Fine Interiors Tuesday 14 & Wednesday 15 March 2023

FINE INTERIORS

Tuesday 14 & Wednesday 15 March 2023

The first Fine Interiors catalogue of a new year is always particularly special for us, with the prospect of another twelve months of working with beautiful pieces of furniture and works of art, as well as having the opportunity to share our enthusiasm with the people behind the objects.

This sale in particular represents the culmination of a great deal of effort by many members of the Sworders’ team throughout the winter, when journeying to visit clients across the country, or spending long days moving heavy pieces of furniture around our photography studio in frigid conditions, might not be the most appealing thing in the world. Not only do Charlotte, James and I have the responsibility of presenting all of this hard work in print on behalf of our colleagues, but we must also deliver on a commitment to the people who have put their faith in us to offer their beloved pieces in the best and most exciting way possible.

Filling the pages of this catalogue are nearly five hundred stylish lots representing the breadth of the decorative arts from across the world throughout the last five hundred or so years, as well as the appetite for incorporating them into a contemporary interior in order to create a welcoming environment that represents the life and spirit of the person who created it. This notion is clearly exemplified in three private collections from town and country that we are privileged to be able to offer - those of the late John Scott-Oldfield, Sir John Craven and Mrs Althea Lloyd.

We are hugely excited to share this sale with you all and hope that you take just as much enjoyment from browsing the pieces on offer as we did in bringing them together.

Alexander Hallett Head of Department

Every printed edition of Fine Interiors is designed to be viewed in conjunction with our online catalogue, where you can find additional information, more images and in-depth condition reports. Scan the QR code to find out more:

FINE INTERIORS

TUESDAY 14 & WEDNESDAY 15 MARCH, 10AM

Lots 1-76

Lots 77-159

Lots 160-168

Lots 169-215

Lots 216-234

Lots 235-301

Lots 302-34 1

Lots 343-392

Lots 393-458

Lots 459-476

Lots 477-494

CONTACT

The Late John Scott-Oldfield, 65 Warwick Square, Pim lico, London

Fu rniture and Works of A rt

From 5 Belgrave Square, a Stéphane Boudin Inte ri or

Fu rniture and Works of A rt

Silver

The Late Sir John Crav en, The Barn, Long New nto n, Tetbury, Gloucestershire

Fu r niture and Works of A rt

T he Estate of The Late Sam a nd Althea Lloyd

Fu rniture and Works of A rt

Se lected Contents from Sydenhams, Gloucestershire

Fu rniture and Works of A rt

Alexander Hallett Head of DepartmentSale Co-ordinator

Charlotte Lee-Finglas

James Pickup

Director

T 01279 817778 E fineinteriors@sworder.co.uk

VIEWING

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

Friday 10 March 10am-5pm Sunday 12 March 10am-2pm

Saturday 11 March 10am-2pm Monday 13 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.

Day One

Tuesday 14 March at 10am

Colour, Culture and Comfort

The Collection of the Late John Scott-Oldfield, 65 Warwick Square, London, SW1

John Scott-Oldfield loved music, art and history and had an instinctive desire for adventure to faraway places. The interior of his flat at 65 Warwick Square reflected this and encapsulated a thoughtful mixture of styles, from Renaissance Europe to Qing Dynasty China to Georgian England, representing the impact of his academic interests as well as his love of travel on his decorative aesthetic.

The carefully chosen furnishings in this sale radiate an appreciation of colour, pattern and texture, exemplified by Chinese lacquer and floral upholstery, punctuated by works of fine painting and furniture, such as a commanding portrait of a gentleman from the circle of Giovanni Battista Moroni and a French ‘Croix de Lorraine’ table formerly in the collections of the Metropolitan Museum, New York, and the American financier John Pierpont Morgan (1837-1913).

The collection is sure to generate huge interest among collectors, dealers, and interior designers alike, and Sworders are privileged to have been asked to disperse his estate, which will be offered in three upcoming sales. For further information, please see our website.

Interiors Photography: Salt Images ©

LOT 1

A pair of large walnut open armchairs, late 17th century, Italian, each with an arched back and scrolling arms, raised on turned supports united by double stretchers, 77cm wide

77cm deep

135cm high (2)

£1,500-2,500

Provenance: Purchased from Gallori Turchi, Florence, 1996.

LOT 2

A red-lacquered baby bath, Qing dynasty (1644-1911), Chinese, on four cross-stretchered supports, with a handle to one side, 43cm wide

50cm high

£200-400

LOT 3

A pair of giltwood wall lights, 19th century, Italian, each with carved foliate and mask detail, supporting four metal branches, 34cm wide

42cm high (2)

£300-500

Provenance: Purchased from Shield & Allen, London, 1991.

LOT 4

A red-lacquered elm side cabinet, Qing dynasty (1644-1911), Chinese, the rectangular top above drawers and doors, with metal mounts, raised on bracket feet, 127cm wide

61cm deep

86cm high

£400-600

LOT 5

A carved and polychrome painted candleholder, 17th century, North Italian, in the form of an angel on a scrolling base, 25cm wide

15cm deep

68cm high

£600-800

Provenance: Purchased from Shield & Allen, London, 1979.

For a similar pair, see: Christie’s Online, ‘An Aristocratic Château on the Côte d’Azur’, 4 August 2020, lot 31.

LOT 6

A George II mahogany sgabello hall chair, c.1740, with a shaped back and dished seat, raised on splayed supports, 46cm wide

56cm deep

106cm high

£200-400

LOT 7

A group of carved and pierced oak wall appliqués, c.1860 and later, in the manner of Grinling Gibbons, modelled with acanthus leaves, flowers and fruit, central section 96cm long festoon pair each

118cm long (3)

£1,000-2,000

LOT 8

A walnut side table, 17th century, Italian, the rectangular top above a single moulded drawer, raised on square supports united by stretchers,

76cm wide

53cm deep

71cm high

£600-800

Provenance: Purchased from Ossowski, London, 2001.

Formerly in the collection of the Metropolitan Museum of Art, New York

LOT 9

A Renaissance-style walnut extending table ‘en Croix de Lorraine’, incorporating a mixture of 16th and 19th century elements, French, the rectangular top with two draw leaves, above an apron punctuated with turned toupies, raised on seven Tuscan column supports and a stepped base, terminating in bun feet, bearing two painted accession numbers, 248cm long at full extension

77cm wide

80cm high

£6,000-8,000

Provenance: Purchased from Gallori Turchi, Florence, 1996; Sotheby’s New York, ‘European Works of Art, Arms and Armour, Furniture and Tapestries’, Wednesday 13 May 1995, lot 161; The Metropolitan Museum of Art, New York, loaned 1906 and accessioned 1916 (inv. no. 16.32.44),;

John Pierpont Morgan (1837-1913);

Georges Hoentschel (1855-1915).

Literature: D. Kisluk-Grosheid, D Krohn, Deborah & U Leben ed., ‘Salvaging the Past: Georges Hoentschel and French Decorative Arts from The Metropolitan Museum of Art’, 2013, p.74, 152, figs.4.9, 5.5;

J Boccador, ‘Le Mobilier Français du Moyen Age a la Renaissance’, 1988, p.227, figs.215-6.

Tables of this sort take their title from the shape of the stretcher, which bears similarity to the French Cross of Lorraine, which was initially called the Cross of Anjou, but following the marriage in 1431 of Isabelle of Lorraine to Rene I of Naples, or Rene d’Anjou, developed its new name. Along with a great deal of French Renaissance furniture design, tables’en Croix de Lorraine’, which are commonly linked with the Loire Valley, undoubtedly take their influence from Italian architecture and the ideas of its artists and craftsmen who travelled to France to work at the court of Francis I, and subsequently his daughter-in-law, Catherine de’ Medici. This is most clearly seen in the supports of many known examples which take the form of Tuscan columns.

The present example was in the collection of Georges Hoentschel (1855-1915), the successful Parisian decorator and proprietor of Maison Leys. In 1906, the financier and president of the Metropolitan Museum of Art, New York, J Pierpont Morgan (1837-1913) purchased a large number of objects from Hoentschel as a gift for the museum, including a collection of important 18th-century French decorative arts. Also loaned to the museum at the time, and eventually gifted on the death of J P Morgan by his son Jack, were pieces of medieval and Renaissance art, among which was this table. The Morgan Gift is credited for its pivotal role in establishing the Museum’s Department of Decorative Arts and we are extremely grateful to the Met for their assistance in the research and cataloguing of this lot.

For similar examples, see: Christie’s, ‘The European Connoisseur’, 4 June 2014, lot 588; Christie’s, ‘Au Bord Du Lac: An interior by François-Joseph Graf’, 26 January 2022, lot 41.

LOT 10

A set of ten George II-style mahogany dining chairs, 20th century, each with an arched upholstered back, raised on acanthus-carved cabriole supports, with loose covers, 62cm wide

70cm deep

107cm high (10)

£1,500-2,500

Provenance: The Late John Scott-Oldfield, 65 Warwick Square, London, SW1.

LOT 11

A Herend porcelain ‘Rothschild Bird’ dinner service,

20th century, Hungarian, comprising eighty-two pieces, each with painted and gilt-heightened decoration, including two serving bowls in ‘Rothschild Bird Green’, painted and impressed marks to bases, dinner plates 26cm diameter, a Herend ‘Queen Victoria’ charger, 39cm diameter, and four unmarked salts (87)

£3,000-5,000

For an itemised list of the service, please see the condition report.

LOT 12

A panelled walnut credenza, 17th century, Italian, probably Tuscany, the rectangular top above dentil moulding, with a single door enclosing a small drawer and shelves, raised on a plinth base, 116cm wide 53cm deep 99cm high

£1,500-2,500

LOT 13

A pair of wrought-iron pricket torchères, 17th century, Italian, each with scrolling foliate detail, 40cm wide

40cm deep

121cm high (2)

£800-1,200

Provenance: Purchased from Danilo Chiorotto, Florence, 1986.

LOT 14

A group of carved and polychrome-painted wooden saints, 17th/18th century, Continental, including Peter and Mary, 24 to 46cm high (8)

£1,000-2,000

LOT 15

A pair of wrought iron pricket candelabra, 18th century, each with twin sconces and a tripod base, 30cm wide 58cm high (2)

£200-400

LOT 16

A small George II giltwood pier mirror, c.1755, the frame with scrolling rococo decoration, the edges decorated with trailing flowers, flanking a mercury glass plate, 51cm wide 92cm high

£1,000-2,000

Provenance: Purchased from William Bedford, London, 1983.

LOT 17

A pair of faux marble and embossed metal table lamps, of recent manufacture, each with a slender column and foliate-decorated base, fitted with a pleated shade, 28cm diameter 91cm high (2)

£200-400

LOT 18

A Louis XV-style ormolu candelabrum, c.1850, French, with scrolling acanthus branches and putto detail, 30cm wide 59cm high

£200-400

Provenance: Purchased from O F Wilson, London, 1991.

LOT 19

A Louis XV giltwood console table, c.1750, French, of serpentine outline, the grey marble top above a floral and foliate-carved frieze, raised on scrolling supports united by an acanthus stretcher, bearing a paper label to the rail, 111cm wide

55cm deep

88cm high

£1,500-2,500

Provenance: Purchased from O F Wilson, London, 1991; Comtesse d’Aiguy, Château de Béon, Culoz, France, by repute.

LOT 20

A William and Mary black-lacquered card table, late 17th century and later, with all-over chinoiserie decoration, with a folding rectangular top and a gateleg action, raised on tapering turned supports united by stretchers,

76cm wide

28cm deep

72cm high when closed

£1,000-2,000

Provenance: Purchased from Gerald Spyer, London, 1991.

LOT 21

A pair of walnut, parcel-gilt and verre églomisé wall sconces,

c.1900, in the 18th-century style, each with a shell crest and twin branches,

32cm wide

54cm high (2)

£800-1,200

Provenance: Purchased from Shield & Allen, London, 1981.

LOT 22

An export black-lacquered writing box, late 17th century, Chinese, decorated all-over with figures, birds, animals and blossoming branches, the hinged lid enclosing compartments, set with twin carrying handles and an engraved brass lock plate, raised on a later stand, 51cm wide

35cm deep

67cm high

£800-1,200

LOT 23

A pair of ‘St. James’ armchairs by Kingcome, of recent manufacture, each upholstered in vibrant green floral fabric, 85cm wide

100cm deep

90cm high (2)

£600-800

LOT

24

A pair of teak tripod occasional tables, early 20th century, Anglo-Indian, with scrolling bone inlaid foliate detail, each with a square top above a turned column and outswept supports, terminating in peg feet, 43cm wide

43cm deep

58cm high (2)

£200-400

Provenance: Purchased from Carson Booth Antiques, London, 1983.

LOT 25

A Louis XV-style ormolu candlestick lamp, second half of the 19th century, with scrolling rococo decoration, with a silk pleated shade, 23cm wide 63cm high including shade shade 43cm diameter

£200-400

LOT 26

A pair of painted wooden pilaster floor lamps, probably 18th or 19th century and later, Continental, each of fluted column form on a circular base, with a large conical shade, 58cm diameter

165cm high (2)

£800-1,200

LOT 27

A pair of northern elm low chairs, late Qing dynasty (1644-1911), Chinese, Fujian Province, each with a stick back, square seat and turned supports united by stretchers,

44cm wide

36cm deep

79cm high (2)

£200-400

Provenance: Purchased from Snap Dragon, London, 2000.

LOT 28

A matched pair of oak stools, late 17th century and later, Continental, each rectangular seat covered with a verdure tapestry fragment, raised on turned and block supports united by stretchers,

36cm wide

31cm deep

33cm high (2)

£300-500

LOT 29

A George II carved giltwood and gesso pier mirror, second quarter of the 18th century and later, the frame with an acanthus crest set between a broken swan-neck pediment, with ho-ho bird detail and a shell terminal, surrounding a later bevelled glass plate,

63cm wide

110cm high

£2,000-4,000

Provenance: Purchased from Ossowski, London, 2001.

