Fine Interiors Tuesday 19 & Wednesday 20 March 2024

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TUESDAY 19 & WEDNESDAY 20 MARCH, 10AM

Tuesday 19 March

Lots 1-80Furniture and Works of Art

Lots 81-104The Collection of the late Sir Clinton Charles Donald Cory

Lots 105-170Furniture and Works of Art

Lots 171-183The Hildegard Heygate Textile Collection

Lots 184-226Furniture and Works of Art

Wednesday 20 March

Lots 227-241British and Irish Silver from a Private Collection

Lots 242-252 Silver

Lots 253-306Furniture and Works of Art

Lots 307-318A Private Collection of English Char Dishes

Lots 319-481Furniture and Works of Art

VIEWING

Viewing will be held at our Stansted Mountfitchet Saleroom as follows:

Friday 15 March 10am-5pm Saturday 16 March 10am-2pm

Sunday 17 March 10am-2pm Monday 18 March 10am-5pm

BIDDING

IN ROOM Attend the live auction in person

ONLINE Bid live at www.sworder.co.uk (0% surcharge)

SWORDERS’ DELIVERY SERVICE

Sworders offer a delivery service for item(s) purchased. Please see our website for further details.

CONTACT

T 01279 817778 E fineinteriors@sworder.co.uk

Sale Co-ordinator

Alexander Hallett

Head of DepartmentValuer & Cataloguer

Charlotte Lee-Finglas

Grace Julier

Director

James Pickup

Day One

Tuesday 19 March at 10am

77cm deep

102cm high

£300 - 500

12cm

£300 - 500

22cm

66cm

£200 - 300

LOT 1

A painted pine marriage chest, late 18th/early 19th century, Northern European, the hinged lid over cartouche panels painted with flower-filled urns, between pilasters, and raised on a base with two drawers and a pair of indistinct monograms including ‘J M B’, 177cm wide

LOT 2

A delftware tin-glazed earthenware punchbowl, c.1785, English, London, the centre with a chinoiserie scene and a hot-air balloon, with floral motifs to the rim and sides in greens, blues and reds, 30cm wide

high

LOT 3

A pair of turned wooden wine-press column lamps, 19th century and later, each mounted on a stepped square Perspex and wooden base, adapted, 22cm wide

deep

high (2)

LOT 4

A gilt-japanned wrought-iron torchère stand, 19th century, of tripod form with scrolling chinoiserie detail and supports in the form of serpents, 35cm wide

35cm deep

83cm high £200 - 400

LOT 5

An Oushak wool carpet, of recent manufacture, Turkish, woven with bold floral medallions to a pastel blue ground,425 x 300cm £3,000 - 5,000

LOT 6

A George III-style giltwood and gesso oval mirror, second half of the 19th century, with scrolling foliage to the crest and terminal, 63cm wide 158cm high £600 - 800

£1,200

89cm

98cm high

£800 - 1,200

60cm deep

161cm high

£400 - 600

LOT 7

Two similar turned oak pricket candlesticks, 16th century and later, each with an iron collar, approximately 22cm diameter 55cm high (2)

- 1,800

LOT 8

A two-seater Knole sofa, early 20th century, upholstered in Lewis & Wood ‘Nikita Pelt’, 185cm wide

deep

LOT 9

An Aesthetic Period ebonised and glazed wooden corner cabinet, c.1880, with a single door enclosing shelves, raised on a plinth base, 80cm wide

61cm deep

89cm high

£600 - 800

172cm high

£300 - 500

£500 - 700

LOT 10

A Regency-style ebonised and parcel-gilt chair-back settee, late 19th/early 20th century, decorated with floral sprays, 151cm wide

LOT 11

A painted canvas four-leaf screen, 20th century, each panel with an arched top, decorated with ships at sea, each leaf 40cm wide

LOT 12

A kilim flat-weave rug, of recent manufacture, Afghan, woven with geometric motifs in vibrant polychrome colours to a cream ground, 296 x 203cm

57cm deep

141cm high

£2,000

Provenance: By repute acquired from Mary Quant, having previously been owned by Viscountess Emlyn, Cawdor Castle, Scotland.

LOT 13

A black lacquer and gilt-japanned chest on stand, 18th century and later, the moulded frieze above two short and three long drawers, each decorated in the chinoiserie style with shades of gilt with animals, figures and flowers on a black ground, the stand with a long drawer, raised on a shaped apron and claw and ball feet, 103cm wide

- 3,000

57cm

£800 - 1,200

65cm high

£1,000 - 2,000

LOT 14

A pair of bronze, gilt-brass and glass ‘Pennington’ globe lanterns by Jamb, of recent manufacture, each with a foliate finial, pierced quatrefoil detail and four lights, 40.5cm diameter

high (2)

LOT 15

A large bronze, gilt-brass and glass ‘Original’ globe lantern by Jamb, of recent manufacture, with a foliate finial, guilloché detail and four lights, with a hanging chain, 54cm diameter

LOT 16

A ‘Tiplady’ Knole sofa by George Smith, of recent manufacture, upholstered in charcoal wool and cotton twill, raised on squat ball feet, 206cm wide 100cm deep 114cm high £1,000 - 2,000

LOT 17

A ‘Tiplady’ Knole sofa by George Smith, of recent manufacture, upholstered in charcoal wool and cotton twill, raised on squat ball feet, 206cm wide 100cm deep 114cm high £1,000 - 2,000

35cm deep

155cm high (2)

£800 - 1,200

118cm

£400

£2,000

LOT 18

A pair of painted and parcel-gilt wooden cupboards, of recent manufacture, each with a pair of doors set with leather book spines, flanked by verre églomisé-style pilasters, raised on gadrooned bun feet, 63cm wide

LOT 19

A George III gilt-gesso pier mirror, c.1790, of oval shape, the frame decorated in the neoclassical taste with ribbons and swags, 50cm wide

high

- 600

LOT 20

A Kashan wool carpet, early 20th century, Persian, the field densely woven with floral and foliate motifs to a pale ground, signed, 382 x 285cm

- 4,000

LOT 21

A painted pine cassone, late 17th/early 18th century, Italian, with carved foliate detail and decorated with architectural motifs, 151cm wide 50cm deep 69cm high £600 - 800

LOT 22

A silvered-brass ceiling light, 20th century, with twelve foliate-cast branches, 90cm diameter

45cm high £400 - 600

LOT 23

An alabaster obelisk table lamp, 20th century, 16.5cm wide

16.5cm deep

78cm high

£200 - 400

LOT 24

A Nero Portoro marble console table, late 19th/early 20th century, the rectangular top with a moulded edge, over volute scroll supports, 177cm wide

43cm deep

92cm high

£2,000 - 3,000

102cm wide

55cm deep

187cm high

£2,000 - 4,000

20cm deep

118cm high

£300 - 500

93cm wide

65cm deep

77cm high

£400 - 600

LOT 25

A George II figured walnut secrétaire chest on chest, second quarter of the 18th century, the upper section with a cavetto-moulded cornice above three short and three long drawers, set between fluted chamfered pilasters, the secrétaire drawer with a fitted interior, the lower section with a slide and three further long drawers, raised on bracket feet,

LOT 26

A set of Regency-style chinoiserie hanging shelves, of recent manufacture, with a pagoda top above three platforms, painted with scrolling foliage, 25cm wide

LOT 27

A Louis XV-style kingwood and tulipwood marquetry bureau plat, late 19th century, French, the shaped top above two drawers and two slides, raised on cabriole supports with ormolu mounts,

LOT 28

A primitive elm joined bench, 19th century, the high back with double horizontal splats, over a single plank seat and splayed legs united by stretchers, 82cm wide

59cm deep

96cm high

£400 - 600

LOT 29

A Malayer rug, 20th century, Persian, with repeating motifs to a red ground, 420 x 163cm

£500 - 800

LOT 30

A Welsh oak ‘cwpwrdd deuddarn’, 18th century, the top section with turned pendant drops over a central panel with boxwood mounts, flanked by arched panelled doors, the base with three cushion-moulded frieze drawers over two double-panelled arched doors, within panelled sides, 155cm wide

60cm deep

172cm high

£800 - 1,200

LOT 31

A large pine delft rack, late 19th/early 20th century, with seven arched pigeonholes over two banks of drawers,

186cm wide

30cm deep

90cm high

£200 - 400

LOT 32

A Victorian rosewood occasional table, c.1870, the square top with Tunbridgeinlaid decoration, raised on a spiral column and tripod supports,

43cm wide

43cm deep

71cm high £600 - 800

LOT 33

A George I-style gilt-gesso pier mirror, late 19th/early 20th century, with eagle head crests and foliate decoration,

121cm wide

72cm high £600 - 800

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 34

A George III mahogany cased bracket clock, late 18th/early 19th century, signed ‘James Niccoll, Canongate’, the silvered 7.75-inch dial with Roman chapter ring and date aperture enclosing a twin fusee movement, within a pagoda-topped case with single carrying handle,

30cm wide

20cm deep

44cm high £400 - 600

LOT 35

A Charles I-style oak refectory table, 20th century, but incorporating some earlier elements, the rectangular top above a carved frieze, raised on bulbous turned supports united by stretchers, 224cm wide

86cm deep

78cm high £800 - 1,200

LOT 36

A set of eight landscape prints, late 18th/19th century, to include:

‘The Waggoner’, by John Browne, after Peter Paul Rubens, ‘Templum Veneris’, by Wilhelm Friedrich Gmelin, after Claude Lorrain, and ‘Saint John Preaching in the Wilderness’, by John Browne, after Salvator Rosa, various sizes, framed and glazed largest 50 x 64cm, framed 64 x 75.5cm (8)

£200 - 400

LOT 37 A painted pine box, 19th century, painted in the form of a Georgian house and initialled ‘W. B’, later decorated, 63cm wide

47cm deep

41cm high

£300 - 500

LOT 38

A pair of Louis XV-style ormolu candelabra, 19th century, French, each with an acanthus cast stem, supporting seven sconces and raised on a circular base,

37cm wide

59cm high (2)

£400 - 600

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 39

A pair of George III mahogany knife boxes, c.1770, of serpentine outline, with strung decoration to the edges, each hinged lid enclosing a fitted interior, raised on brass paw feet,

25cm wide

27cm deep

37cm high (2)

£1,500 - 2,500

For similar examples, see Minneapolis Institute of Art, Accession Number 91.141.6.

LOT 40

A Gustavian-style giltwood pier table, late 19th century, Swedish, of demilune outline with a grey marble top, raised on fluted supports, 77cm wide 42cm deep 86cm high £400 - 600

LOT 41

A pair of upholstered armchairs by George Smith, of recent manufacture, in the Howard & Sons ‘Bridgewater’ style, each with pale blue herringbone upholstery and front turned supports, with loose covers, 86cm wide 104cm deep 89cm high, with a matching stool (3) £1,500 - 2,500

LOT 42

A Fez embroidered textile panel, early 20th century, Moroccan, worked in red silk on cotton, the central diamond surrounded by further repeating diamond motifs, 127 x 115cm £1,000 - 1,500

LOT 43 A Fulani wool blanket or ‘arkilla jenngo’, West African, Mali, with woven strips in a chequerboard pattern and bands of intricate geometric squares, 218 x 170cm £300 - 500

LOT 44

A large Bidjar wool carpet, 20th century, woven with repeating Herati motifs to a cream ground, 515 x 347cm £600 - 800

LOT 45

A large Persian Bidjar wool runner, first half of the 20th century, the mauve field woven with repeating paisley motifs, 692 x 233cm £800 - 1,200

LOT 46

A large Hollywood Regency giltwood mirror, of recent manufacture, by Harrison & Gil, the shaped diamond plate within a cruciform frame, 130cm diameter £600 - 800

LOT 47

A large carved oak fleur-de-lys mount, 20th century, 124cm wide 14cm deep

48cm high

£200 - 400

LOT 48

An export leather and brass chest on stand, late 19th century, Chinese, with brass studded decoration, the hinged lid set with a brass plaque inscribed ‘Mrs R. Buckle’, opening to a single compartment with lift-out tray, 79.5cm wide

47cm deep

57cm high

£500 - 700

LOT 49

A Victorian-style wingback armchair, 20th century, upholstered in suzani-inspired fabric, raised on turned supports, 88cm wide

94cm deep

92cm high

£300 - 500

LOT 50

A contemporary flat-weave rug of abstract design, of recent manufacture, decorated in tones of blue, cream and grey, 275 x 188cm

£800 - 1,200

LOT 51

A metal terrarium, 20th century, French, with scrolling foliate detail, 39cm wide

39cm deep

106cm high

£200 - 400

LOT 52

An Empire-style painted and parcel-gilt pine chaise longue, 20th century, Continental, with scrolling decoration and upholstered in striped fabric, 200cm wide

77cm deep

92cm high

£600 - 800

£4,000 - 6,000

Provenance: By repute previously acquired from a private auction of the contents of the George V Hotel, Paris, 1990s, which occurred during refurbishment works. Then in possession of the Ambassador of Morocco, Grosvenor Gardens, Belgravia, London SW1W.

LOT 53

A marble and travertine console table after the antique, 20th century, Italian, the stepped two-piece rectangular top raised on boldly carved trapezophoron supports, 200cm wide 100cm deep 79cm high

The Roman table on which the present example appears to be based was made for the atrium of the house of Cornelius Rufus in Pompeii.

A pair of porcelain figural scent holders, mid-19th century, French, probably by Jacob Petit, modelled as a man and woman in Turkish fashion, each raised on a square lobed base with an open pastille burner, 16cm wide

12cm deep

36cm high (2)

£2,500 - 3,500

A set of four Regency-style elbow chairs

late 19th/early 20th century, the ebonised frames with floral painted parcel-gilt cresting rail, over X-frame backs and caned seats, raised on turned front legs and sabre rear legs, 58cm wide

58cm deep

83cm high (4)

£200 - 400

LOT 56

A George III elm cricket table, late 18th century, the circular top over a shaped apron and raised on cabriole supports, 74cm diameter

70cm high

£300 - 500

LOT 54

LOT 55

LOT 57

A Victorian ormolu candlestick table lamp by Elkington & Co., 19th century, modelled as a palm tree with two figures picking fruit, raised on a tripartite scrolling base, stamped beneath, converted

34cm wide

30cm deep

86cm high including shade

£300 - 500

LOT 58

A mahogany, marquetry and brass étagère, late 19th/early 20th century, the three tiered shelves each decorated with a shell to the centre, united by four knopped supports terminating in flared feet,

37cm wide

37cm deep

91cm high

£200 - 400

LOT 59

A pair of George III-style painted wooden mirrors, 20th century, each decorated in the Chippendale taste with a scrolling frame, flowers and foliate scrolls,

106cm wide

147cm high (2)

£1,000 - 2,000

LOT 60

A provincial oak and beech farmhouse table, 19th century, French, the thick plank top raised on chamfered square supports united by stretchers,

228cm wide

77.5cm deep

75cm high

£1,500 - 2,000

Provenance: Christie’s, ‘Interiors’, 15 September 2009, lot 691.

LOT 61

A Charles X-style faux maple bergère, late 19th/early 20th century, French, with ebonised detail and swan’s-head terminals to the arms, raised on sabre supports, 60cm wide

55cm deep

86cm high

£300 - 500

LOT 62

A set of nine portrait mezzotint engravings, second half of the 18th century, including: ‘Miss Frances Woodley’, by Harry Scott-Bridgwater, after George Romney, ‘Lady Mary Isabella Somerset, Duchess of Rutland’, by Samuel Cousins, ‘Francis Rawdon-Hastings, 1st Marquess of Hastings’ and ‘Sir Edward Hughes, K.B.’, by John Jones, ‘Lieutenant-Colonel Banastre Tarleton’, by John Raphael Smith, ‘Miss Harriet Powell’, by Richard Houston, after Sir Joshua Reynolds, ‘Henry Dundas, 1st Viscount Melville’, by George Dawe, after Sir Henry Raeburn, and ‘King William IV’, by James Ward, after Sir Martin Archer, predominantly approximately 62 x 38cm framed 82.5 x 59cm (9)

£200 - 400

LOT 63

An export lacquered floor lamp, 19th century and later, Chinese, painted with temple scenes, figures and foliage, converted, 41cm wide

31cm deep

137cm high

£200 - 400

LOT 64

A Victorian oak kitchen table, 19th century, the cleated plank top above two end drawers, raised on turned supports, 268cm wide

78cm deep

73cm high

£600 - 800

c.1890, in the manner of Wright & Mansfield, with painted floral detail and centred with an Angelica Kauffman-style double portrait, the surface enclosing a sprung cabinet section, raised on tapering square supports, 103cm wide 66cm deep

74cm high

£2,000 - 3,000

Provenance: From the collection of Arthur George Tite Esq. (1904-1984), of 48 Westbourne Terrace, Hyde Park, London W2.

LOT 65

A pair of reverse glass paintings, 20th century, Chinese, each depicting Magu wearing an elaborate robe, with a deer and a boy with a basket, containing a large peach, by her side, 58 x 39cm, framed (2)

£300 - 500

LOT 66

A set of four George III-style mahogany ‘cockpen’ elbow chairs, late 19th/early 20th century, each with a pierced back and arms, raised on square supports, 72cm wide 55cm deep 90cm high (4)

£1,000 - 2,000

LOT 67

A pair of blue and white porcelain table lamps, 20th century, converted from Chinese vases, each with a conical shade, 25cm diameter 79cm high (2)

£300 - 500

LOT 68

A satinwood and rosewood crossbanded Pembroke table,

LOT 69

A Ziegler Feraghan wool carpet, 19th century, Persian, 502 x 396cm £6,000 - 8,000

wide

17cm deep 89cm high (2)

£10,000 - 15,000

Provenance: From the collection of Arthur George Tite Esq. (1904-1984), of 48 Westbourne Terrace, Hyde Park, London,W2.

Literature: Alexandre Pradère, ‘Baron van Hoorn: An Amateur of Boulle, Antiquity, and the Middle Ages Under the Empire’, ‘Furniture History’, Vol. XI.III, 2007, pp.205-225. François Rémond was one of the most important Parisian chaser-gilders at the end of the eighteenth and beginning of the nineteenth century, receiving his title as master in 1774.

A pair of candelabra matching the present example appeared for sale in the collection of the well-known collector and connoisseur, Baron Pierre-Nicolas Hoorn de Vlooswyck (1743-1809), Paris, c.22-29 November 1809, lot 90. Another pair were recorded in the collection of the decorator Georges Geffroy (see P Arizzoli-Clémentel, ‘Georges Geffroy 1905-1971: Une légende du grand décor français’, 2016, p.188).

LOT 70

A pair of French Empire bronze and marble candelabra attributed to François Rémond (c.1747-1812), c.1800, each patinated bronze putto holding aloft a three-branch lance with entwined gilded garland, on a naturalistic base with stag and boar heads, raised on a Rouge Griotte cylindrical pedestal and gilt-bronze square foot, 17cm

110cm high

£600 - 1,000

Provenance: The property of a collector, 45 Eaton Terrace, London

9cm deep

44cm high

£400 - 600

164cm high

£800

20cm

35cm

£200 - 400

LOT 71

A carved and painted altarpiece, late 18th/early 19th century, depicting the Virgin and Child, 104cm wide

SW1W 8TR.

