Mallett: Taking Stock - November 8th 2017, Donnington Priory

MALLETT: TAKING STOCK COMPRISING THE REMAINING LONDON RETAIL INVENTORY & SELECTED CONSIGNMENT ITEMS DONNINGTON PRIORY | WEDNESDAY 8 NOVEMBER 2017

MALLETT: TAKING STOCK COMPRISING THE REMAINING LONDON RETAIL INVENTORY & SELECTED CONSIGNMENT ITEMS DONNINGTON PRIORY | WEDNESDAY 8 NOVEMBER 2017 | 2pm

MALLETT: TAKING STOCK COMPRISING THE REMAINING LONDON RETAIL INVENTORY & SELECTED CONSIGNMENT ITEMS DONNINGTON PRIORY | WEDNESDAY 8 NOVEMBER 2017 | 2pm

Buyer’s premium is charged per lot at 24% of the hammer price (28.8% including VAT) up to and including £500,000, 20% (24% including VAT) of the hammer price from £500,001 up to and including £1,000,000, and 12% of the hammer price (14.4% including VAT) in excess of £1,000,001.

Catalogues £15 (£17 by post)

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SALE NO. 14037

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SPECIALISTS Fergus Lyons (Furniture & Decorative Arts) flyons@mallettantiques.com

Ashley Matthews (Furniture & Decorative Arts) amatthews@dnfa.com Jennie Fisher (Pictures & Contemporary Bronzes) jfisher@dnfa.com Andrew Ogletree (New York) aogletree@mallettantiques.com +1 212 249 8783 FOR BIDDING AND SALE INFORMATION: + 44 1635 553 553 donnington@dnfa.com dreweatts.com Please note that the following lots are not owned by Mallett: 82, 92, 93, 97, 99, 103, 105, 108, 109, 122, 173

VIEWING Sunday 5 November 10am - 4pm Monday 6 November 9am - 5.30pm Tuesday 7 November 9am - 4.30pm Day of Sale from 8.30am AUCTION Dreweatts Donnington Priory Newbury Berkshire RG14 2JE

Contents 5

Furniture and Decorative Arts

lots 1-124

76 Needlework

lots 125-136

79 Glass

lots 137-145

82 20th Century

lots 146-153

86 Paintings

lots 154-175

Furniture and Decorative Arts 1 A George III blue john vase of neo-classical shape, circa 1780, the ring-turned body with particularly intense veins of purple colour, the waisted socle standing on a blue john and white marble pedestal on a slate plinth, lacking finial, 36cm high £1,500-2,000

2 A Regency metamorphic walking stick, circa 1815, the body malacca cane, the handle with a machined brass collar bearing the word PATENT, the handle unscrews to reveal a brass extending telescope, the horn boss unscrews to reveal a compass, 113cm high £150-250

2 1

3 A finely turned ivory ball game or ‘bilboquet’, early 19th century, 19cm high, 7cm wide Ω

The origins of the game ‘bilboquet’ are somewhat uncertain although there are documents placing the game as far back as 16th century France. Designed for one player, the game was supposedly invented to train children’s hand to eye co-ordination in hunting cultures with the aim being to throw a tethered object into the air and catch it on a pin. Records testify to bilboquet being particularly popular in the Royal courts of Europe during the late 18th and early 19th centuries through their depiction in paintings, including a portrait of the Masters Blair, by Thomas Beach, (signed and dated 1769) portraying Charles and Henry Blair, the children of Charles Blair and Lady Mary Fane, in a wooded landscape holding a bilboquet (formerly with Mallett). £150-250

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4 A pair of electro-plated candlesticks, probably by James Pinder & Co., late 19th century in George II style, 32cm (12 ¾in) high £300-500

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5 A set of eighteen Regency circular japanned papier mâché coasters, circa 1820 with gilt floral decoration on a black ground, each 4.5cm high, 13.5cm diameter £1,000-1,500

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6 A pair of 19th century Chinese famille rose vases, late 19th century, of particularly bulbous form, mounted as lamps, height of vase 33cm 19世纪

粉彩荷塘图罐一对

Shades not included £1,000-1,500 (One of a pair)

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7 A bronze and ormolu night clock, early 19th century, the enamel dial signed Bofenschen Ă Paris with Roman numerals set into a classical vase with lions head handles the reverse with glass projection lens, the main body with ormolu ornamentation supported on a bronze plinth with large ormolu starburst, 51cm high, 22cm wide, 19cm deep This very unusual clock is designed to be used both during the day and at night. The vase contains an oil reserve and wick that can be lit at night which projects the time through an adjustable lens in the reverse. The gilded finial is removed to act as a chimney for the flame.

Bofenschen was an expert clock maker and inventor who flourished in Paris between 1780 when he was first recorded and 1813 when he was last recorded operating in the Rue du Temple during which time he worked alongside arguably the greatest of all French horologists Abraham Louis Breguet (1747-1823). ÂŁ3,000-5,000

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8

8 A pair of Brighton Pavillion style red painted and parcel-gilt tôle wall lanterns, of recent manufacture, with `bell’-hung pagoda-shaped tops above panelled sides enclosing single sconce mirrored interiors each with a single door, fitted for electricity, lacking glazing, 66cm high, 35cm wide, 26cm deep; together with two similar pairs of lanterns with a plain ochre finish, fitted for electricity and lacking some interior elements, and a pair of similar brass lanterns lacking the bell elements to their pagoda tops (8)

(Part lot illustrated)

£1,000-1,500

9 Ω A Dieppe bone domino set, early

19th century, contained in an ivory case, 6cm high, 18cm wide, 6cm deep £200-300

10 A pair of modern silver wine menu holders, with arched top left blank for engraved personal crest, with London sterling silver assay mark for 2005, and stamped ‘Mallett’, 22.5cm high, 15cm wide, 5cm 10

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11 A pair of late George III mahogany ribbed buckets, circa 1810, one for peat and one for stacking plates, decorated with horizontal reeding and brass bandings, with carrying handles, 44cm high, 37cm diameter ÂŁ3,000-5,000

12 A pair of Empire mahogany fauteuils, circa 1815, in the manner of Jacob Frères, the rectangular backs surmounted by a ribbon-bound reeded moulding, the arms are of gun barrel form issuing from foliatecarved scrolls and terminating in lotus leaf carving and spheres, the arm supports with conforming lotus leaf decoration, on turned tapering front legs with paterae and foliate carving, seat height 43cm £1,500-2,500 9

13 A George III mahogany architects’ table, circa 1760, the moulded rectangular rising top with an adjustable ratchet support, sprung folio ledge and pivoted candle stands, the frieze drawer with integral square supports revealing a baize-lined sliding panel and compartments including a pivoted quadrant pen drawer, the supports headed by angle brackets, 79cm high, 91cm wide, 59cm deep £1,500-2,500

14 A French mahogany oval extending dining table, circa 1860, the figured top with a concave apron, on an expanding fluted column base supported by four supports with fluted feet and sunken castors, lacking spare leaves, 72cm high, 172cm long, 140cm wide when closed £600-900

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15 Ω A pair of George III ‘D’ shaped mahogany

and inlaid card tables, circa 1800, the tops with satinwood and rosewood crossbanding, the frieze further decorated with boxwood stringing in a geometric pattern, the two back legs pivoted to support a baize-lined playing surface, on turned and reeded legs ending in unusual outswept, carved feet, 74cm high, 92cm wide, 45cm deep £3,000-5,000

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16 δ Ben Panting (British b.1964)

‘Spring’ Bronze Signed and numbered 1/8 127 x 127 x 30cm (50 x 50 x 12in.)

Ben Panting is a British born sculptor working between Cheshire in England and the Pyrenees in France. He is famous for his accurate and unrestrained realism in depicting equine subjects at rest and in movement, and as such has been commissioned by many of the world’s leading racehorse owners.

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Panting is noted for his labour intensive approach to his works in bronze, his obsessive attention to perfecting the original maquette and his rare insistence on following the casting process through to its end himself, without delegating any of the subsequent work.

Trained at The Central School of Art (BA, 1984-1987) and The Royal College of Art (MA, 1988-1991) in London, he won several awards and scholarships before graduating and setting up his own studio. His career has been dominated by regular private

commissions, including several that are now exhibited in public spaces such as his portraits of Dennis Law and Jimmy Murphy in Manchester.

Recent commissions include those from the Barbour family at Bolesworth Castle in Cheshire, Sir Oliver Scott, Malcolm Walker in Cheshire, Sir Michael and Lady Bibby, Daniel Katz in London, the Tollemache family at Helmingham Hall in Suffolk and the British Sporting Art Trust at Newmarket. £4,000-6,000

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17 δ Ben Panting (British b.1964)

‘Earthbound’ Bronze Signed and numbered 1/8 23 x 9 x 15cm (9 x 3 ½ x 6in.) £500-700

18 δ Ben Panting (British b.1964)

‘No Nonsense’ Bronze Signed and numbered 3/8 13 x 20 x 12cm (5 ¹/₈ x 7 ⁷/₈ x 4 ¾in.) £800-1,200

19 δ Ben Panting (British b.1964)

‘The Filly’ Bronze Signed and numbered 1/8 8.5 x 10 x 27cm ( 3.3 x 3.9 x 10.6in) £500-700

20 δ Ben Panting (British b.1964) ‘The Buck’ Bronze Signed and numbered 3/8 17 x 7 x 5.5cm (6 ½ x 2 ½ x 2in.)

£500-700 13

21 A rectangular shagreen jewellery box with silver mounts, late 19th century, the domed top with inset miniature of a young girl, the interior lined with silk velvet, the silver feet engraved with the initials ‘TW’ and ‘TM’ and the date ‘9.9.91’, 8cm high, 14.5cm wide 11cm deep £300-500

22 A set of English steel fire irons, early 19th century, the turned vase conical finials with reeded detail and the shovel with pierced design, 71cm long £300-500

23 Ω An early 19th century French silver gilt

and mother-of-pearl part dessert service

by John-Baptiste Massat, Paris 1819-1838, the mother-of-pearl handles engraved with forget-me-nots, comprising: Eight knives with silver gilt blades Six knives with steel blades Eight forks Ten spoons, the forks 19cm (7 ½in) long (32) £300-500

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24 A modern walnut, fruitwood and shagreen inlaid low table, the rectangular slightly recessed top with cusped corners above a shaped apron and shaped Chinese style legs, 36cm high, 170cm wide, 69cm deep £500-800

25 A Karelian birch, brass and glazed etagère, of recent manufacture in the Russian taste, the two bevelled glass panelled tiers with tubular supports headed by lobed finials and on castors, 58cm high, 56cm wide, 46cm deep £300-500

26 A pair of Queen Anne style brass wall lights, of recent manufacture, the semicircular glazed fronts with shaped solid backs, the interiors with twin branch lights, fitted for electricity, 42cm high, 29cm wide, 15cm deep £300-500

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27 A pair of mirror sconces in the Queen Anne style, the elongated cartouche shaped and bevelled plates cut with stylised flower motfis, each issuing a lacquered brass candle arm with engraved back-plate, 72cm high, 28cm wide, one plate cracked £400-600

28 A George III style mahogany pedestal desk, 19th century, with a tooled leather inset top above three frieze drawers, each pedestal containing a cupboard enclosing a shelf, 76cm high, 123cm wide, 71cm deep £800-1,200

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29 A Charles X mahogany writing table, circa 1830, the shaped top with a replaced tooled leather inset writing surface above a single drawer with a pull-out slide above, on columnar-turned legs joined by a flat ‘H’shaped stretchers and with concealed castors, 74cm high, 96.5cm wide, 53.5cm deep £1,000-1,500

30 An Irish George III mahogany rectangular side or serving table, circa 1760, the top with a ‘plum pudding’ central reserve outlined with boxwood stringing and oblique crossbanding, the slightly serpentine frieze carved with fluting and centred by a patera, on square, moulded chamfered square legs headed by carved scroll brackets, 85cm high, the legs re-tipped, 153cm wide, 75cm deep £4,000-6,000 17

32 A set of nine silver gilt dessert knives and forks with agate handles by Carrington & Co. Ltd, London 1912, in a case bearing the label ‘ Carrington & Co. Ltd’, 130 Regent Street, the knives 19.5cm long £300-500

31 A painted tole five branch chandelier, 20th century, in the form of a lemon tree, 62cm high, 53cm diameter £500-700

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34

A set of black and red marble backgammon pieces, of recent manufacture, each piece highly polished, the underside with baize, 4.7cm diameter

Ω A carved ivory and red-tinted ivory part

chess set, early 19th century, symbolizing George IV fighting the Chinese, missing one red-tinted ivory pawn / foot soldier

£50-80

£200-300

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35 Ω A rare Chinese export carved bone

model of a pagoda, 19th century, with seven storeys, each level intricately carved with pierced walls and gallery with a fluted roof hung with gilt pendant bells, of each room centred by a small figure, the base within a fenced stylised polychrome garden with an elaborately carved and decorated gateway, with a group of painted figures carrying ceremonial batons, retaining the original pine stand, 61cm high 26cm wide, 20cm deep, with losses and damage

During the 19th century, the principal centre in China for the manufacture of export wares such as the present lot was the city of Guangzou (or Canton as it would be known in the West after the 1839-1842 Opium War).