LOT 30

A pair of painted and giltwood tabernacle frames, 20th century, Italian, in the 16th century style, each with scrolling foliate detail, 35 x 28cm (2)

£300-500

LOT 31

A pair of Empire-style gilt and patinated bronze candelabra, second half of the 19th century, French, the columns of figural form supporting two scrolling branches, 27cm wide

14cm deep 36cm high (2)

£400-600

LOT 32

A cast iron fireback in the 17th century style, 20th century, of arched shape, centred with George Slaying the Dragon, 59cm wide 88cm high, together with a pair of firedogs (3)

£200-400

LOT 33

An Aubusson wool rug, 19th century, French, centred with a shaped medallion decorated with a bouquet of flowers, within floral and foliate scrolls, 324 x 206cm

£600-800

LOT 34

Three pairs of silk curtains, late 20th century, each with a swag waterfall valance, each curtain 293cm long

132cm wide

swags 190cm wide (9)

£1,500-2,500

LOT

A button-upholstered ‘Belgravia’ ottoman, of recent manufacture, almost certainly by Peter Dudgeon, with a bullion fringe,

109cm wide

80cm deep

43cm high

£400-600

LOT

101cm deep

95cm high £800-1,200

35

36

A three-seat ‘Connaught’ sofa by Peter Dudgeon, London, late 20th century, in the Howard & Sons style, upholstered in pale foliate fabric, 220cm wide

34

35

33

LOT 37

A group of six needlepoint cushions, 20th century, depicting floral and foliate designs, strawberry plants and a spaniel, largest 57 x 49cm (6)

£200-400

LOT 38

A pair of tin-glazed earthenware vases and covers, 19th century, Dutch, Delft, each painted in underglaze blue with figures and foliate scrolls, underglaze blue mark ‘W’ to the underside, 18cm wide 46cm high including covers (4)

£200-400

Provenance: Purchased from Charles Saunders, London, 1993.

LOT 39

A pair of giltwood wall brackets, 19th century, Italian, Florence, each of scrolling rococo design, 30cm wide 33cm high (2)

£150-250

LOT 40

A painted pine writing table, early 20th century, Italian, with all-over scrolling foliate and gilt detail, the shaped top above an arrangement of five drawers, raised on cabriole supports, 145cm wide 66cm deep 77cm high together with a similar elbow chair (2)

£800-1,200

LOT 41

A pair of George III-style mahogany side chairs, 20th century, each upholstered in pale calico under a foliate loose cover, 60cm wide

60cm deep

99cm high (2)

£200-400

LOT 42

A George I walnut stool, c.1720, the seat upholstered in floral needlework fabric, raised on straightened cabriole supports, terminating in pad feet,

57cm wide

43cm deep

46cm high

£400-600

Provenance: Purchased from Church Street Galleries, London, 1982.

LOT 43

A pair of Louis XV-style fauteuils, 20th century, each with open arms and raised on cabriole supports, the back and drop-in seat upholstered in purple fabric,

75cm wide

75cm deep

98cm high (2)

£200-400

LOT 44

A George III mahogany urn stand, c.1790, of oval shape with an inlaid gallery above a slide, raised on tapering square supports, 34cm wide

25cm deep

66cm high

£200-400

LOT 45

A Renaissance-style painted and parcel-gilt tabernacle mirror, probably 19th century but incorporating 16th century elements, North Italian, executed in carved wood and composition, elaborately decorated in the Mannerist style with grotesques, putti and lion masks surrounding a mercury glass plate, 51cm wide

65cm high

£2,000-4,000

Provenance: Purchased from Shield & Allen, London, 1991.

LOT 46

A two-seat ‘Connaught’ sofa by Peter Dudgeon, London, late 20th century, in the Howard & Sons style, upholstered in pale foliate fabric, 175cm wide

102cm deep

95cm high

£600-800

LOT 47

An ebonised and parcel-gilt occasional table, 19th century, Italian, with a painted faux specimen marble top above a turned column and tripod base, terminating in cast metal paw feet,

51cm wide

51cm deep

76cm high

£300-500

LOT 48

Seven various ink drawings, 18th-19th century, Indian, to include Kangra, Kota and Bundi examples, decorated with figures and attendants, the largest 37 x 40cm (7)

£800-1,200

Provenance: Examples bearing labels for Knoedler and Kasmin galleries.

LOT 49

A walnut and wrought iron table, late 17th/early 18th century, Spanish, the long plank top raised on scrolling trestle supports united by knopvbrackets, 202cm long 79cm wide 77cm high

£1,500-2,500

Provenance: Purchased from Gallori Turchi, Florence, 1996.

LOT 50

A carved walnut open armchair, late 17th/early 18th century, Italian, with turned and block supports, terminating in lion paw feet, 66cm wide 72cm deep

108cm high

£400-600

Provenance: Purchased from Gallori Turchi, Florence, 1996.

LOT 51

A rouge griotte marble and ormolu desk stand, second half of the 19th century, French, set with a pair of inkwells in the form of urns, 43cm wide 20.5cm deep 15cm high

£300-500

Provenance: Purchased from Prides of London, 1979.

LOT 52

A joined elm stool, Qing dynasty (1644-1911), Chinese, the rectangular top raised on square supports united by stretchers, 43cm wide

43cm deep

40cm high

£200-400

Provenance: Purchased from Snap Dragon, London, 2000.

LOT 53

A Régence painted walnut fauteuil, c.1720, French, the frame with carved foliate detail, raised on cabriole supports terminating in hoof feet, 69cm wide

70cm deep

105cm high

£600-800

Provenance: Possibly purchased from Gloucester House Antiques Ltd., 1992.

LOT 54

A framed display of Coptic crosses, Ethiopian, with various pierced decoration, 64.5cm wide 54cm high

£200-400

LOT 55

A painted pine marriage cabinet, late 18th/early 19th century, South German or Austrian, decorated with vases of flowers and monograms, reserved on a vibrant blue ground, the twin doors enclosing a papered interior with shelves and drawers, raised on bun feet, 123cm wide

58cm deep

177cm high

£1,000-2,000

LOT 56

A carved oak relief panel, c.1600, Flemish, depicting the Crucifixion of Christ, the cross carved ‘INRI’ with Mary Magdalene kneeling at the base, all within an arched pediment with three angel masks, on a later velvet-covered backing, panel 39 x 28.5cm

£800-1,200

Provenance: Purchased from Joanna Booth, London, 1995.

LOT 57

A walnut side table, late 17th century, Italian, the rectangular top above a single moulded drawer and raised on square supports united by stretchers, 90cm wide

56cm deep

75cm high

£600-800

LOT 58

A velvet, silk and metal thread appliqué and embroidered hanging, 19th century, Italian, with a scrolling foliate design on a honey velvet ground, centred with an armorial crest, all within a floral border with fringing, 97 x 220cm

£2,000-3,000

For a similar earlier example, see: Bonhams, ‘The Contents of Trelissick House’, 23 July 2013, lot 104, where it has been described as a ‘banner’.

LOT 59

A group of seven cushions, 20th century, in various designs, including two ikat printed, a needlepoint with kilim design, and a pair of carpet-covered depicting lions, largest 52 x 51cm (7)

£200-400

LOT 60

A walnut side table, late 17th century, Italian, the rectangular top above a single moulded drawer set with brass pulls, with a fret-carved frieze, raised on ring-turned supports united by stretchers, 123cm wide

54cm deep

80cm high

£400-600

LOT 61

A pair of Régence oak side chairs, early 18th century, French, each arched back and seat upholstered in studded blue leather, raised on ‘os de mouton’ supports,

48cm wide

50cm deep

97cm high (2)

£400-600

Provenance: Purchased from Mallett, London, 1965.

LOT 62

Ulisse Aldrovandi (Italian, 1522-1605) a set of four hand-coloured engravings of birds, taken from ‘Ornithologiae hoc est de avibus Historiae libri XII’ image 32.5 x 20cm (4)

£300-500

LOT 63

A collection of vintage textiles, of recent manufacture, predominantly Indian, to include four hand-printed sarongs by Brigitte Singh, a cotton kantha quilt in reds and golds, Jaipur, and other block-printed cotton tablecloths and mats, quilt 275 x 275cm (qty.)

£200-400

LOT 64

A set of four giltwood wall brackets, 19th century, Italian, Florence, each of scrolling rococo design, 22cm wide 24.5cm high (4)

£200-300

LOT 65

A collection of ceramic bowls and vases, Chinese and South-East Asian, to include celadon-glazed examples, largest 24.5cm diameter (17)

£800-1,200

John Scott-Oldfield was born in 1933 in Cawnpore, India, before travelling to the UK for his schooling, where he soon displayed a burgeoning talent for sport, going on to win a blue in athletics at Cambridge University. In early adulthood he continued to pursue his passion, playing rugby for Harlequins as well as representing Great Britain in the 100m sprint and 200m hurdles at the 1958 Commonwealth Games, disciplines in which he was subsequently selected to compete at the Olympic Games.

However, he chose to follow employment with Royal Dutch Shell, which took him to the Philippines, where he met his soon-to-be wife, Honora Baroness von Fürstenberg. The two subsequently moved to Nigeria, starting a family before returning to London in the 1970s, where John carried on forging an illustrious business career and jointly founding The Corporate Consulting Group, advising chairmen and boards in a wide variety of sectors, and making an impact throughout the international corporate world. Despite the decidedly more business-oriented direction that his life took, sport remained very close to his heart and he always made time for a polo match or a day’s shooting.

Top to bottom John Scott-Oldfield walking in the Himalayas; and in uniform for Harlequins with John Young in 1961

LOT 66

A pair of Louis XVI painted bergères, late 18th century, French, each with a painted and distressed show frame, upholstered in orange leather,

77cm wide

77cm deep

86cm high (2)

£1,000-2,000

LOT 67

A walnut credenza, 18th century and later, Italian, the shaped top above a quatrefoil panelled door, on a plinth base,

79cm wide

36cm deep

89cm high

£400-600

LOT 68

A Patola silk double ikat sari, late 19th century, Indian, Gujarat, decorated in the pan bhat (pipal leaf) pattern, in a Perspex frame, with fringed end borders, 220cm wide

137cm high

£400-600

For further information on Patola saris, see: John Gillow and Nicholas Barnard, ‘Indian Textiles’, 2008, pp.100-101. For a similar example, see: Victoria & Albert Museum, London, accession no. IS.191-1960.

A pair of Limoges blanc de Chine table lamps, 20th century, French, of urn shape with neoclassical anthemion handles, each with a silk pleated shade, overall 71cm high 22cm wide shade 40cm diameter (2)

£200-400

A walnut prie-dieu, 17th century, Italian, the shaped top above a single drawer and a cupboard door set between a pair of quarter column pilasters, raised on a plinth base with an interior compartment, 71cm wide 65cm deep 90cm high

£300-500

Three carved oak panels, 17th century, Flemish, comprising an arch, a dog and one with a pair of lions, largest 58cm long (3)

£300-500

Provenance: Purchased from Celia Jennings, Orpington, Kent, 1992.

A brass pricket candlestick, 17th century, Flemish, with a triform base, converted into a table lamp, 39cm high

£200-300

LOT 69

LOT 70

LOT 71

LOT 72

LOT 73

An ebonised and parcel-gilt mirror, third quarter of the 19th century, Continental, the frame decorated with foliate spandrels, surrounding a rectangular glass plate, 50.5cm wide

61cm high

£200-400

LOT 74

A walnut open armchair, late 17th century, Italian, the back and seat upholstered in tapestry fabric, raised on turned supports united by stretchers, 53cm wide 50cm deep

104cm high

£300-500

Provenance: Purchased from Gallori Turchi, Florence, 1996.

LOT 75

An assembled collection of tin-glazed earthenware by Isis Ceramics, second half of the 20th century, English, designed by Deborah Sears, comprising fifty pieces in various blue and white delft-style painted patterns, including twelve dinner plates in ‘Exotic Animals’ for Colefax and Fowler, all with painted marks, dinner plates 28.5cm diameter (50)

£400-600

For an itemised list, please see the condition report.

LOT 76

A narrow oak console table, of recent manufacture, Continental, with a pale marble top above three frieze drawers, raised on cabriole supports terminating in hoof feet, 170cm wide

40cm deep

79cm high

£300-500

LOT 77

A grand tour giallo antico marble souvenir, 19th century, Italian, of the Temple of Vespasian and Titus, on a black marble base, 12.5cm wide 36.5cm high £2,500-3,500

FURNITURE AND WORKS OF ART

LOTS 77-159

LOT 78

A George III-style ebonised bracket clock, c.1900, the arched brass dial with a subsidiary slow/fast dial and silvered chapter rings, the movement striking the hours and quarters on two gongs, the case with gilt-metal mounts, 24cm wide

17cm deep

41cm high

£300-500

LOT 79

A George II pine fire surround, mid-18th century and later, the frieze carved with acanthus scrolls, 152cm wide

21cm deep

131cm high

£800-1,200

LOT 80

After Michelangelo, a pair of grand tour bronze figures, one of Guiliano di Lorenzo de’ Medici, the other Lorenzo di Piero de’ Medici, after the Cappelle Medicee funerary monuments in the Sagrestia Nuova, Florence, 16.5cm high (2)

£300-500

LOT 81

A grand tour gilt-brass and alabaster model, 19th century, Italian, in the form of a brazier, 6cm diameter 10.5cm high

£200-300

LOT 82

A Persian wool rug, c.1930, Tabriz, 236 x 162cm £1,000-2,000

LOT 83

A late George II carved giltwood pier glass in the manner of Thomas Johnson, c.1760, the elaborate rococo frame surmounted with ho-ho birds and a kid goat, with flowers and foliate scrolls, rockwork and trees, with a pair of stylised columns surrounding a later glass plate, 98cm wide

160cm high

£6,000-8,000

Thomas Johnson was one of the leading carvers and gilders working in London in the middle of the 18th century, and was a proponent of the rococo style. He is also well known for incorporating natural and pastoral motifs in his work, with particular inspiration taken from Francis Barlow’s late 17th century illustrations of Aesop’s Fables.

LOT 84

A carved marble bust, probably late 18th/early 19th century, of a crying child, on a socle base, 17.5cm wide

17cm deep

34cm high

£800-1,200

Comparative Literature: Charles Avery, ‘Florentine Baroque Bronzes and Other Objects of Art’, 1975, pp.84-85. The present example bears similarities to a hollow cast bronze, ‘Head of a Crying Child’, Netherlandish, c.1700, in the Royal Ontario Museum, Toronto (object number 989.28.11), particularly some of the facial expression including the furrowed brow, flaring nostrils and tears.