LOT 72

A Gothic Revival maple mirror, 19th century, with floral and foliate decoration and set with quatrefoil motifs,

104cm wide

- 1,200

LOT 73

A carved oak corbel, early 17th century, in the form of a satyr, flanked by pierced foliate scrolls, 15cm wide

LOT 74

A pair of Gothic Revival carved wooden corbels, 20th century, each decorated in relief with dragons, 28cm wide

deep

high (2)

This lot is thought to have been part of a series enclosed in four niches in the abbey church of Saint-Antoine-l’Abbaye on the Santiago de Compestela pilgrim route, removed in the latter part of the 19th century.

Saint Anthony was a popular figure in the Middle Ages and his relics were thought to have powerful curative properties, especially for skin diseases. Members of the Hospital Brothers of St Anthony – close to the church in France where his relics were housed – wore a black habit, distinguishable from the Benedictines by its tau cross, also known as St Anthony’s cross. The present example has a roughly chiselled reverse, typical of this period for niche figures comprising part of larger figurative scene. The extraordinarily detailed carving reflects the late-Gothic shift to more realistic depictions of such figures.

LOT 75

A Gothic carved oak figure of St Anthony, 16th century, French, depicted in a hooded cloak with a tau cross around his neck, a book in his left hand, with traces of polychrome and gilding and a hollow back, 36cm wide

36cm deep

104cm high

£4,000 - 6,000

LOT 76

A pair of Renaissance carved giltwood and polychrome angels, 17th century, Italian, each with inset glass eyes and holding aloft a wrought-iron three-light candle branch,

48cm wide

40cm deep 71cm high (2)

£2,500 - 3,000

LOT 77

A Persian wool carpet, first half of the 20th century, woven with Shah Abbasi motifs to a red ground, 510 x 338cm £800 - 1,200

LOT 78

A Persian wool carpet, early 20th century, Tabriz

350 x 255cm £300 - 500

LOT 79

A flame mahogany library bookcase, first half of the 19th century, of breakfront outline, with glazed doors enclosing shelves, above base cupboard doors, 277cm wide

40cm deep

256cm high

£1,500 - 2,500

LOT 80

A set of three pine and metal pottery stands, of recent manufacture, Swedish, each with a revolving square top above an open frame, stamped ‘Royal Institute of Art Kungl’, largest 64cm wide

64cm deep

112cm high (3) £1,200 - 1,800

The Collection of the late Sir Clinton Charles Donald Cory

Sir Clinton Charles Donald Cory, 5th Baronet of Coryton, was a lifelong aesthete and a collector of objets d’art and antiquities, in particular Attic pottery and numismatics.

A very private person, Sir Donald, as he preferred to be called, eschewed traditional social gatherings (including Christmas), preferring instead to focus his energies on building and cataloguing his extensive collections and tending his gardens.

As evinced by his collections, Sir Donald had a meticulous eye for quality and aesthetics, surrounding himself with beauty.

In his lifetime, he travelled extensively in Europe, Africa, the Middle East and Southeast Asia. He was a supporter of educational establishments (including a family-founded school in Malawi) and also donated large sums to charitable causes.

LOT 81

A group of three Attic white ground pottery lekythoi, c.5th century BC, Greek, attributed to the Beldam Painter, each decorated with ivy leaves, berries and a lattice border, largest 6cm wide 15.5cm high (3) £800 - 1,200

LOT 82

An Apulian Gnathian ware pottery pelike, c.3rd century BC, South Italian, the shoulders decorated in white, yellow and purple with a swan between scrolling foliate stems, surmounted by banded motifs to the neck, 12cm wide 12cm deep 19cm high £300 - 500

LOT 83

A classical terracotta antefix of Pan, c.4th century BC, Greek, Taras, Southern Italy, the head moulded with horns and wavy hair, 17.5cm wide 17.3cm high £800 - 1,200

LOT 84

An Apulian red-figure trefoil oinochoe, attributed to the painter of the Macinagrossa Stand, c.325-300 BC, South Italian, decorated with a woman in profile wearing a tiara, necklace and earrings, heightened in white and surrounded by palmettes, rays and spirals, 8cm wide 22cm high £600 - 800

LOT 84A

An Apulian squat red figure pottery lekythos, c.4th century BC, South Italian, decorated with a woman in profile, 5.5cm wide 13cm high £300 - 500

LOT 85

An Attic white-ground lekythos, c.5th century BC, Greek, decorated with three female figures, 6.5cm wide 22cm high £2,000 - 4,000

profile seated in a klismos chair, 6cm wide

17cm high

£1,000 - 2,000

a patterned kekryphalos, 10cm wide

30.5cm high to handle £800 - 1,200

19cm high

£3,000 - 5,000

For similar examples attributed to the Bowdoin Painter, see Christie’s, ‘Antiquities’, 17 October 2023, lot 32; Christie’s, ‘Antiquities’, 6 December 2017, lot 46; Sotheby’s, ‘Antiquities’, 5 June 2013, lot 32.

A group of five small Roman antiquities, comprising: two glass bottles, one Syrian, c.2nd-3rd century, the other c.1st-3rd century AD, 10.5 and 8.5cm high, two North African terracotta lamps, c.3rd century AD, 10.5cm wide, and a pottery juglet, c.1st-3rd century AD, possibly British, 8cm high (5) £300 - 500

wide

18cm high (2)

£400 - 600

Provenance: Acquired from Sotheby’s, 18 July 1985.

LOT 85A

An Attic white ground lekythos, c.5th century BC, Greek, decorated with a woman in

LOT 86

An Apulian classical redfigure trefoil oinochoe, c.350-330 BC, South Italian, painted with a profile female head wearing

LOT 87

An Attic red-figure lekythos, c.5th century BC, Greek, attributed to the Bowdoin Painter (c.475-425 BC), decorated with Eros playing pipes over a funerary altar, with linked palmettes to the shoulder, 6.5cm wide

LOT 88

LOT 89

A near pair of Apulian Gnathian ware pottery oinochoai, c.3rd century BC, South Italian, each painted around the shoulders in white, yellow and purple with banded motifs to a black ground, 10cm

5cm

16cm

£300 - 500

£800 - 1,200

11cm

17cm

£1,000 - 2,000

£800 - 1,200

LOT 90

A group of six small classical pottery vessels, comprising:

a pair of miniature red figure lekythoi, c.4th century BC, Greek from South Italy, each decorated with a woman of fashion, 6cm high, an Attic black figure mastos, c.5th-4th century BC, painted with a satyr and reclining figures, 7cm wide, a squat pattern lekythos, c.4th century, BC, with net decoration, 8.2cm high, an Attic black figure kylix, c.5th century BC, decorated with figures to a white ground, 9.1cm wide, and a Boeotian trefoil-lipped chous, c.5th century BC, decorated with a black running figure to a red ground, 9.5cm high (6)

LOT 91

A Gandaran schist frieze fragment, c.3rd century AD, Indo-Greek, carved in relief with a man serving a woman, on an integral Perspex stand, 12cm wide

deep

high stand 17 x 10.5cm

LOT 92

A group of four Attic potter y lekythoi, c.5th-6th century BC, Greek, each with black painted decoration, largest 5.5cm wide 8cm high (4)

LOT 93

A Campanian red-figure bail amphora, c.350-320 BC, Italian, attributed to the Painter of BM F63, decorated with a seated female and standing male to either side of the body, with large palmettes in between and to the neck,

wide

high

18.5cm high

£500 - 800

8.5cm

16.5cm high

£800 - 1,200

Provenance: Acquired from Bonhams, 4 July 1986, lot 194.

Italian, comprising: a Gnathian juglet, c.3rd century, 10cm high, a Gnathian skyphos, c.4th century BC, 9cm high, an Apulian kantharos, c.4th century BC, painted with red ivy leaves and stems on a black ground, 7.6cm high, and an Apulian oinochoe, c.4th century BC, 15.5cm high (4)

£800 - 1,200

LOT 94

An Attic black-figure pottery lekythos, c.574 BC, Greek, decorated with a symposium scene, incised details and heightened in white, 6cm wide

LOT 94A

An Attic black-figured lekythos attributed to the Class of Athens 581, c.500 BC, Greek, possibly decorated with a seated Dionysus with two attendants,

wide

LOT 95

A group of four classical pottery antiquities, South

LOT 96

A group of six Greek pottery vessels, comprising: an Attic squat pattern lekythos, c.400-350 BC, 10cm high, an Attic black-glazed kylix, c.5th century BC, 20cm wide, a black-glazed guttus, c.4th century BC, with ribbed body, loop handle and removable lid, 11cm wide, an Attic Greek black ground lekythos, c.5th-4th century, 13.5cm high, and two lekanis lids, 9 and 10cm wide (6)

£800 - 1,200

LOT 97

A group of four classical pottery vessels, c.4th century BC, South Italian, comprising: an Apulian footed bowl, 7.5cm high, two lekanis lids, 8 and 9cm diameter, and another pyxis lid, 13cm diameter (4)

£300 - 500

LOT 98

A group of six small antiquities, comprising:

a terracotta protome of a female head, c.4th century BC, 8.5cm high,

a terracotta Greek head of a woman from Sicily, c.400 BC, 6.5cm high,

a Greek terracotta loom weight, c.4th/3rd century BC, depicting a pair of lovers embracing, 7.5 x 7.5cm,

a terracotta votive figure, c. 425-375 BC, possibly Halicarnassus or Cos, 11.5cm high,

a Hellenistic terracotta figure of an actor, c.3rd century BC, South Etruria, 10.5cm high, and a Greek terracotta figure, c.3rd century BC, with a conical headdress, 13cm high (6)

£400 - 600

a terracotta

12cm wide, an Hellenistic

of

c.100

Asia Minor or Islands, 8.5cm wide, a Romano-Egyptian terracotta figurine of Harpocrates, c.1st century BC/AD, Alexandria, 9.5cm high, a Romano-Egyptian lidded pot, c.2nd century AD, 7cm diameter, and an Etrusco-Corinthian alabastron, c.6th century BC, with linear and dotted decoration, 11.5cm high (5)

£400 - 600

LOT 99

An Attic black-figured lekythos in the manner of the Haimon painter, early 5th century BC, Greek, decorated with figures in a chariot and horses, 6.5cm wide 20cm high £1,500 - 2,500

LOT 99A

An Attic black-figured lekythos attributed to the Class of Athens 581, c.early 5th century BC, Greek, decorated with Athena, 8cm wide 20cm high £1,500 - 2,500

LOT 100

A group of five small antiquities, comprising:

votive mask, c.1st century BC/AD, possibly Alexandria,

bunch

grapes,

BC,

A group of four Apulian pottery antiquities, c.4th century BC, South Italian, comprising: a red figure swan, ring-footed dish, with a border of palmettes and chevrons, 17cm diameter, a black-glazed kylix, decorated with a stag to the centre, 23cm wide, a squat ‘net’ pattern lekythos, 14cm high, and a squat red-figure lekythos, 10.5cm high (4)

£600 - 800

A group of six Xenon ware miniature pottery vessels, c.4th century BC, South Italian, comprising: a black-glazed skyphos, 4.5cm high, a trefoil chous, 6.5cm high, a small juglet, 6cm high, a Xenon ware sessile kantharos, 7.5cm wide, a Xenon ware nestoris, 6.5cm high, and a stemless kylix, decorated with a scrolled band, 11cm wide (6)

£600 - 800

A group of three Gnathian ware miniature pottery vessels, c.4th-3rd century BC, South Italian, comprising: a miniature cup, 10.5cm wide, a skyphos, 9cm wide, and another cup, 11cm wide (3) £400 - 600

A group of eight small Cypriot antiquities, comprising: two terracotta heads, c.6th-5th century BC, 4.5 and 5cm high, a limestone head, c.6th century BC, 9cm high, a terracotta votive figurine, c.1000-600 BC, of ‘snowman’ type, 10.5cm high, an archaic amphora, c.700-600 BC, 10.5cm high, a Cypro-Geometric III dish, c.850-700 BC, 11.5cm wide, an alabastron, c.850 BC, 9cm high, and a Cypro-Geometric III dropper flask, c.850-700 BC, 13cm high (8) £400 - 600

LOT 101

LOT 102

LOT 103

LOT 104

FURNITURE & WORKS OF ART LOTS 105-170

LOT 105

A pair of porcelain and ormolu wall lights, 19th century, Continental, each in the form of a polychrome cockatoo, perched on a meandering ormolu branch interspersed with porcelain floral blooms, terminating in two sconces,

32cm wide

50cm high, together with two smaller wall brackets (4)

£400 - 600

LOT 106

A pair of porcelain and gilt-metal-mounted obelisks, 20th century, each supported by an elephant and raised on a waisted socle base, 14cm wide

16cm deep

66cm high (2)

£200 - 400

LOT 107

A George III ebonised cased bracket clock, late 18th/early 19th century, the 10-inch white enamel dial signed ‘Brockbank, London’, leading to a twin fusee movement and housed within an arched and parcel-gilt case, with moulded frieze, top handle and grille sides, raised on gilt ogee feet,

38cm wide

21.5cm deep

41.5cm high

£400 - 600

106

105

LOT 108

A George II walnut bureau bookcase, 18th century and later, the upper section with adjustable compartments and shelves, over a base with a fall-front enclosing a fitted interior and green leather writing surface, with two short and two long drawers, raised on bracket feet, 99cm wide

56.5cm deep 207cm high

£600 - 800

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 109

A burr yew wood desk stand, 19th century, the arched back over a removable compartment with a hinged lid, flanked by two further partitioned sections, 38cm wide

19cm deep 18cm high

£200 - 400

LOT 110

Thomas Woolner RA (1825-1892), a carved white marble portrait medallion of a woman in profile, signed ‘T. Woolner. SC. 1868’, 39.5cm wide 4cm deep 50cm high £500 - 800

Thomas Woolner was one of the founding members of the Pre-Raphaelite Brotherhood in 1848 and the only sculptor amongst the original group. After a short time in Australia, he returned to England in 1854, and made his name with a marble bust of his friend Alfred Tennyson in 1857, which is at Trinity College, Cambridge.

LOT 111

A pair of painted wooden table lamps, of recent manufacture, each of classical column form with rope-twist detail, 26cm diameter 53cm high (2)

£200 - 400

113 112

153cm wide

110cm deep

77cm high

£1,000 - 2,000

A George III mahogany barrel-back armchair, late 18th/early 19th century, upholstered in studded leather and raised on tapering square supports, terminating in brass castors, 80cm wide 85cm deep

111cm high

£800 - 1,200

£1,000

LOT 112

A Victorian mahogany partners’ desk, second half of the 19th century, the leather-inset top fitted with six drawers, above two pedestals with three further drawers to each side,

LOT 113

LOT 114

A mihrab silk and wool rug, c.1920s/30s, the central field with densely woven floral sprays and flowering vine, to a pale ground, 202 x 137cm

- 1,500

LOT 115

A mahogany barrel-back armchair, 19th century, upholstered in yellow fabric and raised on tapering square front supports, terminating in castors, 78cm wide

85cm deep

110cm high

£600 - 800

LOT 116

A needlepoint wool carpet of Robert Adam design, 20th century, Continental, in neoclassical style, woven with a repeating stamp motif enclosing flower heads, and bordered with foliate sprigs to a deep red ground, 454 x 367cm £3,000 - 5,000

LOT 117

A George III-style yellow, scarlet an gilt-japanned longcase clock, late 19th/early 20th century, but possibly incorporating some earlier elements, the stepped cornice with ball finials over a glazed arched door, the associated movement with a brass and silvered dial with Arabic and Latin chapter rings, date aperture below a seconds dial inscribed ‘Chater & Sons, London’, the waisted case with an arched door on a box base, decorated throughout with a scarlet ground with painted and gilt-heightened chinoiserie scenes, 47cm wide

24cm deep

251cm high

£1,000 - 1,500

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 118

A delftware tin-glazed earthenware garniture, 19th century, comprising three baluster vases with covers and two beaker vases with everted rims, vase and covers 15cm wide

11cm deep

33cm high (8)

£300 - 500

LOT 119

A pair of silvered wooden wall brackets, 20th century, possibly Spanish, in the rococo style, each with a serpentine platform, raised on an acanthus scroll carved support, 59cm wide

26cm deep

46cm high (2)

£300 - 500

LOT 120

After Antonio Giovanni Lanzirotti, ‘Girl with a Puppy’, bronze, signed to the base ‘A G Lanzirotti’, 40cm wide

37cm deep

52cm high

£600 - 800

Literature: A Panzetta, ‘Nuovo Dizionario degli Scultori Italiani dell’Ottocento e del Primo Novocento’, vol. 1, Turin, 2003, p.513; V Vicario, ‘Gli Scultori Italiani dal Neoclassicismo al Liberty’, vol. 2, Lodi, 1994, pp.598-99. The present group has appeared on the market in marble and bronze and is sometimes accompanied by its pendant titled ‘Boy with a Parakeet’.

LOT 121

A pair of carved wood and gesso pilasters, with classical embellishments, acanthus and scrolled capitals, 22cm wide

231cm high (2)

£300 - 500

Provenance: Wolterton Hall, Norfolk.

LOT 122

A carved oak bressumer beam, 17th century, 233cm long

23cm deep

32cm high

£300 - 500

123

LOT 123

A pair of Gustavian-style carved giltwood girandoles, 19th century, Swedish, each with urn and swag decorated frames,

32cm wide

14cm deep

68cm high (2)

£300 - 500

LOT 124

A Renaissance-style walnut Savonarola late 19th/early 20th century, of curved ‘X’ frame form, with a mask to the centre and leather upholstered back and seat,

66.5cm wide

57cm deep

104cm high

£300 - 500

LOT 125

Two mahogany butlers’ trays, 19th century and later, each of typical folding oval shape, raised on ‘X’ frame supports, approximately 93cm wide

68cm deep

78cm high (2)

LOT 126

A Louis XVI rosewood secrétaire à abattant,

c.1780, French, with a rectangular marble top, above the fall-front enclosing a fitted interior, with two cupboard doors and raised on tapering turned supports, with damages,

92cm wide

37cm deep

143cm high

£300 - 500

LOT 127

A pair of Kingcome ‘Windsor’ armchairs, of recent manufacture, each upholstered in paisley-style fabric and raised on turned supports, 84cm wide

84cm deep

79cm high (2)

£400 - 600

124

125

£400 - 600 127

LOT 128

A brass and iron nursery fireguard, 19th century, 76.5cm wide

31cm deep

77cm high £200 - 400

LOT 129

A pair of painted-metal five-branch wall lights, early 20th century, Continental, each modelled as torches, with petalled sconces, 62cm wide

35cm deep

70cm high (2) £150 - 200

Provenance: Wolterton Hall, Norfolk.