Situated on the Pearl River delta near the South China Sea. Canton was culturally and economically the most important city in south China, and a hub of trade in all manner of artefacts, including ivory.

19世纪 彩绘外销骨雕塔 £100-200

36 A pair of lion and unicorn cast iron doorstops, late 19th century, 42cm high, 60cm wide, 30cm deep £200-300

37 A set of four contemporary Austrian silver gilt under plates of decagonal form, Modern Assayed at the London Assay Office, Goldsmiths’ Hall, now bearing the 925 standard mark, lion passant and 2001 date, with a boldly gadrooned central recess and a border of laurel leaves in the Empire style, 3146g (101.15 oz), 28cm diameter £300-500

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38 Ω A Japanese export black lacquer occasional

table, late 19th century, the octagonal tip top inlaid with a mother-of-pearl and abalone landscape depicting a cart, birds and flowers, on a conformingly-inlaid balusterturned stem and tripod supports, bearing the inventory label of the Hanoverian Royal Collection, 73cm high, 54cm wide, 54cm deep £700-1,000

39 An Irish George III style oval wall mirror, the frame set with faceted blue glass prisms and an inner border of white opaline glass with gilt fluted decoration, 70cm high, 57cm wide £500-800

40 Ω A Victorian painted, gilt-decorated, papier

mâché and turned wood globe shaped casket on stand, in manner of Jennens & Bettridge, circa 1850, now converted for use as a humidor, the spherical top with a hinged top now revealing a cedar-lined interior with humidity gauge, the top with a painted vignette of castle ruins, decorated throughout in gilt with flowers and foliage incorporating mother-of-pearl elements, 88cm high, 40cm wide, 25cm cm diameter £300-500 20

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41 A pair of French Empire gilt-bronze vases, early 19th century, with applied foliate decoration, on Rouge Griotte marble plinths with paterae on three faces and swans drinking at a fountain to the front face, the Belgian black marble stands on gilt-bronze bun feet, 50cm high, 30cm wide, 30cm deep £2,000-3,000

42 An Italian carved white marble sculpture of a knight’s helmet, 19th century, possibly Genoa, the top of the helmet with oak leaves above a cross, the plinth in the form of a pile of books inscribed, ‘CODICE CIVILE, COD.DI COMMERCIO, STATUT DI GENOVA, and REGOL.DI M.MAT. CIV.C….

63cm high, 41cm wide, 29cm deep Provenance: Bonhams, London, 15 December 2011, lot 75 £1,200-1,800

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43 A George III mahogany tripod table, with piecrust top, raised on a turned stem with spiral knop, on down-curving supports ending in pointed pad feet, one leg replaced, 69cm high, 57cm diameter £1,000-2,000

44 A Victorian walnut Gothic style stool, 19th century, with nailed green leather upholstery, the pierced and moulded arm rests with padded tops, the buttoned seat above moulded X-frame supports, 63cm high, 70cm wide, 46cm deep £300-500

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45 A matched set of eight cast metal garden chairs in a rich patinated bronze colour, comprising a pair of 19th century cast iron examples and six later bronze copies, the heart-shaped backs decorated with leafy tendrils, the pierced trellis seats with a band of oak leaves with acorns, on naturalistic front legs with acanthus-decorated knees, 81cm high, 47cm wide, 52cm deep ÂŁ700-1,000 23

46 A pair of Japanese watercolour panels, late Meiji, each showing hunting hawks tethered to a perch by a knotted, coloured cord, each hawk representing a gift in homage to the Emperor, the elaborate knot representing the name of the region in Japan that the gift came from, 141cm high, 72cm wide overall ÂŁ1,500-2,500

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47 A pair of Qianlong porcelain figures of court ladies, late 18th century, the white porcelain ground decorated with famille rose and blue flowers with gilded highlights throughout, the costumes with ambercoloured borders, the under-dress with a green lower fringe, the corset centred with gilded blue bow below a necklace of pearls and amber suspending a small cross, with restorations, 53.5cm high, 23cm wide 18世纪晚期

清乾隆粉彩仕女像一对

£3,000-5,000

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48 Chinese School (18th century) A set of twelve Chinese watercolours on rice paper, late 18th century, depicting miscellaneous scenes featuring mythological characters, now mounted and in later gilt frames, 51cm x 62cm (20 x 24 ³/₈in.) (12) 18世纪晚期 纸画

一组十二件《西游记》图外销米

The present set of twelve gouaches depict scenes from Journey to the West, the famous classical Chinese novel published in the 16th century during the Ming dynasty and attributed to Wu Cheng’en.

The story is based on the life of Xuanzeng, a Buddhist monk who was tasked with finding ancient Buddhist scrolls and artefacts and bringing them back to China.

One of the scenes depicts three of his fantastical disciples who have been forced to journey with the monk and protect him in order to do penance for their sins. The first is The Monkey King, Sun Wukong, which means “awakened to emptiness”. He has a rather long back story in the novel, and was ultimately trapped by the Buddha for defying Heaven. He is not only the most intelligent of the disciples, but is the most violent as well and is constantly reproved for his violence by Xuanzang. It takes a magical ring to control Sun Wukong. It is placed on his head and Xuanzang chants a ring tightening mantra which causes Sun Wukong to have splitting headaches. The second disciple is Zhu Bajie, which means “Eight Precepts Pig”, sometimes translated as Pigsy or just Pig. He had been the Marshal of the Heavenly Canopy, a commander of Heaven’s naval forces, and was banished to the mortal realm for flirting with the moon goddess Chang’e. Whilst he is a very good fighter, he has a rather insatiable appetite for women and food. He is also incredibly lazy, which creates tensions between the disciples. The third disciple is the river ogre Sha Wujing, also translated as Friar Sand or Sandy. Like Zhu Bajie, he was in the heavenly employ as the celestial Curtain Lifting General, and was banished to the mortal realm for dropping and shattering a crystal goblet of the Queen Mother of the West. Unlike either of the other disciples, he is a quiet and dependable character and acts as a foil to the other two. £4,000-6,000

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50 A pair of painted cast iron door stops in the form of Punch and Judy, late 19th century, on shaped plinths, redecorated, 34cm high, 24cm wide £150-250

49 δ A terracotta hen modelled by Anne

Gascoigne. 31cm high, 26cm wide, 38cm deep Anne Gascoigne works predominantly in clay and stone. She is based near the ancient town of Saffron Walden in Essex. Her specialist area of sculpture is animals including birds and she is largely self taught, basing her subject matter on first-hand observation. “I love sculpting my hens. I can watch them from my studio. Most of my sculptures are based on my Buff Orpinton. She is a huge old girl, well past egg laying days”. Anne has held a series of successful exhibitions in Essex and Cambridgeshire. £300-500

51 Ω An unusual carving set complete with

52 A white metal bottle carrier, circa 1920 designed by Adnet and stamped Christofle, 21cm high, 7.5cm wide, 25.5cm deep

accompanying stands, late 19th century, the ivory handles with silver horse’s heads and guards in silver stamped Sheffield, with the initials CB for William Beatson & Sons, Albion Works, Fitzwilliam Street, Sheffield, one steel blade stamped Morton, 19 Cheapside, London 7cm long, 57cm long, 7cm wide £150-250

£200-300 28

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53 A brass lantern, 19th century, of hexagonal form with scrolling supports, 90cm high, 55cm wide £1,000-1,500

54 A pair of brass demi-lune wall lanterns of 19th century design, of recent manufacture, having a scroll canopy, the top and bottom friezes enriched with machined classical decoration, each with single interior lights, fitted for electricity, one with cracked glazing, 61cm high, 31cm wide, 16cm deep £300-500

55 Two modern painted tôle hanging lanterns, in the ‘Brighton Pavilion’ style, one in red and the other green, together with two other similar lanterns, 69cm high, 54cm wide, 54cm deep (4) £300-500

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56 A Chinese export lacquer panel, 19th century, decorated in gilt on a black ground with figures, pavilions, river scenery and a mountainous background, probably adapted from a screen, 91cm high, 169cm long, 4cm deep 19世纪

外销黑漆描金人物台阁图屏

£500-800

57 A Chinese export lacquer panel, 19th century, decorated in gilt on a black ground with figures, pavilions, river scenery and a mountainous background, probably adapted from a screen, 91cm high, 169cm long, 4cm deep 19世纪

外销黑漆描金人物台阁图屏

£500-800

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58 A Chinese export lacquer inset low table, 19th century and later, of rectangular form, the top decorated with figures, pavillions and river scenery with a mountainous background, on a modern Chinese style ebonised stand, 40cm high, the panel probably adapted from a screen, 177cm wide, 119cm deep 19世纪（或晚） 阁图案几

外销黑漆描金人物台

£1,000-1,500

59 A Chinese export lacquer panel, 19th century, of rectangular form decorated in gilt on a black ground with figures, pavilions and river scenery with a mountainous background, probably adapted from a screen, 169cm high, 112cm wide, 4cm deep 19世纪

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外销黑漆描金人物台阁图屏

£700-1,000

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60 A pair of green painted and gilt chinoiserie Brighton Pavilion style tôle wall lanterns, of recent manufacture, with ‘bell’-hung pagoda canopies above rectangular glazed sides each enclosed by a lateral door with mirrored single light interiors, fitted for electricity, 68cm high, 37cm wide, 24cm deep £200-300

61 Ω An unusual ivory desk top calendar in the

form of a cartouche, late 19th century in the auricular style, with days and months of the year shown on revolving discs, 14cm high, 10cm wide £300-500

62 Ω A Sheffield plate double coaster trolley,

circa 1840, with a turned ivory handle, 10cm high, 39cm long, 19cm deep £300-500

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63 A Regency style brass hexagonal lantern, the canopy formed from interlocking ‘S’scrolls each having at its foot a finely cast enclosed anthemion flanked by scrolls, the border frame to each glass panel terminating in a turned stylised acorn finial, 69cm high, 36cm wide £800-1,200

64 A pair of bronze reductions of the Borghese and Medici vases, 19th century, each rendered in crisp detail with the figures and foliate ornament finely chased and in high relief, 36cm high Comparative Literature: ‘Taste and the Antique’, Francis Haskell & Nicholas Penny, publ. Yale University, 1981 This pair of vases is modelled after two of the most famous classical Athenian vases from the second half of the 1st century AD: namely the Borghese Vase and the Medici Vase. In 1807 Napoleon Bonaparte purchased the Borghese Vase from the Borghese family and by 1811 it was on display in the Musée Napoléon, now the Louvre.