LOT 85

A George II mahogany bachelor’s chest, mid-18th century and later, with a folding top above six cockbeaded drawers, raised on ogee bracket feet, 76cm wide

33cm deep

71cm high

£800-1,200

LOT 86

A George II-style walnut and parcel-gilt pier mirror, late 19th/early 20th century, surmounted with a broken scrolled pediment, centred with an armorial surmounted with a hand, centred with a bevelled edge mirror plate, the edges with egg-and-dart moulding in gilt, the sides with acorn and oak leaf carving and giltwork, 77cm wide

142cm high

£1,000-1,500

LOT 87

After Auguste Moreau, c.1873, an alabaster bust of a child, inscription to reverse ‘Moreau d’apres 73’, on a turned socle base, 12cm wide

9cm deep

24cm high

£200-400

LOT 88

A George III mahogany and inlaid linen press, c.1790, with an inverted breakfront cornice, over a pair of doors inlaid with flowering urns, enclosing drawers, above four drawers and tapering square supports, 130cm wide

59cm deep

211cm high

£600-800

89

LOT 89

A George III mahogany musical eight-day longcase clock, by Robert Austen, Challock, the arched, brass dial with a silvered dial engraved ‘chimes on eight bells’ and ‘chimes on four bells’, over a silvered chapter ring and seconds dial, the movement striking on eight bells and a gong, the case with brass stop-fluted columns, 52cm wide

26cm deep

232cm high

£500-1,000

LOT 90

A Persian wool carpet, 20th century, woven with foliate motifs to a pale field, 368 x 272cm

£300-500

LOT 91

A George III miniature chest of drawers, early 19th century, with four drawers and raised on bracket feet,

31cm wide

22cm deep

33cm high

£200-400

LOT 92

A grand tour specimen marble centre table, early 19th century, Italian, Florence, the circular top centred with a lapis lazuli roundel, within numerous radiating marble and hardstone specimens, raised on a William IV ebonised tripod base,

70cm diameter

79cm high

£4,000-6,000

Often associated with the city of Florence, specimen tabletops of this sort are typical of the grand tour. Another table with a closely matching top to the present example was sold in 1817 by the Rome-based dealer François de Sanctis to the Reverend R W Bland (d.1880) of Belfast. For a top of identical design, see Bonhams, ‘Fine Decorative Arts’, 29 November 2022, lot 15.

LOT 93

A composition bust in the manner of Giacomo Manzù (Italian, 1908-1991), mid-20th century, possibly an interpretation of the Lemnian Athena, 46cm wide 25cm deep 45cm high £300-500

LOT 94

A George III mahogany and brass plate bucket, early 19th century, of typical form with a swing handle, 32cm diameter 55cm high £300-500

LOT 95

A George III-style steel fire basket, 20th century, with an arched back, urn finials and engraved detail, 53cm wide 38cm deep 64cm high £300-500

LOT 96

A grand tour carved walnut model of Trajan’s Column, early 20th century, Italian, surmounted by a gilt-metal figure, 24cm wide 102cm high £800-1,200

LOT

A George III mahogany longcase clock, by Robert Graves, Macclesfield, the arched brass face with 11.5in silvered dial and chime/ silent dial, striking on eight and four bells, enclosing an eight-day movement, the case with a swan-neck hood, with a painted frieze, over-cast Corinthian capitals on fluted columns, with blind fretwork details, 233cm high £1,000-1,500

97

LOT 98

A pair of Louis XV-style patinated bronze table lamps, late 19th century, French, each cast with acanthus detail and a stepped base, 17cm wide 17cm deep 51.5cm high (2) £300-500

LOT 99

A George III mahogany bachelor’s chest, c.1780, of serpentine outline, with a brushing slide above four graduated drawers, raised on splayed bracket feet, 96cm wide 55cm deep 86cm high £600-800

LOT 100

An embossed brass coal scuttle, late 19th century, centred with a pineapple surrounded by foliate scrolls, raised on three paw feet, 30cm wide

44cm deep 50cm high when handle is raised £300-500

LOT 101

A pair of carved pine columns, each fluted shaft surmounted by a Composite capital with scroll and acanthus carving, 42.5 and 43cm wide

192cm high (2) £200-400

LOT 102

A Chinese Chippendale-style giltwood mirror, 20th century, the pierced scrolling frame surmounted with a pagoda and a figure, decorated with flowers and birds, with a rectangular bevelled plate, 85cm wide 139cm high £500-700

LOT 103

A large Persian-style wool carpet, c.1900, European, woven with repeating flowers to a pale ground, 430 x 345cm £1,500-2,500

LOT 104

106cm

89cm high

£800-1,200

LOT

106cm

89cm

£800-1,200

A two-seater sofa by George Smith, late 20th century, with short scroll arms and turned front supports, terminating in brass caps and castors, 188cm wide

deep

105

A two-seater sofa by George Smith, late 20th century, with short scroll arms and turned front supports, terminating in brass caps and castors, 188cm wide

deep

high

coloured aquatint and mezzotint engravings some with hand-colouring, a set of twenty-two after various artists, variously together with three further bookplates from the same series

LOT 107

A small George IV rosewood library clock by Vulliamy of London, c.1830, the brass-mounted case with a stepped pediment, chamfered edges and peg feet, the silvered dial with a rate adjustment arbour and partially engraved with elaborate foliate scrolls, set with Roman numerals and inscribed ‘Vulliamy London’, the movement backplate inscribed similarly and numbered ‘759’,

12.5cm wide

11cm deep

20.5cm high

£2,000-4,000

LOT 108

After Antonio Canova, ‘Pauline Bonaparte as Venus Victrix’, 19th century, carved alabaster, 40cm wide

14cm deep

29cm high

£400-600

LOT 109

A bronze figure of the Venus de Milo, 19th century, raised on a rectangular marble plinth, 14cm wide

12.5cm deep

45cm high

£300-500

LOT 110

A small George III mahogany chest of drawers, c.1760, the moulded rectangular top above three graduated drawers, raised on bracket feet, 56cm wide

43cm deep

71cm high

£600-800

LOT 111

A Persian Heriz wool rug, first half of the 20th century, woven with geometric floral and foliate motifs, 269 x 208

£300-500

LOT 112

A George III mahogany tripod table, c.1765, with a moulded top and birdcage action, above a turned column and acanthus-carved tripod supports, terminating in claw and ball feet, 73cm diameter

73cm high

£800-1,200

LOT 113

A large ‘Drawing Room’ sofa by Rose Uniacke, of recent manufacture, upholstered in Robert Kime ‘Ottoman Lampas Blue’ velvet, raised on tapering square supports terminating in brass caps and castors, 242cm wide 100cm deep 76cm high £1,500-2,500

LOT 114

A pair of George III mahogany ‘pelta-back’ hall chairs, c.1790, each splat centred with an urn and set with eagle head terminals, above a shaped solid seat and raised on knee-carved reeded front legs, 43cm wide 46cm deep 85.5cm high (2) £1,500-2,500

LOT 115

A Roman-style composition togatus figure, of recent manufacture, the standing figure raised on a plinth, 58cm wide

58cm deep

212cm high £400-600

LOT 116

A Persian Heriz wool runner, c.1920, 385 x 105cm £800-1,200

LOT 117

A George III mahogany side table, with a rectangular top over a blind fretwork frieze, raised on carved and tapering legs, on hexagonal block feet,

112cm wide

46.5cm deep

84cm high £2,000-3,000

LOT 118

Giovanni Fontana (1821-1893), a carved marble bust of architect Sir George Gilbert Scott, signed and dated 1865, 66cm wide

30cm deep

63cm high

£2,000-3,000

LOT 119

A George IV mahogany extending dining table, c.1825, the moulded top with two additional leaves, raised on large reeded supports, terminating in brass caps and castors, 235cm long

137cm wide

73cm high

£500-700

LOT 120

In the manner of Ferdinando Andreini (Italian, 1843-1922), late 19th century, carved white marble, Flora, the subject standing with one arm outstretched, the other holding a cornucopia of flowers, on a naturalistic base, 27cm wide

33cm deep

80cm high

£500-700

LOT 121

A George III mahogany dressing chest, c.1770, of canted serpentine outline, set with four graduated drawers and raised on bracket feet, 103cm wide 56cm deep

85cm high

£800-1,200

LOT 122

A Regency gilt-framed convex wall mirror, early 19th century, with a moulded deep frame and reeded ebonised slip, 45cm diameter

£300-500

LOT 123

A George IV mahogany serving table, c.1825, the galleried, rounded rectangular top, above a moulded frieze, raised on tapering reeded supports terminating in peg feet, 142cm wide

60cm deep

90cm high

£1,000-2,000

LOT 124

A Persian Feraghan wool carpet, c.1880, woven with bold Shah Abbasi motifs to a pale ground, 318 x 226cm £3,000-5,000

LOT 125

A George IV mahogany secretaire bookcase, c.1825, the upper section with a pair of astragal-glazed doors enclosing shelves, above a drawer with a fitted interior and two cupboard doors, raised on a plinth base, all set between a pair of cluster column pilasters, 110cm wide 58cm deep 23cm high £1,500-2,500

LOT 126

A George IV mahogany bracket clock by John Peterkin of London,

c.1825, with all-over parcel-gilt and ebonised detail, with a stepped pediment above a white enamel dial set with Roman numerals, the movement striking the hours on a bell, with a chime/silent function, bearing the maker’s name to the face and backplate, raised on ball feet and an inlaid bracket,

31cm wide

19cm deep

61.5cm high

£500-800

LOT 127

A Regenc y-style giltwood pier mirror, 19th century, with cluster-column supports, 58cm wide

87cm high

£200-400

LOT 128

A Victorian walnut tub chair, c.1890, covered in foliate silk with a buttoned back, raised on ring-turned front supports, terminating in ceramic castors, 88cm wide

85cm deep

74cm high

£400-600

LOT 129

After Jean Goujon, a carved marble bust of Diana, late 19th/early 20th century, on a socle base,

18.5cm wide

13cm deep

35cm high

£400-600

LOT 130

A Regency mahogany and rosewood banded sofa table, c.1810, with two frieze drawers and splayed supports united by a turned stretcher, 141cm wide

61cm deep

73cm high

£300-500

LOT 131

A Regenc y-style painted mahogany sofa table by Edwards & Roberts, c.1900, profusely painted with a central oval panel of figures with a beaded border, with flanked floral scrolling and banding, which continues to the drop leaves, drawer fronts and supports, labelled to the drawer ‘Edwards & Roberts, Wardour St, 126 Piccadilly, 532 Oxford St, London’,

91cm wide

71cm deep

74.5cm high

£600-800

LOT 132

A grand tour gilt-metal and pietra dura dish, 19th century, the oval pietra dura centre depicting a bird on a branch, within a scalloped-edged border set with further pietra dura cameos depicting butterflies, all within beaded borders, the dish profusely engraved and on an oval foot,

39cm wide

32cm deep

5cm high

£300-500

LOT 133

A mahogany partners’ desk, late 19th century, with ripple-moulded decoration, the rectangular top with an inset green leather surface, above a pair of slides and seven drawers to each side, each with a bone escutcheon and brass pulls, raised on claw and ball feet,

160cm wide

98cm deep

77cm high

£600-800

LOT 134

A large Regenc y-style satinwood console table, 20th century, Sri Lankan, the moulded rectangular top raised on acanthus-carved monopod supports, terminating in paw feet,

280cm long

60cm wide

86cm high

£1,000-2,000

LOT

A near pair of Regenc y-style convex mirrors, late 19th/early 20th century, each with ball decoration and ebonised slip, the slightly larger 65cm diameter (2) £400-600

LOT

A late Victorian brass and enamel mantel clock, retailed by ‘Whytock & Sons, Dundee, Paris’, the domed case with panels of blue enamel and gilt decoration, turned finials and columns, enclosing a French drum movement striking the hours and half hours on a bell, 40cm high £400-800

LOT

A Regenc y-style mahogany console table, of recent manufacture, with a stone top above two moulded drawers between a pair of brass lion masks, raised on tapering reeded supports, terminating in paw feet, 151cm wide 46cm deep 83cm high £1,000-2,000

137

135

136

LOT 138

A Regenc y-style painted panel, 20th century, decorated with urns and swags, 57cm wide 151cm high

£200-300

LOT 139

A small Victorian specimen marble and ebonised wooden occasional table, c.1880, the inset chequerboard top above a magazine rack, set between ring-turned supports, terminating in peg feet, 66cm wide 52cm deep 73cm high

£400-600

LOT 140

An ebonised oak partners’ desk, second half of the 19th century, the top fitted with a leather surface and frieze drawers, above pedestals set with doors to each end, enclosing a cupboard and drawers respectively, on a plinth base, 168cm wide 91cm deep 80cm high

£600-800

LOT 141

A Persian Heriz wool rug, c.1920, with geometric foliate decoration to an ivory ground, 296 x 216cm £2,000-3,000

LOT 142

A Regenc y-style mahogany bergère library chair, late 19th century, with reeded detail to the frame, green leather cushions and brass castors, 63cm wide 70cm deep

92cm high £800-1,200

LOT 143

A Victorian walnut library armchair, with a buttoned red leather back and seat, raised on tapering square supports, terminating in ceramic castors, 65cm wide

65cm deep

95cm high

£500-700

LOT 144

A Victorian barrel-back armchair, late 19th century, with buttoned velvet upholstery, raised on tapering square supports, 83cm wide 83cm deep 113cm high

£600-800

LOT 145

A Victorian barrel-back armchair, the padded back and seat upholstered in pale linen, raised on ring-turned walnut front supports, terminating in brass castors, 73cm wide 83cm deep 112cm high

£600-800

LOT 146

A long Persian Mahal wool runner, mid-20th century, 710 x 88cm

£2,000-3,000

LOT 147

A large Victorian mahogany bookcase, with a raised gallery and glazed doors enclosing shelves, on a plinth base, 344cm wide

35cm deep

146cm high

£1,000-2,000

LOT 148

Benjamin Edward Spence (1822-1866), ‘The Highland Mary’, a carved white marble figure, on an oval plinth, 44cm wide

31cm deep

124cm high

£3,000-5,000

For a similar example, see The Royal Collection Trust inventory number 2075. During the 1840s, Spence was sent to study in Rome under the atelier of Richard James Wyatt and John Gibson. As such, his work is defined a typically neoclassical depiction of contemporary figures. ‘The Highland Mary’ portrays Mary Morison - a famous nineteenth-century figure known for holding the affection of Scottish poet, Robert Burns. The sculpture illustrates Burns and Morison’s final encounter, in which Burns swears eternal faithfulness, as evoked in his namesake poem:

That heart that lo’ed me dearly!