LOT 130

An Aesthetic Period walnut, ebonised and parcel-gilt overmantel mirror, late 19th century, with incised foliate detail to the frame, 150cm wide

179cm high £1,000 - 1,500

LOT 131

A provincial sycamore farmhouse kitchen table, 19th century, French, the cleated plank top above a plain frieze set with one end drawer, raised on tapering square supports, terminating in later brass castors, 200cm wide

85cm deep

79cm high

£800 - 1,200

LOT 132

A studded leather trunk, 19th century and later, the domed top initialled ‘M.A.P.’, with all-over foliate detail and brass and iron mounts, 113cm wide

56cm deep

47cm high

£600 - 800

LOT 133

An Empire-style ebonised and parcel-gilt wooden stool, 20th century, with a caned square top raised on sabre supports, terminating in brass castors,

75cm wide

75cm deep

38cm high

£200 - 400

LOT 134

An elm yoke-back stick chair, in the 18th-century style, Welsh or West Country, with a three-part bow above a one-piece seat, raised on four shaped supports,

64cm wide

36cm deep

71cm high

£200 - 400

LOT 135

A pair of painted metal lamps, mid-20th century, Continental, each of stepped form, 18cm diameter

47cm high (2)

£200 - 400

133

132

80cm

29cm

74cm

69cm deep

100cm high

36cm deep

90cm high

£300 - 500

LOT 136

A matched pair of gilt table bases, of recent manufacture, each in the form of a sunflower, on a fluted stem and raised on a circular stepped base, 90cm diameter

high (2) £300 - 500

LOT 137

A small painted oak and elm chest, 18th century, the hinged lid enclosing a hand-blocked papered interior, above a dummy drawer and two short drawers, raised on bracket feet, 48cm wide

deep

high £200 - 400

LOT 138

A William IV walnut armchair, early/mid-19th century, upholstered in kilim-style covering, the frame carved at the arms and raised on turned supports, terminating in brass castors, 68cm wide

£200 - 400

LOT 139

A small oak settle, 19th century, the high panelled back over shaped arms with handholds, 124cm wide

140

143 142

23cm deep

75cm high

£300 - 500

25cm

74cm deep

112cm

202cm high,

158cm wide

26cm deep

228cm high (3)

£600 - 800

LOT 140

A set of fruitwood and pine wall-hanging shelves, dated 1869, of domed shape with turned spindles and bone inlay, initialled ‘JB’, 82cm wide

LOT 141

A pair of Louis XV-style silvered-brass lanterns, 20th century, each of hexagonal shape with etched glass panes and foliate decoration, one pane cracked 25cm wide

deep 45cm high (2) £300 - 500

LOT 142

A large George II-style oak armchair, late 19th/early 20th century, with a pierced fiddle back, open arms and a leather seat, raised on cabriole supports terminating in claw and ball feet, 74cm wide

high £400 - 600

LOT 143

A pair of carved hardwood doors in the French Louis XV-style, 19th century, Indian, each with carved panelled decoration, within a frame with a carved frieze, 83cm wide

frame

141

144 FURNITURE & WORKS OF ART 105-170

19cm deep

41cm high (2)

£200 - 400

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

£200 - 400

146 145

LOT 144

A pair of Louis XVI-style figural candelabra, late 19th/early 20th century, French, each in the form of a bacchanalian putto in the manner of Claude Michel, known as ‘Clodion’, supporting a cornucopia terminating in a single sconce, on a gilt socle and marble base, 16cm wide

LOT 145

British School (19th century)

A pair of portraits pencil, watercolour and ink on paper 11 x 9cm, each glazed and in a mahogany-veneered frame (2)

LOT 146

A pair of glazed pottery wall-hanging masks, 20th century, Italian, each in the form of a green man surrounded by lemons and foliage, 35cm wide 14cm deep 35cm high (2)

LOT 147

A set of seven portrait mezzotint engravings, late 18th century, to include:

‘Sir Harbord Harbord, Bart’, by John Raphael Smith, ‘The Hon George Cranfield Berkeley’, by Henry Birche, after Thomas Gainsborough, ‘Lady Elizabeth Keppel’, by Edward Fisher, ‘Mrs Matthew Ellis’ and ‘Elizabeth, Countess of Derby’, by William Dickinson, ‘Mary Amelia Cecil, Marchioness of Salisbury’, by Valentine Green, after Sir Joshua Reynolds, ‘Mrs Woodhull’, by Richard Houston, after Johan Joseph Zoffany, each in an ebonised and gilt-metal-mounted Hogarth frame, various sizes, largest 66 x 46cm, framed 82 x 62cm (7)

£200 - 400

£1,500

£300 - 500

£300 - 500

£1,000 - 2,000

LOT 148

A near pair of Tabriz wool runners, 20th century, Persian, each woven with floral and foliate medallions to a dark blue ground, approximately 390 x 80cm (2)

- 2,500

LOT 149

An Heriz wool runner, 20th century, Persian, the central field with repeating geometric motifs on a cream and red ground, 361 x 95cm

LOT 150 A contemporary flat-weave wool runner, of recent manufacture, with linear decoration in tones of red and cream, 404 x 80cm

LOT 151

A kilim flat-weave wool runner, of recent manufacture, Afghan, woven with geometric motifs in vibrant polychrome colours, 481 x 78cm

LOT 152

Henry Wiles (1838-1930), ‘Ruth and Naomi’, a marble sculpture, signed ‘Henry Wiles Cambridge’, 60cm wide 53cm deep 110cm high

£5,000 - 7,000

Henry Wiles was the son of a stonemason. Having attended the Perse School in Cambridge, Wiles subsequently trained at the Royal Academy and was awarded a two-year travelling studentship in 1869, which he used to study sculpture in Rome and Naples. He was one of three brothers, who all practised as artists and illustrators in the latter part of the 19th century and early 20th century. His work can be found in St John’s College, Trinity College, and the Fitzwilliam Museum in Cambridge.

Henry Wiles was the son of a stonemason. Having attended the Perse School in Cambridge, Wiles subsequently trained at the Royal Academy and was awarded a twoyear travelling studentship in 1869, which he used to study sculpture in Rome and Naples. He was one of three brothers, who all practised as artists and illustrators in the latter part of the 19th century and early 20th century. His work can be found in St John’s College, Trinity College, and the Fitzwilliam Museum in Cambridge.

a socle plinth,

25cm deep

66cm high

£1,500 - 2,000

16cm

16cm

52cm

LOT 153

Henry Wiles (1838-1930), a marble bust of a lady, signed ‘Henry Wiles Cambridge’, raised on

41cm wide

LOT 154

A white marble bust, late 19th century, modelled with swept back wavy hair and raised on a circular socle base, 21cm wide

deep 38cm high £300 - 500

LOT 155

A white marble bust of a girl late 19th/early 20th century, modelled with curly hair wearing an animal’s foot around their neck, 28cm wide 19cm deep 48cm high £300 - 500

LOT 156

A composite bust of Diana after the antique, 20th century, on a socle base, 32cm wide

deep

high £200 - 400

LOT 157

A marble vase and plinth, 20th century, Continental, with twin handles and a turned column, 40cm diameter 157cm high (2)

£400 - 600

LOT 158

A patinated bronze figure after the antique, 19th century, French, ‘The Venus de Milo’, inscribed ‘Sauvage’ to the base, 29cm wide 29cm deep 99cm high

£800 - 1,200

LOT 159

A Louis XIV-style marble and gilt-bronze jardinière, late 19th/20th century, the red marble body with a removable metal insert and twin-mask side handles decorated with trailing fruit and foliage, raised on a spreading circular socle and square marble plinth, 40cm wide

19cm deep

25cm high

£800 - 1,200

LOT 160

A Sèvres biscuit porcelain bust, 19th century, French, after a bust of Jules Grévy, Président de la République (1879-1887) by Albert-Ernest Carrier-Belleuse, marked ‘SEVRES’ and dated ‘March 1887’, on a cobalt and parcel-gilt porcelain socle base,

30cm wide

14cm deep

42cm high

£600 - 800

LOT 161

A pair of ebonised and parcel-gilt wooden columns, of recent manufacture, each turned and fluted column raised on an hexagonal base, 58cm diameter

114cm high (2)

£300 - 500

LOT 162

After Fernand Khnopff, a cast bronze model of the ‘Head of Hypnos, God of Sleep’, on a marble socle base,

38cm wide

24cm deep

34cm high

£200 - 300

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 163

A grand tour patinated bronze and ormolu urn, late 19th/early 20th century, Continental, the gadrooned cover with a cherub finial, over the urn with everted neck cast with oak leaves, and shoulders with scrolling palmettes and twin boar-head handles, raised on a flared and reeded socle and circular base,

28cm wide

20cm deep

52cm high

£1,200 - 1,800

LOT 164

Sir John Robert Steell RSA (1804-1891), a bronze plaque of a man’s head in profile, signed ‘Jn Steell Sculpt’, 24cm wide 6cm deep

37cm high

£400 - 600

LOT 165

£300 - 500

LOT 166

10cm deep

61cm high

£200 - 400

A pair of plaster relief panel displays of the Parthenon frieze, after John Henning the Elder, each comprising six rectangular plaques, mounted in yellow crushed velvet, each plaque 22 x 5cm approximately 63 x 29cm, framed and glazed (2)

A plaster relief of Scipio Africanus by LASSCO, of recent manufacture, 40cm wide

60cm

LOT 167

A grand tour patinated bronze of Narcissus, 19th century, Italian, after the antique, 20cm diameter

high

£800 - 1,200

LOT 168

A white and black grained marble column, on a white marble base, 43cm wide

113cm high £300 - 500

LOT 169

A grand tour painted earthenware burial urn, 19th century, after the antique, the removable cover over a relief-carved body, with a plaque enclosing a Latin inscription to the centre and twin mask handles in the form of Zeus-Ammon, raised on a square plinth indistinctly signed in pencil, 36cm wide

75cm high (2)

£1,200 - 1,800

167

LOT 170

A patinated bronze and parcel-gilt bronze bust of ‘Le Chef Abyssin’ (The Abyssinian Chief), 19th century, French, cast after a model by Adèle d’Affry, Duchess Castiglione-Colonna, called Marcello, signed ‘Marcello’, on a brown alabaster waisted socle base, 48cm wide

32cm deep

77cm high

£4,000 - 6,000

Provenance: Christie’s, ‘The Opulent Eye, 19th Century Furniture, Sculpture & Works of Art’, 18 September 2014, lot 236.

Literature: Henriette Bessis, ‘Marcello Sculpteur’, 1980, pp.152-157; Eugène Chapus, ‘Salon de 1870’, ‘Moniteur des arts’, 24 May 1870.

THE HILDEGARD HEYGATE TEXTILES COLLECTION

LOTS 171-183

three medallions to a red ground, 194 x 127cm

£400 - 600

LOT 173

Two tapa or barkcloth panels, 20th century, probably Pacific Islands, each painted with geometric and floral patterns, 182 x 63cm and 61 x 95cm (2) £200 - 400

LOT 174

A group of embroidered linens, 19th century and later, comprising a Greek linen napkin with densely decorated borders in metal thread and polychrome silks, another Greek muslin towel with decorated borders in polychrome silks, and six other Turkish towels and fragments, various sizes (8)

£500 - 700

LOT 175

A collection of embroidered linens, 19th century and later, Turkish, including linen and muslin towels, napkins and fragments, each worked in polychrome silks and metal thread, with floral and foliate motifs, various sizes (11)

£400 - 600

LOT 176

A group of embroidered towels and fragments, 19th century and later, Turkish, including muslin, linen and silk examples, each worked in polychrome silks and metal thread, with floral and foliate motifs to a natural ground, various sizes (10)

£400 - 600

£200 - 400

£300 - 500

£400 - 600

£500 - 800

LOT 177

A silk embroidered Lakai suzani table runner or hanging, 20th century, worked in polychrome silks on a red ground, decorated with three geometric medallions within two ends and borders of further motifs, 140 x 41cm

LOT 178

A suzani embroidered panel, 20th century, Central Asian, worked in chain stitch in black and cream silks on a red velvet ground, 221 x 168cm

LOT 179

A cotton needlework bedcover, mid-20th century, consisting of repeated circular discs, 170 x 170cm

LOT 180

Two kanduri shrine cloths, mid-20th century, Indian, Uttar Pradesh, appliqué cotton on cotton, on a hessian backing, each embroidered with figures, plants and elephants, larger 128 x 130cm (2)

x 90cm

£200 - 400

LOT 181

Two kanduri shrine cloths, mid-20th century, Indian, Uttar Pradesh, appliqué cotton on cotton, on a hessian backing, each embroidered with figures, plants and elephants, larger 127 x 132 (2)

£500 - 800

LOT 182

A near pair of block-printed hangings, early/mid-20th century, Indian, worked in red and black ink on a canvas ground, each decorated to the centre with a stylised tree of life surmounted by figures, elephants and tigers, the whole within a mihrab and banded borders of densely applied floral and foliate motifs, 265 x 150cm and 275 x 148cm (2)

£400 - 600

LOT 183

A silk embroidered tablecloth, 20th century, probably Indian, the central field worked in chain stitch with yellow and cream flower heads within a trellis of leaves, to a blue ground, within a red border decorated with further flower heads and trailing foliage, on a silk backing, 144

FURNITURE & WORKS OF ART

LOTS 184-226

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 184

A two-seater sofa, of recent manufacture, the upholstery woven with polychrome flowers to a pale blue ground, on castors, 177cm wide 107cm deep 78cm high £600 - 800

LOT 185

A Persian wool carpet, 20th century, Kirman, woven with a central medallion to a field set with scrolling spandrels and floral and foliate sprays, distressed, 349 x 235cm £1,500 - 2,500

LOT 186

A painted and parcel-gilt stool, 19th century, the floral-upholstered seat on cabriole supports, 70cm wide 48cm deep 40cm high £200 - 300

LOT 187

A Japonesque bamboo wardrobe, late 19th century, the central mirrored panel opening to a hanging space, over a base with a single drawer, 84cm wide

47cm deep

181cm high

£300 - 500

LOT 188

A pair of Meissen porcelain wall sconces, 19th century, German, each in rococo style, with an acanthus moulded back panel supporting three polychrome-decorated branches, blue crossed swords mark and impressed numbers ‘2961’ and ‘1150’, 29cm wide

10cm deep

31cm high (2)

£1,200 - 1,800

LOT 189

Spare lot

LOT 190

Dr Robert John Thornton (1768-1873), publisher ‘Roses’; ‘Carnations’ two coloured aquatint and mezzotint engravings with hand-colouring from the Temple of Flora, ‘Carnations’ dated 1 January 1812

30 x 21cm, each in a parcel-gilt ebonised frame (2)

£300 - 500

LOT 191

£1,000 - 1,500

Provenance: Wolterton Hall, Norfolk.

A large painted metal chandelier, 19th century, comprising twenty-four branches in three tiers, mounted with fruit, flowers and leaves, the base with a basket, and a glass terminal, 140cm diameter approximately 190cm high

LOT 192

A pair of ebonised and giltwood mirrors, 19th century, each with a moulded octagonal frame and printed label to the reverse ‘J. & W. Vokins, Looking Glass & Picture Frame Manufacturers, Dealers in Drawings & Works of Art, 14 & 16 Great Portland Street, London’, 42cm wide

5cm deep

52cm high (2)

£300 - 500

LOT 193

A fruitwood and ebonised peat bucket, 19th century, with a banded and ribbed design, and a later brass insert and loop handle, 30cm wide

32cm high

£200 - 400

LOT 194

A painted pine box settle, 19th century, Northern European, with a pierced back and arms, hinged seat and square supports, with all-over scumbled decoration, 200cm wide

51cm deep

110cm high

£600 - 800

193 192

A painted and

and gesso

late 19th/early 20th century and later, North Italian, of square form, decorated with masks and verre églomisé detail, 43cm wide 43cm deep 162cm high £300 - 500

18cm deep 34cm high £150 - 250

A set of painted wall-hanging shelves, 19th century, the serpentine-fronted shelves united by columns of double-scroll motifs, 70cm wide 16cm deep 66cm high £200 - 400

LOT 195

parcel-gilt pine

floor lamp,

LOT 196

A glazed pottery table lamp by Casa Pupo, 20th century, in the form of a fish, 19cm wide

LOT 197

196

195

LOT 198

A collection of stoneware items, 19th century and later, comprising three graduated cylindrical jars, a bottle vase, and a model of a fish, bottle 10cm diameter 33cm high (5)

£200 - 400

LOT 199

Two ancient shipwreck amphorae, raised on later metal stands, the larger 43cm wide 45cm deep

66cm high (2)

£300 - 500

LOT 200

A whalebone fid, mid-late 19th century, English or American, with a shaped tip, 21cm long

£300 - 500

LOT 201

A whalebone fid, mid-late 19th century, English or American, with a drilled cord hole to the tip, 20cm long

£300 - 500

LOT 202

A painted wooden doll, 19th century, with painted features and articulated arms, on an associated simulated marble plinth, 13cm wide

40cm high

£200 - 400

LOT 203

An oak and wicker log basket, early 20th century, of rectangular shape with iron mounts, fitted with later castors, 100cm wide

70cm deep

71cm high

£300 - 500

LOT 205

A shellwork valentine, c.1920s, with a basket of flowers modelled from various shell specimens, in an octagonal mahogany glazed frame with hinged door, and with an associated table base with ‘X’ form stretcher, frame 57cm wide 10cm deep

55cm high including base (2)

£800 - 1,200

LOT 204

A shellwork display

early 19th century, English, in the form of a vase containing a large floral arrangement composed of a variety of shells and paper leaves, supported by a similarly decorated ground and circular wooden base raised on three porcelain feet, together with a glass cloche, cloche 17cm diameter

40cm high (2)

£1,000 - 1,500

For a similar example, see Victoria and Albert Museum, London, W.98-1924.

19th century, English, each in the form of a large floral arrangement composed of a variety of shells and paper leaves, on a similarly decorated ground with crabs and shell specimens, raised on a circular wooden base and enclosed in a glass cloche, cloche 23cm diameter

60cm high (4)

£3,000 - 5,000

A

probably mid-19th century, worked in a variety of specimens, heightened with watercolour and arranged with a star to the centre surrounded by floral blooms, housed in an octagonal, glazed and ebonised frame, 38cm wide

6.5cm deep

£700 - 900

LOT 206

A pair of tall shellwork displays

LOT 207

shellwork panel

12cm

26cm

LOT 208

A suzani-inspired flat-weave wool rug, of recent manufacture, embroidered with polychrome tulips to a cream ground, 273 x 257cm £800 - 1,200

LOT 209

A pair of Louis XV-style ormolu and porcelain wall lights 19th century, French, each with a pierced backplate issuing two foliate cast branches and sconces, with Vincennes-style polychrome flower heads, 25cm wide

deep

high (2) £300 - 500

LOT 210

An upholstered chair-back chaise longue, first half of the 20th century, in the Louis-XV taste, with a high back and raised on carved beech supports, 175cm long 80cm wide 86cm high £300 - 500

9.8cm high

£3,000 - 4,000

For a similar example, see Victoria & Albert Museum, accession number 468-1873.