The so-called Medici Vase appeared in the inventory of the Medici collection in the mid 1500’s. It was much celebrated in the

second half of the 17th Century, featuring in many prints, including one of the earliest and finest prints by Stefano della Bella, dated 1656, depicting the young Medici heir who was to become Grand Duke Cosimo III, sitting drawing the vase. The Medici vase is now in the Uffizi Gallery.

From their rediscovery in the mid 17th century, these classical vases were the most admired of antique marble vases and sometimes ascribed to Phidias (5th century BC), the legendary Greek sculptor. The two vases were often compared and copies of them were arranged as companions.

Ironically they are not a pair. The Borghese vase is 1.7m tall and the Medici is 1.52m. The Borghese vase does not bear any handles, has a gadrooned lower half and a cabled motif to the base of the stem and finally an octagonal plinth. The Medici vase by contrast does have

handles, acanthus leaf carving to the base and stands on a square plinth.

However the subject matter could be seen as an interesting juxtaposition: the Borghese vase depicting frenzied, carousing bacchanalian figures escorting an inebriated Silenus, possibly representing the servants of King Midas capturing the prophet for their king. The Medici vase, by contrast, is believed to show the more sombre martial figures of Ulysses, Agamemnon and Iphigenia.

Individually or in pairs these two vases inspired the artists catering for the grand tourists. Versions of the vases can be seen in differing scales and media and are often illustrated in paintings and watercolours from the 18th and 19th centuries. £1,500-2,000 33

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65 Ω A large Regency mahogany circular

extending dining table in the manner of George Bullock, the finely figured top with four semi-elliptical additional leaves decorated with foliate ebony marquetry, attached with numbered pull out supports all above a four column base on turned feet joined by a shaped plinth, with further floral carving and motifs, 71cm high, 232cm diameter with leaves, 155cm diameter without leaves Related tables include an expanding circular dining table with four supports at Wentbridge House, Yorkshire, in the collection at Temple Newsam House, Leeds, illustrated in C. Gilbert, Furniture at Temple Newsam House and Lotherton

Hall, Leeds, 1978, no. 413; a table with a similar concave-sided plinth sold Sotheby’s London, 2 June 2000, lot 156. A further almost identical table was offered Christie’s London, 22 November 2007, lot 700. Both the distinctive monumental base with its central finial and the bold ebony marquetry inner border to the leaves epitomise the work of the leading Regency cabinet-maker George Bullock (d. 1818), who established his Piccadilly `Grecian Rooms’ in 1812 before also opening a `tasteful repostitory’ at 4 Tenterden Street, Hanover Square, London.

The latter premises were highly commended in Rudolph Ackermann’s The Repository of Arts for their magnificent `British Oak’ furniture and the ebony foliate border here relates to that on a sofa designed by

Bullock in Ackermann’s Repository of Arts, 1817, pl. 93. The style of the marquetry also has affinities with `Tracings by Thomas Wilkinson, from designs of the late George Bullock 1820’, now known as the Wilkinson Tracings which were acquired by the City Museum and Art Gallery of Birmingham in 1974 (see Clive Wainwright et. al., George Bullock Cabinet Maker, 1988).

Two `Jupe’ patent dining tables with the a very similar pattern of base are recorded in the dining room at Mottisfont Priory (see H. Avray Tipping, `Mottisfont Priory, Hampshire’, Country Life, 19 November 1921, p. 656, fig. 9). £20,000-30,000 35

66 A pair of Regency mahogany bergères, circa 1810, with square caned backs and seats, the back rails and seat rails panelled and with straight panelled arm supports, on turned, tapering and reeded front legs and rear splayed square legs, all with brass cappings and castors, with loose back and seat cushions covered in pale green leather, 94cm high, 60cm wide, 66cm deep £3,000-5,000

36

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67 Ί A pair of Regency rosewood and inlaid

card tables, circa 1815, the folding tops with cross-banding and reeded edges revealing green baize linings, each above a conforming frieze decorated with giltwood floral paterae, on ebonised painted and parcel-gilt splayed legs with scrolling feet and brass ball feet, 74cm high 91cm wide, 45cm deep ÂŁ3,000-5,000

37

68 A French mahogany library bookcase, mid-19th century, of inverted breakfront form with open adjustable shelves to the upper section and two pairs of panelled cupboard doors to the lower part, 224cm high, 192cm wide, 38cm deep ÂŁ800-1,200 38

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69 A large Regency mahogany double sided stool, circa 1815, in the manner of William Trotter, the elongated X-shaped frame with a blue silk covered drop-in seat outlined with a silver braid vine decorated border, the raised arms with rope-twist bound reeded caps and silk drapery,each side with a panelmoulded seatrail centred by a carved patera and flanked by bifurcated palm fronds, on outswept supports terminating in carved paw feet, 81cm high, 131cm wide, 43cm deep ÂŁ2,000-3,000

(detail)

39

70 δ Ben Panting (British b. 1964)

‘Repose’ Bronze Signed and numbered 3/8in.

79 x 24 x 82cm (31.1 x 9.4 x 32.3in.) £3,000-5,000

71 δ Ben Panting (British b.1964)

‘The Loose School III’ Bronze Signed and numbered 2/8 66 x 97 x 22cm (26 x 38.2 x 8.7in) £2,000-3,000

40

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72 δ Ben Panting (British b.1964)

‘The Turnout’ Two Bronze Signed and numbered 1/8 Each 59.7 x 92.7 x 20.3cm (23.5 x 36.5 .x 8.0in) (2) £3,000-5,000

73 δ Ben Panting (British b.1964)

‘Flight’ Bronze Signed and numbered 2/8 84 x 145 x 24cm (33.1 x 57.1 x 9.4in) £3,000-5,000 41

74 δ Ben Panting (British b.1964)

‘Quickstep’ Two Bronze Signed and numbered 1/8 Each 52.1 x 6.5 x 76cm (20.5 x 2.6 x 29.9in) (2) £2,000-3,000

(One of two)

75 δ Ben Panting (British b.1964)

‘The Loose School II’ Bronze Signed and numbered 2/8 79 x 77.5 x 22cm (31.1 x 30.5 8.7in.) £2,000-3,000

76 δ Ben Panting (British b.1964)

‘The Loose School I’ Bronze Signed and numbered 2/8 69 x 88 x 21cm (27.2 x 34.6 x 8.3in.) £2,000-3,000

42

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77 δ Ben Panting (British b.1964)

‘Pas de Deux’ Two Bronze Signed and numbered 1/8 15.2 x 33 x 16.5cm (6 x 13 x 6 ½in.) (2) £1,000-1,500

78 δ Ben Panting (British b.1964)

‘Closing In’ and ‘Good Retreive’ Two Bronze Each signed, one numbered 1/8.

Each 23 x 27 x 11.5cm (9.1 x 10.6 x 4.5in) (2) £1,000-1,500

79 δ Ben Panting (British b. 1964)

‘Head of a Setter’ Bronze Signed and numbered 1/8 15 x 12 x 16cm (6 x 5 x 6 ½in.) £500-700

43

80 δ Ben Panting (Britsh b.1964)

‘Wild Song’ Bronze Signed and numbered 1/8 144 x 145 x 37cm (56.7 x 57.1 x 14.6in.) £5,000-7,000

44

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81 δ Ben Panting (British b.1964)

‘Levade’ Bronze Signed and numbered ¹/₈ 36 x 13 x 18cm (14 x 5 x 7in.) £1,000-1,500

82 A Regency style gilt and patinated brass hall lantern, with a three light hanging fixture, with scrolling supports rising from a pierced gilt gallery, surmounted by a palm leaf coronet, 87cm high, 42cm wide £2,000-3,000

83 Two pairs of Queen Anne style brass wall lanterns, of recent manufacture, with curved glass and mirrored backs, each enclosed by a door with single sconce interiors, fitted for electricity, 60cm high, 25cm wide, 20cm deep (4) £500-800

(One of two pairs) 45

84 A pair of Louis XV carved walnut armchairs, circa 1730, the frames profusely carved with stylised shell work and foliate elements, the apex of the back carved with a cartouche, the carved arms serpentine in outline, on cabriole legs and ending in scroll feet, now upholstered in callico, 105cm high, 75cm wide, 76cm deep

Provenance: Alexander and Berendt; Christie’s, London, 10 June 1993, lot 52.

Sold Christie’s New York, 20 May 2014, part of lot 230 £5,000-8,000

85 A pair of Louis XV carved walnut armchairs, circa 1730, the frames profusely carved with stylised shell work and foliate elements, the apex of the back carved with a cartouche, the carved arms serpentine in outline, on cabriole legs and ending in scroll feet, now upholstered in cut silk velvet, 105cm high, 75cm wide, 76cm deep 46

Provenance: Alexander and Berendt; Christie’s, London, 10 June 1993, lot 52.

Sold Christie’s New York, 20 May 2014, part of lot 230 £5,000-8,000

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86 A Louis XV Carved Walnut Settee, circa 1730, with an elaborate serpentine frame carved with acanthus, shells and cabochons, now upholstered in cut silk velvet, on cabriole legs, 75cm wide, 105cm high, 76cm deep Provenance: Alexander and Berendt; Christie’s, London, 10 June 1993, lot 52.

Sold Christie’s New York, 20 May 2014, part of lot 230 £4,000-6,000

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87 A Sicilian carved, painted and parcel gilt side table, late 18th century, the rectangular grey marble top above a central oval cartouche of figures within a band of ribbon tied laurel leaves, flanked by carved giltwood scrolling acanthus and classical urns on a white painted ground, the sides are similarly decorated, each corner with an elaborately carved giltwood mask, on turned, tapering, and fluted legs with collars of bound leaves and laurel swags, terminating in toupie feet, the marble top possibly replaced, 137cm high, 93cm wide, 68cm deep ÂŁ3,000-5,000

88 A Louis XV carved giltwood bracket, circa 1755, the rectangular top with gadroon and lambrequin border and hung with a large swag above acanthus leaves with beaded stem issuing from the base, ending in a foliate pendant finial; together with a modern copy to make a pair, 38cm high, 38cm wide, 18cm deep (2) ÂŁ1,500-2,000 48

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89 A Charles II embroidered beadwork panel, late 17th century, worked on white silk and depicting an unusual seated lady, parts worked in stump-work and wearing a colourful flowing dress, sitting between two trees in a landscape with water and flanked by a lion and a tiger, with flower sprigs, birds and insects underneath clouds in the sky and the beaming sun, retaining the original japanned frame, the panel 32cm high, 49cm wide, the frame 42cm high, 58cm wide ÂŁ3,000-5,000

90 A needlework picture, late 17th century, depicting a central figure, possibly Flora, her hair finely worked with chenilled curls and with seed pearl head-piece, bracelets and necklace, her dress further adorned with appliqued needle-lace surrounded by large flowers amongst which caterpillars, ladybirds and snails hide, in a modern gilt frame, 38.0 cm high, 48.0 cm wide ÂŁ2,000-3,000 49

91 An English cut-glass eight light chandelier, circa 1880, the upper canopy and cup both with fan-cut scalloped rims hung with drops, the multi- stem elements and receiver bowl decorated with fine cutting, and hung with a pendant finial in the form of an acorn, the eight arms and pans all decorated with intricate strawberry cutting, and the arms also with prismatic cutting, one section of the stem replaced, fitted for electricity without drilling, 135cm high, 69cm diameter ÂŁ2,000-3,000

50

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92 A Regency patinated and gilt-bronze hall lantern, early 19th century, of hexagonal form, the lancet shaped sides with crocketed decoration and foliate finials divided by quatrefoil-pierced spires surmounted by berried finials, the glazed panels with cluster-column apexes above stylised running leaf pattern aprons and acanthus scroll pendants, the glass panels replaced and the interior with a later light fitment, 76cm high, 42cm wide Related lanterns include an almost identical brass example sold, Sotheby’s New York, 18 April 2015, lot 143 and an ormolu lantern with tracery ornament to its panels, sold Christie’s London, 9 June 2011, lot 2011. £8,000-12,000 51

93 A pair of William IV carved oak hall chairs, circa 1830, of small scale, in the gothic revival style, the triangular cresting decorated with cusp decoration in low relief, the uprights surmounted by turned finials, the panelled backs finished with blind gothic arcading, standing on carved front legs with acanthus decoration and ending in paw feet, 92cm high, 39cm wide, 36cm deep £800-1,200

94 A large Regency ebonised and brass mounted bergère, circa 1810, the rectangular padded back, scrolling arms upholstered in buttoned green silk fabric, the reeded seatrail above partially reeded turned front legs with brass castors, 110cm high, 64cm wide, 81cm deep £1,000-1,500

52

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95 A pair of George III mahogany shield back armchairs, circa 1790, attributed to Gillows, the upholstered seats and backs within laurel leaf-carved mahogany frames carved in finely detailed laurel leaves, the arms arved with acanthus and harebells, on turned and reeded front legs, 73cm high, 59cm wide 60cm deep Comparative Literature: S. Stuart, Gillows of Lancaster and London, Woodbridge, pl.146, p.181.