But still within my bosom’s core

Shall live my Highland Mary

The sculpture was first commissioned in 1852 for notable businessman and potter, Charles Meigh, at his new residence of Grove House, in Shelton, Staffordshire. Spence went on to make several versions of ‘The Highland Mary’, including an example commissioned for Prince Albert as a birthday present to Queen Victoria, which now resides in the Guard Chamber at Buckingham Palace.

148

LOT 149

A large Victorian oak extending dining table by Eadon & Son, Sheffield, c.1860, the rectangular top with a wind-out mechanism and ten leaves, above a deep apron with carved detail, raised on turned and fluted legs, terminating in large Cope & Collinson brass and ceramic castors, stamped with maker’s marks beneath, 680cm long

150cm wide

76cm high, with a leaf case and a winding handle

£2,000-4,000

LOT 150

A George III-style porcelain and gilt-brass table lamp, late 19th/early 20th century, of neoclassical urn form, decorated with acanthus leaves, rams’ heads and floral swags, raised on guilloché-cast tripod supports terminating in hoof feet and a plinth base, with a pleated silk shade,

41cm diameter

84cm high

£200-400

LOT 151

A set of four Victorian walnut dining chairs, c.1870, Irish, each rail carved with the coat of arms of Clotworthy Skeffington (1743-1805), covered in buttoned leather and raised on fluted front supports, terminating in castors,

56cm wide

63cm deep

106cm high (4)

£500-700

LOT 152

A Persian wool carpet, c.1940, Tabriz, woven with scrolling Shah Abbasi motifs to a red ground, 400 x 300cm £2,000-3,000

LOT 153

A William IV mahogany centre table, c.1835, the circular top raised on a turned column with beaded and acanthus detail, on a tripod base terminating in paw feet, 128cm diameter

74cm high

£500-700

LOT 154

A late Victorian club armchair by Howard & Sons, c.1890, with a deep seat and turned walnut front supports, terminating in brass castors, stamped to the back leg,

85cm wide

117cm deep

74cm high

£1,000-1,500

LOT 155

A mahogany window seat, second quarter of the 19th century and later, the rectangular top with a Tekke covering, raised on bulbous foliate supports and scrolling feet, terminating in castors,

133cm wide

50cm deep

50cm high

£600-800

LOT 156

A William IV mahogany breakfront bookcase, with a moulded cornice and a fluted frieze with turned roundels, the upper section with astragal-glazed doors, centred with pigeonholes and drawers, the lower section with ten drawers, centred with a pair of cupboards,

225cm wide

56cm deep

206cm high

£1,500-3,000

LOT 157

A William IV rosewood centre table, c.1830 and later, the circular top inlaid with a continuous band of foliate marquetry, raised on a faceted column and tripartite base, terminating in paw feet, 131cm diameter

77cm high

£1,500-2,500

LOT 158

A wool carpet of Persian Serapi design, 20th century, Anatolian, 340 x 233cm

£1,200-1,800

LOT 159

A pair of Empire-style gilt and patinated bronze candlestick lamps, 19th century and later, each with a reeded column, raised on an elaborately cast tripod support, terminating in paw feet and a plinth base, each with a pleated silk shade, 13cm diameter 31cm high excluding fitting (4)

£800-1,200

Select items from 5 Belgrave Square, London

‘Will it be London’s loveliest room?’

This is the question Henry ‘Chips’ Channon pondered in a diary entry written on 17 June 1935, having just met Stéphane Boudin, the influential French interior designer that he had chosen to create his new dining room at 5 Belgrave Square. Channon was an American millionaire socialite who only wanted the best and most glamorous. Boudin, the president of Paris-based decorating firm Maison Jansen was, according to Chips, ‘the greatest decorator in the world’ and worthy of the task of refurbishing parts of the flat he’d purchased with his heiress wife, Lady Honor Guinness.

The finished product, a frivolous rococo fantasy painted in ‘cascades of aquamarine’ and dripping in silver leaf, was inspired by the Hall of Mirrors in the Amalienburg, a hunting lodge in the park of Nymphenburg Palace, near Munich, completed by 1739. The existing Regency cornice and frieze with coved ceiling were replaced with burnished silver plaster decoration depicting scallop shells, scrolls and nymphs, in between walls painted in cool blue, with end sections incorporating mirrored double doors mounted with silver-plated hardware. The effect was dazzling and enthralling to all who visited, including Queen Mary, Edward VIII and Wallis Simpson.

Channon’s personal taste also shone through; along the centre of the custom-made rococostyle dining table by Jansen lay Meissen porcelain from his collection, including pieces from the famous swan service, commissioned in 1737 by Count Heinrich von Brühl, prime minister to Augustus III, elector of Saxony. Appearing throughout the pages of Country Life , the property’s other rooms in fashionable Regency style had a distinctly different feel to Boudin’s creation, but were also filled with Channon’s fine porcelain and works of art. Although not made by the French designer, these other rooms and the items found therein have undoubtedly been touched by some of the glitz and grandeur awarded to their neighbour, and Sworders are pleased to present a select group of these items in the present sale.

Literature: James Archer Abbot, ‘Lady Honor and Henry Channon’, Jansen , 2006, pp.94-101; Clive Aslet, ‘Chips’ Channon at 5 Belgrave Square, An Exuberant Catalogue of Dreams , 2013, pp.182-189.

LOT 160

A near pair of solid Blue John or Derbyshire fluorspar urns, 19th century, each of slender ovoid form on a flared pedestal base, raised on a black stone stepped square base, restorations and losses, 22.5 and 25cm high, together with another Blue John urn, 19th century, of squat baluster form, raised on a turned pedestal base bordered by white marble, damages and losses, 12.5cm wide 18cm high (3)

£800-1,200

Literature: C Hussey, ‘5 Belgrave Square, London: The Residence of Mr. Henry and Lady Honor Channon’, ‘Country Life’, 26 February 1938, p.226.

LOT 161

A Blue John or Derbyshire fluorspar chalice, 19th century, the shallow bowl raised on a turned and knopped tapering stem, on a circular foot, restoration, 14cm diameter 24.5cm high

£800-1,200

Illustrated: Clive Aslet, “’Chips’ Channon at 5 Belgrave Square’, ‘An Exuberant Catalogue of Dreams’, 2013, p.189.

LOT 162

Two Blue John or Derbyshire fluorspar obelisks, 19th century, possibly Cliff Blue Vein, of tapering form, each raised on a square base bordered by white marble and black stone, restoration, larger 38.5cm high smaller 28cm high (2)

£800-1,200

The black stone is possibly Ashford marble, the name given to a limestone mined near the village of Ashford-in-the-Water, Derbyshire, England.

LOT 163

A rococo carved walnut cradle, early 19th century, French or Italian, with putto and dolphin decoration, raised on tapering square supports, terminating in castors,

130cm long

64cm wide

159cm high

£800-1,200

LOT 164

A bronze temple bell and stand, Qing dynasty (1644-1911), with engraved detail and shou characters, on bracket feet,

86cm wide

44cm deep

155cm high

£400-600

LOT 165

A set of four black-lacquered salon chairs, 19th century, French, the top rails painted with Napoleonic scenes, 41cm wide

41cm deep

84cm high (4)

£200-300

LOT 166

A large Meissen porcelain Schneeballen vase and cover, c.1870, of baluster form, with an applied family of golden orioles supported by trailing branches, on a tightly applied ground of mayflower blossoms issuing ball-shaped blossoms, the removable domed cover similarly decorated with two further finches, the pierced cagework lower body enclosing another bird, on a domed and spreading foot, 46cm wide

45cm deep

85cm high including cover (2)

£15,000-20,000

For a similar example, see: Christie’s, ‘The Opulent Eye - 500 Years: Decorative Arts Europe’, 15 March 2012, lot 87.

The first use of Schneeballen (‘Snowball’) decoration was by J J Kaendler in June 1740 and, in 1742, a bowl, cover and stand was given to the Dauphin, son of Louis XV, with the same decoration (see Maureen Cassidy-Geiger Ed., ‘Fragile Diplomacy’, 2007, p.158, fig.7-25). The technique was revived in the mid-19th century across all manner of items from bowls to ewers. The present example is outstanding in both size and technique, and is unusual in that the caged bird is decorated in polychrome as opposed to being left white.

LOT 167

A pair of Meissen porcelain Schneeballen vases, probably late 19th century, each of campana form, with an applied bullfinch and yellow canary supported by trailing branches, on a tightly applied ground of mayflower blossoms issuing ball-shaped blossoms, crossed swords mark in blue, impressed numbers and incised model number ‘2758’, 20cm wide

25.5cm high (2)

£3,000-5,000

LOT 168

A group of four Meissen porcelain Schneeballen vases, probably late 19th century/early 20th century, each of campana form, with applied yellow canaries supported by trailing branches, on a tightly applied ground of mayflower blossoms issuing ball-shaped blossoms, with various crossed swords marks in blue, impressed numbers and incised model numbers ‘2780’ and ‘Z780’,

13cm wide

17cm high (4)

£1,500-2,000

A Samson porcelain Iznik-style jug, late 19th century, the bulbous body decorated with blue and white floral sprays, to a red ground, painted marks, 27.5cm high, together with an Iznik-style pottery jug, 19th century, the tapering neck to a bulbous body decorated with floral sprays and foliate motifs, 24cm high (2)

£500-800

FURNITURE AND WORKS OF ART

LOTS 169-215

170

171

An Iznik-style pottery charger, late 19th century, in the manner of Samson, the centre decorated with animals to a blue ground and foliate border, painted marks, 31cm diameter, together with a similar Iznik-style pottery charger, with floral decoration to a blue ground, painted maker’s mark, 30.5cm diameter (2)

£400-600

A Samson porcelain Iznik-style bottle vase, mid to late 19th century, the bulbous body decorated with red carnations interlaced with blue saz leaves to a pale ground, painted marks, 49cm high

LOT 169

LOT 170

LOT 171

LOT 174

A Biedermeier maple sofa, 19th century, Swedish, upholstered in light-blue suede, 210cm wide 80cm deep

85cm high

£300-500

LOT 175

A Multan pottery jar, 19th century, painted underglaze in tones of blue with floral and foliate scrolls, 18cm diameter 19cm high, together with a similar smaller example, 15cm diameter 18cm high (2)

£200-400

LOT 172

A French Empire parcel-gilt bronze clock, in the form of a lyre with a spread eagle surmount and applied gilt swags, flowers and husks, within a beaded border, flanked by a cherub on an onyx base, the drum movement striking on a gong, 41cm high

£800-1,200

LOT 173

A pair of porcelain table lamps, 20th century, with printed decoration of various specimens including malachite, each with a blue cotton cone shade, 15cm wide

56cm high

shade 55cm diameter (2)

£200-300

LOT 176

A burr maple dining or centre table, Swedish, the top with rounded corners on four scrolled supports, a carved central column and a platform base, 212cm long

100cm wide

83cm high

£1,000-1,500

LOT 177

A pair of glass and metal wall lights, 20th century, French or Italian, in the style of Maison Baguès, each with twin sconces in the form of a vase filled with leaf and floral sprays, 32cm wide

32cm high (2)

£400-600

LOT 178

A jajim kilim wool rug, 20th century, with bold alternating stripe decoration within a stitched border, 280 x 175cm

£300-500

LOT 179

A Régence-style giltwood mirror, late 19th/early 20th century, French, with scrolling foliate detail, 70cm wide

120cm high

£200-400

LOT 180

An Art Deco burr maple cabinet by Smith & Co. of Paris and Nice,

second quarter of the 20th century, French, of demilune shape, with a grey marble top above various drawers and doors, inlaid with repeating foliate detail and centred with a bouquet of flowers, raised on tapering turned supports,

220cm wide

61cm deep

116cm high

£2,000-4,000

LOT 181

A walnut armchair, 18th century, French, with scrolling open arms and ‘os de mouton’ supports, upholstered in striped velvet, 59cm wide 69cm deep 117cm high

£300-500

LOT 182

A gilt-metal and glass electrolier, 20th century, French or Italian, in the style of Maison Baguès, in the form of a lyre issuing six scrolling and foliate bound branches, terminating in light fittings, 60cm wide

65cm high

£500-700

LOT 184

A Qashqai kilim wool rug, 20th century, the bold polychrome fields with repeating foliate decoration, 293 x 153cm

£400-600

LOT 185

LOT 183

A Charles X mahogany guéridon, second quarter of the 19th century, French, the circular top above a reeded column and quadripartite base, terminating in paw feet, 100cm diameter

74cm high

£600-800

A painted faux bamboo guéridon, 19th century, French, the circular brèche d’Alep marble top raised on three turned supports united by an undertier, 107cm diameter

75cm high

£600-800

LOT 186

A Moroccan-style painted low table, 20th century, with polychrome decoration and spindle inset sides, 23cm diameter 54cm high

£200-300

LOT 187

A pair of porcelain vase lamps, early 20th century, Chinese, painted in enamels with birds, flowers and lotus scrolls, each with a pleated silk shade, 26cm diameter 50cm high (2)

£200-400

A quartetto nest of red-lacquered tables, early 20th century, Chinese, each surface inset with hardstone, mother-of-pearl and ivory, decorated with figures in a garden, raised on square supports united by stretchers, largest 56cm wide

41cm deep

62cm high (4)

£200-400

IMPORTANT NOTE

This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: 795G1998

LOT 189

A porcelain famille verte vase, probably by Samson, in Chinese Kangxi style, the globular body painted with chrysanthemum by rocks in shaped panels, all against a powder-blue ground, with blue artemisia leaf mark to the underside, 9cm wide 19cm high

£400-600

Provenance: From the 6th Earl Howe, of Gopsall Park and Penn House, and by descent to a lady of title.