LOT 211

An enamelled glass beaker, early 18th century, Saxony, German, inscribed ‘FARPES’ (Fridericus Augustus Rex Poloniae Elector Saxoniae) above a coat of arms for Augustus II the Strong, the King of Poland and Elector of Saxony, above trophies of war, enclosed with foliate enamelled borders, with a conical kick-up base, 6.3cm diameter

LOT 212 

Howard Rice (late 20th century), a collection of painted fruit, comprising a large pomegranate and two fruit signed ‘HJR’ and dated, largest 7cm diameter 10cm high, together with a further pomegranate and pear by Howard and Fiona Rice, pomegranate 7cm diameter 7cm high (5)

£300 - 500

LOT 213 

Howard Rice (late 20th century), a collection of painted fruit, comprising four figs and two gourds, signed ‘HJR’ and dated, the larger gourd 9cm diameter 11cm high (6)

£300 - 500

LOT 214 

Howard Rice (late 20th century)

a collection of painted apples, comprising four red ‘Gala’, a ‘Howgate Wonder’, two ‘Golden Delicious’, and three others, largest 13cm diameter 9cm high, together with a painted apple, attributed to Howard Rice, 10cm diameter 10cm high (11)

£300 - 500

24cm deep

27cm high (qty.)

£1,500 - 2,000

LOT 215

A Villeroy & Boch ‘Miss Desiree’ glass suite, of recent manufacture, each with pressed glass laurel and panel decoration and raised on an hexagonal base, comprising: twenty-two water goblets, 16.5cm high, twenty-two wine glasses, 15cm high, twenty-two sherry glasses, 14cm high, twenty champagne flutes, 18cm high, twelve tumblers, 9cm high, and twenty-two highball glasses, 14cm high (120) £400 - 600

LOT 216

A Herend ‘Apponyi Green’ part dinner service, 20th century, Hungarian, painted in ‘Chinese Bouquet’ pattern, to include eight dinner plates, an oval tureen and cover, eight teacups and saucers, etc., oval tureen 37cm wide

LOT 217

Two sailor’s love token pincushion displays, probably late 19th century, each in the form of a star decorated with beadwork and tassels, and one inscribed ‘Remember Me From Your Brother’, each mounted in a Perspex hanging display case, display cases 38cm wide 16cm deep (2) £400 - 600

LOT 218

A carved beech bench for Liberty of London, c.1900, Japanese, profusely decorated with flowers, 94cm wide 58cm deep 94cm high £1,000 - 2,000

LOT 219

A painted pine chest 19th/20th century, with later blue painted harlequin decoration, the hinged lid opening to a single interior, with twin side handles, 85cm wide 55cm deep 58cm high £300 - 500

£700

£600

£500

£200 - 400

LOT 220

A contemporary flat-weave carpet, of recent manufacture, with geometric decoration in tones of red and cream, 317 x 244cm

- 900

LOT 221

Two hardwood room screens, of recent manufacture, Chinese, each formed of three panels, 144cm wide 4cm deep 214cm high (2)

- 700

LOT 222

A small vernacular pine settle, 19th century, with a panelled back and a slightly curved seat, 93cm wide 53cm deep 124cm high

- 800

LOT 223

A group of glass and ceramic wares, comprising two painted glass bottles inscribed ‘Gin’ and ‘Whiskey’, two glazed pottery butter dishes, a glazed pottery bowl inscribed ‘Brandy & Water’, and a painted and lacquered papier-mâché wine coaster, glass bottles 9.5cm diameter 34cm high (6)

LOT 224

An Heriz wool runner, 20th century, Persian, woven with geometric floral medallions to a dark red ground, 414 x 65cm

£1,000 - 1,500

LOT 225

A pair of pale gold striped silk curtains, of recent manufacture, lined and interlined, each length 220cm wide (pleated edge) 230cm drop (2) £200 - 400

LOT 226

A stained wooden birdcage, of recent manufacture, decorated with tall spires and columns, 69cm wide 69cm deep 116cm high £200 - 400

226

225 224

Reviving Retro The Resurgence of Sixties and Seventies Jewellery Designs

Jewellery of the 1960s and 1970s was characterised by bold, unconventional design. In the sixties, we saw psychedelic and flower power influences leading to colourful, nature-inspired pieces, whilst the seventies saw a rise in bohemian styles, with chunky, eclectic pieces featuring materials like wood and beads.

We have seen a real resurgence recently in pieces of this era, saying goodbye to the delicate white gold and platinum looks of the early 21st century, and rose gold in the 2010s, welcoming instead the current standout yellow gold designs mimicking those of the 1960s and 1970s. We are seeing this in celebrities being adorned on the red carpet with looks echoing the last century, as witnessed at the recent Golden Globes in Dua Lipa’s choice of a vintage 1960s Tiffany & Co. necklace. Now, we look forward to seeing further archive pieces hitting the Oscars carpet in March.

Whilst thinking of jewellery of the sixties and seventies, one key name that springs to mind is Kutchinsky. The renowned brand - founded by Russian-born Joseph Kutchinsky in the late 19th century - gained international acclaim for its luxurious and distinctive designs. The pieces often featured high-quality gemstones, intricate craftsmanship and a fusion of classic and contemporary styles. It was during the mid-20th century, however, whilst creating pieces for royalty and celebrities, that the brand really took off, becoming known for its bold designs with amazing attention to detail. We are fortunate to have a piece by Kutchinsky in our upcoming Fine Jewellery sale - a masterful tiger brooch, with emerald eyes, and diamonds adorning its face, finished off with vibrant blue enamel, this brooch really signifies everything Kutchinsky is known for. Offering a fantastic opportunity to own something from this renowned jewellers, it comes up for sale in our Fine Jewellery and Watches sale, Tuesday 21 May 2024.

If something more classic is to your style, but still embodying the era, perhaps a pair of gold and enamelled earrings are for you. Created by the British-born jeweller John Donald, who was one of the revolutionaries of his age and whose patrons included Queen Elizabeth The Queen Mother and her daughter Princess Margaret, these earrings also feature in our upcoming sale. With pale blue enamel in a chequerboard style, they are quintessential of the period and very wearable. Donald’s pieces are often sought after - a ring by him achieved £2,800 in our June sale last year and we are expecting much interest in these as well.

Looking forward to the coming year, it’s exciting to see what trends will emerge and the influences behind them. Whether the sixties and seventies are your style, or not, one thing is for sure, exquisite craftsmanship and attention to detail echoes through, in timeless designs that will continue to be worn for generations to come.

Fine Jewellery & Watches

Tuesday 21 May 2024

jewellery@sworder.co.uk

Poul Henningsen and the Three-Shade System

The Understated Art Deco Classic

It is difficult to imagine another design so impactful that it continues to permeate interior trends, almost a century on from its conception. Possibly the Barcelona chair? If it had a Scandinavian counterpart, it would certainly be the Three-Shade System lamp, designed by Poul Henningsen in 1924, colloquially known today as the PH lamp.

The initial concept for the lamp came from Henningsen’s own frustration with the harsh lighting emitting from the homes of 1920s Copenhagen. Whilst electrification of homes had become an increasing norm in Danish cities, the bulbs were, in Henningsen’s mind, a blight from a design perspective, and emitted a light very harsh on the eyes.

Henningsen became obsessed with creating a shade which first and foremost concealed the bulb, and secondly, softened the light emitted. He resolved this by concealing the bulb under a series of graduated metal shades, which through reflection would not only soften the light, but also allow it to be directed. The result would come to earn him the gold medal at the Paris International Exhibition of Modern Decorative and Industrial Arts.

Following on from the Paris Lamp, Henningsen shrunk down the large pendant into a threeshade arrangement which was designed over the consecutive years. The formula could be scaled as needed, which saw it being implemented as pendant lights, table and wall lights, as well as chandeliers, with materials ranging from painted metal to opaque glass, allowing softened illumination through the shade as well as through reflection.

Henningsen would continue to experiment with and refine the formula throughout the rest of his life, with the most recognised iteration, the PH5, emerging in 1958, along with the more experimental Artichoke and Snowball lights launching alongside it.

The Three-Shade system continues to see global recognition to this day, with Louis Poulsen, its manufacturer, bringing out new colourways and iterations, allowing it to be infinitely integrated into modern interiors. Growing up in Sweden, it is something that I remember seeing everywhere, from restaurants and public institutions to the two red PH5 lamps that hung over my grandmother’s dining table.

Poul Henningsen’s contribution to what we today know as ‘Scandinavian Modern’ cannot be overstated enough. Whilst he conceived an immortalised design icon – arguably, the first design icon of Danish modernism - he was also a respected cultural critic and important voice in the development of the movement. Following the success in Paris, he published the ‘Kritisk Revy’, or ‘Critical Review’, in which he criticised the Danish cultural establishment, calling for rejuvenation and modernisation of the Danish domestic interior.

His contributions would lay the foundation for the next generation of designers and architects, which included Arne Jacobsen, Hans Wegner, and Verner Panton. His contribution to the development earned him a place in the ‘Culture Canon’, or ‘Kulturkanonen’, which encompasses 108 works that distil the Danish national identity. These range from Viking ships and Hans Christian Andersen’s ‘The Little Mermaid’ to the Panton Chair - and Poul Henningsen’s humble and visionary three-shade lamp system.

Design

Tuesday 30 April 2024

Otto Billström | design@sworder.co.uk

Textile Tales

Josephine Munsey, Pattern and Colour

Josephine Munsey, a textile designer based in Stroud, began her design journey during the series of COVID-19 lockdowns of 2020 and 2021. Having gained experience working for various design houses, and by acquiring knowledge in numerous fabric and wallpaper printing methods, Josephine, alongside her husband Greg, decided it was the opportune moment to start her own venture, creating wallpaper, fabric and paint.

Her designs are a vibrant and intricate collection of flora, fauna and architectural motifs, interwoven with her own personal history and experience.

Throughout the catalogue, you will find several works of art, silver, ceramics and sculpture that have been photographed with the beautiful patterns designed by Josephine, which we feel give our catalogue a brightness and vitality, perfectly in time with the freshness and hopefulness of spring.

What influences and inspirations shape your designs, and how do you incorporate them into your creative process?

My mother is a talented gardener. She collects ferns and snowdrops and generally her garden is an inspiration of botanical shapes, and if I ever need to name a plant or am lost for a shape, I tend to ask her. I like to look at the ceramic section of the V&A, as they always have incredible patterns and colours from all over the world. I discovered it recently when looking for the textiles section which is now closed. I also like to trawl through second-hand bookshops. I recently found a book on Indian miniatures that has some beautiful images.

How do the creative and production processes work? Walk us through from the first idea to the final design.

I keep sketchbooks which are constantly updated and I record all my photos and drawings in there. Some ideas are eight years old in my sketchbook, and I often go back and look through them and see if any of the old ideas are still relevant or I can merge them to create a new idea. I like to draw out the repeat as a small sketch to see how it would work. I will keep drawing until I think it’s successful. I’ll add a bit of colour to the small section which helps to start visualise it as a wallpaper or fabric. I’ll then blow the design up and draw it to scale, always drawing in repeat and as one piece of artwork. I use paints, pen, or sometimes pencil. When I feel it is finished, I scan the artwork and put it into Photoshop. In Photoshop, I repeat the image and separate the colours, so I can produce a number of colourways easily. Once I have a number of colourways, I will send them to get printed by our fantastic suppliers. I then get the trials back and make a final selection, before printing the samples ready to send out.

In an ever-evolving industry, how do you stay informed about current design trends, and do you actively incorporate them into your work?

I try and make my designs as timeless as possible and tend to try not to actively look at shortterm trends. I think design should stand the test of time as much as possible.

With the growing emphasis on sustainability, how do you integrate eco-friendly practices and materials into your designs?

All of our products are made to order including wallpaper, fabric and paint. This means we are only producing what we need, and we have no stock sitting in warehouses that is unwanted. I am careful not to trial too many colourways and designs, more choosing the final designs, so I do not waste any paper. Any scraps or trials that don’t make it, I use as wrapping paper.

Heritage and History

The Price of Provenance

In the captivating world of art and antiques, each item carries with it a unique story that transcends time and space. Provenance - the documented history of ownership and origin - is crucial for validating authenticity and value. As art and antiques move through auction houses, collectors, and admirers, provenance becomes increasingly essential, serving as a guiding beacon through history.

Authenticity and Trust

Provenance acts as a guardian of authenticity in the realm of art and antiques. As buyers and sellers navigate the intricate web of auctions, establishing the legitimacy of a piece becomes a paramount concern. The documented trail of provenance provides a transparent account of the artwork or antique’s history, offering a sense of assurance to collectors and investors. A clear, well-documented provenance builds trust and confidence, enabling buyers to make informed decisions while ensuring that the treasures they acquire are genuine.

Preserving Cultural Heritage

Beyond the commercial aspects, provenance serves as a crucial tool in preserving cultural heritage. Art and antiques often serve as tangible links to our past, carrying the spirit of civilisations and the stories of those who came before us. Provenance acts as a time-travelling guide, unravelling the narrative of each artefact and placing it within the broader context of history. This documentation not only enriches the understanding of cultural significance, but also safeguards these treasures for future generations, ensuring their legacy endures.

Deterring Illicit Trade

The art world has long been a target for illicit trade and theft. Provenance acts as a deterrent against the circulation of stolen or illegally obtained objects. Auction houses, galleries and collectors are increasingly vigilant about scrutinising provenance to ensure that the pieces they handle have a legitimate and ethical history. By requiring clear provenance documentation, the art market takes a stand against the illicit trade of cultural artefacts, contributing to the global effort to protect cultural heritage.

Market Value and Investment

In the world of art and antiques, provenance is not merely a historical footnote; it is a significant factor that influences market value. A well-documented provenance enhances the marketability of an artwork or antique, making it more attractive to potential buyers. Collectors often seek pieces with distinguished provenance, viewing them as valuable investments with a rich history. Auction houses recognise the importance of provenance in driving demand and, subsequently, the value of items on the rostrum.

In the intricate dance between art, history and commerce, provenance emerges as a linchpin that weaves these elements together. Its significance in the world of art and antiques auctioneering goes far beyond a simple record of ownership; it is a guardian of authenticity, a preserver of cultural heritage, a deterrent against illicit trade and a catalyst for market value. As the art market continues to evolve, the importance of provenance remains steadfast, ensuring that each artefact and antique carries with it a story that resonates across time and enriches the tapestry of human history.

If you would like to learn more about the history of your art and antiques, or have an enquiry about a potential Estate or House Contents Auction, please contact us.

Style from Småland and Beyond

Scandinavian glass has long been admired for its unique ability to balance form and beauty. Home to numerous world-renowned designers and glass manufacturers, output from the region has made a significant impact on the decorative art world, influencing design trends and later studio glass output. While the craft was nurtured over several areas and firms, there are three firms which I am particularly fond of, as outlined below.

Numerous factories operated in the small, wooded area of Småland, romantically referred to as ‘The Kingdom of Crystal’. Using local resources as fuel for the furnaces, glassworks began to appear in the area from the mid-18th century, one such glassworks being Kosta. In the early part of the 20th century, the first two notable designers joined the firm, Simon Gate and Edward Hald. Although they displayed contrasting ideas about design, both offered a new approach to glassmaking. The post-war output from designers such as Vicke Lindstrand rivalled the output produced on the island of Murano. New techniques flourished and their organic forms, so suited for the post-war design environment, still prove to be popular today.

Orrefors is another firm hailing from Sweden that has produced several icons of 20th-century design. Sven Palmqvist, Ingeborg Lundin and Edvin Öhrström are just some of the designers that solidified their biblical status in the glass world. Works such as the ‘Applet’ and ‘Kraka’ vases are instantly recognisable, both of which display an exemplary use of form. One particularly notable feature of their output is the meticulous nature of signatures that feature to the underside of almost all pieces. Denoting the range, designer and model number, they display a level of record taking akin to the British silver hallmarking system.

Finland boasts quality design in most of its furniture and decorative arts, yet, for me, the Nuutajärvi Notsjö glass factory is at the top. A firm that, like many, produced utilitarian items and later shifted to art glass, putting the designer at the fore, and ensuring their output was sophisticated and considered. Kaj Franck is one such name, now with a Design prize titled in his honour, who had a body of work that spanned a clever use of colour, such as the ‘Prisma’ vases, while displaying a playful side in the ‘Kukkopullo’ decanters with their comical stoppers. Female designers also feature much more widely in Scandinavia and Nuutajärvi Notsjö was no different. Gunnel Nyman displayed what a tour de force the Scandinavian firms were, having numerous iconic works to her name - the ‘String of Pearls’, ‘Serpentini’ and ‘Calla’ vases to name a few.

Whether through engraved stylistic works, internal decoration, or simply just a wonderful shape, Scandinavian glass displays a level of skill and competency in all aspects of glassmaking, highlighting the need and success of designer-focused glass, in contrast with other areas of the glassmaking world that did not follow the trend of designer and maker quite so closely.

Evolution of Expression

A Visual Saga of Brushes, Colours, and Creativity

Fingers, brushes, palette knives, sponges - even whole human bodies. These are just a few of the implements artists have used throughout history in the application of paint to a near-infinite variety of surfaces. Perhaps first among these surfaces were cave walls where, some 40,000 years ago, civilisations as far-flung as France and Indonesia used charcoal and iron oxides to depict figures on stone.

By 2000 BC, wall painting began to be done in fresco. This technique demands the quick working of artists; fresco requires the application of water-based paint to still-wet plaster. Fresh sections of plaster would be applied each day and the artist, and his or her (though usually his) assistants, must complete the painting of that area before the surface dried. For a surface as vast as the ceiling of the Sistine, painted AD 1508-12, so high above the heads of the viewer, this could motivate huge, sweeping strokes of paint to capture a figure or garment.

From charcoal and water-based paint, new forms evolved, depending on an artist’s geographic location and on the nature of the work. ‘Tempera’, or ‘egg tempera’ emerged first in Egypt. Tempera paint is created by mixing crushed, ground, powdery pigments into a binding agent - usually the yolk of an egg. It dries with a matte, opaque surface and its colour does not alter with age, though it may appear darkened or discoloured behind a varnish overpaint. It was most often painted on to wood panels, which increased both the weight and the expense of the final product. Tempera was the dominant kind of paint used in Italy in the early to mid-15th century, until the oil painting of the Northern Europeans found popularity, infused into artistic culture through that centre of trade for the known world - Venice.

Artists substituted oil as the binding agent when making this kind of paint, and its slow-drying nature allowed a greater degree of freedom in making changes to a work as it was created. As oil painting began to proliferate, so too did a turn away from painting on panels, and instead towards canvases stretched over wooden frames. These had the advantage of being less expensive to make and much easier to transport - important for the commercially minded Titian, the first Italian artist to produce the majority of his commissions for export. Though artists like Leonardo da Vinci and Titian adopted oil painting and used it with great success, Michelangelo remained a sceptic. He asserted that oil painting was the preserve of lazy, feminine artists like the Venetian Sebastiano del Piombo (a friend and protégé of his in Rome), and Michelangelo himself preferred to use tempera and fresco when he painted. His opinion was a minority view, however, and oil painting has become the dominant form.