R. Edwards, Hepplewhite Furniture Designs: from the Cabinet-Maker and Upholsterer’s Guide 1794, Tiranti, 1947, p.9.

The present pair of armchairs relate very closely in design to a Gillow’s drawing of 1786, for one of a set of ten ‘Cabriole Armchair’ made for the Conservative statesman, Sir Robert Peel. £2,000-3,000

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96 A German carved giltwood and painted pier mirror in the manner of Peter Schmuckert of Mannheim, early 19th century, the border decorated with neoclassical beading, vine leaves and grapes, the upper section divided by an egg and dart moulding below a giltwood figure of Ceres and a wheatsheaf amongst flora and fauna, retaining the original mirror plates, 201cm high, 82cm wide A related pair of mirrors sold Christie’s King Street `Lyons Demesne Works of Art from The Collection of The Late Dr. Tony Ryan’, 14 July 2011, lot 126 Peter Schmuckert (1765-1841), a gilder by training, opened a workshop in his home town in 1787 having travelled Europe for four years. Regardless of the revolution, his business flourished and he acquired the Elector of Mainz’s mirror-manufactory together with silvering machines in 1806. Schmuckert is notable for his use of decorative pre-fabricated moulded elements which he obtained from manufacturers such as Joseph Beunat (see S. Spindler, ‘Peter Schmuckert’, Weltkunst, May 2001, pp. 808-810). £2,000-3,000

97 A Queen Anne burr walnut miniature apothecary’s cabinet, early 18th century, the moulded cornice above a pair of banded doors enclosing a fitted interior, on bracket feet, 63.5cm high, 52cm wide, 24cm deep £1,200-1,800

54

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98 A George II style mahogany card table, the shaped top opening with a concertina action to reveal a baize-lined interior with candle stands and guinea wells, the hinges to the concertina action including the stamp of `H. Tibats’, on boldly carved front cabriole legs headed by carved lion masks and acanthus brackets above leaf-carved knees terminating in carved hairy lion’s paw feet, part 18th century, 73.5cm high, 92cm wide, 46cm deep

Provenance: Sotheby’s London, 20 September 2011, lot 82.

The stamp of H. Tibats on the hinges is thought to relate to Hugh Tibbats or Tibats (both spellings are recorded) ‘hinge and sash fastening maker’ of Bell Street, Wolverhampton, listed in ‘The Birmingham, Wolverhampton, Walsall, Dudley, Bilston and Willenhall Directory, 1781’. The ‘Tibats’ stamped hinge has been recorded on a

number of notable concertina-action tables (see P. Thornton, `A Signed Hinge’, Furniture History, 1966, pp. 44-45). A comparable table is illustrated in Ralph Edwards, The Dictionary of English Furniture, London, 1965, 3 vols., vol. III, p.197. £2,000-3,000

(detail)

55

99 A George I field maple bureau cabinet attributed to Coxed and Woster, early 18th century, with inlaid pewter stringing throughout, the upper section with a moulded overhanging cornice above a pair of bevelled mirror glass doors with corresponding candle slides below, the base with a fall front opening to reveal a fitted interior and two short frieze drawers over three longer graduated drawers, on replaced bun feet, 213cm high, 96.5cm wide, 58cm deep In 1719 English cabinetmaker John Coxed (fl. 1711-1718) was succeeded by his widow Grace Coxed and Thomas Woster, (fl. 1719-1735), a relative by marriage of John. The firm Coxed & Woster, operated out of John Coxed’s former premises in St. Paul’s Churchyard until Thomas Woster’s death.

Accurate dating of the firm’s furniture is challenging, however the earlier cabinets were primarily veneered in burr elm or maple. Coxed & Woster is also associated with use of pewter stringing and cross-banding, as featured on the present cabinet (see C. Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840, Leeds, 1996) Bureau cabinets bearing the trade label of Coxed & Wooster, which relate to the present example are illustrated in C. Gilbert, op. cit., p. 154-157, figs. 236 and 245. An additional aspect of this cabinet, which is also exhibited on other documented Coxed & Woster bureau cabinets, is the presence of veneers on the top of the bureau section, despite the existence of a waist moulding to accept the upper section. This has led to the hypothesis that this workshop practice allowed the firm to retail the bureau sections independently of the bookcase surmounts (see A. Bowett & L. Lindey, ‘Labelled Furniture from The White Swan Workshop in St Paul’s Churchyard (1711-35)’, Furniture History, 2003, pp. 74).

The timber on furniture associated with the aforementioned makers is often misidentified as ‘Mulberry’ wood. However these distinctive veneers were typically either maple, ash, sycamore or elm stained to give a marbled effect resembling tortoisehell. The recipe for achieving this finish was described in John Stalker and George Parker’s ‘Treatise on Japanning and Varnishing’ published in 1788. The process involved applying Nitric acid (Aqua Fortis) with metal filings to the veneers prior to rubbing in Lampblack (soot) to create the light and dark variegation to the burr veneers (see A. Bowett, Myths of English Furniture History: Mulberry Wood Furniture by Coxed and Woster, Antique Collecting, October 1998, pp. 32-35). £8,000-12,000

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57

100 A matched set of fourteen metal chargers, some bearing indistinct signatures, modern.

The largest 84cm in diameter, the smallest 70cm in diameter (14)

(Part lot illustrated)

£300-500

102 A Victorian silver toasting fork with plum pudding mahogany shaft, Hallmarked London 1887-88, with ribbed detail and scalloped edging, a hook and resting prongs at one end, a ball finial with hanging loop at the other and a central grip, 101.5cm long £100-200

(Part lot illustrated)

101 A pair of Baccarat and gilt bronze column lamps, mid-19th century, with composite capitals and cylidrical pedestals, on octagonal plinths, fitted for electricity and one lamp with a damaged stem, 73cm high including later fitments, 6.5cm diameter £400-600 58

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103 A pair of large brass andirons, late 19th century, the central columns with foliate decoration surmounted by flambeaux finials, all supported on lions paw feet, 37cm high, 34cm wide Modelled after a pair of chenets commissioned by Charles X as a gift to Wellington in 1830 when Telleyrand became Ambassador to the United Kingdom ÂŁ5,000-7,000 59

104 A pair of George III giltwood wall mirrors, circa 1790, each surmounted by a vase issuing a pierced anthemion, supported on a pedestal hung with a gilt swat, the sides with honeysuckle swags and the aprons carved with ‘C’ scrolls and foliate ornament, 135cm high, 58.5cm wide £6,000-9,000

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105 A George III carved giltwood girandole mirror in the manner of John Bradburn and William France, circa 1765, with triple candle arms, the cartouche-shaped moulded frame with carved foliate scrollwork, supporting a spray of leafy fronds surmounted by a shell motif, the base similarly carved with festoons and drops of husks, the scrolled candle arms with drippans and nozzles in cast and chased giltmetal, re-gilded, 150cm high, 86cm wide In the gallery of Aske Hall, the Yorkshire estate purchased by Sir Lawrence Dundas Bt (1712 - 1781) in 1763 and the present seat of the 4th Marquess of Zetland, hang a pair of girandole mirrors of almost the same design as the present mirror. It is known that Sir Lawrence Dundas commissioned more than one cabinet-maker to help him furnish his various houses and Robert Adam probably helped him to make his choice. Amongst the small number of eminent eighteenth century craftsmen, who were busy working on houses such as 19 Arlington Street, Sir

62

Lawrence Dundas’s London house and his equally important country house at Moore Park, was the highly successful partnership of John Bradburn and William France.

John Bradburn (d. 1781) had a carving shop in Hemmings Yard in St Martin’s Lane from 1758. He and his partner, William France (d. 1774) had been working for the cabinetmaker partnership of William Vile and John Cobb for Anthony Chute at The Vyne, Hampshire, before both were employed by the Royal household at Buckingham Palace.

William France was joined by John Bradburn on work invoiced to Sir Lawrence Dundas soon after July 1764.

It is interesting to note that the entry in France’s June 1764 accounts to Sir Lawrence which states: “For 2 elegant carved Girandoles with a large plate of glass, and 3 lights in each to shew the glass, festoons and drops of husks falling from Different parts all gilt in burnished gold at £28 6s £56 12s.” In his article ‘Some Rococo Cabinet-

Makers and Sir Lawrence Dundas’, Apollo, September 1967, Anthony Coleridge states of these mirrors that William France’s invoice seems to correspond in every detail to the pair of mirrors now in the Gallery at Aske and it would therefore be reasonable to suppose that these are the ones supplied by Bradburn and France.

This being the case, the mirror here described is of such a similar design, differing only minutely in a few unimportant details, to suggest that this mirror may also possibly be from the workshop of William France.

Another pair are recorded in France and Bradburn’s joint account of 21st December 1764 with a charge of £97 12s. These magnificent girandoles, photographed hanging in the ground-floor front parlour of 19 Arlington Street in Country Life, 17th September 1921, pp.350-355, fig.7, were sold

by Mallett in 2003. £12,000-18,000

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63

Althorp House

105A A set of eight George III parcel gilt chairs, attributed to Francois Hervé and almost certainly supplied by Henry Holland, each with a husk and guilloche-carved oval caned back and serpentine seat, the rails centred by fluted tablets flanked by roundels, on turned tapering fluted legs with stiff-leaf toupie feet, with minor restoration, 97cm high, 55cm wide, 59cm deep

Sold Christie’s ‘The Spencer House Sale’, 8 July 2010, lot 1055.

