S PREMIUM, TAXES AND ARTIST’S RESALE ROYALTY

3. AUCTIONEER’S DISCRETION The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. The Auctioneer may move the bidding backwards of forwards in any way he or she may decide or change the order of the Lots. The Auctioneer may also; refuse any bid, withdraw any Lot, divide any Lot or combine any two or more Lots, reopen or continuing bidding even after the hammer has fallen. 4. BIDDING The Auctioneer accepts bids from: (a) Bidders in the saleroom; (b) Telephone Bidders, and internet Bidders through Lyon & Turnbull Live or any other online bidding platform we have chosen to list on and; (c) Written bids (also known as absentee bids or commission bids) left with us by a Bidder before the auction. 5. BIDDING INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion. 6. CURRENCY CONVERTER The saleroom video screens and bidding platforms may show bids in some other major currencies as Well as sterling. Any conversion is for guidance only and we cannot be bound be any rate of exchange used. We are not

1. THE PURCHASE PRICE For each Lot purchased a Buyer’s Premium of 25% of the Hammer Price of each Lot up to and including £500,000, plus 20% from £500,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium. No VAT is payable on the Hammer Price or premium for printed books or unframed maps bought at auction. Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above. 2. VALUE ADDED TAX 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. (a) Lots affixed with (†): Value Added Tax on the Hammer Price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme. (b) Lots affixed with (*): A reduced rate of Value Added Tax on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outwit the European Union. This reduced rate is applicable to Antique items. (c) Lots affixed with [Ω]: Standard rate of Value Added Tax on the Hammer Price and premium is payable. This applies to items that have been imported from outwit the European Union and do not fall within the reduced rate category outlined above.

3. ARTIST’S RESALE ROYALTY (DROIT DE SUITE) This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs. org.uk. E. WARRANTIES 1. SELLER’S WARRANTIES For each Lot, the Seller gives a warranty that the Seller; (a) Is the owner of the Lot or a joint owner of the Lot acting with the permission of the other co-owners, or if the Sellers is not the owner of or a joint owner of the Lot, has the permission of the owner to sell the Lot, or the right to do so in law, and; (b) Had the right to transfer ownership of the Lot to the Buyer without any restrictions or claims by anyone else. If either other above warranties are incorrect, the Seller shall not have to pay more than the Purchase Price (as defined in the glossary) paid by You to us. The Seller will not be responsible to You for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expense. The Seller gives no warranty in relation to any Lot other than as set out above and, as far as the Seller is allowed by law, all warranties from the Seller to You, and all obligations upon the Seller which may be added to this agreement by law, are excluded. 2. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each Lot in this Catalogue is as stated in the BOLD or CAPITALISED type heading in the Catalogue description of the Lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the

294 Catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below. In the event we, in our reasonable opinion, deem that the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the Lot the Hammer Price and applicable Buyer’s Premium paid for the Lot by the original purchaser. This Guarantee does not apply if: (a) The Catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the Catalogue description indicated that there was a conflict of such opinions; or

law. Lyon & Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation, loss of profits or interest. 3. YOUR WARRANTIES (a) You warrant that the funds used for settlement are not connected with any criminal activities, including tax evasion and You are neither; under investigation, have been charged with or convicted of money laundering, terrorist activities or other crimes. (b) Where You are bidding on behalf of another person You warrant that:

(b) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the Lot or likely to have caused loss of value to the Lot; or

(i) You have conducted appropriate customer due diligence on the ultimate Buyer(s) of the Lot(s) in accordance with all relevant anti-money laundering legislation, consent to us relying on this due diligence, and You will retain for a period of not less than five years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by a third party auditor upon our written request to do so;

(c) There has been no material loss in value of the Lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

(ii) The arrangements between You and the ultimate Buyer(s) in relation to the Lot or otherwise do not, in whole or in part, facilitate tax crimes, and;

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the Lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the Lot must:

(iii) You do not know, and have no reason to suspect that the funds used for settlement are connected with the proceeds of any criminal activity, including tax evasion, or that the ultimate Buyer(s) are under investigation or have been charged with or convicted of money-laundering, terrorist activities, or other crimes.

(a) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the Lot number, date of the auction at which it was purchased and the reasons for such dispute; and (b) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale. We have discretion to waive any of the above requirements. We may require the original purchaser of the Lot to obtain, at the original purchaser of Lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the Lot. We shall not be bound by any reports produced by the original purchaser of the Lot, and Reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original Purchase Price paid (the successful Hammer Price, plus the Buyer’s Premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of