Its malleability, the glow which characterises its surface, and the ability to build physical dimensionality with thick layers of oil paint (a technique called impasto), make it an extremely appealing medium. Across geographies and through the centuries - Rubens in the 17th; Fragonard in the 18th; Turner, Van Gogh, Manet, Monet and Renoir in the 19th; Picasso, Dalí, Rothko in the 20th - oil painting proliferates. Other forms include watercolour, extant for millennia, but maintaining popular use since the Renaissance, and acrylic - invented in the 20th century and similar in use to oil painting, with a reduced drying time.

As well as understanding the history behind beautiful pieces of art, our team of specialists are also able to offer their expertise in valuing your works. So, whether it is an Old Master portrait of a young woman, captured with the beautiful softness possible with oil painting, or a more modern artist, such as Maggi Hambling, taking full advantage of the impasto effect, our knowledgeable specialists can provide a complimentary auction valuation and sales advice. Equally, if you are interested in looking for new works to add to your collection, contact our team today.

EXHIBITION

Zimingzhong 凝时聚珍 : Clockwork Treasures from China’s Forbidden City

Discover the Science Museum’s newest exhibition through the eyes of our Asian Art expert, Yexue Li, as she shares why it’s an absolute must-visit.

‘Masters in Forbidden City’ is one of my favourite documentaries; it is a captivating piece that I’ve eagerly recommended to numerous people. Little did I anticipate encountering a star artefact from that documentary here in the UK.

The Forbidden City in Beijing has over 1,500 zimingzhong (automaton clocks), making it one of the most extensive clock collections in the world, and it is a rare privilege to see these twentythree zimingzhong from the 18th century, in London, while it is especially challenging to secure a ticket to view them in Beijing.

During the 17th century, European mechanical clocks and watches were introduced to the Chinese market, and in the 18th century, they were widely used at the Qing court. These clocks were predominantly crafted in Britain, and purchased from foreign merchants by the Administrator of the Canton Customs to be presented to the Imperial Palace as annual tribute. The Qing court allocated 1,500 taels of silver (equivalent to approximately £70,000 today) to the Canton Customs every year for the acquisition of Western clocks and watches. In 1770, a large automaton clock cost about 500 taels of silver (around £2,000 at the time), which can achieve at least £500,000 in today’s auction market.

Following the lifting of the sea ban in the 23rd year of the Kangxi reign (1684), the increasing demand from the Chinese market urged the advancement of British clockmaking. Most of the automaton clocks crafted in Britian during this period featured ornate ormolu designs depicting animals, ancient Greek mythology or scenes from the Far East. These clocks were embellished with vibrant glass flowers, adding to their opulence and allure.

Influenced by imported European clocks, Guangzhou started emulating European mechanical devices, incorporating designs such as pavilions, double gourds and bonsai that were more appealing to the Chinese taste. Cantonese clockmakers enamelled their products with cloisonné and colourful glass, adorning them with traditional auspicious symbols representing wishes for peace, longevity, and blessings, thus imbuing them with a distinct Chinese style. By the late eighteenth century, the clockmaking standards in Guangzhou had reached a level comparable to that of Europe.

At the end of the seventeenth century, the Kangxi emperor established a clockmaking workshop in the Forbidden City called zimingzhongchu (Office of Self-ringing Bells), primarily responsible for making, storing, repairing and maintaining hundreds of intricate zimingzhong in the court collection. Most of the automaton clocks made in the imperial workshops adopted the shape of traditional Chinese architecture, with precious wood like zitan or huanghuali and applied with gilt lacquer, enamels, or kingfisher feathers, giving them an air of solemnity. These timepieces also seamlessly integrated the traditional Chinese timekeeping system of ‘geng’ and ‘ke’ with Western concepts of ‘hours’ and ‘minutes,’ allowing for adjustment based on changing jieqi (solar term). This combination of traditions reflected a distinctive royal style deeply rooted in traditional Chinese timekeeping practices.

The exhibition will be on display at the Science Museum until June 2024. It’s undoubtedly the must-see show of the year.

Zimingzhong 凝时聚珍 : Clockwork Treasures from China’s Forbidden City

At the Science Museum until Sunday 2 June 2024 sciencemuseum.org.uk

Day Two

Tuesday 20 March at 10am

BRITISH AND IRISH SILVER FROM A PRIVATE COLLECTION

LOTS 227-241

Spare lot

LOT 227

A William IV silver condiment ladle probably by John Throp, Birmingham 1825, 13cm long, together with two pairs of silver sugar tongs, 18th century, 12 and 12.5cm long, 1.92ozt total (3)

£200 - 400

LOT 228

A George II Scottish Provincial silver marrow spoon, by Milne and Campbell, Glasgow 1757, 23cm long, together with a George II silver marrow scoop, by Elizabeth Oldfield, London 1752, with a shell back, 21cm long, 3.37ozt total (2)

£300 - 500

LOT 229

A set of six George II Irish silver tablespoons, by John Hamilton, Dublin, date mark indistinct, possibly 1732, Hanoverian pattern, each engraved with a three-turret castle, 20.5cm long, 13.54ozt (6)

£300 - 500

LOT 230

LOT 231

A Queen Anne silver basting spoon, by William Juson, London, date mark possibly 1718, the oval bowl with a plain rat-tail, the terminal with dog nose and reverse with engraved lion crest, 27.5cm long, 2.8ozt £200 - 400

LOT 232

A small George II silver naturalistic ladle, attributed to Francis Harache (fl.1738-1754), London c.1740, with a shell bowl and terminal with foliate decoration, marked with a crowned ‘FH’, 8.2cm long, 2.86ozt £200 - 400

LOT 233

A Queen Anne silver marrow spoon, by Francis Batty II, Newcastle c.1712, the bowl with extended rat-tail and engraved crest, marks indistinct, 21.1cm long, 1.96ozt £200 - 400

LOT 234

A George II Irish silver hook-end spoon, by Daniel Popkins, Dublin 1759, the terminal with a crowned eagle crest, 32cm long, 4.48ozt £300 - 500

LOT 235

A George III Irish silver meat skewer, by Samuel Neville, Dublin 1814, of conventional form, engraved with a dragon crest, 30cm long, 3.13ozt £200 - 400

LOT 236

A George III silver meat skewer, by Robert Jones of Liverpool, Chester 1795, of conventional form, engraved ‘S’ over ‘W N’, 30.7cm long, 2.54ozt £200 - 400

LOT 237

A pair of William IV silver basting spoons, by Joseph Hicks, Exeter 1835-6, Old English pattern, each with bright-cut engraved stems, decorated with floral and foliate motifs, monogram ‘AR’ to the terminal, 23cm long, 4.8ozt (2) £200 - 400

LOT 238

238 237 86 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%

236 235 BRITISH AND IRISH SILVER FROM A PRIVATE COLLECTION 227-241

LOT 239

A Queen Anne silver dog-nose spoon, by Andrew Archer, London 1705, with rat-tail, and engraved initials ‘*P*’ over ‘R*S’, 21cm long, together with a George I dog-nose three-pronged fork, London 1725, 19.5cm long, 4ozt total (2) £200 - 400

LOT 240

A Charles II provincial silver Puritan spoon, probably by James Emery II, Lewes 1668, the reverse of the shaped oval bowl with a rudimentary rat-tail, marked to the reverse of the stem ‘E’ within a heart and a fleur-de-lys, 6.2cm long, 0.89ozt £600 - 800

LOT 241

Spare lot

SILVER

LOT 242

A Dutch-style silver-gilt beaker, 19th century, possibly Hanau, Germany, with later gilding, of tapering cylindrical form with an everted rim and moulded foot, the body with engraved cartouches enclosing town scenes between bouquets of fruit, reserved with hatching, marked underneath with town mark, with pseudo Dutch 17th-century marks to the underside, 15cm high, 9.55ozt

£200 - 400

LOT 243

A George I and later composed pair of silver-gilt cups and covers the first marked London, 1715-16, the second with cancelled marks and LAO no. 9586, each with foliate case twin handles with the body engraved with the arms of Lambert with the motto ‘SEGUITANDO SI GIUNGE’, the covers with engraved Prince of Wales feathers, 26cm wide

17cm deep

24cm high, 96.95ozt (2)

£800 - 1,200

242

A Victorian

James Barclay Hennell, London 1881, with a naturalistically cast handle and raised on three acorn and oak leaf cast feet, 20cm wide

11.5cm high, 17ozt (2)

£300 - 500

LOT 245

A George III Irish silver sauce boat, mark for Charles Townsend, Dublin 1772, with acanthus-wrapped ‘C’ scroll handle and raised on three shell-capped feet, 20cm wide

12cm high, 11.5ozt

£400 - 600

LOT 246

A set of four George III silver salts, by Rebecca Emes & Edward Barnard I, London 1818, two with blue glass liners, 7.5cm wide

5cm high, 12.5ozt (4)

£200 - 400

LOT 247

A George III and later silver soup tureen, with cancelled marks and LAO no. 9587

the cover set with an acanthus-cast handle, above a globular body with similarly decorated twin handles, raised on a spreading circular foot, engraved with the Lambert family coat of arms, bearing the motto ‘SEGUITANDO SI GIUNGE’, altered, 28cm wide

25cm high, 52ozt

£500 - 800

Provenance: Sir Henry Lambert, 4th Baronet (c.1756-1803), thence by descent; Sir Henry Foley Grey (1861-1914), Enville Hall, Staffordshire, thence by descent; Gerald Patrick O’Brien (1930-1979), thence by descent.

LOT 244

silver sauce boat, by

244

246

245

LOT 248

A Charles I East Anglian provincial silver seal-top spoon, by Arthur Haslewood, Norwich 1640, the gilt terminal with pricked work initials ‘T B 1639 WB’, later altered to be a ladle, 16.5cm long, 1.48ozt £1,000 - 1,500

Provenance: The residual contents of Bixley Manor by instruction of the executors of Sir Timothy Colman KG.

Exhibited: Norwich Castle Museum, ‘Norwich Silver 1565-1706’, 1966, no. 65.

Inspected by Goldsmiths’ Antique Plate Committee, case no. 9588, 26 September 2023.

LOT 249

A composed set of three George IV/William IV silver mustard pots, by William Eley (II), Charles Eley & Henry Eley, London 1824, Edward Farrell, London 1834, and Thomas & George Hayter, London 1824, each with a blue glass liner and one with pierced decoration, largest 11cm wide 7.5cm high, 15.6ozt (3) £300 - 500

LOT 250

A collection of George III Irish silver flatware, comprising:

twelve three-pronged table dinner forks, seven by Michael Keating, Dublin 1771, five by John Craig, Dublin 1772, twelve tablespoons, six by John Dalrymple, Dublin 1778, ten fish forks, by Michael Keating, Dublin 1783 and 1785, with another two, smaller, marks rubbed, twelve sauce spoons, various makers and dates, and twelve teaspoons, Dublin, 1796 and 1820, 37.26ozt total (46) £1,500 - 2,000

249

248

LOT 251 

A pair of silver and ivory-mounted figures, late 19th/early 20th century, German, by Neresheimer of Hanau, in the form of a king and queen, the former wearing a brocade tunic and armour, his shield emblazoned with a coat of arms, the queen wearing a floral brocade cloak monogrammed ‘MB’, each 7cm wide

20.5cm high, 28.56ozt (2)

£400 - 600

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 252

A Victorian silver punchbowl, by Walker & Hall, Sheffield 1899, engraved ‘Presented to Mr Herbert George Donald Cory by a few friends at Whitchurch as a memento of the attainment of his Majority December 31st 1900’, 30cm wide

26cm high, 53.96ozt

£1,000 - 2,000

Provenance: The collection of the late Sir Clinton Charles Donald Cory, 5th Baronet of Coryton.

252

251

FURNITURE & WORKS OF ART

LOTS 253-306

LOT 253

A gilt-gesso wall mirror, 19th century, of rectangular form, decorated with chinoiserie scenes, 60cm wide

40cm high

£200 - 400

LOT 254

A Louis XV-style carved, silvered and parcel-gilt bergère, 19th century, the scooped top rail over the back, seat and sides upholstered in pink floral damask, raised on fluted supports, terminating in toupie feet,

76cm wide

51cm deep

91.5cm high

£200 - 400

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

253

LOT 255

A contemporary flat-weave wool carpet, of recent manufacture, with linear decoration in tones of black and cream, 299 x 197cm

£800 - 1,200

LOT 256

A painted pine bookcase in the George II taste, 20th century, with a broken swan-neck pediment above three open shelves and a cupboard base, 107cm wide

41cm deep 196cm high £300 - 500

LOT 257

A sycamore dairy bowl, 19th century, of typical form, 40cm diameter 12cm high, together with another iron-bound and painted sycamore bowl, filled with painted wooden and wax fruit, bowl 23cm diameter 8cm high (qty.) £200 - 400

LOT 258

A pair of giltwood and gesso girandoles, 19th century, Swedish, each with ribbon crestings, 42cm wide

21cm deep 66cm high (2) £200 - 300

40cm deep

71cm high

£200 - 400

23cm

57cm

56cm

81cm

£400

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

46cm high (2)

£200 - 400

260

262

LOT 259

A George III-style steel and brass fire grate, late 19th/early 20th century, in the neoclassical taste, 66cm wide

LOT 260

A Regency cast iron fireplace by the Carron Foundry, c.1820, Scottish, with bullseye roundels and reeded detail, stamped to base, 61cm wide

deep

high

£200 - 400

LOT 261

A carved pine console table, 18th century, the later moulded demilune top, over three monopodium supports, terminating in hoof feet, 119cm wide

deep

high

- 600

LOT 262

A pair of white-glazed pottery table lamps by Casa Pupo, 20th century, each with figural decoration, with some breaks and repairs, 21cm diameter

£350

82cm

£500 - 800

186cm

£200 - 400

67cm deep

87cm

£1,200 - 1,500

264

265

266

263

LOT 263

A sorcerer’s mirror, first half of the 20th century, of circular form, with a rim of concave inclusions leading to a bevelled edge, 40cm diameter

- 450

LOT 264

A giltwood and gesso picture-frame mirror, late 19th century, of shaped rectangular outline, the pierced rococo frame decorated with floral and foliate scrolls, enclosing a later glass plate, 120cm wide

high

LOT 265

A set of four Regency-style mahogany elbow chairs, 19th century, by William Bertram & Sons of London, each with a pierced back and allover reeded detail, the arm supports with carved claw terminals, raised on splayed supports, stamped beneath the seat, 54cm wide

high (4)

LOT 266

A tall Regency-style mahogany torchère, 20th century, with a reeded column and tripod base, 60cm diameter

high

LOT 267

An oak double studio easel, late 19th/early 20th century, French, stamped ‘HOSTELLET PARIS, BREVETE.JG’, on turned wooden castors, 63cm wide

90cm deep

201cm high at lowest

£600 - 800

LOT 268

A Regency mahogany folio stand, c.1820, with an adjustable action and turned stretchers, raised on waisted bun feet, terminating in brass castors, 85cm wide

63cm deep

117cm at highest

£300 - 500

LOT 269

A painted cast iron and oak metamorphic baker’s stand, early 20th century, French, with five shelves and a mechanism for conversion into a table, 82cm wide

57cm deep

140cm high when upright

£300 - 500

LOT 270

A Regency mahogany and ebonised music stand, c.1810, the adjustable stand with candle arms, on a ring-turned support descending on to a tripod base, terminating with bun feet,

50cm wide

39cm deep

115cm high when not extended

£200 - 300

267

268

269

LOT 271

A pair of Victorian walnut and ebonised bookcases, c.1900, each set with three shelves and a plinth base, 111cm wide 28cm deep 118cm high (2)

£800 - 1,200

LOT 272

A Regency rosewood bonheur-du-jour, attributed to John McLean, c.1810, with all-over ormolu mounts, the superstructure set with a pierced gallery and column supports, above a pair of short drawers with star-shaped knobs and with a frieze drawer, raised on tapering turned supports united by an undertier, terminating in brass caps and castors, 82cm wide

45cm deep

112cm high

£400 - 600

LOT 273

A contemporary flat-weave kilim rug, of recent manufacture, decorated in tones of cream and grey, 280 x 189cm

£600 - 800

271

272

LOT 274

An Empire giltwood and gesso pier mirror, c.1800, Swedish, with neoclassical decoration, 70cm wide

140cm high

£800 - 1,200

LOT 275

A pair of painted and parcel-gilt metal lanterns, 20th century, Continental, each with pierced detail, 41cm diameter

76cm high (2)

£300 - 500

LOT 276

A scumbled pine box, 19th century, later painted as a Georgian country house, with twin brass handles to the sides, 44cm wide

45.5cm deep

74cm wide

£400 - 600

LOT 277

A Biedermeier birch sofa, 19th century, Northern European, 252cm wide

71cm deep

97cm high

£400 - 600

276

275

277

274

mahogany drum

19th century and later, the circular top with a leather surface, above frieze drawers set with brass pulls, raised on a later base, 117cm diameter

76cm high

£1,000 - 1,500

71cm deep

41cm high

£400 - 600

Empire mahogany salon suite, 19th century, French, comprising a settee and a pair of chairs, each with a curved back set with a pair of gilt-metal ram’s-head finials, upholstered in black fabric and raised on sabre legs, settee 111cm wide

82cm deep

85cm high (3)

£1,000 - 1,500

LOT 278

A

library table,

LOT 279

An ebonised wooden and scagliola coffee table, 20th century, the rectangular top with painted foliate decoration, raised on reeded square supports, 129cm wide

LOT 280

An

LOT 281

A contemporary abstract carpet, after Picasso, of recent manufacture 309 x 201cm £1,500 - 2,500

280

279 278

LOT 282

A Regency mahogany balloon clock, 19th century, the enamel dial with Arabic and Roman chapter rings, subsidiary seconds and calendar dials, and a twin fusee movement striking on a bell, cased in a marquetry case with urn finial and twin side handles, on scroll feet,

34.5cm wide

23cm deep

61cm high

£300 - 500

LOT 283

A George II walnut and parcel-gilt pier mirror, second quarter of the 18th century and later, the broken swan-neck pediment flanking a foliate crest, the frame of inverted breakfront form set with trailing foliage to the edges, enclosing a rectangular glass plate,

65cm wide

134cm high

£1,000 - 1,500

282

LOT 284

A two-seater sofa by George Smith, of recent manufacture, in the Howard & Sons ‘Baring’ style, with velvet upholstery and raised on turned feet, terminating in brass caps and castors, 210cm wide

100cm deep

87cm high

£800 - 1,200

LOT 285

A pair of Kashan pictorial wool rugs, early 20th century, each central field with a landscape depicting figures, animals and buildings, 152 x 108cm (2)

£800 - 1,200

LOT 286

A Victorian painted pine overmantel mirror, late 19th century, decorated in the neoclassical taste with pilasters and gadrooned moulding, set with the crests of the Rickards of Old Radnor and the Perkins of Fishlake, 190cm wide 153cm high £400 - 600

LOT 287

An oak cutlery tray, late 18th/early 19th century, with a pierced handle and two divisions, raised on two block feet,

46cm wide

29cm deep

25cm high

£200 - 300

285

284

288

LOT 288

A pair of George II mahogany ladder-back side chairs, second quarter of the 18th century, each with striped-upholstered seats and raised on cabriole supports, terminating in pad feet,

57cm wide

53cm deep

110cm high (2)

£300 - 500

LOT 289

A small oak chest on stand, early 18th century, with a hinged lid above a pair of panelled drawers, the base with turned and stretchered baluster supports terminating in peg feet,

77cm wide

50cm deep

85cm high

£400 - 600

LOT 290 A painted wooden faux-bamboo bookcase, of recent manufacture, the upper section with a pair of glazed doors enclosing three shelves, on a cupboard base, 100cm wide

51cm deep

192cm high

£400 - 600

LOT 291

A George III mahogany bedside commode, late 18th century, of concave shape with a tambour slide above a leather-lined drawer, raised on square supports, 61cm wide

52cm deep

76cm high

£200 - 400

291 290

289

23cm deep

57cm high £300

50cm

43cm deep

61cm high £300 - 500

LOT 292

A set of painted wooden and steel hanging shelves, 19th century and later, converted from a Victorian paper roll cutter, with hinged actions, 70cm wide

- 500

LOT 293

A Transitional oak chest of drawers, late 17th century and later, the rectangular top above two short and three graduated drawers with moulded detail, raised on bracket feet, 87cm wide

deep

89.5cm high £300 - 500

LOT 294

A pair of carved oak panels, 19th century and later, French, each centred with a mythical figure, each 84cm wide 198cm high (2) £400 - 600

LOT 295

A George II-style mahogany, parcel-gilt and faux marble occasional table, c.1900, the painted top on four scrolled supports, with carved and gilt foliate knees, and claw and ball feet, 81cm wide

292

294

295

293

Provenance: Wolterton Hall, Norfolk.