Provenance: Supplied to George John, 2nd Earl Spencer (1758-1834) either for Spencer House, London or Althorp, Northamptonshire and thence by descent

These `cabriolet’ chairs form part of a suite of at least seventeen. They relate to chairs by Hervé supplied for Chatsworth in 1782 which were conceived in a more `transitional’ style. Interestingly Hervé

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Literature: Albert Edward John, 7th Earl Spencer (1892-1975), Althorp, Furniture, Vol. 1, circa 1937 and later P. Thornton and J. Hardy, ‘The Spencer Furniture at Althorp’, Apollo, October 1968, p. 270, fig.8.

restricted himself to chair-making and sometimes caning, whereas the `japanned’ ornament and gilding were outsourced. A bill presented to Spencer’s brother-in-law the 5th Duke of Devonshire by Bickley in 1782 included `japanned seven dozen backstools cane colour’ (see I. Hall, `A neoclassical episode at Chatsworth’, The Burlington Magazine, vol. 122, June 1980, pp. 400-414, fig. 39). The `Curator’ 7th Earl recorded that `many of these chairs had been put away in the stables and were gilded and covered in silk in 1877/78.’ £5,000-8,000

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65

106 An unusual pair of faux marble decorated slate pedestals, 19th century, with shaped corners, decorated throughout to simulate Siena marble, with blue fretwork pattern bandings, on simulated porphyry plinths, 71cm high, 34cm wide, 33.5cm deep £1,000-1,500

107 A pair of silvered metal hexagonal carriage lamps, 19th century, of hexagonal form, the knopped tops each with reticulated apertures, the ovoid bodies with bevelled glass panels each incorporating a single door, the reflective backed interiors now fitted for electricity, on knopped cylindrical stems, with floral and foliate repoussée decoration through, now with wall mounting back plates, 80.0cm high, 30.0cm wide, 40cm deep £600-900 66

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108 Ω A Victorian, carved and veneered walnut

marine barometer by Cowland & Son, late 19th century, with a bow-fronted case with square moulded pediment, the angled ivory register plates with weather indications protected by a piece of bowed and bevelled glass, the thermometer in its own moulded and glazed case calibrated with scales in fahrenheit, 96cm high, 10cm wide, 7cm deep, the maker’s or retailer’s name engraved ‘Cowland & Son, Liverpool`, retaining the original wall-mounted brass gimbal support and reservoir. £2,000-3,000

109 A fine George III mahogany cistern tube stick barometer with hygrometer or Triple Weather Glass, by Benjamin Martin, London, circa 1760, the arched top case with leaf carved surround for the inset herringbone border engraved vernier scale with arched hygrometer scale above Fahrenheit and Reaumur mercury thermometer and signed B. Martin, London, the caddy moulded trunk with scroll carved edges to throat and exposed tube above hemispherical cistern cover mounted onto the scroll edged rounded base, 93cm high, 10.5cm wide, 4cm, deep Provenance: The Edwin Banfield Collection of Barometers, Dreweatts, Donnington Priory, Newbury, 4th September 2007, lot 62.

Literature: Illustrated in Banfield, Edwin ‘BAROMETERS, Stick or Cistern Tube’ (Baros Books, Trowbridge, 1985) pages 58-59.

Benjamin Martin worked 1756-82 and was a prolific writer on the subjects of science, art and instruments who launched a monthly magazine entitled ‘General magazine of the Arts and Sciences’ in 1755. He is thought to have been the first maker to incorporate a hygrometer into a barometer with thermometer and marketed the instrument as a ‘Triple Weather Glass’. The hygrometer utilises a length of gut (which expands and contracts with variations in humidity) linked to a rack and pulley rather than the simple oat beard found on later instruments. £3,000-5,000

109

108 67

110 Ω A large Japanese lacquer square tray on

stand, of recent manufacture, decorated with stylized lionfish motif and embellished with flakes of mother-of-pearl, on an ebonised stand with shaped apron and supports, 41cm high, 91.5cm wide, 91.5cm deep £800-1,200

111 Ω A medium Japanese lacquer square tray

on stand, 20th century, decorated with simulated tortoiseshell and embellished with flakes of mother-of-pearl on an ebonised stand with a shaped apron and supports, 39.5cm high, 84.5cm wide, 84.5cm deep £600-900

112 Ω A small Japanese lacquer tray, 20th

century, decorated with an overall tortoiseshell pattern and embellished with flakes of mother-of-pearl, on an ebonised stand with shaped apron and supports, 39.5cm high , 75cm wide, 75cm deep £500-800

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113 A coromandel lacquer-topped low table, 19th century and later, depicting court figures within temples and pavilions, on a later red painted stand with a shaped apron and supports, 38.5cm high, 152cm wide, 102cm deep,

114

ÂŁ1,500-2,500

Ί An ivory panel mounted as a low table,

the top late 19th century, decorated with a geometric pattern, on a Chinese style stand painted to simulate shagreen with parcel-gilt edging, with shaped apron and support base, 35cm high, 144cm wide, 94.5cm deep ÂŁ800-1,200

115 No Lot.

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116 A Chinese watercolour on pith paper illustrating the production of tea, China Trade School, circa 1820-1850, originally part of a larger set, framed 63.5cm x 55cm 1820-1850年

外销《采茶图》通草画

The tradition of Chinese watercolour and gouache painting was one firmly rooted in the export market, where scenes of westerners and western-bound goods were very common, and the finest became some of the most sought after items of the export trade. Particularly in the late eighteenth and nineteenth centuries, watercolours depicting porcelain, silk, rice and especially tea production were often put together in sets of twelve or more individual sheets.

The present sheet follows this tradition firmly, the quality and exceptional attention to detail reaffirming the importance of tea to both China and the west. £300-500

117 A contemporary Korean design vase by Park Byung-Ho, circa 2007, now mounted as a lamp, fitted for electricity, 73.5cm high shade not included £300-500

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118 Ω A pair of modern brass and mahogany

framed two tier tables, each with two bevelled glass tiers, 57cm high, 57cm wide, 46.5cm deep £600-800

119 A late Victorian figured walnut centre table, circa 1880, the moulded rectangular top above splayed tapered square legs joined by turned stretchers, with boxwood stringing and ebonised mouldings throughout, 69 cm high, 91cm wide, 55 cm deep £300-500 71

120 A pair of late Victorian oak and brass mounted hall seats by J.A.S Shoolbred & Co., the low back of each with a brass gallery flanked by armrests with incised lines and brass mounts, the roundel-decorated arms each centred by a patera mount, on conformingly incised sabre legs to the front and back, the rear rails of each stool bearing two design registration lozenges, one stool bearing the printed paper depository label ‘Established 1835/...stone, Unsworth & Co’s/ FIREPROOF DEPOSITORIES/ 9 Duke Street, 69 Seel Street,/ LIVERPOOL’, 62.0cm high, 55cm wide, 32cm deep £3,000-4,000

121 A near pair of late Victorian walnut and brass mounted hall seats by J.A.S Shoolbred & Co., matching the previous lot, one stool with an enamel trade label and bearing the stamp of ‘Shoolbred & Company’, one stool bearing a design registration lozenge and the other bearing two design registration lozenges to the rear rail, 62.0cm high, 55cm wide, 32cm deep £2,000-3,000

72

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122 A circular bell metal measure, mid-19th century, of typical form with a pair of turned handles, 22cm high, 49.6cm diameter £800-1,200

123 A pair of George III style brass wall lanterns, of recent manufacture, with raised slightly domed tops, the glazed lanterns each with a single door and canted sides, fitted for elctricity, 50cm high, 25cm wide, 21.5cm deep £300-500

124 A beech, polychrome painted and parcel gilt croquet set, late 19th/ 20th century, the ‘A’ frame stand fitted to incorporate all parts of the set including eight mallets and eight balls, the mallets and balls painted in colours as corresponding pairs, together with a deal case for the mallets, balls and other smaller parts, the stand 96cm high, 61cm wide, 32cm deep overall.

An incomplete booklet of instructions for croquet produced by H. Rademaker & Sons (Grand Rapids, Michigan) is present in the case for this lot. It is possible that this indicates the maker of the set. £400-600

73

A rare Chinese ivory mounted lacquer six fold screen 18/19世纪 红漆彩绘嵌象牙《三国演 义》故事六扇屏风一件

FOR SALE BY PRIVATE TREATY FOR ALL ENQUIRIES AND TO BOOK AN APPOINTMENT TO VIEW THE WORK IN LONDON PLEASE CALL MALLETT, +44 (0) 20 7499 7411 PLEASE NOTE THAT THIS WORK IS SUBJECT TO IMPORT VAT AT 5% CHARGED ON THE SELLING PRICE IF THE WORK REMAINS IN THE EU POST-SALE

本品为私人洽购 如您需任何信息，或有意亲自检查评 估该藏品，请您致电: Mallett：+44 (0) 20 7499 7411 请注意：本藏品在成交价基础之上另 有5%的进口增值税项

Ω A rare Chinese ivory mounted

lacquer six fold screen, 18th/19th century, applied on one side with polychrome stained ivory figures on a red and parcel-gilt ground depicting episodes from the Ming Dynasty novel Romance of the Three Kingdoms, including a continuous scene featuring the generals Zhang Fei, Guan Yu, Zhuge Liang and Lui Bei together with attendants and flag-bearers born by six vessels, the river banks populated with onlookers including further flag-bearers and horses, the six lower panels with additional scenes from the same source including Zhuge Liang inciting Sima Yi into combat, Zhang Fei attacking an opponent on horseback, the presentation of General Zhang Fei’s head and the saving of Lady Mi and her child A’dou, the back of the screen decorated with an asymmetrical arrangement of floral sprays with gourds in tones of green red and yellow, on a black ground, each fold, 171.1cm x 38.4cm (67½in x 15 1/5in) 74

Provenance: Formerly with John Sparks Ltd., London and as stated on the invoice dated 27 October 1982, the screen acquired in the 1920s in Beijing by J.W. Jagger.

Exhibited: As stated on the John Sparks Ltd., London invoice dated 27 October 1982, on loan to the Victoria and Albert Museum, London between 1965-1981.

拍品来源： J.W. Jagger于上世纪二十 年代自北京购得，后又由伦敦古董商 John Sparks Ltd于1982年10月27日购 得。并于1965年至1981年之间借展于伦 敦维多利亚与阿尔伯特博物馆。

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One of the series of lower panels shows his loyal retainer Zhao Yun charging through enemy lines in search of Liu Bei’s family. According to the novel Zhao Yun eventually found Lady Mi and A’dou beside a well. However Lady Mi threw herself into the well to avoid becoming a hostage having left her son under the protection of Zhao Yun. Another panel depicts the severed head of general Zhang Fei, who was betrayed by his soldiers prior to sending reinforcements to Liu Bei. A further illustrates Wei Yan conferring with the military tactician, Zhuge Liang. The latter whose health was deteriorating, is also shown in deep meditation in an attempt to avert his inevitable demise. Liang’s military prowess is portrayed in panel depicting a scene known as the ‘Ruse of the Empty City’ where he convinces Sima Yi that the open gates to the city are evidence of a trap.

Related late 18th/early 19th century carved relief figures to those on the present lot, likewise intended for application to a lacquer screens are recorded in the collection of the British Museum (ref nos.OA.6616, 6617, 6516 and 6515) illustrated in W.Watson (ed.) Chinese Ivories from the Shang to the Qing, London, 1984, no.165-168.

The present screen depicts various episodes associated with the battle of Changban (AD 208) waged between the warlords Cao Cao and Liu Bei as recorded in the celebrated Ming novel Romance of the Three Kingdoms which portrayed a romanticised account of the battle.

in high esteem for refusing to abandon the refugees to the enemy and for despatching his general Guan Yu (who can be identified on the screen by his red face and halberd), to sail in advance down the Han river with a detachment of troops to an intended rendezvous point.

Liu Bei achieved legendary status for having lead thousands of civilian refugees with him to safety despite his army’s progress being severely impeded by their carts. He was held

It was at Changban that Cao Cao defeated Liu Bei in the famous battle. Although the latter was able to escape he was separated from his wife Lady Mi and infant son A’dou.