F. PAYMENT 1. MAKING PAYMENT (a) Within 7 days of a Lot being sold You will pay to us the Total Amount Due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. Please note that we do not accept cash payments over £5,000 per Buyer per year. (b) Any payments by You to us can be applied by us towards any sums owing by You to us howsoever incurred and without agreement by You or Your agent, whether express or implied. (c) We will only accept payment from the registered Bidder. Once issued, we cannot change the Buyer’s name on an invoice or re-issue the invoice in a different name. (d) 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. The risk in and the responsibility for the Lot will transfer to You from whichever is the earlier of the following: (i) When You collect the Lot; or (ii) At the end of the 30th day following the date of the auction, or, if earlier, the date the Lot is taken into care by a third party unless we have agreed otherwise

with You in writing. (e) You shall at Your own risk and expense take away any Lots that You have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide You with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us. (f) No purchase can be claimed or removed until it has been paid for. (g) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. 2. IN THE EVENT OF NON-PAYMENT 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 Sellers and on their 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:

us and we will pay any amount left from that sale to You. If there is a shortfall, You must pay us the balance; and (i) Take any other action we see necessary or appropriate. G. COLLECTION & STORAGE (1) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for Lots not collected by the appropriate time. Information on collection is set out in the Catalogue and our Website (2) Unless agreed otherwise, You must collect purchased Lots within seven days from the auction. Please note the Lots will only be released upon full payment being received. (3) If You do not collect any Lot within seven days following the auction we can, at our discretion; (i) Charge You storage costs at the rates set out on our Website. (ii) Move the Lot to another location or an affiliate or third party and charge You transport and administration costs for doing so and You will be subject to the third party storage terms and pay for their fees and costs.

(a) To proceed against You for damages for breach of contract;

(iii) Sell the Lot in any way we think reasonable.

(b) To rescind the contract for sale of that Lot and/or any other Lots sold by us to You;

H. TRANSPORT & SHIPPING

(c) To resell the Lot(s) (by auction or private treaty) in which case You shall be responsible for any resulting deficiency in the Total Amount Due (after crediting any part payment and adding any resale costs). (d) To remove, store and insure the Lot in the case of storage, either at our premises or elsewhere and to recover from You all costs incurred in respect thereof; (e) To charge interest at a rate of 5% a year above the Bank of Scotland base rate from time to time on all sums outstanding for more than 7 working days after the sale; (f) To retain that or any other Lot sold to You until You pay the Total Amount Due; (g) To reject or ignore bids from You or Your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) To apply any proceeds of sale of other Lots due or which become due to You towards the settlement of the Total Amount Due by You and to exercise a lien over any of Your property in our possession for any purpose until the debt due is satisfied. You will be deemed to have granted such security to us and we may retain such property as collateral security for Your obligations to us; we may decide to sell Your property in any way we think appropriate. We will use the proceeds of the sale against any amounts You owe

1. TRANSPORT AND SHIPPING We will include transport and shipping information with each invoice sent to You as well as displayed on our Website. You must make all transport and shipping arrangements. 2. EXPORT OF GOODS Buyers intending to export goods should ascertain; (a) Whether an export licence is required; and (b) Whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the Buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in making full payment for the Lot. 3. CITES: ENDANGERED PLANTS AND ANIMALS LEGISLATION Please be aware that all Lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http://www. defra.gov.uk/ahvla-en/imports-exports/ cites We accept no liability for any Lots which may be subject to CITES but have not be identified as such.

295 I. OUR LIABILITY TO YOU (a) We give no warranty in relation to any statement made, or information give, by us, our representatives or employees about any Lot other than as set out in the authenticity warranty and as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are exclude. The Seller’s warranties contained in paragraph E.1 are their own and we do not have a liability in relation to those warranties. (b) (i) We are not responsible to You for any reason whether for breaking this agreement or any other matter relating to Your purchase of, or bid for, any Lot other than in the event of fraud or fraudulent misrepresentation by us other than as expressly set out in these conditions of sale; or (ii) We do not give any representation, warranty or guarantee or assume any liability for a kind in respect of any Lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance, except as required by local law, any warranty of any kind is excluded by this paragraph. (c) in particular, please be aware that our written and telephone bidding services, Lyon & Turnbull Live, Condition Reports, currency converter and saleroom video screens are free services and we are not responsible for any error (human or otherwise) omission or breakdown in these services. (d) We have no responsibility to any person other than a Buyer in connection with the purchase of any Lot (e) If in spite of the terms of this paragraph we are found to be liable to You for any reason, we shall not have to pay more than the Purchase Price paid by You to us. We will not be responsible for any reason for loss of profits, business, loss of opportunity or value, expected savings or interest, costs damages or expenses. J. OTHER TERMS 1. OUR ABILITY TO CANCEL In addition to the other rights of cancellation contained in this agreement, we can cancel the sale of a Lot if; (i) Any of our warranties are not correct, as set out in paragraph E3, (ii) We reasonably believe that completing the transaction is or may be unlawful; or (iii) We reasonably believe that the sale places us or the Seller under any liability to anyone else or may damage our reputation. 2. RECORDINGS We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law if You do not wish to be videotaped, You may make arrange-

ments to bit by telephone or a written bid or bid on Lyon & Turnbull Live instead. Unless we agree otherwise in writing, You may not videotape or record proceedings at any auction. 3. COPYRIGHT We own the copyright in respect of all images, illustrations and written material produced by or for us relating to a Lot. (Including Catalogue entries unless otherwise noted in the Catalogue) You cannot use them without our prior written permission. We do not offer any guarantee that You will gain any copyright or other reproductions to the Lot. 4. ENFORCING THIS AGREEMENT If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as deleted and the rest of this agreement will remain in force. 5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES You may not grant a security over or transfer Your rights of responsibilities under these terms on the contract of sale with the Buyer unless we have given our written permission. This agreement will be binding on Your successors or estate and anyone who takes over Your rights and responsibilities. 6. REPORTING ON WWW.LYONANDTURNBULL.COM Details of all Lots sold by us, including Catalogue disruptions and prices, may be reported on www.lyonandturnbull. com. Sales totals are Hammer Price plus Buyer’s Premium and do not reflect any additional fees that may have been incurred. We regret we cannot agree to requests to remove these details from our Website. 7. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a Lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale. 8. 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 premises, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