LOT 296

A George II mahogany gateleg dining table, mid-18th century, the oval twin-flap top above carved cabriole legs with hoof feet, 152cm wide 131cm deep 71.5cm high £400 - 600

LOT 297

A Qum wool and silk carpet, Persian, the central field with repeating stylised boteh motifs on a cream ground,296 x 200cm £1,000 - 1,500

LOT 298

A George III oak bacon settle, 18th century, of concave form, with a moulded cornice, over two panelled cupboards enclosing three shelves, over two open compartments, once with doors, 153cm wide 62cm deep 162cm high £400 - 600

LOT 299

A pair of Hollywood Regency bronzed, wooden and metal uplighters, 20th century, each with basketwork detail, 49cm diameter 178cm high (2) £800 - 1,200 298

297

296 FURNITURE & WORKS OF ART 253-306

LOT 300

An opposing pair of kilim flat-weave runners, 20th century, formed of two halves of a rug, each with repeating geometric motifs in polychrome colours, each 315 x 100cm (2)

£300 - 500

LOT 301

A Qashqai runner, 20th century, Persian, 280 x 105cm £200 - 300

LOT 302

A Bakhtiari rug, first half of the 20th century, Persian, with a lattice design to a dark navy ground, 173 x 89cm

£200 - 300

LOT 303

A Shirvan wool runner, c.1920, East Caucasian, woven with repeating geometric motifs to a blue ground, 293 x 118cm

£300 - 500

305

LOT 304

A baroque carved and painted pine putto, 18th century, Continental, depicted nude, sitting on a mass of clouds and wrapped in a drape, 39cm wide

22cm deep

58cm high

£200 - 400

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 305

After Louis Hottot, late 19th/early 20th century, an Orientalist bronzed and cold-painted spelter figure of an African Moor, 21cm wide

20cm deep

49cm high

£400 - 600

LOT 306

A Victorian cast iron doorstop, late 19th century, in the form of an orange tree, 17cm wide

8cm deep

30cm high

£150 - 250

306

304

Fin-tastic Finds: A Private Collection of English Char Dishes

In the coming pages, we are very pleased to present a series of English pottery char dishes collected by Keith Elliott, the Founder and Editor of Classic Angling , the world’s leading magazine devoted to antique and classic tackle. Combining journalistic training with a passion for exploration and adventure fishing, Keith has travelled to some of the most remote corners of the world in search of the rarest marine species and antique tackle, and expertly crafted these memories into words to create vivid retellings that capture the attention of even the most novice of anglers.

With an encyclopaedic knowledge of fishing facts and more than twenty-three years’ worth of experience writing fishing-related columns for The Independent , Keith has become a respected authority in the field, often adding comment and debate to the unusual stories that emerge from the waves and championing the preservation of endangered fish, most notably as head of the Mahseer Trust. However, he is also an avid collector of piscatoriana, and his char dishes have sat alongside all manner of related books, papers and mementoes in his home, The Old Anchor, for many years before floating to Sworders.

For the uninitiated, a char dish serves as the vessel for the popular English delicacy known as ‘potted char,’ once beloved from the early-18th to the mid-19th century. The char - a freshwater salmon species prevalent in British waters such as Lake Windermere in Cumbria and the deep lakes of Wales and Scotland - lends its name to the dishes. Crafted from creamware and pearlware, these pots boast a whimsical charm, adorned with cartoonish and vibrant illustrations of aquatic life, and while they now predominantly serve as delightful decor pieces, one example in the collection still offers a tantalising glimpse into history, featuring a label with a ‘recipe for potted char from Sir Francis Colchester’, affixed to the inside.

LOT 307

Two glazed pottery char dishes, 19th century, comprising a pearlware example decorated with green and red fish, together with another creamware example, pearlware 17cm diameter

4.5cm high (2)

£300 - 500

LOT 308

Two pearlware char dishes, 18th/19th century, each decorated with polychrome fish, one with a handwritten label to the inside for ‘Recipe for potted char from Sir Francis Colchester’, larger 22cm diameter

4cm high (2)

£400 - 600

LOT 309

Two glazed ceramic char dishes, 19th century, comprising two creamware examples, one decorated with monochrome fish, the other with polychrome, larger 19cm diameter

4cm high (2)

£400 - 600

LOT 310

Three glazed pottery char dishes, 19th century, comprising a pearlware example decorated with green and red fish, and two other creamware examples, pearlware 17cm diameter

4cm high (3)

£400 - 600

LOT 311

Two glazed pottery char dishes, 19th century, comprising a pearlware example decorated with blue fish, and another, smaller, larger 19cm diameter

5cm high (2)

£400 - 600

LOT 312

Two glazed pottery char dishes, 19th century, comprising a pearlware example decorated with polychrome fish, and another, smaller, pearlware 19.5cm diameter

5cm high (2)

£300 - 500

LOT 313

Two glazed pottery char dishes, 19th century, each decorated with polychrome fish, approximately 177cm diameter

4.5cm high (2)

£200 - 300

LOT 314

Two glazed pottery char dishes, 18th/19th century, comprising one example decorated with brown and green fish, and another, smaller, larger 23.5cm diameter

5cm high (2)

£300 - 500

307-318

312 313

LOT 315

Two glazed pottery char dishes, 19th century, comprising a pearlware example decorated with polychrome fish, and another, smaller, larger 13cm diameter

5cm high (2)

£300 - 500

LOT 316

Two glazed pottery char dishes, 18th/19th century, comprising one decorated with a monochrome brown fish, and one other, larger, larger 20cm diameter

5cm high (2)

£300 - 500

LOT 317

Three glazed pottery char dishes, 19th/20th century, comprising a large example decorated with polychrome fish, a modern dish and cover by Emma Bridgewater, and another modern plate by Portmeirion Pottery, 24.5cm diameter

5cm high (4)

£200 - 300

LOT 318

A glazed pottery char dish, 19th century, the pearlware dish decorated with naive fish in greens, oranges and browns, 20cm diameter 4.5cm high

£300 - 500

FURNITURE & WORKS OF ART

LOTS 319-481

LOT 319

A group of three Kuba raffia appliquéd cloths, of recent manufacture, Democratic Republic of the Congo,

276 x 71cm

295 x 48cm

195 x 52cm (3)

£300 - 500

LOT 320

A group of three Kuba raffia appliquéd cloths, of recent manufacture, Democratic Republic of the Congo,

333 x 59cm

327 x 50cm

316 x 39.5cm (3)

£300 - 500

LOT 321

A group of batik resist-dyed cloths, mid-late 20th century, Indonesian, in reds and blues, comprising tulis and hand-stamped examples, various sizes (4)

£300 - 500

LOT 322

A group of batik resist-dyed cloths, mid-late 20th century, Indonesian, in reds, blues and golds, comprising tulis and hand-stamped examples, various sizes (5)

£300 - 500

LOT 323

A group of batik resist-dyed cloths, mid-late 20th century, Indonesian, in predominantly golds, comprising tulis and hand-stamped examples, various sizes (5)

£300 - 500

323

322

321

320

319

£600 - 800

LOT 324

An embroidered prayer suzani, early 20th century, Uzbek, in the Samarkand style, worked in purple and red silks on cotton, decorated with bold flower head medallions within borders of meandering tendrils, 227 x 168cm

Joseph Charles French was a collector of Indian, Tibetan, and Japanese art, whose collection of objects and Indian paintings were divided between the British Museum and the Victoria and Albert Museum, London, 1920s-50s. The group of items in the British Museum was acquired with the assistance of the National Art Collections Fund (now the Art Fund). French was also an academic and his work ‘Himalayan Art’, covering the history and background of Kangra Valley painting, was published in 1936.

26.5 x 20.5cm, in a velvet and painted wooden frame £200 - 300

LOT 325

Indian Mughal School, late 19th/early 20th century, two gouache pictures of a Maharajah holding a talwar and a flower, 18 x 9cm, mounted (2) £300 - 500

325

327

LOT 326

Indian Mughal School in the manner of Ruknuddin, 17th century, a miniature painting fragment depicting a pair of guinea fowl, gouache on paper, with a label to the reverse ‘From the J. C. French Collection’, 3.5 x 3cm, framed and glazed £200 - 400

LOT 327 

An oval miniature display, 19th century, Indian, comprising an oval painting on ivory depicting the Jama Masjid, Delhi, surrounded by six smaller views of other Mughal monuments.

LOT 328

A Louis XV Gobelins mythological tapestry of the Marriage of Cupid and Psyche, probably first half of the 18th century, French, woven in wools and silks, depicting L’Hymen de l’Amour et de Psiché (The Hymen of Cupid and Psyche) from the series the Sujets de la Fable after Raphael (The Subjects of the Fable after Raphael), the cartoon by Louis de Boulogne, depicting Cupid and Psyche seated on a bed, approached by Hymen, the god of marriage, to the left holding a lit torch aloft, the frame pattern border surmounted with monogrammed crest supported by an amatory trophy and further trophy below, 457cm wide

335cm high

£25,000 - 35,000

Provenance: Private commission from Gobelins Manufactory, Paris; The Shelswell-White Collection, Bantry House, Co. Cork, Ireland; Sotheby’s, ‘French & Continental Furniture, Decorations & Clocks’, 28 November 1986, lot 14; a private collection, thence by descent to the present owner.

Literature: Edith Appleton Standen, ‘European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum’, 1985, Vol. I, pp.316-321; Edith Appleton Standen, ‘The Sujets de La Fable Gobelins Tapestries: The Art Bulletin’, 46, no. 2, 1964, pp.143–57; Maurice Fenaille II, ‘État généiul des tapisseries de la manufacture des gobelins, 1600-1900’, Vol. II, 1903-1923, pp.267-278.

The present tapestry depicts Cupid and Psyche seated on a bed to the right of the scene, flanked by two figural columns supporting a rich textile drapery and garlands of flowers. Two putti stand at the foot of the bed removing Psyche’s shoes and a third adorns her hair. Two female attendants are pictured behind the bed, one holds out a basin pouring water into which Psyche washes her hand, another stands just behind preparing a cloth to dry her. On the left, Hymen approaches the couple holding a lit torch aloft; he is accompanied by two cherubs, one of which holds a basket of flowers on their head. In the far background in a woodland clearing, a group of satyrs are seen sacrificing a wild boar.

The source material for the present example can be traced to a series of drawings, at the time attributed to Raphael and owned by King Louis XIV of France, which are known to have influenced at least seven series of tapestries woven by the Gobelins manufactory from the 1680s, three of which were made for especially for Louis XIV. Examples of tapestries from series other than our own can be found in the Palais de Compiegne, the Louvre and the Mobilier National, Paris; the sixth series may be represented by a piece known to have been owned by the Duke of Alba in the 1960s.

From the eight subjects within the set, the present example seems to be entirely based on a drawing in the Louvre (inventory number 3482, illustrated in Fenaille, fig.24, pl. facing p.248); described as school of Raphael, now attributed to the school of Giulio Romano. This was a recognised scene at Gobelins, where, in a 1690 inventory, it was called L’himen de Psiche et de l’Amor (Fenaille, p.268). The first weaving of the tapestry is in the Chateau de Pau (right half) and the Chateau de Rambouillet (left half); the second weaving is in the Chateau de Compiegne (now on loan to the Museum of Besancon), and the third in Vienna.

Edith Appleton Standen in her book ‘European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum’ references an eighteenth-century weaving from a private commission in the Shelswell-White collection at Bantry House. This tapestry, depicting ‘Cupid and Psyche Bathing’ after a fresco by Giulio Romano in the Sala di Psiche of the Palazzo del Te at Mantua, is pictured in the Drawing Room at Bantry in ‘Irish Houses & Castles’ by Desmond Guinness and William Ryan, published 1971, next to the present example. The two tapestries share the same monogrammed border and it is reasonable to assume they from the same privately commissioned set.

The collection of furniture and art at Bantry House has been written about with great renown, thanks entirely to the second Earl of Bantry, Richard White (1800-1868). Succeeding his father in 1851, he travelled frequently throughout Europe as far as Russia and Poland, enthusiastically adding to the collections that occupied his recently enlarged home, so much so, that it has historically been remarked upon as ‘the Wallace collection of Ireland’. The collection’s crowning glory was its tapestries, including a seventeenth-century set, Dutch in origin, as well as examples from the premier French workshops of the eighteenth and nineteenth centuries, Aubusson, Gobelins and Beauvais, comprising a particularly beautiful set of rose-coloured Aubusson tapestries said to have been made for Louis XV in celebration of Marie Antoinette’s marriage to the Dauphin of France and hung at Versailles.

A pair of Royal Sèvres shallow porcelain bowls, 19th century, French, from the Service ‘Ordinaire’ de Fontainebleau (Hunting Service), commissioned for Château de Fontainebleau, each border with crowned monograms of Louis-Philippe I amongst scrolling foliage and animals, with green painted crown marks to the underside for 1846, blue decorating marks for 1847, iron-red ‘CHÂTEAU DE F. BLEAU’ mark, incised potter’s mark, 23.5cm diameter (2)

£500 - 700

A pair of Royal Sèvres porcelain serving plates, 19th century, French, from the Service des Officiers, commissioned for use at Château d’Eu, each decorated to the centre with a gilt-crowned monogram for Louis-Philippe I, with green painted crown marks to the underside for 1846, blue decorating marks for 1846, iron-red ‘CHATEAU D’EU’ mark, 27.5cm diameter (2)

£600 - 800

For a similar example, see Victoria & Albert Museum, accession number C.36-2007.

A pair of Meissen porcelain plates, early 19th century, c.1820, German, each painted to the centre with a landscape, within a ‘Dulong’ moulded border decorated with cherubs and insects, painted blue crossed swords mark to the underside, 25cm diameter (2) £500 - 700

LOT 329

LOT 330

LOT 331

331

330

329

subject in German with a blue painted beehive mark, 41.5cm diameter with mount 46.5cm diameter, in ormolu frames (2)

£1,000 - 2,000

For a full discussion of this lot, please refer to our online catalogue at www.sworder.co.uk

75.5cm

£200 - 300

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

25cm

£200 - 400

334

333

332

LOT 332

A pair of Vienna porcelain chargers, late 19th century, each decorated with a Renaissancestyle historical scene signed ‘A Hubert’, the first depicting Christopher Columbus landing at the port of Palos, 1492/3, the other with the Coronation of Stephen I of Hungary, AD 1000, the reverse of each plaque inscribed with the

LOT 333

A giltwood wall mirror, 19th century, the shield-shaped plate surmounted by a French horn flanked by two ho-o birds, 77cm wide

high

LOT 334

A pair of brass candlesticks, 18th century, each of knopped baluster form, 15cm wide

high (2)

LOT 335

A small beech model of a cart, early 20th century, 40cm wide

90cm deep

66cm high

£150 - 250

LOT 336

A George III coromandel and ebonised serving table, late 18th/early 19th century and later, of serpentine outline, fitted with three drawers and raised on tapering square supports, re-veneered, 175cm wide

66cm deep

91cm high

£500 - 700

LOT 337

A large dug-out wooden dough trough, 20th century, of typical boat shape, 155cm long

61cm wide

27cm high

£200 - 400

LOT 338

A Limoges porcelain dessert service, c.1890s, each piece with moulded flower head decoration to the rim, comprising: eleven scalloped dessert plates, 22.5cm diameter, a footed serving dish, 30.5cm wide, a serving bowl, 22cm diameter, and a twin-handled square dish, 22cm wide (14)

£200 - 400

336

335

338

337

LOT 339

A large painted pine marriage chest, dated ‘1863’, Swedish, with a domed top and a pair of carry handles,

158cm wide

67cm deep

75cm high

£300 - 500

LOT 340

A pair of Gustavian-style giltwood and gesso girandoles, 200 late 19th/early 20th century, Swedish, each of rectangular shape surmounted with urns,

31cm wide

15cm deep

66cm high (2)

£200 - 400

LOT 341

An oak refectory table, late 18th/early 19th century, with a cleated plank top, raised on chamfered square supports united by an ‘H’ stretcher, 221cm wide

77cm deep

73cm high

£600 - 800

LOT 342

A harlequin set of eight elm and beech kitchen chairs, 19th century, of Oxford farmhouse pattern, 40cm wide

48cm deep

87cm high (8)

£800 - 1,200

342

341

339

340

LOT 343

A George II-style Gainsborough library armchair, 19th century, the serpentine top rail over a leatherupholstered back and sides, raised on a fret-carved apron and square supports, terminating in castors, 76cm wide

72cm deep

100.5cm high

£1,000 - 2,000

LOT 344

A flat-weave wool carpet of Scandinavian design, of recent manufacture, woven with geometric motifs in tones of blue, 423 x 297cm

£1,500 - 2,500

343

344

LOT 345

A painted pine armoire, late 18th/early 19th century, Northern European, with a domed top and a pair of doors, enclosing shelves and hanging space, 122cm wide

55cm deep

175cm high

£300 - 500

LOT 346

A marble and brass bench, 20th century, the rectangular top above two arched supports, 117cm wide

44cm deep

46cm high £200 - 400

LOT 347

Two George III mahogany side chairs, 18th century, each upholstered in needlepoint fabric and raised on square supports united by stretchers, larger 54cm wide

65cm deep

100cm high (2)

£150 - 250

Provenance: Wolterton Hall, Norfolk.