A Louis XVI-style gilt gesso and glass mirror, early 20th century, with foliate detail and sectional borders surrounding a rectangular glass plate, 71cm wide

124cm high

£200-400

LOT 188 

LOT 190

LOT 191

A group of four carved hardwood Nupe stools, Nigerian, each with a geometric carved top on faceted tapering legs, all 40cm wide approximately largest 49cm high (4)

£300-500

LOT 192

A chinoiserie brass dining table, of recent manufacture, with a glass top above a Chinese coromandel lacquer panel, raised on tubular supports united by stylised brackets, 218cm long 110cm wide 72cm high

£1,000-2,000

LOT 193

A kilim flat-weave rug, of recent manufacture, with polychrome decoration, 294 x 204cm

£1,200-1,800

LOT 194

A French ten-inch terrestrial globe, late 19th century, by C H Perigot, fitted with a brass meridian ring, raised on an associated Art Nouveau brass stand with engraved scale, stamped ‘Leroux Paris’, 47cm high

£400-600

LOT 195

A set of walnut, faux bamboo, wall shelves, c.1890, with turned decoration to the ends, 80cm wide 23cm deep

64cm high

£200-300

LOT 196

A group of four South Pacific paddles, possibly the Solomon Islands, to include a supe or subi Malaita-style club, three examples with geometric rattan grip handles, largest 130cm long, together with two further spears, each with a fibre grip, largest 129cm long (6)

£150-250

LOT 197

A small export leather chest, c.1880, Chinese, the hinged lid enclosing a papered interior, with all-over studded detail and carrying handles, 52cm wide

29cm deep

27cm high

£200-300

LOT 198

An Empire-style giltwood and ebonised occasional table, second half of the 19th century, French, with an octagonal faux marble top, above a palm-carved column and a circular base, standing on three feet carved with Egyptian-style masks, 42cm wide

37cm deep

69cm high

£600-800

LOT 199

A gilt-metal and glass electrolier, 20th century, French or Italian, in the style of Maison Baguès, issuing six scrolling and foliate bound branches, terminating in light fittings, 70cm wide

60cm high

£500-700

LOT 200

A carved teak figure of an elephant, late 19th/early 20th century, Indian, set with a pair of mahouts, 18cm wide

44cm deep

44cm high

£200-400

LOT 201

An Arts and Crafts wool carpet, c.1920, Irish, Donegal, 310 x 195cm

£2,000-3,000

LOT 202

A carved wood and painted mask, 20th century, Indian, of a dharmic man with a moustache, a tilaka to his forehead, in two parts, mounted on a stand, 35cm high

41cm high overall

£200-400

201

202

200 199

A large wrought iron and painted pine mirror, 20th century but incorporating earlier elements, French, the rectangular plate behind a scrolling foliate grille, 89cm wide 136cm high £300-500

A pair of terracotta urns, 20th century, each decorated with satyr head handles and bacchanalian motifs, 49cm wide

38cm deep

49cm high (2)

£300-500

A group of four large ‘dallah’ coffee pots, 19th century and later, to include a copper and brass example, with a tapering finial and pierced triangular thumbpiece, over a tapering body with an applied handle, the curved spout with a hinged cover, largest 42cm high (4) £800-1,200

A set of six carved and painted wooden Igbo helmet masks, probably early 20th century, Nigerian, on wrought metal display stands, each approximately 30cm wide 30cm deep 85cm high (6)

£800-1,200

LOT 203

LOT 204

LOT 205

LOT 206

The city of Tabriz in north-west Persia has had a long heritage of rug weaving since the 14th century and, as heir to such a long tradition, no other rug-producing region of Persia can claim such a wide breadth of designs or pattern types. This example is signed by an artist who recreated the design characteristics of earlier weavings of the 17th century. It was probably a special commission for the Western market and is a unique example of its type.

LOT 207

A green velvet upholstered corner sofa, second half of the 20th century, possibly by Lenygon & Morant, with bullion fringe and upholstered supports, 262cm wide 150cm deep 89cm high £2,000-4,000

LOT 208

A Persian wool carpet signed by the master weaver ‘Choari’, c.1920, Tabriz, 380 x 300cm £5,000-7,000

LOT 209

A group of three Islamic bronze candlesticks, possibly 13th to 14th century, each stem with an Islamic inscription, to a circular domed base, on three hoof feet, 46 to 52cm high (3)

£600-800

Provenance: Purchased from Jeremy J Mason Oriental Works of Art, Mayfair, London in October 2010.

LOT 210

A Transitional rosewood and tulipwood crossbanded commode, c.1770, French, of serpentine outline, the brèche d’Alep marble top above two short and one long drawer, with all-over scrolling rococo ormolu mounts,

132cm wide

55cm deep

86cm high

£1,000-2,000

LOT 211

A large cast metal head of Buddha, of recent manufacture, raised on a stepped ebonised plinth, 80cm wide

70cm deep

123cm high

£300-500

LOT 212

A large satinwood and ebony chest, 19th century, Ceylonese, the hinged lid enclosing an interior compartment, with stepped moulding and baluster trestles, 173cm wide

73cm deep

106cm high

£400-600

LOT 213

A Khorasan-style brass incense burner, 20th century, in the form of a bird, the cover with bird finial, leading to an openwork body decorated with typical scrolled and foliate motifs, 32cm high

£200-400

LOT 214

A George III mahogany decanter box, c.1760, Irish, the hinged lid with a moulded edge, enclosing twelve divisions housing large glass bottles with engraved brass lids, raised on bracket feet, 55cm wide

43cm deep

33cm high

£300-500

SILVER

LOTS 216-234

LOT 216

A George III silver soup tureen, maker’s mark obscured, London 1792, the cover set with an acanthus-cast handle, above a globular body with similar decorated twin handles, raised on a spreading circular foot, engraved with the Lambert family coat of arms, bearing the motto ‘SEGUITANDO SI GIUNGE’, 28cm diameter, 25cm high, 52ozt

£200-300

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 217

Spare lot

LOT 218 

An Victorian Irish silver Armada pattern claret jug, John Smyth, Dublin 1868, of typical form with a trigger-action lid with an ivory insulator, with all-over repoussé and relief decoration, detailed with floral and foliate scrolls, putti and a leopard head, with a cartouche to each side with a presenation inscription, 19cm diameter, 36cm high, 41.9ozt

£700-900

Provenance: Gerald Patrick O’Brien (1930-1979) thence by descent.

IMPORTANT NOTE

This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: 7R8HCMKE.

LOT 219

A set of twelve George V silver fish knives and forks, Elkington & Co., Birmingham 1912, each engraved with a coat of arms, knives 22.5cm long, 49.4ozt overall (12)

£200-300

Provenance: Gerald Patrick O’Brien (1930-1979) thence by descent.

LOT 220

A set of four Victorian silver-plated serving dishes, late 19th century, each with shell and foliate-cast detail to the edges, numbered 1-4, 29cm diameter 4cm high (4)

£300-500

Provenance: Gerald Patrick O’Brien (1930-1979) thence by descent.

LOT 221

A 900 standard silver peacock, mid-late 20th century, Indian, with engraved decoration, 55cm long, 70ozt

£600-800

LOT 222

An Indian silver spirit kettle, late 19th early 20th century, the hinged cover with a bodhisattva final above a chased and embossed globular body, the stand with elephant trunk supports, 30cm high overall, together with a similar Indian silver teapot, the finial modelled as an elephant, above a chased decorated body with serpent handle, 14cm high

weighable 52ozt (2)

£500-700

A silver bowl, 19th century, Indian, of navette form with profusely cast foliate decoration, on an oval base, 29cm wide, 25cm high, 57ozt £1,000-1,500

LOT 223

LOT 224

A silver rose bowl, by Elkington & Co., Birmingham 1897, having a classical frieze within scrolled handles, a gadrooned base and pedestal foot, with presentation inscription ‘Woodland Pytchley Hunt Cup, 1929 S.C.E. Lloyds Adkelli’, 39cm diameter, 23cm high, 50ozt £400-600

LOT 225

A set of four George IV silver candlesticks, probably John Green, Roberts, Mosely & Co., Sheffield 1794, each of baluster form with a detachable sconce and stiff leaf cast base, 27cm high, loaded (4)

£1,000-1,500

LOT 226

A George III silver coffee pot, Newcastle, 1795, with an acorn finial, beaded border decoration and a Howard de Walden crest, 34cm high, 28ozt

£300-500

LOT 227

Spare lot

LOT 228

A silver water jug, by George Tarratt Ltd., London 1967, with an engraved coat of arms and presentation inscription on a planished ground, 25cm high, 31ozt £300-500

LOT 229

A pair of Louis XV silver candlesticks, by Jean-Charles Rousseau, Le Mans c.1730, French, each on an octagonal raised base and engraved with arms, marks to base, 23cm high, 31.23ozt (2) £1,500-2,000

LOT

A pair of George II silver candlesticks, by Hugh Mills, London 1751, each with a shaped sconce on a knopped column and shaped hexagonal base, scratch weights ‘18-1’ and ‘18-15’, 22.5cm high, 36ozt (2)

£800-1,500

LOT 231

A large silver Armada dish, by Edward Barnard & Sons, London 1936, with a Latin inscription and dated 1938 around a planished centre, 34cm diameter, approximately 40ozt

£400-600

230

LOT 232

A set of four George III silver boat-shaped salts, by Henry Chawner, London 1791, each with loop handles and engraved crest, together with four later spoons, various Victorian dates, 6.5cm high, approximately 10ozt (8)

£200-400

LOT 233

A near pair of cast silver candlesticks, maker’s mark distorted, French, Paris 1717-1722, each of plain octagonal baluster form, one marked to the inside of base, also stamped with a crowned ‘D’, the other stamped with discharge mark, 22cm high, 31.9ozt (2) £1,000-1,500

LOT 234

A George III silver canteen of flatware, by Eley & Fearn, and William Fearn, London 1796, of thread pattern, crest engraved, comprising one hundred and sixteen pieces, including a Victorian fish slice and a dessert fork, fish slice 31cm long, 220ozt (116)

£2,500-3,500

For an itemised list, please see the online catalogue.

Spring/Summer 2023

Look Up and See Joy

抬 头 见 喜

Already consigned to the Asian Art sale in May with an estimate of £2,000-3,000, a finely potted Chinese Republic period famille rose vase, decorated with magpies perched among the branches of a blossoming prunus tree against a yellow sgraffito ground, with a sixcharacter Qianlong mark to base. The characteristic combination of bright yellow glaze and the lively birds, together with a soft touch of the pink flowers, brings the first breeze of spring.

It is one of the most important Chinese customs to greet one another with auspicious words during festival seasons. Believed to spread good fortune, these wishes reflect people’s desire for peace, their hope for prosperity, and their prayers for happiness and love of life.

The auspicious words became auspicious motifs used directly or indirectly in everyday life, from animals to plants for the rebuses they represent. Magpies, or Xique, are often described as ‘birds of joy’, and often seen with other flowers to form auspicious visual puns, such as ‘Xi Shang Mei Shao’ (magpies among prunus branches) representing ‘may your joy reach up to the top of your eyebrows’. ‘Tai Tou Jian Xi’ (look up and see joy) is another popular phrase for best wishes as the magpies are standing in the tree branches.

The vase is further embellished with an incised sprawling pattern in the sgraffiato technique, a new decorative process on porcelain from the Qing dynasty, in which a needlepoint was used to engrave delicate scrollwork on a coloured ground. Commonly known as ‘Jin Shang Tian Hua’ (adding flowers to a brocade), this etching technique’s name is also a famous idiom meaning ‘making what is good even better’ and carries the auspicious connotation of ‘being blessed with a double portion of good fortune’.

This rich overall background design first appeared and became popular in the Qianlong period, reminiscent of French rococo textiles, which would have entered the court through Jesuit missionaries and merchants in Guangdong. It required formidable skill and labour to execute and imitate the impression of a rich brocade, which brings the auspicious message to the next level.

For a plate with a similar design from the Tongzhi period in the Qing dynasty, sold at Sworders for £11,180, see 6 November 2020, lot 118.

The King of the Skies: Eugène Boudin

The 19th century encompassed a huge variety of styles and genres, from the epic history paintings of the early 1800s by masters like Jean-Auguste-Dominique Ingres or Théodore Géricault, the glorious six-footer landscapes by John Constable, JMW Turner’s masterful seascapes, or the highly detailed Pre-Raphaelites. As the century progressed, a new movement was gathering pace in France, which, by the end of the century, would transform the artistic language and method of production to a degree that would have seemed unimaginable to the likes of Géricault, who died in 1824. The movement was Impressionism. We are delighted to present for sale an exquisite oil painting, ‘Le Havre, Le Bassin de la Barre’, by the French artist Eugène Boudin (1824-1898), one of the most important precursors of the Impressionism.

Hailed as one of the most influential painters of the 19th century and a favourite of mine, he was one of the first artists to paint en plein air , and was a big influence on the Impressionist movement, in particular to Monet who remarked, ‘If I have become a painter, it is entirely due to Eugène Boudin’ (J Selz, ‘Eugène Boudin’, New York, 1982, p.43). Influenced by his friend Baudelaire, Boudin was inspired to paint modern life – be that the industry of local ports, or the elegant figures that flocked to Normandy, his home, and the fashionable beaches at Trouville. His ambition was to paint what was in front of him, not to create a majestic and grandly composed vision of a port, but the port as it was – bustling with ordinary life: boats, commerce.

The harbour of Le Havre was a favoured subject by Boudin, and one that he returned to time and time again through the years, encouraging many other artists of the Impressionist movement, including Gustave Courbet and Claude Monet, to join him. A local boy, his father was a harbour pilot and, as a young man, Boudin worked on a steamboat that made the regular journey across the Seine estuary, between the port of Le Havre and the picturesque old town of Honfleur. The present lot shows Boudin at the height of his powers in the early 1890s, depicting the ‘avantport’, a landscape he knew intimately.

Boudin was described by Corot as ‘King of Skies’, famous for his depiction of clouds, light and weather. He remarked: ‘to steep oneself in the sky. To capture the tenderness of the clouds. To let the cloud masses float in the background, far off in the grey mist, and then make the blue blaze forth’ (Ibid, p.41). Here we have a low horizon with a huge expanse of sky above, contrasting with the industry of the port entrance. Using a somewhat restricted palette and his direct, instinctive brushstrokes, he offers us a masterclass in the depiction of the clouds. Elsewhere, we see his direct, crisp brushstrokes sketching the figures, buildings and boats that populate the busy port.

Boudin has always been very collectable; his painting ‘La Plage de Trouville’ sold for a recordbreaking £1.85 million at a sale last year. The present lot is estimated to sell between £70,000100,000, so we will be fascinated to see what interest it generates.

Mapping the World: The Origins of Cartography

Often coming with associations of travel and exploration, antique maps and atlases appeal to people’s sense of place and affection for where they have lived or where they live now. Furthermore, as modern-day navigation relies more and more on the internet, antique maps offer a romanticised insight into how people travelled and understood the world hundreds of years ago. A good many antique atlases were not bought at production, enabling the buyer to select any of the maps available and have them bound later, meaning that many antique atlases that appear the same can have completely different maps in them, giving insight into the personalities and interests of the people who originally collected them.