Comparable screens include an ivory inlaid twelve-leaf example with a panoramic scene of Guangdong illustrated in The Complete Collection of Treasure of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, no.197; ivory inlaid screens in the Qing Court Collection, and a smaller table top (see ibid., nos. 189, 191, 192, 193, 194, 195 and 196) 75

Needlework 125 A pair of needlework bell pulls of large scale, the needlework 18th century, depicting classical columns entwined with flowers and birds, made into bell pulls in the 19th century, 250cm high, 30cm wide

126

£300-500

A French yellow silk needlework now mounted as a cushion, early 18th century, with a design of stylized leaves and flowers, 31cm x 47cm overall £80-120

127 A Louis XVI needlework panel, circa 1780, the design in the manner of Berain, decorated with scrolling branches of acanthus, tulips and roses in red, cream and navy blue, and centred by a flowerhead terminal, on an ochre ground, approximately 56 x 71cm overall £600-800

128 A George II needlework seat panel, circa 1750, decorated with branches of flowers tied with a ribbon, to include a peony and an opium flower, on a dark ground, approximately 48 x 60cm overall, together with a pair of needlework panels, late 19th/ 20th century, each decorated with fruiting branches in green and ochre, on a cream ground, each approximately 64 x 56cm (Part lot illustrated) 76

£400-600

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129 A gross and petit-point needlwork panel, 18th century, with a pastoral vignette featuring a lady framed by a cartouche surrounded by a floral border £200-300

130 A set of eight needlework chair panels in late 18th century style, 20th century, each decorated with floral and foliate motifs in tones of blue, red, green and yellow, on a brown ground, each woven element approximately 68cm x 57cm overall £300-500

(Part lot illustrated)

131 A needlework seat panel, circa 1760 and later, depicting two figures in Asiatic dress, seated beneath a tree, with a parrot perched in it, framed by scroll and foliate motifs, approximately 54 x 59cm overall, together with another needlework seat panel, circa 1750 and later, the central reserve depicting stylised birds perched amongst the branches of a flowering tree, within a red strapwork border, approximately 61 x 71cm

132 Two similar needlework seat panels, in Regence style, 19th century, each decorated with scrolling acanthus in two shades of green, on an ochre ground, each approximately 65 x 72cm, together with a needlework seat panel and back panel, late 19th/ 20th century, the chain link design centred by repeated flowerhead motifs in rose pink and green, on a cream ground, approximately 94 x 59cm and 103 x 69overall respectively, together with three smaller fragments of matching design

£500-700

£400-600 (Part lot illustrated) 77

133 A George III needlework seat panel, circa 1760, the central reserve depicting a couple in a boat, framed by a red strapwork border, approximately 64 x 62cm overall, together with a George II needlework panel, circa 1750, finely worked to depict two figures in theatrical costume, a dragon adjacent, within floral branches and on a blue ground, approximately 57 x 42cm £500-700

(Part lot illustrated)

134 A quantity of matching George III needlework chair panels, circa 1770, comprising a set of seven seat panels, approximately 60 x 73cm, and eleven matching back panels, approximately 62 x 54cm, all with finely worked floral decoration in polychrome, including peonies, opium poppies and lillies, together with two matching arm pad covers, each approximately 31 x 18cm, and fourteen plain brown chair back panels for the reverse side, each approimately 52 x 50cm £2,000-3,000

(Part lot illustrated)

(Part lot illustrated)

(Part lot illustrated)

135

136

An oval needlework chair back and seat panel in Louis XVI style, 19th century, decorated with tulips, roses and other flowers, on a pale ground, the seat panel approximately 65 x 58cm overall, the back panel approximately 45 x 35cm, together with a George II needlework seat panel, circa 1750, the central reserve decorated with a sprig of flowers on an navy ground, framed by foliate motifs and flowerheads, approximately 54 x 68cm, and three further needlework seat panels, second half 18th century, all similarly decorated with flowers, each approximately 52 x 56cm

A needlework seat panel in Louis XV style, 19th century, decorated with branches of blue cornflowers, ochre and red flowers, framed by a ring of the same flowers and acanthus, on a green ground, approximately 69 x 71cm overall, together with a small cushion incorporating a needlework panel, 20th century, the needlework depicting polychrome floral branches on a yellow ground, approximately 33 x 28cm, and a needlework seat panel, circa 1750 and later, decorated with polychrome blooms and leafy branches on a yellow ochre ground, approximately 55 x 61cm overall

£500-700

£300-500

78

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Glass

(Part lot illustrated)

137 A single cut glass Val St. Lambert ship decanter with ‘Aurore’ casing and six matching liqueur glasses, circa 1930, decanter 23cm high, 15cm wide The crystal glass company of Val St. Lambert was founded at Seraing, near Liege in Belgium, in 1825 on the site of an old abbey.

Amongst the early shareholders was King Guillaume I of Belgium, thus ensuring royal patronage of the company, which has continued until the present day.

Since 1839 the company has exported artistic crystal glass objects throughout the world and has been a frequent exhibitor at world fairs. In 1879 the company took over the glassworks in nearby Namur and exapanded internationally.

At their Jemeppe-sur-meuse factory in the early 20th century Val St. Lambert, under Romain Gevaert, designed a number of widely varying pieces based on their research into raw materials, including a range of oignon vases using powdered glass picked up from the `marver’ and ‘pull-up’ techniques.

At the Brussels Exhibition of 1897 the new Art Nouveau aesthetic was enthusiastically

embraced by the company under their designer Leon Ledru. They gained a reputation for casing and cutting glass, achieving bold effects which were combined with the naturalistic designs in the Ecôle de Nancy. Their use of multi-layered coloured glass was highly distinctive and although this technique was used by other companies, particularly Stevens and Williams in England, no other producer achieved such a recognisable house style.

impulse of Leon Ledru and further developed by Joseph Simon, who became head of the creation department in 1926.’

For an exhibition held in Brussels in 1990 entitled ‘Val Saint Lambert, Art and Design 1880-1990’, the curator, Michele Thiry, wrote in the catalogue concerning the period 1920-1940:

One of the principal Val St. Lambert designers of the Art Deco period was Charles Graffart who was a particularly accomplished engraver and cutter. At the height of his creativity 1926-1929, he produced some 300 unique pieces.

‘This period is characterised by a remarkable commercial dynamism. At a large number of international exhibitions (such as Paris 1925, Liege 1930, and Brussels 1935) Val Saint Lambert presented some altogether modern pieces. Abundant ornamentation and naturalism gradually disappeared in favour of geometrical sobriety closely linked to constructivism and contrasting colours. This aesthetic point of view was taken under the

Joseph Simon succeeded Leon Ledru the year after the Paris Exhibition of 1925 and introduced Art Deco to the wider world. The technical abilities of Val St. Lambert were well suited to their new geometrical designs which became immediately recognisable and unique to the company.

Despite the onset of the depression, ValSt. Lambert continuted to participate in important exhibitions, showcasing work of the finest quality. Their notable exhibitions during this period included Liege (1930), Vincennes (1931), Antwerp (1932) and Brussels (1935). £200-300 79

138 A Val St. Lambert cut-glass vase, circa 1930, with a ‘Prune’ casing profusely cut with a geometric pattern of flutes and bands with block spacing, with a faceted flared lip, 25cm high, 20cm diameter £100-200

139 A Val St. Lambert blue over topaz vase, circa 1930, the body finely cut with vertical bands to topaz above a circular foot, 25.5cm high £100-200

140 A Val St. Lambert cut glass vase, circa 1930, In ‘Topaz’ and ‘Bleu Francais’, the faceted sides cut with flutes and diamonds and with a flared faceted lip, 15.0cm high, 8.5cm diameter £100-200

141 A Val St. Lambert red over clear ‘Seurat’ vase, circa 1930, the bulbous body cut with concentric arcs below an imbricated clear neck and rim, 30.5cm high, 15cm diameter. £100-200 80

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142 A pair of blue glass overlay serving bottles, late 19th century, each decorated with elaborate bands of rinceau painted in white enamelling with further gilt highlights, the stoppers later, 31.5cm high, 7cm diameter

143

£100-200

An apple green glass wrythen bottle, English, circa 1850, 26cm high £25-50

145 A pair of blue and yellow loop crystal vases, mid-20th century, by WMF Erich Jachmann, 25cm high, 12cm wide £100-200

144 A ‘Morandiane’ bottle by Venini, designed

by Gio Ponti between 1946 - 1950, in a combination of vertical gold and plum colours, with paper label for Caliari Venini Torino, 50cm high, 9.5cm diameter £30-50 81

20th Century 147 δ A pair of Chrome ‘spiral’ lamps by

Jacques Charpentier, 1970s, of cylindrical form, fitted for electricity, 57cm high, 13cm diameter £200-300

146 δ A pair of Chrome ‘spiral’ lamps

by Jacques Charpentier, 1970s, of cylindrical form, with raised twin double light fitments, fitted for electricity, 81cm high, 13cm diameter £200-300

148 δ A pair of modern polished stainless

steel side chairs by Willy Rizzo, covered in Paul Smith designed fabric, 80cm high, 48cm wide, 42cm deep £400-600

149 δ A modern polished brass end table by

Willy Rizzo, with smoked glass shelves, from Rizzo’s ‘Flaminia’ range, designed in 1968, 40cm high, 80cm wide, 19cm deep £400-600 82

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150 An unusual modernist circular shelving unit, 20th century, the brushed steel frame enclosing an illuminated, double walled, reflecting upon itself ‘to infinity’, with three glass shelves suspended within the frame, 140cm diameter, 30cm deep £500-700

(Glassware not included with this lot)

152 A ‘seedy’ glass lantern by Venini, mid-20th century, the circular top suspending a brass stem issuing three branches, contained within a clear glass dome, elements lacking 44cm high, 26cm diameter £300-500

151 A blue Murano glass pendant ‘Medusa’ shade, 20th century, of domed form with an mottle-patterned decoration, 41cm high, 33cm diameter £150-250

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153 An unusual Art Deco marble octagonal occasional table, circa 1930, decorated with a chequer board of pale onyx and Portor marble further set within onyx, the frieze similarly decorated with applied gilt brass interlocking roundels against portor marble, centred by raised panels of brass bound onyx, 84

the legs with interlocking gilt brass roundels supporting a second tier conforming to the design of the top, resting on small brass stepped feet, 75cm high 53cm wide, 53cm deep, lacking one corner tablet to the frieze ÂŁ1,000-1,500 www.dreweatts.com | +44 (0) 1635 553 553

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Paintings

Glossary of Terms Paul Henry...ln our opinion a work by the artist.

Attributed to Paul Henry...ln our opinion a work of the period, which may be in the whole, or in part, the work of the artist.

Studio of Paul Henry...ln our opinion a work by an unknown hand, which may have been executed in the studio of the artist.

Circle of Paul Henry...ln our opinion a work from the period of the artist and showing his influence.

Follower of Paul Henry...ln our opinion a work executed in the style of the artist, but not necessarily by a pupil.

Manner of Paul Henry...ln our opinion a work executed in the style of the artist, but at a later date.

After Paul Henry...ln our opinion a copy of any date after a work by the artist Signed / Inscribed / Dated Paul Henry...ln our opinion the work has been signed / inscribed / dated by the artist.

Bears signature / inscription / date of Paul Henry...ln our opinion the signature / inscription / date are probably not by the hand of the artist.

δ Indicates that this item may be a qualifying item for Droit de Suite royalty charges. This payment is calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000. Please see our Terms and Conditions for a full definition of these charges.

Condition is not specified within the catalogue descriptions; please request a condition report for further advice.

Please note that all pictures are framed unless otherwise stated. act. – active b. – born d. – died

fl. – flourished p. – plate size s. – sight size

wk. – worked

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Paintings

154 Follower of Jan Brueghel (Flemish 1568-1625) Two peasant travellers by a tree in a wooded river landscape Oil on copper 15 x 11.5cm (5 ⁷/₈ x 4 ½in.)