347 346

51cm

51cm

62cm high

£400 - 600

77cm

104cm high

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

LOT 348

A teak and brass occasional table, late 19th/early 20th century, Indian, Hoshiarpur, the rectangular top raised on a folding pierced base, profusely decorated with floral and foliate inlay, 76cm wide

deep

LOT 349

A provincial oak lowboy, 18th century, the moulded top above three drawers and a shaped apron, raised on square cabriole supports, 74cm wide

deep

69cm high £300 - 500

LOT 350

A Charles II-style carved and gilt-pine mirror, probably 19th century, but incorporating some earlier elements, the pierced frame carved with putti and foliate scrolls, surrounding a mercury glass plate, 88cm wide

£400 - 600

LOT 351

A carved beech and glass dining table, late 20th century, the circular top raised on a pineapple base, 137cm diameter

high £300 - 500

351

350

349

348

LOT 352

A set of four ebonised beech side chairs, late 19th/early 20th century, each with a woven rush seat, 42cm wide

48cm deep

85cm high (4)

£200 - 400

LOT 353

A pair of glazed pottery table lamps, late 20th century, Italian, each in the form of an eagle, 63cm wide

28cm deep

68cm high (2)

£200 - 400

LOT 354

A pair of Brighton Pavilion-type bamboo elbow chairs, 20th century, 56cm wide 63cm deep

89cm high (2)

£200 - 400

LOT 355

A terracotta bust, 20th century, by David Fisher for Austin Productions, 31cm wide 30cm deep 58cm high

£200 - 400

355

354

353

352

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

359

358

357 356

LOT 356

A carved walnut and mother-of-pearl occasional table, c.1900, Syrian, Damascus, the octagonal top carved with scrolls and script, above carved and turned supports, united by a shaped undertier, 56cm diameter 65cm high £200 - 400

LOT 357

A rustic rootwood coffee table, 20th century, with an oval top above a gnarled knotted base, 96cm wide 53cm deep 50cm high £200 - 400

LOT 358

A carved giltwood pelmet mount, 19th century, in the form of a coiled snake, 240cm long 20cm high £200 - 400

LOT 359

Two oak stick stands, 20th century, one with eight divisions, the other four, each with pointed finials, chamfered square supports and a painted metal liner, larger 125cm wide 31cm deep 63cm high (2) £200 - 400

A Khorassan wool carpet, 19th century, Persian, the central field woven with a diamond medallion to a red ground,

411 x 296cm

£5,000 - 7,000

LOT 360

364 363

95cm high

£200 - 400

Provenance: Wolterton Hall, Norfolk.

54cm

110cm

72cm wide

66cm deep

74cm high

£400 - 600

LOT 361

A wrought-metal sixteen-light chandelier, 20th century, with petalled branches, 90cm diameter

LOT 362

A Regency-style giltwood convex mirror, 20th century, with an ebonised ribbed slip, gilt ball frame and eagle crest, 63cm wide 88cm high £200 - 400

LOT 363

A canvas and metal-mounted steamer cabin trunk, early 20th century, with a fitted interior, 88cm wide

deep

high when open £200 - 400

LOT 364

A George III mahogany Pembroke table, c.1760, the rectangular top over a single frieze drawer, raised on square supports united by stretchers terminating in brass caps and castors,

362 361

LOT 365

A rosewood centre table, 19th century and later, the octagonal top fitted with a pietra dura panel of lapis lazuli and other hardstones, decorated with Masonic motifs, 145cm wide 12cm deep 80cm high £3,000 - 5,000

54cm deep

82cm high

£200 - 400

68cm deep

90cm high

£600 - 800

£200 -

£700 -

LOT 366

A beech ‘Sussex’ chair in the manner of Philip Webb, early 20th century, with turned faux bamboo spindles and a cane seat, 54cm wide

LOT 367

A group of five velvet cushions by Designers Guild, of recent manufacture, comprising three square and two rectangular, each with a large Impressionist-style floral pattern, square examples 51 x 51cm (5)

400

LOT 368

A George III mahogany settee, c.1790, upholstered in black fabric and raised on slender square supports, terminating in brass caps and castors, 136cm wide

LOT 369

A contemporary flat-weave carpet, of recent manufacture, with geometric decorations in tones of blue and cream, 305 x 252cm

900

369 368

366 367

£300

£300 - 500

a feathered shade, 44cm diameter 69cm high in total (2)

£400 - 600

£400

LOT 370

A Gustavian painted pine tile-topped side table, late 18th/early 19th century, Swedish, the rectangular top with inset delft-style blue and white tiles, and with a moulded edge, raised on square fluted supports terminating in block feet, 95cm wide 69cm deep 76cm high

LOT 371

A pair of oak wingback armchairs by OKA, of recent manufacture, each with pale studded upholstery, raised on tapering square supports, 66cm wide 81cm deep 104cm high (2)

- 600

LOT 372

Three painted wooden side chairs, 19th century, a Regency example with Greek key decoration, 57cm wide 54cm deep 84cm high, and two others (3)

- 500

LOT 373

A pair of stoneware spirit-bottle table lamps, 19th century, each decorated with embossed royal coats of arms, and painted with ‘Brandy’ and ‘Whisky’, converted, each with

370

372

371

LOT 374

A painted wooden ‘doll’s house’ wardrobe, of recent manufacture, in the form of a Georgian house, with two doors enclosing shelves, above two long drawers and a plinth base, 127cm wide

55cm deep

220cm high

£400 - 600

LOT 375

A painted toleware tray, 19th century, decorated with a tabletop still life, 54 x 68cm

£400 - 600

LOT 376

A kilim flat-weave rug, of recent manufacture, Afghan, woven with geometric motifs in vibrant polychrome colours, 287 x 207cm

£500 - 700

374

375

LOT 377

A pair of wicker single bed ends, 20th century, each with scrolling foliate detail, 99cm wide 122cm high (2)

£200 - 400

LOT 378

A Louis XVI-style gilt-bronze and copper candelabrum, late 19th/early 20th century, of neoclassical form, converted to a table lamp 26cm wide 26cm deep 81cm high including shade £200 - 400

LOT 379

A pair of painted bamboo Brighton Pavilion-type elbow chairs, 20th century, 57cm wide 61cm deep 90cm high (2) £200 - 400

LOT 380

A pair of Napoleon III Empire-style gilt-bronze and marble candelabra, second half of the 19th century, French, each with a Pious Pelican finial and monopod supports, on a rouge marble plinth, 24cm diameter

73cm high (2)

£200 - 400

LOT 381

A painted pine settle, 19th century, with a panelled back over a solid seat and fret-cut sides and arms, 188cm wide

40cm deep

123cm high £400 - 600

Provenance: Wolterton Hall, Norfolk.

LOT 382

A contemporary Bauhaus-inspired flat-weave carpet, of recent manufacture, with polychrome decoration, 294 x 194cm

£800 - 1,200

382

381 380

A pair of Empire-style gilt-metal and rouge marble table lamps, early 20th century, French, each of neoclassical form, 18cm wide 17cm deep 71cm high including shades (2) £300 - 500

LOT 384

A Gothic-style copper wall lantern by Charles Edwards, of recent manufacture, with a repeating trefoilshaped gallery, over a quatrefoil pierced frieze and five glass arched panels, 28cm wide

21cm deep

35cm high £200 - 400

LOT 385

A lead birdbath, early 20th century, attributed to H Crowther Ltd., after a 19th-century cast from the Val d’Osne foundry, Paris, depicting a boy resting on a lily pad, 40cm wide

37cm deep

45cm high

£300 - 500

LOT 386

A pine kitchen table, early 20th century, French, with a cleated plank top above tapering square supports,

191cm wide

83cm deep

75cm high

£300 - 500

385

384 383

LOT 383

354 x 327cm

£5,000 - 8,000

LOT 387

A Ziegler Mahal wool carpet

20th century, Persian, the central field densely woven with floral and foliate motifs, to a deep red ground,

389

388

LOT 388

A wool carpet of Serapi design, 20th century, the field woven with geometric motifs to a red ground, 315 x 235cm £1,000 - 1,500

LOT 389

A painted wooden desk clock stand, 19th century, modelled as Saltwood Castle, Kent, 22cm wide

7cm deep

14cm high £300 - 400

LOT 390

A large mahogany plate stand in the manner of Gillows, 19th century, with a shaped plate rest over a weighted base, 31cm wide

28cm deep

46cm high £300 - 500

LOT 391

A baroque walnut, ebonised and verre églomisé table cabinet, 17th century, of rectangular form, the six painted drawers each depicting stylised animals within applied ripple mouldings, raised on four later squat bun feet,

64cm wide

28cm deep

35cm high

£1,000 - 1,500

LOT 392

A large carved oak and painted bas-relief panel, probably 17th century, Flemish/Netherlandish, depicting Christ and the Apostles, with a label to the reverse ‘Taken from an old church in Worcester about the Battle of Worcester 1608 [sic]’, 135 x 107cm, framed and glazed £200 - 400

391

392

LOT 393

A George III mahogany chest on chest late 18th century, fitted with two short over six long drawers, raised on bracket feet,

102cm wide

53cm deep

182cm high

£300 - 500

LOT 394

A George III polished steel fender, early 19th century, with pierced and engraved detail, 151cm wide

21cm deep

19cm high

£200 - 400

LOT 395

A pair of imitation granite scagliola plinths, 20th century, each of square form, on a stepped base, 41cm wide

41cm deep

107cm high (2)

£400 - 600

394

393

48cm

102cm

£200

64cm

212cm

£200

LOT 396

A pair of Louis XVI-style gilt-bronze wall lights, late 19th/early 20th century, French, each with a pair of cornucopia branches, 25cm wide 18cm deep 28cm high (2)

£300 - 500

399

397

396

LOT 397

A Victorian mahogany warming cupboard, second half of the 19th century, the panelled rectangular door enclosing shelves, 74cm wide

deep

high

- 400

LOT 398

Spare lot

LOT 399

A Regency mahogany linen press, 19th century, the part-ebonised, panelled, flame-veneered doors, over a base with two short and two long drawers, raised on turned toupie feet, 142cm wide

deep

high

- 400

wide

14cm deep 69cm high (4)

£600 - 800

44cm deep

93cm high

£200 - 300

A pair of George III mahogany side tables, late 18th century, each of demilune outline, raised on tapering square supports, adapted, 135cm wide 65cm deep 71cm high (2)

£300 - 500

A mahogany linen press, 19th century, the moulded frieze over two grille-panelled doors and raised on a base with twin doors, 134cm wide 61.5cm deep 212cm high

£200 - 400

LOT 400

A set of four George III-style gilt-brass wall lights, early 20th century, each in the neoclassical taste, 30cm

LOT 401

A painted wooden chest of drawers, 20th century, the rectangular moulded top over two short and three long drawers, with beaded sides and gilt-metal pull handles, raised on squat bun feet, 94cm wide

LOT 402

LOT 403

402

401

LOT 404

A flat-weave wool runner, c.1930s, Swedish, woven in geometric patterns to a natural ground, 426 x 62cm £200 - 400

LOT 405

A set of eleven brass buckets, each fitted with an iron handle and raised on a spreading foot, 31cm wide 25cm high (11)

£300 - 500

LOT 406

A copper copper, 19th century, with an everted rim, on a later wrought-iron stand with scrolled supports, refinished, 51cm diameter 42cm high £200 - 400

406

405

404

LOT 407

A glazed pottery boxer dog, 20th century, Continental, in a standing position, 75cm long 28cm wide 56cm high £200 - 400

LOT 408

A set of six metal wall lights, early 20th century, stamped ‘KE’, 13cm wide 12cm deep 31cm high (6) £200 - 400

LOT 409

Three Meissen-style porcelain Bolognese dogs, 19th century, probably Samson of Paris, comprising: one on its hind legs, standing 30cm high, and two other seated examples, after the ‘Bologneser Hund’ by Johann Joachim Kändler, approximately 28cm wide 20cm high, all with pseudo blue crossed swords mark (3) £400 - 600

LOT 410

A painted stoneware figure of a Dobermann dog, 19th century, modelled in a reclining position, 52cm wide 26cm deep 27cm high £200 - 400

LOT 411

An Anatolian kilim flat-weave runner, c.1900, Turkish, with repeating geometric decoration in polychrome colours, 445 x 168cm £400 - 600

407

408

410

409

411

£300 - 500

£200 - 400

£300 - 500

LOT 412

Two delftware tin-glazed earthenware punchbowls, early-mid 19th century, English, one decorated in predominantly blues and oranges, inscribed to the centre ‘Mr Robert Smith/see Toun Carnbulge’, 29cm wide 13cm high (2)

LOT 413

A porcelain ‘Bamboo and Rock’ part-service, 19th century, after a Spode design, comprising two serving bowls, a serving platter and eleven plates, platter 28 x 36cm (14)

LOT 414

A large Doulton cream-glazed stoneware jug, 19th century, stamped to the shoulder ‘Doulton & Co. Limited, Lambeth’, 31cm wide 39cm high, together with a creamware tureen with pierced honeycomb cover, 29cm wide 18cm high, a scalloped creamware serving bowl, and a ‘Sailor’s Return’ creamware plate (4)

54cm deep

111cm high

£300 - 500

48cm

88cm

76cm

LOT 415

A painted pine and faux bamboo cabinet, 19th century, with a raised superstructure above drawers and a pair of doors, raised on turned feet, with later painted detail, 98cm wide

LOT 416

A cast lead lion wall mask, 20th century, in the manner of H Crowther, 29cm wide 35cm high £200 - 400

LOT 417

A George III provincial painted oak games table, late 18th/early 19th century, the square top centred with alternating squares, above a single drawer and a spreading canted column, terminating in a cruciform base, 40cm wide 40cm deep

high £300 - 500

LOT 418

A small George I oak bureau, early 18th century, the fall-front enclosing a fitted interior, above an arrangement of drawers and raised on bun feet, 73cm wide

deep

high

-

LOT 419

Two African wooden stools, of recent manufacture, comprising a Nupe example, Nigerian, with chip-carved decoration to the circular top, and a four-legged stool with a circular top inset with beads, larger 42cm diameter 53cm high (2)

£200 - 400

LOT 420

A set of three George III mahogany hall chairs, early 19th century, each with a circular back above a single-piece serpentine seat, raised on fluted forelegs with spade feet, 44cm wide 42cm deep 96cm high (3)

£200 - 400

LOT 421

A Renaissance-style painted oak Savonarola elbow chair, 20th century, Continental, 59cm wide 52cm deep 88cm high £200 - 400

LOT 422

An iron weathervane, second quarter of the 20th century, dated ‘1936’ and initialled ‘IRB’, 67cm wide 48cm deep 132cm high £200 - 400

422

420

421

419

LOT 423

A pair of leather club armchairs, early 20th century, each with turned walnut supports, 90cm wide

168cm deep

83cm high (2)

£300 - 500

LOT 424

An Empire style cut-glass and gilt brass chandelier probably late 19th century and later, Swedish or Northern European, of tent and bag form, with a domed corona over six light branches, electrified, 80cm wide

123cm high

£500 - 800

LOT 425

A George III mahogany stool, c.1760, the rectangular leather seat, above square supports united by stretchers, 56cm wide

43cm deep

46cm high

£200 - 300

LOT 426

A glazed pottery table lamp by Casa Pupo, 20th century, of baluster form with applied floral detail, 15cm diameter

39cm high

£200 - 400

LOT 427

A George III mahogany side table, late 18th century, the rectangular top above a single frieze drawer, raised on slender tapering square supports, united by stretchers, 74cm wide

41cm deep

69cm high

£300 - 500

LOT 428

A George III-style mahogany hanging cupboard, probably early 20th century, but incorporating some earlier elements, with a pair of louvred doors enclosing shelves, converted from a window screen, 95cm wide

20cm deep

76cm high

£200 - 400

LOT 429

A pine sleeper bench, of recent manufacture, of arched form, with a loose seat cushion, 254cm wide

34cm deep

40cm high

£200 - 400

LOT 430

A walnut library armchair in the George I taste, 20th century, of tub form, upholstered in red leather, with carved eagle arm supports and knee-carved cabriole legs, terminating in pad feet, 70cm wide

60cm deep

83cm high

£400 - 600

427

429

428

210cm long

112cm high

£200 - 400

55cm diameter

77cm high (2)

£300 - 500

81cm wide

53cm deep

103cm high

£400 - 600

LOT 431

A painted pine and beech faux bamboo single bed, late 19th/early 20th century, French, 110cm wide

LOT 432

A pair of Louis XV-style occasional tables, late 19th/early 20th century, French, each with a circular galleried top inset with grey marble, over a single apron drawer, and raised on cabriole supports united by an undertier,

LOT 433

A Louis XV-style tulipwood bonheur-du-jour, late 19th/early 20th century, French, the superstructure set with a door decorated with leather book spines, above a serpentine surface and three drawers, raised on cabriole supports with ormolu mounts,

433 432

431

£1,000

For

LOT 434

A Henry VIII joined oak linenfold chest, c.1530-1540, with four front panels, raised on stile supports, 148cm wide 63cm deep 73cm high

- 2,000

a similar example, see Bonhams, ‘The Oak Interior’, 19 February 2020, lot 73.

LOT 435

A set of small painted and parcel-gilt pine shelves, early 20th century, Continental, of serpentine outline, 65cm wide 28cm deep 93cm high £300 - 500

LOT 436

A pair of copper samovars 19th century, each with twin side handles and foliate cast supports, 27cm wide 24cm deep 56cm high (2) £250 - 350

435

434

437

438

439

LOT 437

A George III mahogany settee, c.1820, with turned and reeded detail, 186cm wide 72cm deep 86cm high £400 - 600

LOT 438

An oak and leather wingback open armchair, late 19th/early 20th century, with a studded seat and notched frame, 65cm wide 60cm deep 124cm high £500 - 800

LOT 439

A Gothic Revival carved oak pier mirror, 20th century, with parcel-gilt detail, 86cm wide 168cm high £1,000 - 1,500

122cm

£400

15cm deep

32cm high

£250 - 350

117cm wide

52cm deep

93cm high

£600 - 800

442

440

441

LOT 440

A carved giltwood and gesso overmantel mirror, 19th century, of architectural form, the glass plate flanked by a pair of leaf-capped pilasters, 98cm wide

high

- 600

LOT 441

After Tore Strindberg, ‘The Sowing Man’, painted plaster, indistinctly signed to the base, the underside with handwritten inscription, 21cm wide

LOT 442

A walnut commode or cassettone, 18th century, North Italian, probably Piedmont, with a canted rectangular top above three moulded drawers, raised on fret-carved bracket feet,

116cm wide

77cm high

£300 - 500

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

125cm

74.5cm

£400 - 600

Provenance: The property of a collector, 45 Eaton Terrace, London SW1W 8TR.