The term ‘atlas’, meaning a collection of maps bound together with varying subject matter, was coined by Flemish cartographer Gerardus Mercator (1512-1594), where it was used in 1595 for his seminal work Atlas sive cosmographicae meditationes de fabrica mundi et fabricati figura . The name came from the Greek mythological Titan Atlas, who was forced to hold the earth and the heavens on his shoulders as punishment from the Gods, and it was his image that Mercator used as the frontispiece for his atlas. Although Mercator is regarded as the central figure of the Golden Age of Dutch cartography, it was his friend Abraham Ortelius, a Flemish book collector and engraver, who made the first atlas in 1570 called Theatrum Orbis Terrarum . It was a lot smaller than Mercator’s work and never officially referred to as an atlas, but it was the first work to consist of map sheets collected in a single book, in a uniform format with explanatory text, therefore it was an innovation of its time, whilst undoubtedly setting a precedent from which later cartography could flourish in the Age of Discovery.

Although the first atlas was not made until the 16th century, map-making had been around for a lot longer, and we owe a great deal to those early mathematicians, astronomers and theologians of the ancient world for how we understand the world today. The first known map was scratched on clay tablets in the ancient city of Babylon as long back as 600 BC, and the first world map was created by Greek academic Anaximander in the 6th century BC, who believed the earth was shaped like a cylinder and that humans habited the flat upper portion. The word ‘map’ comes from medieval Latin, mappa mundi , ‘mappa’ meaning cloth and ‘mundi’ the world.

To my mind, the world’s greatest cartographer was Claudius Ptolemy, a Greek astronomer and geographer who, in the second century AD, invented geography, plotted some 10,000 locations, and devised latitude and longitude. His work was sadly lost to the West for a thousand years with the fall of the Roman Empire, however, whilst there’s acknowledgement that some of his work was distorted, it later influenced the greatest Byzantine and Renaissance cartographers.

As well as collecting maps for their historic and aesthetic value, it’s an area of the market that still offers museum-quality and historically important works at relatively modest prices, making it a popular choice for some. Our upcoming Books & Manuscripts sale has well-over fifty examples from the 17th century onwards, covering many different geographic locations at varying price points. Look at the online catalogue when it goes live in mid-April to see if you can spot any places that are particularly special to you!

Books & Maps

Friday 14 April - Sunday 23 April 2023

Michael

Kousah

| books@sworder.co.uk

The Last Impressionist

Last year, Britain lost one of its best-loved painters – Ken Howard OBE RA (1932-2022). With his impressionistic, painterly technique, his works are instantly recognisable and have delighted the nation for nearly seventy years.

He has remained in the public view through his annual entries in the Royal Academy Summer Show and his prolific output; he is said to have created an astonishing 350 paintings per year. His vast productivity was due to him being a self-confessed workaholic. When in Cornwall, he would have a model coming in every morning for six days a week. This strict routine kept the momentum going. If he felt he had an unsuccessful attempt the previous day, he could not pause and wallow - he had to get up and carry on, thus reinvigorating his enthusiasm for the painting. Unfortunately, during his last illness, he was unable to paint, and being inactive was of great frustration to a man who had led such an extremely busy life.

Ken Howard grew up in working-class London and in 1949 began his artistic schooling at Hornsey College of Art. Following his national service in the Royal Marines, he went on to the Royal College of Art (1955-57). Abstract Expressionism was all the rage with his fellow students, but Ken knew that he wanted to be a figurative painter. He was ‘out of kilter’ with his peers and his work continued to be outside the fashionable mainstream for the rest of his life. He was popular with the public, but less so with the critics.

With his realist approach to painting, he focused on what he could see and one of his main sources of inspiration was light. Howard’s paintings celebrate the world through light, whether it be flooding through the studio window on to a model, bouncing off the buildings in Venice or sparkling on the beaches of Cornwall.

This can be seen in the many works Sworders have sold by Howard in recent years, including ‘Sarah Reflecting’ in 2020 which, at a price of nearly £30,000, is the second-highest auction result for the artist. We are delighted to be offering a further five oils in our 25 April Modern & Contemporary Art sale.

In ‘Sarah, Silver and Black’ (est. £6,000-8,000), she is seated with the familiar gaze as she looks out to the light of the window. The artist’s sensitive depiction of models in the studio has led to this being one of his most popular subjects.

With studios in London, Venice and Cornwall, city scenes and beachscapes have also become synonymous with Ken Howard. In our April sale, we have an oil sketch of ‘View to the Campanile’ (est. £600-800) showing the highlights on the historic buildings in Venice. Closer to home, we have ‘Golden Evening, Sennen’ (est. £5,000-7,000) with its sparkling waves and twinkling rooftops. Another Cornish delight, ‘Summer of ‘95’ (est. £3,000-5,000), shows a very British scene, as the soft tones of the bathers and the beach are juxtaposed with the vibrant stripy windbreakers.

Ken Howard’s commercial success led to him being seen as a statesman of traditional British art. He will be missed in the art world by both collectors and fellow artists, but through his numerous paintings we can remember him - as he described himself - as ‘the last Impressionist’.

Material Girl

Sworders’ staff are the core strength of our business and we are constantly amazed by the many interests and passions we share as a team. In a previous life, Natalie Lipscombe, from our Shipping Department, had a successful career as a Textile Designer, and here we find out more about her experiences and how she would go about sourcing inspiration for her work.

How I got into textiles…

I grew up in East London not far from the William Morris Gallery and spent many school trips there where I was fascinated by his patterns and printing blocks. I loved to copy his natureinspired designs and work out how they repeated. It was the way in which he structured and replicated his patterns that resulted in him being considered such a genius of his time. His patterns were complex, but the repeats were well disguised so that they flowed with a simplicity and elegance.

Years later, I did an art foundation and specialised in fashion and textiles, and I particularly loved the screen-printing studio, so from there I went on to study printed textiles at degree level. I immediately knew I preferred textiles for interiors as I enjoyed designing in large scale; I also liked how interiors are slower paced and more considered than fashion. For me, I found it more satisfying to design full collections where all the designs could work together, for example, we would start by producing one stand-out design, which is normally quite elaborate both in motif and colour, and then bring in secondary designs, coordinating small-scale patterns, stripes and plain block colours.

When I graduated from university, I worked freelance, selling my designs through an agent to interior fabric companies or high street brands, which was good grounding for learning how to churn out designs commercially for the textile market. After that, I went on to work at a fabric company as a print designer and colourist where I worked with a lot of old archival fabrics, recolouring or restructuring them to fit the contemporary market. Then I spent ten years working for a manufacturing and supply textile company who mainly specialised in woven jacquard fabric. Learning to design and colour fabric using its warp and weft construction (the warp being the vertical yarn or thread and weft horizontal) was an interesting learning curve. I would design collections and create a detailed product specification with colourways based on how the warps and wefts would mix, at which point they would be sent to mills in Turkey to be woven into fabric. The final product would then be sold to interiors companies.

Where to find trends…

We would produce a set of around five mood boards twice a year in the autumn and spring, which would cover all the trends and colour palettes we believed would dominate the interiors textile market for the coming season. These trends would be created from visiting trade shows, exhibitions, and high-end fabric showrooms, as well as attending trend and colour talks led by trend prediction companies like WGSN and Trend Bible. These boards would be used as a backbone to design collections around. We would also work directly with companies’ specific briefs to produce designs that they needed to fit with their own fabric collections.

How to incorporate textiles into your home…

When we talk about textiles in our homes, we are referring to our soft furnishings: curtains, blinds, rugs, cushions, upholstery, blankets and throws etc. So, you can see the importance they have within an interior setting - they literally cover each and every part of a room. Textiles are also the easiest and most enjoyable way to add personality and life to a home, by switching up light and dark colours between seasons, or adding bold prints and patterns to larger pieces of furniture.

The use of just one striking fabric design - whether it is upholstered on a statement chair or dressing a window - can lift the plainest of rooms and introduce a focal point from which the rest of your décor can be built around. For those who are nervous of making such a dramatic visual statement, introducing a range of vibrant, patterned, scatter cushions to a plain sofa is the safest place to start.

An assortment of mix-and-match textures and patterns, varied in scale and complexity but within a colour palette of about three or four complementary shades, are the building blocks to any interiors scheme. However, too much colour, texture and pattern can make a room feel chaotic and cluttered, so it’s about finding the right balance.

Interiors and Fabric Trends 2023

Warm Tones and Berry Pinks

Warm tones and berry pinks are set to be a hot trend in 2023 thanks to Pantone announcing its colour of the year as Viva Magenta 18-1750, which according to them ‘vibrates with vim and vigour’.

Heritage

Looking to traditional and classic styles, and incorporating them into contemporary settings, is also set to be popular over the next season, through the symmetrical lines and intricate carvings of antique furniture and wood panelling, alongside classic damasks and floral William Morris-like patterns in fresh and modern colour palettes.

Sustainability

A key question for many industries that will continue to loom large in 2023 is sustainability, particularly in the textile industry. More emphasis is being put on the use of natural materials like organic cotton, linen and wool, and many companies are focusing on ways to produce products that are less harmful to the environment. For example, minimising the use of synthetic dyes and making innovations in fabric designs created from recycled materials and vegan leather are becoming more and more of a priority.

Natalie Lipscombe | natalielipscombe@sworder.co.uk

Best Friend

One of the most popular sections of our annual Sporting Art, Wildlife and Dogs auction is the dog section. Dog paintings cover such a diverse array of styles and genres that a dog or hound picture can appeal to almost anyone. They truly are man’s best friend, and we love to immortalise them in paint or bronze.

In our Sporting Art sales, one of the most popular forms of dog painting is that of a hunting companion, often seen in action, chasing down or retrieving their quarry. Such paintings came to popularity in the 19th century with works by artists such as Edwin Landseer RA (1802-1873) and Richard Ansdell RA (1815-1885), and there were many Victorian and Edwardian followers of their style.

But hunting is not to everyone’s taste and there are other collectors who will look out for a particular breed; lapdogs were frequent subjects in the last century as owners would have portraits painted of their own pets, just as they still do today, and we have achieved some remarkable prices in the past for King Charles spaniels, for example. Some of the most popular breeds depicted in paintings echo those that are popular today – terriers, Labradors, spaniels, bulldogs. Some paintings just have that adorable factor that dog lovers universally respond to and that makes buyers dig deep.

Arthur Wardle (1864-1949) was one of the finest dog painters of the 19th/20th century and his painting of a Sealyham terrier before a hearth had all the right ingredients when it came up in our 2022 sale. It was fiercely contested in the saleroom, selling for over twice its pre-sale estimate of £3,000-5,000, selling for £7,150 including fees. The reason – it is absolutely charming. Terriers are a very popular breed and, because lots of us have them, they are familiar to us. Here, the dog’s faithful expression and plaintive eyes are beautifully rendered, his paw raised in patient expectation of a treat, or attention, will ring true to any dog owner. The secret to being a good animal painter is to make the subject look like a real animal and not just a painting of one; a surprisingly difficult achievement, yet when it’s done well, the result is magical.

Of all the sections in our Sporting Art and Wildlife sales, the dog section has held up the best on prices. While most traditional (19th century in particular) areas have seen a price correction over the last 15 to 20 years, this has been the most enduringly popular, and I suspect always will be. We will always love our pets and we will always want them on our walls.

Tuesday 6 June 2023

Jane Oakley | paintings@sworder.co.uk

Man’s

The Late Sir John Craven, The Barn, Long Newnton, Tetbury, Gloucestershire

Sir John Craven of Long Newnton, Tetbury and Belgravia, London, was one of the City’s most influential dealmakers in the latter half of the 20th century, having had a central role in the self-reinvention of the Square Mile after the Big Bang of 1986. Amongst many significant city and international banking roles, he was Chief Executive and then Chairman of Morgan Grenfell, brokering its controversial but successful sale to Deutsche Bank in 1990. For thirtyfive years, Sir John took great pleasure in owning and developing both the Barn, Long Newnton, and Sutherland House in Eaton Square, which he decorated with his wife, Lady Ning Craven.

The two took great enjoyment in adorning each property with a carefully chosen and seamless blend of antique and contemporary European and Asian pieces. As seen in their Long Newnton home, their design choices clearly extolled the virtues of vibrant hues and bold patterns, to juxtapose with the natural textures and earthy tones of the Barn’s Cotswold stone walls and timber beams.