Unframed £3,000-5,000

86

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155 Thomas Hudson (1701-1779) Portrait of a Lawyer Oil on canvas 101.6 x 127cm (40 x 50in.) £700-1,000

156 No Lot.

87

157 Arthur Devis (British 1712-1787) Portrait of Lord Robert Kerr Oil on canvas Signed and dated 1741, lower left, inscribed with the identity of the sitter, verso 46 x 28cm (18 x 11in.) ÂŁ2,000-3,000 88

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158 Anthony Devis (British 1729-1816) A view near Neath Oil on panel Inscribed, signed and dated 1792, verso 39.5 x 50.5cm (15 ½ x 19 ⁷/₈in.) £800-1,200

89

159 John Cleveley the Elder (1712-1777) Two 32-gun Frigates receiving their Captains Oil on canvas Signed and dated J. Cleveley Pinx/1768, lower left 88 x 117 cm. (35 x 46 ½ in.)

Provenance: Thought to be acquired by Junius S. Morgan Jr., Locust Valley, New York Thence by descent to John Pierpont Morgan II Sale. Sotheby’s New York, Important Old Master Paintings, 27th January 2006, lot 202 (sold for 96,000 USD incl. premium) with Mallet, London Private collection, Europe From whom purchased by Mallett.

90

Born at Southwark on the southern side of the River Thames in London. John Cleveley was the son of a joiner. He started his working life apprenticed to another joiner in 1726, and worked as a young man in the Royal Dockyard at Deptford - as did his twin sons, John the Younger (1747-86) and Robert (1747-1809) whose paintings are sometimes confused with their father’s. His third son, James, was ship’s carpenter on the Resolution during Cook’s last Pacific voyage between 1776 and 1780.

Through his work in the dockyards, Cleveley gained an intimate knowledge of contemporary ships and their equipment, and likely was influenced by the dockyard painters

who decorated the sides of ships. From the late 1740s he painted a series of ship-launches and dockyard scenes at Deptford, where he spent most of his life and where he died, maintaining his career as a craftsman throughout his life.

He also established himself as a painter of ship-portraits and other maritime scenes, including a few commissions showing naval engagements.

The ships portrayed in the present painting are 32-gun frigates (5th rates). They took their design from the French ship ‘The Renomme’ which had been captured in 1747, and which started a trend in cruiser design. £30,000-50,000

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160 Francis Cotes (British 1726 - 1770) Portrait of a Gentleman in a red coat Oil on canvas Signed and dated 1763, lower right 89 x 68.5cm (35 x 27in.)

Provenance: The collection of Lionel Clark, London Sale: Sotheby’s, July 24th 1929, Lot 48, bought by Asscher The collection of Leo M. Flesh, Piqua, Ohio Sale: Christie’s November 17th 1967, Lot 94, bought by Leyland Anon sale, Sotheby’s, March 12 1969, Lot 134 The collection of Philip Reiff, Philadelphia Literature: Edward Mead Johnson, Francis Cotes (Phaidon, 1976) p.69 no.125 (as a portrait of Sir Hector Monro) £6,000-8,000

161 Mason Chamberlin (British 1727 - 1787) Portrait of a gentleman with his son Oil on canvas 106.7 x 83.8cm (42 x 33in.)

Provenance: Sale: Christie’s, July 11, 1984, lot 222 with Thomas Agnew & Sons Ltd., London From whom acquired by a Philadelphia collector in 1984 £5,000-7,000

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162 Johann Esaias Nilson (German 1721 - 1788) The game players A pair of conversation pieces Oil on canvas each 117 x 163cm (46 x 64in.) (2) Each bears on the stretcher various German labels. An inventory from Schloss Kohren Sahlis Borna, a description label describing the works and their location in the Rococo room in the schloss and a note that prints are in the Munich print museum.

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Provenance: with Schloss Kohren-Sahlis, Borna, Saxony, inventory Nos 536 & 537. (Each bearing various labels including: an inventory from Schloss Kohren Sahlis Borna, a description label describing the works and their location in the Rococo room in the schloss and a note that prints are in the Munich print museum). ÂŁ8,000-12,000

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163 Jean-Baptiste Claudot (French 1733-1805) A Harbour View Oil on canvas Signed, lower right 122 x 142cm (48 x 55 ½in.) £20,000-30,000

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164 Attributed to Jean Henry D’Arles (French 1734 - 1784) A classical landscape Oil on canvas 98 x 127cm (38 ½ x 50in.) £8,000-12,000

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165 Thomas Beach (British 1738 - 1806) Portrait of the Masters Blair: Charles and Henry Blair, the Children of Charles Blair and Lady Mary Fane Oil on canvas Signed ‘TBeach pinx’ and indistinctly dated 1769, lower left 127.5 x 101.5cm (50 ¼ x 40in.)

Provenance: By inheritance in the Blair, Michel and De Montmorency families, until 1981 Then at Bowling Green, Sherborne, Dorset Thence by descent to the present owner.

Literature: Elise S. Beach, Thomas Beach. A Dorset Portrait Painter, 1934, p. 55, no. 23. £8,000-12,000

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166 Jean-Henry d’Arles (French 1734 - 1784) A pair of Classical landscapes Oil on canvas Each: 53.2 x 76.8cm (21 x 30¼ in.) (2) £15,000-20,000

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167 Sarah Stone (British c.1760 - 1844) Four parrots on a branch Watercolour, circa 1789-90 Signed ‘Sarah Smith’, lower centre 44 x 33.5 cm (17 x 13in.)

Since she was best known, before and after her marriage, as Sarah Stone it is very possible that this watercolour was painted the year of her marriage; indeed few examples of her work exist after her marriage and certainly after the auction of the Lever Collection in 1806, no signed and dated watercolour survives from after this date. £1,500-2,000

168 Thomas Walmsley (British 1763 - 1805) Figures by a Stream; White Abbey Near Limerick Gouache The first signed with initials T.W. and dated 1804, lower left, the second inscribed, verso 17.8 x 25cm (7 x 10in.) and 25.4 x 35.6cm (10 x 14in.) respectively (2) Provenance: with Richard L. Co., Inc., New York £600-800

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169 Thomas Gooch (British c.1750 - 1802) A Black and Tan Spaniel with a Partridge Painted circa 1790 Oil on canvas 101.5 x 127cm (40 x 50 in.) £5,000-7,000

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170 William Huggins (British 1820 - 1884) Terrier seated before a Canton Family Rose vase Pastel and watercolour Signed and dated 1868 lower right 53.4 x 43.2cm (21 x 17in.) ÂŁ800-1,200

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171 Circle of James Hayllar (British 1829-1920) Portrait of the Coleridge Daughters, Audrey Jane (1878-1922) and Phyllis (1883-1950) both seated on a yellow sofa, looking at a picture book Oil on Canvas 110.5 x 141cm(43 ½ x 55 ½in.)

Provenance: From The Chanter’s House collection of Lord Coleridge and a Coleridge family Trust Given the ages of the two young girls, this intimate double portrait is likely to have been painted between 1885-1888. The artist provides a sense of domesticity within

100

the limited space of the picture, suggested by the pastoral scene on the 18th century screen behind the two sitters, the doll’s house and flowers beside them and a story book, possibly a fairy tale, which they are in the process of reading. The picture book, which is partially obscured by Audrey’s hand, appears to depict a bear and cubs. The artist explores various interesting themes within this work, including maternity, protection, love and imagination, and is thus a quite touching illustration of childhood and the connection between sisters. £4,000-6,000

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172

172 Emily Stackhouse (British 1811-1870) A Collection of Botanical Watercolours: Drawings of British Plants Watercolour and bodycolour Each inscribed and titled, lower left and lower right, numbered upper right 26.5 x 20.5cm (10 ¼ x 8 ¹/₈in.) each, (12) £2,000-3,000

173 δ Emma Tennant (British b.1943)

Lilium Speciosum Watercolour Signed and dated 1990, lower left 45 x 31cm (17 ½ x 12 ½in.)

Provenance: with Henry Wyndham Fine Art Ltd, London (label affixed, verso) £800-1,200

173 101

174 Emily Stackhouse (British 1811-1870) A Collection of Botanical Watercolours: Drawings of British Plants Watercolour and bodycolour Each inscribed and titled, lower left and lower right, numbered upper right 26.5 x 20.5cm (10 ¼ x 8 ¹/₈in.) each, (12) Miss Stackhouse was born in the West Country in 1811, the same year as botanist and writer Reverend Charles Johns, with whom she would later collaborate to

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produce some of the most well-known guides to Victorian flora. Stackhouse’s attention to detail and keen observation of colouring are evident in all her watercolours.

The Stackhouse collection has, for many years, been the subject of extensive research

by Clifford Evans, whose article “Forgotten Field” (Country Life, July 6, 1995), fully documents the contemporary confusion associated with the authorship of the illustrations in the highly regarded books Forest Trees of Britain (1847-49), A Week at

the Lizard (1848) and Flowers of the Field (1851) by the Reverend Charles Johns. Evans’ article details the full extent of Stackhouse’s collaboration with Johns in producing the illustrations for this series of books, thus revising G. S. Boulger’s turn of the century attribution of the illustrations to Johns’ sister, Emily, rather than to Stackhouse herself. £2,200-2,800

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175 Thakur Ganga Singh (1895-1970) A Collection of Botanical Studies Unframed: 38.1 x 29.1cm (15 x 11 ½in.)

Framed: 56.5 x 46.3cm (22 ¼ x 18 ¼in.) each, (6) £2,000-3,000

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Please see Conditions of Business and Conditions of Sale on the following pages.

Dreweatts & Dreweatts 1759 are trading names of Dreweatts 1759 Ltd. Dreweatts 1759 Ltd is registered in England, company number: 10758982, registered office: 399 Strand, London WC2R 0LX.

Important Notices BUYING AT DREWEATTS There are several ways you can bid at a Dreweatts auction; in person, by leaving a commission or absentee bid, on the telephone where available and live via the internet – please make arrangements before the sale.

BIDDING IN PERSON If intending to buy you are required to register your name and details at reception prior to the commencement of the auction. You will then be allocated a bidding number, which you use when bidding for an item.

COMMISSION BIDS Dreweatts will execute bids on your behalf if you are unable to attend the sale. Commission or absentee bids are accepted either directly at reception, or can be sent by post, fax, email, telephone or via the website: www.dreweatts.com.

Dreweatts will add these bids to the auctioneers’ sale book and will undertake to purchase the lots on your behalf as cheaply as allowed by other bids and reserves. Dreweatts does not accept liability for failing to execute commission bids, or for any errors or omissions.

CONDITION Bidders must satisfy themselves as to the condition of each lot. Condition reports are available on request – see the Conditions of Business at the back of this catalogue for more information regarding condition reports. Requests for condition reports must be submitted by 4pm on the day prior to the auction.

COMMISSION CHARGES All purchases are subject to a buyer’s premium, which is charged per lot at 24% of the hammer price (28.8% including VAT) up to and including £500,000, 20% (24% including VAT) of the hammer price from £500,001 up to and including £1,000,000 and 12% of the hammer price (14.4% including VAT) in excess of £1,000,001. In the event the lot has an asterisk (*) beside the lot number in the catalogue, this indicates that the lot is owned by an entity or company required to pay VAT (generally not an Antique Dealer, as they

operate under a dealers margin scheme). VAT is payable at 20% on the Hammer Price. Lots marked with a ** (presently a reduced rate of 5%) or *** (presently at standard rate of 20%) have been imported from outside the European Union to be sold at auction and therefore the buyer must pay the import VAT at the appropriate rate on the hammer price.

PAYMENT Payment will be accepted, if you are a successful bidder, by debit card issued by a UK bank and registered to a UK billing address, by bank transfer direct into our bank account, Bank Details: Natwest, Blackboys Hill, Bristol. Account Name: Dreweatts 1759 Limited Client Account. A/C: 96633778, Sort Code: 60-17-24, BIC: NWBK GB 2L, IBAN: GB25 NWBK6017 2496 6337 78; in cash up to £8,000 (subject to relevant money laundering regulations), or by all major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit card. This surcharge does not apply to debit card payments. Payment may also be made by Sterling personal cheques drawn on a UK bank account but Dreweatts regrets that purchases paid for by this method cannot be collected until your cheque has cleared. Ω CITES REGULATIONS Please note that lots marked with the symbol (Ω) in this catalogue may be subject to CITES Regulations when exported. Relevant CITES Regulations may be found at www. defra.gov.uk/ahvla-en/imports-exports/cites COLLECTION OR DELIVERY Before being able to collect your purchases you are required to pay the hammer price, plus the applicable commissions, and obtain a receipt acknowledging payment. Collection of the purchased lots is at the purchaser’s risk and expense and whilst Dreweatts do not provide packing and despatch service we can suggest some carriers.