60cm

80cm high

£400 - 600

444 446 445

443

LOT 443

A limed oak dining table, 20th century, the associated oval simulated marble top, over turned baluster ends and a trestle base, united by a stretcher, 222cm long

LOT 444

A George III giltwood and gesso oval mirror, c.1790, the frame with urn cresting and floral and foliate scrolls, enclosing a later glass plate, 55cm wide

high £400 - 600

LOT 445

A Louis XV-style bleached oak console table, 19th century, set with a later marble top, above a pierced base carved with scrolling rococo detail, 90cm wide 52.5cm deep

high

LOT 446

A walnut commode or cassettone, second half of the 18th century, North Italian, probably Veneto, with a shaped top above three drawers and a carved rococo apron, raised on short cabriole supports, 136cm wide

deep

wide

197cm high (2)

£400 - 600

67cm wide

61cm deep

100cm high

£200 - 400

A leather-mounted pine trunk, 18th century, the domed and hinged top over an embossed leather-mounted base with brass latch and mounts, with twin hinged side handles, distressed, 108cm wide

53cm deep

57cm high

£250 - 350

Provenance: Wolterton Hall, Norfolk.

A pair of joined elm stools, early 20th century, each with a moulded rectangular seat and stile supports, 58cm wide

30cm deep

43cm high (2)

£300 - 500

450 449

448

447

LOT 447

A pair of Louis XVI-style gilt-lacquer mirrors, of recent manufacture, each set with a foliate crest, one damaged, 124cm

LOT 448

A George III-style mahogany cockpen elbow chair, 19th century, the shaped top rail over an upholstered back and seat in calico, with pierced sides, and raised on square supports united by pierced stretchers,

LOT 449

LOT 450

LOT 451

A collection of steel spurs, 19th century, including five examples by Henry Maxwell, Piccadilly, London, mounted on a wooden stand, stand 28cm wide

6cm deep

5.5cm high (13)

£200 - 400

LOT 452

A pair of Tang-style terracotta figures, 20th century, Chinese, each modelled as a musician on horseback, decorated with a dark green glaze, 41cm long

14cm wide

49cm high (2)

£600 - 800

LOT 453

A pair of painted composite stone horse heads, 20th century, 26cm wide 43cm deep

49cm high (2)

£200 - 400

LOT 454

After Pierre-Jules Mêne, a patinated bronze cast equestrian model of ‘Florentin’, the winner of the French Derby of 1866, with his jockey, the base with facsimile signature ‘P.J. Mene’, 41cm wide

14cm deep

43cm high

£1,000 - 2,000

453

452

451

LOT 455

A satinwood secretaire, late 19th/early 20th century, the upper section with a single drawer over a fall-front, opening to a fitted interior with six drawers and compartment shelves, raised on a base with a single apron drawer and tapered supports, the whole painted with delicate foliate motifs,

87cm wide

47.5cm deep

144cm high

£600 - 800

LOT 456

A cherrywood kitchen table, 19th century, French, Normandy, the cleated plank top above an end drawer and a bread slide, with a shaped apron, raised on turned supports, 181cm wide

80cm deep

75cm high

£400 - 600

456

455

LOT 457

A Kingcome ‘Salisbury’ two-seater settee, of recent manufacture, upholstered throughout in green textured fabric, with loose seat cushions, raised on tapering supports, 160cm wide

87cm deep

70cm high

£300 - 500

LOT 458

A flat-weave wool carpet of Scandinavian design, of recent manufacture, decorated with geometric motifs in tones of blue, yellow and cream, 418 x 303cm

£1,500 - 2,500

457

LOT 459

Two oak and pine pews, 17th century and later, each with carved terminals and a solid seat over sledge supports, approximately 155cm wide

49cm deep

108cm high (2)

£200 - 400

Provenance: Wolterton Hall, Norfolk.

LOT 460

A Heriz wool rug, 20th century, Persian, woven with geometric floral and foliate motifs, 338 x 230cm

£300 - 500

LOT 461

A William IV rosewood waterfall bookcase, c.1830, the top with a scrolled crest over three graduated shelves, on turned and scrolled supports, the base with two doors with brass grilles on a plinth base, 122cm wide

29cm deep

136cm high

£1,000 - 1,500

461

460

459

LOT 462

15.5cm wide

15.5cm deep

84cm high

£200 - 400

LOT 463

A group of four gilt-metal wall lights, of recent manufacture, formed of stylised branches, 80cm wide

105cm high (4)

£400 - 600

long

148cm wide

204cm high

£300 - 500

A gilt-metal table lamp, late 19th/early 20th century, French,

LOT 464

A painted wooden tester bed, 19th century with later painted decoration, the carved and gilt canopy and posts, over a shaped backboard painted with a lion rampant crest and inscribed ‘1619’, raised on white square supports, 200.5cm

464

463

462

x 275cm

£2,000 - 4,000

LOT 465

A Persian Hadji Jallili wool carpet, late 19th century, Tabriz, the field woven with densely repeating Herati motifs, 360

LOT 466

A pine dough bin, 19th century, of rectangular form, filled with a collection of specimen eggs, 68cm wide 44cm deep 15cm high (qty.)

£200 - 400

LOT 467

A Regency style toleware electrolier, in early 19th century style, painted in blue and yellow with gilt metal ram’s head motifs issuing six branches, 70cm wide 85cm high

£300 - 500

LOT 468

A painted toleware planter, late 19th century, decorated with leafy vines, 32cm wide 30cm deep 30cm high

£200 - 400

LOT 469

Attributed to Charles Rosenberg (1745-1844), a George III reverse-painted glass silhouette group, said to depict three Royal Knights of the Garter, the Prince of Wales, Princes William and Edward, Maria Anne Fitzherbert, and two other women, in a gilt moulded frame surmounted with a crown, image 17 x 59cm frame 52.5 x 65cm (58cm including crown), together with a framed typewritten label (2) £1,500 - 2,000

Charles Christian Rosenberg, also known as Carl Rosenberg of Bath, was born in Austria and moved to England as a young boy as part of Queen Charlotte’s retinue. Works by Rosenberg in the Royal Collection include silhouettes of the Princess Royal and of Princesses Augusta, Elizabeth and Sophia, painted during their stay at Cheltenham in 1788. Other royal commissions followed and Rosenberg used the title ‘Profile Painter to their Majesties and Royal Family’ throughout the 1790s. He settled in Bath around 1787 and became one of the most successful and prolific silhouette artists of his time.

468

467

466

469

LOT 470

A pair of Sèvres-style ormolu-mounted porcelain cachepots, late 19th/early 20th century, French, the decoration French or Austrian, each painted with oval cartouches containing figures in a pastoral landscape, floral and fruit sprays to a cobalt and gilt ground, mounted with twin acanthus cast ram’s head handles and raised on four paw feet, united by an undertier with central pineapple finial, the porcelain painted with blue spurious marks to the underside, 31cm wide

21cm deep

31cm high (2)

£800 - 1,200

LOT 471

A malachite, porcelain and ormolu inkstand, 19th century, French, with Sèvres-style inkwells and drip pot painted with floral cartouches, raised on a malachite base with ormolu mounts and dolphin cast feet, the drip pot with pseudo Sèvres marks underneath,

30cm wide

17cm deep

18cm high

£500 - 700

470

£300

25cm

101cm

£200

40cm

£1,000

LOT 472

A Qashqai wool rug

20th century, Persian, woven with three geometric medallions to a red ground, 255 x 157cm

- 500

LOT 473

A pair of wrought-iron jardinière frames, late 19th/early 20th century, French, with scrolling decoration, 93cm diameter 128cm high (2)

£300 - 500

475

474

473

472

LOT 474

A brass and wrought-metal spark guard, 20th century, with scrolling foliate decoration, 83cm wide

deep

high

- 400

LOT 475

A pair of porcelain vases, late 19th/early 20th century, Continental, in the Japanese taste, each decorated in the Imari palette with chinoiserie figures amongst flowers and vines, 18cm wide

high (2)

- 1,500

LOT 476

A small painted bureau desk, 20th century, the high back fitted with two drawers, over a further apron drawer, raised on square tapering legs, and decorated with foliate motifs, 80cm wide

49cm deep

102cm high

£300 - 500

LOT 477

A pair of Empire-style painted and parcel-gilt wooden fauteuils, 20th century, each with scumbled decoration and leather seat, 63cm wide

66cm deep

72cm high (2)

£800 - 1,200

LOT 478

A pine and elm estate settle, late 18th/early 19th century, of concave form, with a panelled back, curved solid seat and chamfered fret-cut ends, 168cm wide

73cm deep

105cm high

£700 - 900

Provenance: Wolterton Hall, Norfolk.

477

478

476

43cm

Provenance: The Lacquer Chest, Kensington Church Street, London W8, thence by descent to the present owner.

480

481

479

LOT 479

An ash and elm cutler’s stool, 19th century, the shaped top raised on splayed chamfered supports, 52cm wide

52cm deep

high

£200 - 400

LOT 480

A group of three cowrie shell and feather necklaces, in the Papua New Guinea style, longest 38cm wide 54cm high (3)

£150 - 250

LOT 481 

A Victorian oak campaign chest, second half of the 19th century, of typical form, raised on bun feet, 99cm wide

45cm deep 110cm high £600 - 800

TERMS AND CONDITIONS

For Specialist Live Auctions

These conditions of business consist of:

1. Information for Buyers;

2. Terms of Sale (for Bidders and Buyers).

1. INFORMATION FOR BUYERS

Introduction

The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand. Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale.

Methods of payment

Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of 10,000 euros equivalent. Any cheques will need to be cleared before you can take the Goods away.

Collection and storage

All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees.

Agency

As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer.

Estimates

Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive.

Buyer’s Premium

The Terms of Sale oblige you to pay a Buyer’s Premium at 25% on the Hammer Price of each Lot purchased, except for our Fine Wine and Spirits auctions when it is 18%. In addition, VAT is charged on these Premiums (see below).

VAT Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot.

Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax.

Shipping Costs are liable for VAT and are payable by the Buyer.

If you are exporting the items from the UK, you may be able to claim a reimbursement of the VAT, where:

1. you are using Sworders Delivery service.

In these cases, a zero rated (VAT exempt) invoice can be issued where the following criteria are met:

a. the items are exported within three months of the date of the auction

b. the total amount of VAT payable would exceed £75 per shipment

There is no administrative charge for clients using Sworders Delivery Service.

If you cancel shipping through Sworders Delivery Service, we will reinstate the VAT, which must be paid prior to the release of goods.

2. you arrange shipping through a private logistics company, agent or courier and the following criteria are met:

a. the invoice is paid in full, including VAT

b. the items are exported from the UK within three months of the date of the auction

c. the certificate of shipment and export documents are provided to us within a year of the date of export from the UK

d. the total amount of VAT to be claimed exceeds £75

e. you have paid an administrative fee of £25

Inspection of Goods by the Buyer

As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 12.2 and 12.4.

Condition reports

We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view. Condition reports cannot be prepared on the day of the sale.

Shipping of Goods

We offer a delivery service for Lots purchased, either by shipping ourselves, or use of a third party logistics company. Estimates for Shipping Costs for smaller items can be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/deliveries to reduce the Shipping Costs. For lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world either in advance of the sale or after you have purchased.

Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price.

Electrical goods

These are sold as ‘antiques’ only. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

Export of Goods

If you intend to export Goods you must find out:

a. whether an export licence is needed; and

b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials such as ivory.

Bidding

Bidders are required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.

Commission bidding

You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time.

Telephone bidding

If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is for Lots with an estimate of £500 or more. The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason.

Online bidding

Any Lots purchased via a live online bidding service will be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. These are charged at 0% while bidding via Sworders Website. If bidding through other online bidding platforms, you will be charged additional surcharges, which will be payable to us on top of the Hammer Price and our Buyer’s Commission at their advertised rate.

Artist Resale Rights

Lots marked with a ▴ indicate the item is subject to additional Artist Resale Right charges.

IMPORTANT NOTICES

Removal of Lots

All Lots are to be removed from the premises by 5.00pm at the latest on the Friday following each sale. Sworders retain the right to remove Lots remaining after this time into safe storage, for which a charge will be made.

Electrical Goods

All electrical Goods offered in this sale have either been tested and certified safe or unsafe by an appropriately qualified electrician. All electrical Goods certified unsafe must be re-commissioned by an appropriately qualified electrician and we recommend those certified safe are similarly re-commissioned.

Post 1950 Upholstered Furniture

All items of furniture included in this sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling.

Furniture made of Brazilian Rosewood (Dalbergia Negra)

To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all postwar rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale.

If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number.

It is therefore the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §.

Ivory Lots marked  contain elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.

2. TERMS OF SALE

Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale.

These Terms of Sale relate to auctions conducted by an Auctioneer only, where the opportunity is available to view the lots. We have separate terms for online only auctions and those where viewing is not available.

1. Definitions and interpretation

1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning:

In these Terms of Sale, the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.

any security arrangements we have in place before entering the auction room to view or bid.

3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics.

3.3 If you instruct us, we may execute Commission bids on your behalf. We will confirm receipt of your instruction by sending you an email acknowledging your request and confirming your bid. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded, we have the right to prefer the first bid made (where this can be reasonably ascertained).

‘Auctioneer’ means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;

‘Bidder’ means a person who places a bid for Goods at our auction;

‘Buyer’ means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Commission’ means the Commission that we charge you on the sale of the Goods as set out in Clause 4 below;

‘Consumer’ means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

‘Consumer Contracts Regulations’ means the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013;

‘Deliberate Forgery’ means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

‘FCA’ means the Financial Conduct Authority;

‘Goods’ means the Goods that have been consigned to us for sale at our auction;

‘Hammer Price’ means the level of the highest bid for a Lot accepted by the Auctioneer;

‘Premium’ means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale;

‘Price’ means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;

‘Proceeds’ means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Reserve’ means the minimum Price at which the Goods may be sold;

‘Seller’ means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’ means the charges applied to the shipping of all Goods purchased, should the Buyer ask for Sworders shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’ means these Terms of Consignment;

‘Terms of Sale’ means the Terms of Sale for Bidders or Buyers at our auctions;

‘Trader’ means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);

‘VAT’ means any value added tax or equivalent sales tax; and

‘Website’ means our Website available at www.sworder.co.uk.

2. Information that we are required to give to Consumers

2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 7 and 8.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 8 and 9.

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 13.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

2.7 If you have any complaints, please send them to us directly at auctions@sworder.co.uk.

3. Bidding procedures and the Buyer

3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy

3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may re-offer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

3.5 Bidders will be deemed to act as principals, even if the Bidder is acting as an agent for a third party.

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

4. The purchase P rice

4.1 As a Buyer, you will pay:

a. the Hammer Price;

b. a Premium of 25% plus VAT of the Hammer Price or 18% plus VAT for our Fine Wine and Spirits Auction;

c. any artist’s resale right royalty payable on the sale of a Lot

d. any bidding platform fee payable on a Lot; and e. any VAT due.

5 VAT

5.1 You shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information.

5.2 We will charge VAT at the current rate at the date of the auction.

6. The contract between you and the Seller

6.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning Lot in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by us under the Money Laundering Regulations 2019 in accordance with our internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by us as complete.

6.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment.

6.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim.

6.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot).

7. Payment

7.1 Immediately following your successful bid on a Lot you will:

7.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our antimoney laundering obligations); and

7.1.2 pay to us the total amount due in any way that we agree to accept payment.

7.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to Sworders shipping agent delivering the Goods.

7.2 If you owe us any money, we may use any payment made by you to repay these debts.

8. Title and collection of purchases

8.1 Once you have paid us in full the total amount due for any Lot, ownership of that Lot will transfer to you. You may not claim or collect a Lot until you have paid for it.

8.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue or on our Website.

8.3 If you agree to using our delivery service, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent.

8.4 Should you decide to use the delivery service, you thereby agree to allow us to share relevant personal data that we hold with the shipping agent in order to allow effective communication between the shipping agent and you, and to enable delivery.

8.5 If you do not collect the Lot within the time period under Clause 8.2, you will be responsible for any reasonable removal and storage charges in relation to that Lot.

8.6 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot.

8.7 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you, but will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot.

9. Remedies for non-payment or failure to collect purchases

9.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale we may (acting on behalf of the

Seller and ourselves) pursue one or more of the following measures:

9.1.1 take action against you for damages for breach of contract;

9.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;

9.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot and the Price we sell it for as well as the charges outlined in Clause 8.7). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;

9.1.4 remove, store and insure the Lot at your expense;

9.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;

9.1.6 keep that Lot or any other Lot sold to you until you pay the total amount due, including Shipping Costs where applicable;

9.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or

9.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

9.2 We will act reasonably when exercising our rights under Clause 9.1. We will contact you before exercising these rights and try to work with you to correct any noncompliance by you with these Terms of Sale.

10. Health and safety

Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence.

11. Warranties

11.1 The Seller warrants to us and to you that:

11.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the L ot at auction;

11.1.2 the Seller is able to transfer good and marketable title to the Lot to you free from any third party rights or claims; and

11.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction) are correct.

11.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below.

11.3 Please note that many of the Lots that you may bid on at our auction are second-hand.

11.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 11.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.

11.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.

12. Descriptions and condition

12.1 Our descriptions of the Lot will be based on: (a) information provided to us by the Seller of the Lot (for which we are not liable); and (b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).

12.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction.

12.3 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 will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.

12.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of secondhand Lots or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue, the condition report for a lot (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.

13. Deliberate Forgeries

13.1 You may return any Lot which is found to be a Deliberate Forgery to us within thirty days of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects.

13.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery, we will refund the money paid by you for the Lot (including any Premium and applicable VAT) provided that if:

13.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or

13.2.2 you personally are not able to transfer good and marketable title in the Lot to us, you will have no right to a refund under this Clause.

13.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot.

13.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.

14. Our liability to you

14.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.

14.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen.

14.3 Subject to Clause 14.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase price paid by you to us for any Lot.

14.4 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:

14.4.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977);

14.4.2 fraudulent misrepresentation; or

14.4.3 any liability which cannot be excluded by law.

15. Notices

15.1 All notices between you and us regarding these Terms of Sale must be in writing and either from your registered email address, our email address, or if in hard copy letter, signed by or on behalf of the party sending it.

15.2 Any notice referred in Clause 15.1 may be given:

15.2.1 by delivering it by hand;

15.2.2 by first class pre-paid post or recorded delivery; or

15.2.3 by email.

15.3 Notices must be sent:

15.3.1 by hand or registered post;

a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and

b. to you, at the last postal address that you have given to us as your contact address in writing; or

15.3.2 by email:

a. to us, by sending the notice to the following email address: auctions@sworder.co.uk

b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing.

15.4 Notices will be deemed to have been received:

15.4.1 if delivered by hand, on the day of delivery;

15.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or

15.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt.

15.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, any form of messaging via social media or text message.

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.

17. General

17.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.

17.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale.

17.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues.

17.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect.

17.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them.

17.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.

17.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any noncontractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers

OFFICES AND CONTACTS

CORPORATE SOCIAL RESPONSIBILITY

Stansted Mountfitchet Auction Rooms

Cambridge Road | Stansted Mountfitchet Essex | CM24 8GE auctions@sworder.co.uk | 01279 817778

Hertford

42 St Andrew Street | Hertford | SG14 1JA hertford@sworder.co.uk | 01992 583508

London

15 Cecil Court | London | WC2N 4EZ london@sworder.co.uk | 0203 971 2500

Kent kent@sworder.co.uk | 01732 757675

@swordersfineinteriors

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