LOT 235

A pair of Chinese-style porcelain vase lamps, 20th century, each of baluster form with moulded dragon decoration to a blue ground, with a pleated silk shade, 25cm diameter 45cm high (2)

£200-400

An Empire painted and parcel-gilt trumeau mirror, 19th century, French, with a dentil-moulded cornice, decorated with phoenixes and anthemion motifs, surrounding a mercury glass plate, 172cm wide 140cm high

LOT 236

£1,500-2,500

LOT 237

A pair of metal column table lamps, of recent manufacture, each on a square base, with a square shade,

21cm wide

21cm deep

66cm high (2)

£200-400

LOT 238

A large elm altar table, Qing dynasty (1644-1911), Chinese, the rectangular top with raised terminals, above pierced supports decorated with flowers, 256cm wide

56cm deep

89cm high

£1,000-2,000

LOT 239

A George II walnut corner chair, the curved three-part rail above twin pierced splats and turned supports, with a square seat raised on cabriole legs, 79cm wide

79cm deep

86cm high

£300-500

LOT 240

A late Victorian brass stick stand, with four oval divisions and a spreading column, on a dished octagonal base,

37cm wide

37cm deep

76cm high

£200-400

LOT 241

A Gustavian painted pine settee, late 18th/early 19th century, Swedish, with a carved frame and tapering reeded supports, upholstered in blue fabric, 137cm wide 64cm deep 88cm high £800-1,200

LOT 242

A lacquered and giltwood standing Buddha, Mandalay period (1853-1948), Burma (Myanmar), with flaring robes and set with variously coloured glass detail, on a later stand, 65cm wide

26cm deep

170cm high

£400-600

LOT 243

A pair of upholstered armchairs, of recent manufacture, each with a high buttoned back and turned ebonised supports, covered in green damask silk, 78cm wide

90cm deep

106cm high (2)

£600-800

A large elm altar table, Qing dynasty (1644-1911), Chinese, the slender rectangular top with raised terminals, the pierced supports decorated with mythical beasts and auspicious motifs, 306cm wide

51cm deep

105cm high

£2,000-4,000

LOT 244

LOT 245

An export painted leather and camphor trunk, late 18th/early 19th century, Chinese, Canton, with studded detail and gilt decoration, painted with figures and pagodas, the hinged lid enclosing a papered interior, set with brass carrying handles,

94cm wide

47cm deep

42cm high

£400-600

LOT 246

A pair of George III mahogany card tables, late 18th century and later, each folding demilune top with crossbanding, enclosing a baize-lined surface, raised on tapering square supports terminating in spade feet, 99cm wide

46cm deep

75cm high (2)

£600-800

22cm

50cm

£200-400

70cm

100cm

£400-600

49cm

49cm

£200-400

LOT 247

A pair of stained wooden table lamps, of recent manufacture, each of openwork form and raised on ball feet, with a large square shade, 22cm wide

deep

high (2)

LOT 248

A pair of Louis XV-style painted and parcel-gilt fauteuils, late 19th/early 20th century, each frame carved with flowers and raised on cabriole supports, upholstered in floral fabric, 67cm wide

deep

high (2)

LOT 249

A pair of Lucite tables, of recent manufacture, each with a glass top and chamfered supports,

49cm wide

deep

high (2)

LOT 250

A pair of modernist glass table lamps, of recent manufacture, each of stepped form on ball feet, 22cm wide 12cm deep 35cm high (2)

£300-500

LOT 251

A George II gilt gesso pier mirror, c.1730, the scrolling frame surmounted with a foliate crest set between a broken swan-neck pediment, the edges decorated with pierced trailing flowers, enclosing a bevelled mercury glass plate, 65cm wide

123cm high

£3,000-5,000

LOT 252

A pair of George II-style wingback armchairs, 20th century, each upholstered in coral-decorated fabric, raised on knee-carved cabriole supports, terminating in claw and ball feet,

80cm wide

90cm deep

113cm high (2)

£600-800

LOT 253

A walnut and marquetry commode, mid-18th century, Italian, of serpentine outline, the top inlaid with a star and quadrilobed motifs, above two drawers, and raised on cabriole legs terminating in hoof feet, 126cm wide

64cm deep

84cm high

£2,000-3,000

A George III mahogany rent table, c.1800, the revolving circular top above an arrangement of alternating drawers and cupboards, each in alphabetical order bearing an engraved ivory plaque, raised on a baluster column and tripod supports, terminating in brass caps and castors, 112cm diameter

78cm high

£2,000-4,000

Provenance: The Late Sir John Craven, The Barn, Long Newnton, Tetbury, Gloucestershire; Purchased from Norman Adams Ltd., London.

IMPORTANT NOTE

This

LOT 254 

LOT 255

A pair of archaistic patinated bronze zhong bell lamps, of recent manufacture, Chinese, each with scrolling decoration and seal script, suspended from an ebonised frame, with a rectangular shade, 33cm wide 19cm deep 48cm high (2)

£200-400

LOT 256

A pair of red-lacquered side cabinets, of recent manufacture, each of rectangular shape with a single drawer, raised on square supports, 80cm wide

45cm deep

78cm high (2)

£200-400

LOT 257

An upholstered armchair attributed to George Smith, late 20th century, with striped upholstery, raised on turned front supports terminating in brass castors,

86cm wide

115cm deep

84cm high, together with a matching stool (2)

£800-1,200

LOT 258

A provincial elm occasional table, late 19th/early 20th century, the rectangular top raised on canted ‘X’ frame supports united by a stretcher, 79cm wide

46cm deep

64cm high

£200-400

LOT 259

A Chinese wool rug, 20th century, decorated with pheasants and lotus flowers, 165 x 238cm

£200-400

LOT 260

A George II-style black-lacquered twin pedestal desk, late 19th/early 20th century, with all-over chinoiserie decoration, the shaped top above an arrangement of nine drawers, raised on ogee bracket feet, 137cm wide

73cm deep

77cm high

£800-1,200

260

LOT 261

A George I walnut shepherd’s crook armchair, c.1720, with figural needlepoint upholstery, raised on shell-carved cabriole supports, 62cm wide 65cm deep 94cm high £2,000-3,000

LOT 262

An export red lacquer and gilt cabinet, 19th century, Chinese, with a flattened domed top above a pair of doors, enclosing hanging rails, raised on stylised bracket feet, with all-over ‘Hundred Boys’ decoration, 108cm wide

54cm deep

174cm high

£1,500-2,500

LOT 263 

A George III mahogany side table, c.1795, the bow-fronted top over an arrangement of five drawers with bone and ivory pulls, raised on tapering square legs, terminating in spade feet,

85cm wide

47cm deep

70cm high

£200-400

IMPORTANT NOTE

This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: 97CMJTKH

LOT 264

A George III painted wooden elbow chair, c.1800, with a pierced back and cane seat, raised on splayed supports, with all-over floral decoration, 53cm wide

58cm deep

84cm high

£200-400

LOT 265

A Queen Anne -style gilt gesso pier glass, probably 19th century but incorporating some early 18th century elements, with an arched crest, foliate mouldings and glass borders punctuated by floral paterae, 83cm wide

138cm high

£800-1,200

LOT 266

A Victorian-style button-upholstered chaise longue, 20th century, with a curved back and arms, raised on ring-turned front supports terminating in castors, 156cm long 77cm deep 97cm high

£300-500

LOT 267

A northern elm low table or bench, 20th century, Chinese, the slender rectangular top with a woven fibre covering, above a pierced frieze and square legs, 117cm wide 34cm deep 38cm high

£200-400

LOT 268

A black-lacquered chinoiserie overmantel mirror, c.1920, with a domed top and segmented bevelled plates, decorated all-over with floral and foliate scrolls, 153cm wide

102cm high

£600-800

LOT 269

A large hardwood side cabinet, 20th century, Chinese, the top with raised ends above drawers and doors, flanked by pierced floral panels, 247cm wide

53cm deep

91cm high

£800-1,200

LOT 270

A pair of Regenc y-style ebonised elbow chairs, late 19th/early 20th century, each with all-over painted and parcel-gilt foliate detail, with a pierced back, cane seat and splayed supports, and with a loose seat cushion,

53cm wide

53cm deep

84cm high (4)

£400-600

LOT 271

A walnut, rosewood and marquetry occasional table, early 19th century, Dutch, the oval top inlaid with a bird among floral and foliate motifs, raised on slender cabriole legs, 75cm wide

52cm deep

68cm high

£300-500

LOT 272

A set of four pierced and lacquered screen panels, late Qing dynasty (1644-1911), Chinese, each of geometric design centred with a figure, 73 x 25cm, framed and glazed (4)

£200-400

LOT 273

A pair of Chinese-style bronzed metal table lamps, 20th century, each in the form of a prancing horse, raised on a hardwood stand, with a spreading oval silk shade, 38cm wide

17cm deep

36cm high (2)

£200-400

LOT 274

Two ebonised tray-top side tables, 19th century and later, a toleware example painted with a castle, the other papier mâché, decorated with a hunting scene, each on a modern faux bamboo stand, larger 78cm wide

57cm deep

47cm high (2)

£200-400

LOT 275

A pair of marble and mahogany occasional tables, 20th century, Continental, each veined rouge top with a slate gallery, raised on tapering square supports united by an undertier, 64cm wide

46cm deep

60cm high (2)

£300-500

LOT 276

A Queen Anne-style giltwood mirror, late 19th century, with an arched top and carved detail to the frame, 77cm wide

130cm high

£300-500

LOT 277

A pair of Gustavian painted side chairs, late 19th/early 20th century, Swedish, each with a curved back and foliate-carved supports, upholstered in cream fabric,

61cm wide

56cm deep

80cm high (2)

£400-600

LOT 278

A modernist red leather desk, of recent manufacture, the rectangular top raised on a square tubular frame, 170cm wide

85cm deep

76cm high

£400-600

LOT 279

A Flos ‘Arco’ floor lamp, of recent manufacture, after the 1962 design by Achille and Pier Giacomo Castiglioni, raised on a marble plinth, labelled, 240cm high

£300-500

LOT 280

A pair of George I-style oak armchairs, late 19th/early 20th century, each with scrolling open arms and knee-carved cabriole supports, 74cm wide

70cm deep

103cm high (2)

£300-500

LOT 281

A Gustavian painted armchair, late 18th/early 19th century, Swedish, the frame with stop-fluted decoration and tapering supports united by stretchers,

82cm wide

68cm deep

98cm high

£400-600

LOT 282

A pair of composition stone baluster table lamps, 19th century, each on a square base, with a rectangular shade, 19cm wide

19cm deep

64cm high (2)

£200-400

LOT 283

A pair of Art Deco-style silvered wooden occasional tables, late 20th century, Continental, each circular top raised on curved supports and a stepped base, 64cm diameter

64cm high (2)

£700-900

LOT 284

A pair of export painted lanterns, 20th century, Chinese, each of hexagonal shape with dragon and pierced lattice detail,

64cm wide

64cm deep

64cm high (2)

£200-400

LOT 285

A pine openwork screen panel, 19th century, Chinese, with geometric decoration and auspicious motifs, 99cm wide

107cm high

£200-400

LOT 286

A gilt and painted wooden standing Buddha, Mandalay Period (1853-1948), Burma (Myanmar), on a lotus base, 43cm wide 20cm deep 111cm high

£300-500

LOT 287

A pair of Tang-style terracotta burial figure table lamps, 20th century, Chinese, each standing figure raised on a wooden stand, with a grey silk shade, 22cm wide

17cm deep

47cm high (2)

£200-400

LOT 288

A George I walnut side table, c.1720, the rounded rectangular top with strung detail, above a single drawer and raised on tapering turned supports, terminating in pad feet, 83cm wide

51cm deep

74cm high

£300-500

Provenance: The Late Sir John Craven, The Barn, Long Newnton, Tetbury, Gloucestershire; acquired by the above from Norman Adams Ltd., London.

LOT 289

A pair of small giltwood figures, Mandalay Period (1853-1948), Burma (Myanmar), each in the form of a kneeling disciple, raised on a lotus base, 14cm wide

14cm deep

27cm high (2)

£200-400

LOT 290

An hardwood side table, 20th century, East Asian, the slender rectangular top above a pierced frieze and square supports, 134cm wide

33cm deep

87cm high

£200-400

LOT 291

A wool runner, 20th century, Chinese, decorated in polychrome with dragons, 218 x 73cm

£200-400

LOT 292

A porcelain vase lamp, Qing dynasty (1644-1911), of square shape with mask handles, painted in pink enamel with blossoms, with a pleated silk shade, 20cm wide 16cm deep 42cm high

£200-300

LOT 293

A pair of Louis XVI-style painted bergères, c.1900, French, each carved frame with trailing husks and tapering square supports, upholstered in cream fabric, 63cm wide 70cm deep 102cm high (2)

£400-600

LOT 294

A set of six Victorian feather pictures, each one within a painted watercolour background, 25 x 29.5cm, framed and glazed (6)

£300-500

LOT 295

A pair of fruitwood side chairs, 19th century, Continental, each with a pierced guilloché rail and a drop-in seat, raised on tapering square supports united by stretchers, 49cm wide 49cm deep 88cm high (2)

£200-400

LOT

A pair of walnut and parcel-gilt mirrors, first half of the 18th century, probably Italian, each of shield shape with a mercury glass plate, 55cm wide 87cm high (2)

£500-700

LOT

A provincial fruitwood centre table, 19th century, French, the moulded square top above a frieze drawer, stamped ‘CB’ twice, with a shaped apron and slender cabriole supports,

67cm wide

67cm deep

71cm high

£200-400

LOT 298

A brass and wrought-iron baker’s rack, late 19th/early 20th century, French, each of the four tiers with scrolling detail, with later glass shelves, 124cm wide 44cm deep

226cm high

£600-800

296

297

LOT 299

A large giltwood overmantel mirror, late 19th century, with an arched top and incised foliate detail, with beaded moulding surrounding a glass plate, 134cm wide 150cm high £600-800

LOT 300

A set of twelve George III mahogany dining chairs, c.1795, each with a pierced back, reeded arms and tapering square supports terminating in spade feet, the seats upholstered in black fabric, elbow chairs 57cm wide

57cm deep

84cm high (12)

£2,000-3,000

LOT 301

A pair of ebonised occasional tables, of recent manufacture, each of canted square outline, raised on tapering square supports, 63cm wide

63cm deep

50cm high (2)

£200-400

FURNITURE AND WORKS OF ART

LOTS 302-341

LOT 302

A painted teak ‘almirah’ cabinet, early 20th century, Indian, Gujarat, the shaped cornice above a pair of carved panel doors, enclosing a configuration of two shelves above three short drawers, on a plinth base, 107cm wide

68.5cm deep

189.5cm high

£300-500

LOT 303

A pair of archaistic bronze table lamps, 20th century, Chinese, each in the form of a vase with twin handles and decorated in relief, with a pale green silk shade, 33cm diameter 37cm high (2)

£300-500

LOT 304

A pre-Columbian textile fragment, Peruvian, woven in shades of brown, black, red and blue in repeated vertical bands, with a fringe to one end, on a linen backing, the fragment 32.5 x 50cm with linen 64 x 90cm

£100-200

LOT 305

A near pair of teak planters’ chairs, early 20th century, Indian, each with a wicker seat, folding arms and turned supports, 62cm wide

88cm deep

98cm high when closed (2)

£300-500

LOT

A fruitwood butcher’s block, 19th century and later, French, possibly Rhône Valley, the raised back set with a brass shell set between a pair of bulls’ heads, above an adapted oak surface and drawers beneath, raised on tapering reeded supports and bun feet,

179cm wide

81cm deep

140cm high

£3,000-5,000

LOT

An inlaid hardwood octagonal occasional table, c.1900, Syrian, Damascus, with mother-of-pearl and bone decoration throughout, and pierced detail to the sides,

42cm wide

42cm deep

57cm high

£300-500

LOT

An Egyptian-style painted wooden pedestal, 19th century, the turned column decorated with stiff leaves, on a stepped square base, 35cm wide

35cm deep

117cm high

£300-500

LOT

A set of ten painted oak dining chairs, c.1900, each with lion-mask finials and turned supports, with suede upholstery, elbow chair 58cm wide

68cm deep

102cm high (10)

£300-500

306

307

308

309

LOT 310

Kalighat School (Bengal, c.1890-1920), The ten avatars of Vishnu, gouache, bound in a book, each page 30 x 21cm

£400-600

LOT 311

An Omagua pottery bowl, 16th-18th century, Napo River, Amazon Basin, Ecuador, with painted black geometric decoration, 25cm diameter 19.5cm high

£300-500

Bearing an Oxford Authentication thermoluminescence analysis report (sample no. N122a64), estimating that the date of the last firing was between 350 and 500 years ago. Provenance: Austin G Baillon OBE, acquired prior to 1975: thence by descent.