Dreweatts also require that all purchased items are collected within three days of the sale to avoid a storage charge being applied.

STORAGE CHARGES All items not collected by 5.30pm on the Tuesday of the week following the sale will be automatically removed to commercial storage and subject to a minimum storage charge of £20 (plus VAT) per lot and to a further storage charge of £2 (plus VAT) per lot per part or full day thereafter. These charges will be the sole liability of the purchaser and will be billed directly to them by Snelsmore Storage. On payment of all sales and storage costs, items will be available for collection by appointment from Snelsmore Storage, tel: 01635 248636, mobile: 07774 703749. These charges are set by Snelsmore Storage, we recommend that you contact them directly regarding queries relating to these charges and other questions relating to storage. Staff at the saleroom will be unable to answer questions relating to items that have been removed from the saleroom.

FURTHER INFORMATION The colours printed in this catalogue are not necessarily a true reflection of the actual item. All weights and measures given in the catalogue should be regarded as approximate.

VALUATION SERVICES Dreweatts provides a range of confidential and professional valuation services to private clients, solicitors, executors, estate managers, trustees and other professional partners.

These services include auction valuations, insurance valuations, probate valuations, private treaty valuations, valuations for family division or for tax purposes. For more information, please see our website: www.dreweatts.com.

For directions to Donnington Priory, please see our website: www.dreweatts.com.

Parking is available at Donnington Priory in two car parks on either side of the saleroom.

Information for Buyers These Conditions of Sale and Business constitute the contract between Dreweatts (the “Auctioneer”) and the seller, on the one hand, and the buyer on the other. By bidding at the auction, you agree to be bound by these terms.

including £500,000, 20% of the hammer price from £500,001 up to and including £1,000,000, and 12% of the hammer price in excess of £1,000,001. VAT at the prevailing rate of 20% is added to buyer’s premium and additional charges as defined below.

1. INTRODUCTION. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

5. VAT. (*) indicates that VAT is payable by the purchaser at the standard rate (presently 20%) on the hammer price as well as being and element in the buyers’ premium.

This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme. (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of Import VAT currently 5% on the hammer price. (***) indicates that the lot has been imported from outside the European Union and these lots are liable to the standard rate of Import VAT currently 20% on the hammer price. Lots which appear without the above symbols indicate that no VAT is payable on the hammer price; this is because such lots are sold using the Auctioneers Margin Scheme and it should be noted that the VAT included within the buyers’ premium is not recoverable as input tax.

2. AGENCY. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. ESTIMATES. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. BUYER’S PREMIUM. The buyer agrees to pay a buyer’s premium on the hammer price of each lot purchased. The buyer’s premium is 24% of the hammer price up to and 104

6. DESCRIPTIONS AND CONDITIONS. Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. The detail in a report will reflect the estimated value of the lot, and large numbers of such requests received shortly before the

sale may not receive a response to all lots. Members of staff are not trained restorers or conservators and, particularly for higher value lots, you should obtain an opinion from such a professional. Dreweatts is not liable for damage to gilded picture frames, plaster picture frames or picture frame glass; if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we see fit and will be under no liability for doing so. We recommend that you always view a lot in person.

We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but

which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

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

8. EXPORT OF GOODS. Buyers intending to export goods should ascertain (a) whether an export= licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory. Ask us if you need help.

9. BIDDING. Bidders may be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

10. COMMISSION BIDDING. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax.

11. METHODS OF PAYMENT. The following methods of payment are acceptable. Debit Card drawn on a UK bank and registered to a UK billing address. There is no additional charge for purchases made with these cards. Bank transfer direct into our bank account, all transfers must state the relevant sale number, lot number and your bid / paddle number. If transferring from a foreign currency, the amount we receive must be the total due in pounds sterling (after currency conversion and the deduction of any bank charges).

Our bank details can be found on the front or your invoice or in the sale catalogue under ‘Important Notices’. Sterling cash payments of up to £8,000 (subject to money laundering regulations). All major UK issued credit cards registered to a UK billing address with the exception of American Express and Diners Club. A surcharge of 3% is payable on all payments made by credit cards. Sterling personal cheques drawn on a UK bank account and made payable to ‘Dreweatts 1759 Ltd’.

It will be necessary to allow at least six working days for the cheque to clear before collecting your purchases.

12. COLLECTION AND STORAGE. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly.

Any delay may involve the buyer in paying storage charges.

13. δ DROIT DE SUITE ROYALTY CHARGES. From 1st January 2012 all UK art market professionals (which includes but is not limited to; auctioneers, dealers, galleries, agents and other intermediaries) are required to collect a royalty payment for all works of art that have been produced by

qualifying artists each time a work is re-sold during the artist’s lifetime and for a period up to 70 years following the artists death. This payment is only calculated on qualifying works of art which are sold for a hammer price more than the UK sterling equivalent of EURO 1,000 – the UK sterling equivalent will fluctuate in line with prevailing exchange rates.

It is entirely the responsibility of the buyer to acquaint himself with the precise EURO to UK Sterling exchange rate on the day of the sale in this regard, and the auctioneer accepts no responsibility whatsoever if the qualifying rate is different to the rate indicated. All items in this catalogue that are marked with δ are potentially qualifying items, and the royalty charge will be applied if the hammer price achieved is more than the UK sterling equivalent of EURO 1,000. The royalty charge will be added to all relevant buyers’ invoices, and must be paid before items can be cleared. All royalty charges are passed on to the Design and Artists Copyright Society (‘DACS’), no handling costs or additional fees with respect to these charges will be retained by the auctioneers. The royalty charge that will be applied to qualifying items which achieve a hammer price of more than the UK sterling equivalent of EURO 1,000, but less than the UK sterling equivalent of EURO 50,000 is 4%. For qualifying items that sell for more than the UK sterling equivalent of EURO 50,000 a sliding scale of royalty charges will apply – for a complete list of the royalty charges and threshold levels, please see www.dacs.org.uk.

There is no VAT payable on this royalty charge.

Terms of Consignment for Sellers 1. INTERPRETATION. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. WARRANTY. The Seller warrants that possession in the lots can be transferred to the Buyer with good and marketable title, free from any third party right and encumbrances, claims or potential claims. The Seller has provided all information concerning the items ownership, condition and provenance, attribution, authenticity, import or export history and of any concerns expressed by third parties concerning the same.

3. ALL COMMISSIONS and fees are subject to VAT at the prevailing rate.

4. COMMISSION is charged to sellers at the following rates:please enquire at our salerooms.

5. REMOVAL COSTS. Items for sale must be consigned to the saleroom by any stated deadline and at your expense.

We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

6. LOSS AND DAMAGE OF GOODS. (a) Loss and Damage Warranty - Dreweatts is not authorised by the FSA to provide insurance to its clients, and does not do so. However Dreweatts for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. To justify accepting liability, Dreweatts makes a charge of 1.5% of the hammer price plus VAT, subject to a minimum charge of £1.50, or if unsold 1.5% of our lower estimate. The liability assumed by Dreweatts shall be limited to the lower pre-sale estimate or the hammer price if the lot is sold. Dreweatts is not liable for damage to gilded picture frames, plaster picture frames or picture frame glass; if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we see fit and will be under no liability for doing so. (b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owners risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 6 (a) is inapplicable.

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

8. MINIMUM BIDS AND OUR DISCRETION. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 9. We may sell Lots below the reserve provided we account to you for the same

sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us a “discretion” we may accept a bid of up to 10% below the formal reserve.

9. RESERVES. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and loss and damage warranty charges stipulated in these Terms of Consignment).

in these circumstances at a reasonable daily rate.

14. WITHDRAWN AND BOUGHT IN ITEMS. These are liable to incur a charge of 15% commission, 1.5 % Loss and Damage Warranty and any other costs incurred including but not limited to illustration and restoration fees all of these charges being subject to VAT on being bought in or withdrawn after being catalogued.

(c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

15. CONDITIONS OF SALE. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. We will also, at our discretion, and as far as practicable, confirm that an item consigned for sale does not appear on the Art Loss register, which is administered by an independent third party.

(d) Reserves are not usually accepted for lots expected to realise below £100

16. AUTHORITY TO DEDUCT COMMISSION EXPENSES AND RETAIN PREMIUM AND INTEREST.

10. ELECTRICAL ITEMS. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale.

They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

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

11. SOFT FURNISHINGS. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 10 and 11 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

12. DESCRIPTIONS. Please assist us with accurate information as to the provenance etc. of goods where this is relevant.

There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

13. UNSOLD. If an item is unsold it may at our discretion be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage

AND

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

17. WAREHOUSING. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £10 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

18. SETTLEMENT. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 12 above.

You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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Conditions of Sale Dreweatts carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1. DEFINITIONS In these Conditions: (a) “auctioneer” means the firm of Dreweatts or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Dreweatts accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

(b) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES. (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that Lot and/or any other Lots sold by us to you; (iii) to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.

(vi) to retain that or any other Lot sold to you until you pay the total amount due;

(h) The singular includes the plural and vice versa as appropriate.

(vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

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

4. THE PURCHASE PRICE. The buyer shall pay the purchase price together with a premium thereon of 28.8% which shall include VAT on the premium at the rate imposed by law. The buyer will also be liable for any royalties payable under Droit de Suite as set out under Information for Buyers.

5. VALUE ADDED TAX. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots. (Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6. PAYMENT. (a) Immediately a Lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due or in such other way as is agreed by us. (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7. TITLE AND COLLECTION OF PURCHASES. (a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

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(viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements.

Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so.

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

11. WARRANTY OF TITLE AND AVAILABILITY. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign for sale and is able to transfer good and marketable title to the property free from any third party claims.

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

13. TERMS OF SALE. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. DESCRIPTIONS AND CONDITION. (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. Dreweatts is not liable for damage to gilded picture frames, plaster picture frames or picture frame glass; if the Lot is or becomes dangerous, we may dispose of it without notice to you in advance in any manner we see fit and will be under no liability for doing so.

This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. FORGERIES. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

16. DATA PROTECTION. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website http://www.dreweatts.com/cms/pages/privacy.

GENERAL 17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

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

20. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

21. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

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

Group Departments Dreweatts Donnington Priory Newbury Berkshire, RG14 2JE

ASIAN CERAMICS AND WORKS OF ART

+44 (0) 1635 553 553 donnington@dnfa.com dreweatts.com

Leighton Gillibrand

Mark Newstead CLOCKS AND SCIENTIFIC INSTRUMENTS

COUNTRY SPORTING Geoffrey Stafford Charles DECORATIVE ARTS David Rees ENGLISH AND CONTINENTAL CERAMICS Mark Newstead Geoffrey Stafford Charles FURNITURE AND CARPETS Will Richards Cristian Beadman Ben Brown Emma Terry Ashley Matthews JEWELLERY, SILVER, WATCHES AND OBJECTS OF VERTU David Rees Terry Taylor Ian Pickford Nick Mann Alexandra Francis Tessa Parry PICTURES Jennie Fisher Lucy Gregory STEAM MODEL ENGINEERING Michael Matthews WINE Dianne Wall

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www.dreweatts.com | +44 (0) 1635 553 553

BP*: Buyer’s Premium of 28.8% incl. VAT @ 20%