9. DATA PROTECTION Where we obtain any personal information about You, we shall use it in accordance with the terms of our Privacy Policy (subject to any additional specific consent(s) You may have given at the time Your information was disclosed). A copy of our Privacy Policy can be found on our Website www.lyonandturnbull.com or requested from Client Services, 33 Broughton Place, Edinburgh, EH1 3RR or by email from data enquiries@lyonandturnbull.com. 10. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract. 11. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply. K. DEFINITIONS & GLOSSARY The following words and phrases used have (unless the context otherwise requires) the meaning to given to them below. The go Glossary is to assist You to understand words and phrases which have a specific legal meaning which You may not be familiar with.

behalf of the Seller. “Estimate” a statement of our opinion of the range within the hammer is likely to fall. “Hammer Price” the level of bidding reached (at or above any Reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” several Lots with a total lower Estimate value of £30,000 or above; “High Value Lot” a Lot with a lower Estimate of £30,000 or above; “Lot” each Item offered for sale by Lyon & Turnbull; “Purchase Price” is the aggregate of Hammer Price and any applicable Buyer’s Premium, VAT on the Hammer Price (where applicable), VAT on the Buyer’s Premium and any other applicable expenses; “Reserve” the lowest price below which an item cannot be sold whether at auction or by private treaty; “Sale” the auction sale at which a Lot is to be offered for sale by us. “Seller” the person who offers the Lot for Sale. We act as agent for the Seller. “Total Amount Due” the Hammer Price in respect of the Lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “VAT” value added tax at the prevailing rate at the date of the sale in the United Kingdom. “Website” Lyon & Turnbull’s Website at www.lyonandturnbull.com 2. GLOSSARY The following have specific legal meaning which You may not be familiar with. The following glossary is intended to give You an understanding of those expressions but is not intended to restrict their legal meanings:

1. DEFINITIONS “Auctioneer” Lyon & Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or it’s authorised representative conducting the sale, as appropriate;

“Artist’s Resale Right” the right of the creator of a work of art to receive a payment on Sales of that work subsequent to

“Bidder” a person who has completed a Bidding Form

“Lien” a right for the person who has possession of the Lot to retain possession of it.

“Bidding Form” our Bidding Registration Form our Absentee Bidding Form or our Telephone Bidding Form. “Buyer” the person to whom a Lot is knocked down by the Auctioneer. The Buyer is also referred to by the words “You” and “Your”

“Knocked Down” when a Lot is sold to a Bidder, indicated by the fall of the hammer at the Sale.

“Risk” the possibility that a Lot may be lost, damaged, destroyed, stolen, or deteriorate in condition or value. “Title” the legal and equitable right to the ownership of a Lot.

“Buyer’s Premium” the sum calculated on the Hammer Price at the rates stated in Catalogue. “Catalogue” the Catalogue relating to the relevant Sale, including any representation on our Website “Condition Report” the report on the physical condition of a Lot provided to a Bidder or potential Bidder by us on

22.1

296

GUIDE TO BIDDING & PAYMENT REGISTRATION

BIDDING OUTSIDE THE SALEROOM

PAYMENT

BY PHONE

Our accounts teams will continue to be available to process payments and answer queries. We will be able to accept online payments through our website and bank transfer. On-site payment facilities are available by appointment.

1–G overnment issued photo ID (Passport/Driving licence) 2–P roof of address (utility bill/bank statement). We may, at our option, also ask you to provide a bank reference and/or deposit. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale. BIDDING IN THE SALEROOM At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk. IN WRITING Bid forms are available at the sale and/ or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated. In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk. ON THE INTERNET

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received. Payment may be made by the following methods: BANK TRANSFER Account details are included on any invoices we issue or upon request from our accounts department. ONLINE CREDIT OR DEBIT CARD PAYMENTS We no longer accept card payments by phone. Please use our online payment service (provided by Opayo). You will find a link to this service in any email invoice issued or you can visit the payments section of our website. CASH No cash payments will be accepted for this auction. COLLECTION OF PURCHASED LOTS Please refer to page 2 of this catalogue.

- ABSENTEE BIDDING Leave a bid online through our website, call us on 0131 557 8844 or email info@lyonandturnbull.com - BID LIVE ONLINE Bid live online, for free, with Lyon & Turnbull Live. Just click the button from the auction calendar, sale page or any lot page online to register. Inside Back Cover: Lot 313 [detail]

LO NDO N | E D IN BURGH | GLA S GO W LYON AN DTUR N BULL .C OM