Austin Gabriel Baillon OBE served during the Second World War as a Special Operations Executive in H Division in Gibraltar, after which he followed a career with Shell in Venezuela, where he also served as British Vice-Consul. During this time he spent time in Ecuador, which is where he acquired the two present Omagua pottery vessels.

The Omagua culture inhabited the banks of the Napo River in the Amazon Basin during the second millennium AD and, as a people, gave great weight to spirituality in their ritual and daily life. Painted earthenware vessels such as the present example were used in the funerary process for this and other Amazonian cultures.

LOT 312

An Omagua figural pottery funerary vessel, 16th-18th century, Napo River, Amazon Basin, Ecuador, decorated with black geometric patterns on a cream ground,

27cm wide

32cm deep

48cm high

£3,000-5,000

Bearing an Oxford Authentication thermoluminescence analysis report (sample no. N121q60), estimating that the date of the last firing was between 300 and 450 years ago.

Provenance: Austin G Baillon OBE, acquired prior to 1975: thence by descent.

Austin Gabriel Baillon OBE served during the Second World War as a Special Operations Executive in H Division in Gibraltar, after which he followed a career with Shell in Venezuela, where he also occupied a position as British Vice-Consul. During this period he spent time in Ecuador, which is where he acquired the two present Omagua pottery vessels.

The Omagua culture inhabited the banks of the Napo River in the Amazon Basin during the second millennium AD, and as a people gave great weight to spirituality in their ritual and daily life. The present vessel, with its vibrant geometric paint, would have housed the remains of an important figure in the tribe as part of a ‘secondary burial’, which was a continuation of the same process in earlier Amazon cultures. As part of specific funeral rites, the bones of deceased elders were exhumed and placed in these specially crafted anthropomorphic urns. Little relevant or extensive archaeological work has been performed in the Amazonian Basin due to the climatic conditions. Nonetheless, there are pre-colonial archaeological sites that have a tradition of effigy urns distinguished by elaborately designed patterns, and we know the manufacture of such urns persisted into post-European times.

For a similar, albeit earlier example, see: Napo (Ecuador) Phase Rocafuerte Urn, c. AD 1000-1200, Israel Museum, Arnold H Maremont collection.

LOT 313

LOT 315

LOT 314

£300-500

LOT 316

A Fantasy Brown ‘Tisbury’ coffee table by Soho Home, of recent manufacture, the circular top raised on three column legs, 90cm diameter 40cm high £300-500

An Indian gouache miniature, early 20th century, depicting Ganesha sitting on a throne, 32.5 x 20cm £300-500

A Louis XIV-style giltwood overmantel mirror, c.1900, French, set with a scrolling foliate surmount and a pair of urn finials, with pair of figural pilasters flanking a rectangular glass plate, 118cm wide 110cm high

A needlepoint wool carpet of Aubusson design, of recent manufacture, 269 x 174cm £1,000-2,000

LOT 317

A set of four Udaipur School paintings of Marwari horses, 19th century, Indian, Rajasthan, with Devanagari script to the bottom, image 27 x 21cm, mounted and framed (4)

£500-800

LOT 318

A small pink marble clock garniture, c.1900, each with applied gilt-metal mounts, the timepiece with a floral-decorated enamel dial, clock 15.5cm high candlesticks 13.5cm high (3)

£400-600

LOT 319

An iron fire basket, 20th century, supported by a pair of cast Egyptian figures, 83cm wide

50cm deep

65cm high

£300-500

LOT 320

A chinoiserie giltwood mirror, of recent manufacture, Italian, the faux bamboo frame surmounted with a pagoda and scrolls, surrounding a rectangular glass plate, 73cm wide

138cm high

£400-600

LOT 321

A fruitwood writing table, 19th century, French, the rectangular top above three drawers and a shaped apron, on splayed supports, 122cm wide

75cm deep

75cm high

£400-600

321

320

319

318

317

LOT 322

A painted wrought-iron ten-branch chandelier, 20th century, French, with scrolling foliate detail, 110cm diameter

110cm high

£300-500

LOT 323

A Louis XVI black-lacquered bureau à cylindre, late 18th century and later, with all-over painted and mother-of-pearl inlaid foliate decoration, with a brass gallery above the roll-top, enclosing a fitted interior with a retractable slide, above three drawers and tapering square supports,

97cm wide

50cm deep

101cm high

£400-600

LOT 324

A Louis XVI-style painted wooden stool, 20th century, Continental, with buttoned velvet upholstery, raised on tapering supports, 140cm wide

71cm deep

40cm high

£400-600

LOT 325

A pair of walnut side chairs, 18th century, Dutch, each with a floral crest and pierced back, above a serpentine drop-in seat and knee-carved cabriole supports united by stretchers, terminating in claw and ball feet, 57cm wide

55cm deep

115cm high (2)

£400-600

LOT 326

A ropework dining table, of recent manufacture, the square glass top above a tapering frame, 141cm wide

141cm deep

75cm high

£400-600

An etched and moulded glass mirror, 19th century, Italian, Venice, 87cm wide 131cm high £300-500

A baroque-style giltwood console table, c.1900, Italian, with a pink marble top raised on a pair of figural supports united by a stretcher, terminating in claw and ball feet, 100cm wide

39cm deep

97cm high

£600-800

A Louis XVI mahogany and gilt-metal-mounted commode, c.1790, the grey marble top above an arrangement of five drawers, raised on tapering turned supports, 126cm wide

61cm deep

91cm high

£800-1,200

A Louis XVI-style giltwood and gesso overmantel mirror, c.1900, French, with a floral surmount and a ribbon-and-stick detailed frame, 106cm wide 165cm high

£1,000-2,000

330 329

328 327

LOT 327

LOT 328

LOT 329

LOT 330

LOT 331

A painted wood fragment, Egyptian, possibly Middle Kingdom, 11th-12th dynasty (c.2030-1650 BC), from a sarcophagus or chest, the turquoise hieroglyphics enclosed within parallel white and turquoise borders, to a yellow ground, inscribed to the reverse, 17.5 x 18cm, on a wood stand, 27cm high (2)

£800-1,200

Provenance: Piguet Hôtel des Ventes, Geneva, anonymous sale, 29 September 2010, lot 791; private collection, Switzerland, believed to have been formed in the 1960s and 70s. Known as ‘coffin texts’, the vertical bands of hieroglyphics are typical of Middle Kingdom sarcophagi. These texts form a collection of spells intended to ensure that the deceased would reach the afterlife. Although used across a wide section of society, they are most prevalent in sarcophagi discovered in higher-status burial areas such as Deir el-Bersha and Beni Hasan.

For similar examples in the British Museum collection see Museum Numbers EA34259 and EA30840.

LOT 332

A marble low table, 20th century, the panelled top with inlaid foliate decoration, raised on foliate-decorated composition marble supports,

151cm wide

80cm deep

35cm high

£1,000-1,500

LOT 333

A walnut, fruitwood and horn inlaid cabinet, late 18th/early 19th century, Italian, Lombardy, of bombé outline with a rouge marble top above a drawer and single door, decorated throughout with hunting scenes, raised on splayed supports, 94cm wide

48cm deep

123cm high

£1,000-1,500

LOT 334

A giltwood and marble centre table, 19th century and later, the circular grey marble top raised on a putti-decorated base, 99cm diameter 71cm high

£1,200-1,800

LOT 335

A Bohemian cased glass goblet, c.1870, the rim engraved ‘Edouard Vierling’, over a cut band of fruiting vines to a cracked ice ground, all raised on a swept foot, with a fitted leather and velvet-lined case, goblet 14.1cm high

£300-500

LOT 336

Jacobus Houbraken (Dutch,1698-1780)

Portraits of eminent 17th century persons copper engravings plate 36.5 x 22.5cm and similar (10)

£300-500

LOT 337

A walnut credenza, late 17th century, Southern French, the moulded top above three drawers and cupboard doors, with panelled sides and raised on stile feet, 155cm wide 60cm deep 120cm high

£700-900

337

335

336

334

LOT 338

A simulated bamboo and painted writing table, 20th century, with a bow front and a single drawer, the top painted with olive branches, 90.5cm wide

51cm deep

76.5cm high

£300-500

LOT 339

A pair of walnut hall benches, 19th century, Italian, each in the neoclassical taste, with three caduceus splats over a solid seat and square tapering front legs, 158cm wide

32cm deep

86cm high (2)

£2,000-3,000

Provenance: Acquired from a private collection in Modena, Emilia Romagna, Italy.

In Roman mythology, a caduceus, or herald’s wand, is often depicted in the left hand of Mercury, the messenger of the gods.

After François Rude, ‘Tête du Guerrier’ (Head of the Old Warrior), after an original executed 1833-1836, marble, 46cm high £800-1,200

An oyster-veneered laburnum, maple and walnut collector’s cabinet, 19th century, the serpentine top above a pair of inlaid doors, enclosing a series of velvet-lined drawers, and an undertier set between wrythen-twisted columns and raised on bun feet,

118cm wide

57cm deep

128cm high

£1,200-1,800

Spare lot

LOT 340

341 340

LOT 341

LOT 342

The Estate of the late Sam and Althea Lloyd

Married for forty-five years, Sam and Althea Lloyd’s life was filled with their shared passions and interests, including travel, art, music…and monkeys!

Althea grew up at Stobo Castle in Peeblesshire, Scotland, but spent much time in London as her father, Hylton Murray-Philipson, was MP for Twickenham. At the age of ten, Althea’s father died which meant Stobo Castle was sold and the family relocated to Blaston in Leicestershire, thus beginning her lifelong connection with the area.

Also dividing his childhood between London and Leicestershire, Sam came from a long line of sailors on his maternal side, reflected in many of the fine pictures in the couple’s collection. His career took him into science, ultimately becoming a distinguished nuclear physicist and running an experimental nuclear reactor in The Netherlands. After marrying Althea in 1977, the couple moved there, returning to England after Sam’s partial retirement, where they divided their time between South Kilworth, Leicestershire, and Chelsea.

Other notable trips abroad for Althea included driving to Siena in Italy in her treasured 1936 Bentley convertible painted in red, her favourite colour, and lovingly maintained by Sam. She also drove a van of supplies to Austria in 1956 to help Hungarian refugees after the uprising and emigrated to Australia for a short time before returning to London. It was during this period she acquired a six-month-old monkey who was allowed to roam their penthouse apartment overlooking Chelsea Embankment. This exotic pet would not have been an unusual sight in ‘Swinging London’ and with permission, Althea would exercise her companion in Richmond Park.

Sam and Althea met at a concert at the Royal Albert Hall and music continued to be a shared point of affection throughout their marriage. There were pianos and speakers installed in both of their properties, allowing them to enjoy their extensive collection of classical and opera. In her youth Althea had studied piano under the professor Harold Craxton and was known to play her two harpsichords, a double manual by Joop Klinkhamer of Amsterdam, and a Zuckermann example built by Sam in 1980.

Throughout their later years, the couple were active members of the Leicestershire community they called home; Althea was a volunteer at the local high-security prison and Sam became involved in the church parish. The couple’s extensive collection of furniture, furnishings, pictures and Asian art includes many items from both of their homes, and Sworders are honoured to disperse their treasured possessions in several upcoming sales including Fine Interiors, Old Master, British and European Art, Modern & Contemporary Art, and Asian Art.

LOT 343

A set of six walnut dining chairs, late 17th century, each with a pierced arched rail, a caned back and seat, raised on turned and block supports united by scrolling stretchers, terminating in Spanish feet, elbow chairs 63cm wide 58cm deep 132cm high (6)

£1,000-1,500

343

Sam & Althea Lloyd

343-392

LOT 344

An oak buffet, 17th century and later, with two moulded rectangular platforms, each with a single drawer, set between ring-turned supports and raised on bun feet, 123cm wide

52cm deep

121cm high

£800-1,200

LOT 345

A George I walnut and feather-banded architect’s desk,

c.1720, the rectangular top with quartered panels and re-entrant corners, with a ratcheted hinge action and a pair of retractable brass candle stands, above a pull-out writing surface with a hinged lid, enclosing a fitted interior, over five drawers and bracket feet, 92cm wide

56cm deep

77cm high when closed

£2,000-3,000

LOT 346

A pair of carved walnut armchairs, late 17th century, each with a pierced scrolling rail, caned back and seat, and open arms, with carved front supports united by stretchers,

67cm wide

67cm deep

149cm high (2)

£300-500

LOT 347

A near pair of walnut side chairs, late 17th/early 18th century, in the manner of Daniel Marot, each with a pierced foliate rail, a curved caned back and seat, raised on square cabriole supports united by stretchers, 50cm wide

56cm deep

115cm high (2)

£300-500

LOT 348

An oak side table, 17th century, the moulded top above a frieze drawer with applied geometric decoration, raised on square baluster front supports, 122cm wide

56cm deep

74cm high

£500-700

LOT 349

A walnut cushion-framed mirror, 18th century and later, the rectangular mirrored plate within a moulded frame, 42cm wide

5cm deep

47cm high

£150-250

LOT 350

A glass silhouette painting, c.1860-80, inscribed ‘HMS Marlborough, Foudroyant and Lee’, within a rope twist border, 42.5 x 62cm, mounted in the original maple frame

£400-600

Provenance: Purchased from Rogers de Rin Antiques, London.

343-392

LOT 351

A yew wood and walnut cabinet on stand,

c.1700, the moulded frieze above a central compartment and an arrangement of drawers, over a frieze drawer and turned supports united by stretchers,

74cm wide

45cm deep

144cm high

£4,000-6,000

LOT 352

An oak and walnut joint stool, 17th century and later, the moulded rectangular top raised on ring-turned supports and block feet, united by stretchers, 47cm wide

33cm deep

51cm high

£200-400

LOT 353

A Queen Anne walnut kneehole desk, c.1705, the rectangular top with an inset leather surface, with an arrangement of drawers and a cupboard to one side, with a faux drawer back, raised on bun feet, 99cm wide

59cm deep

80cm high

£1,500-2,500

LOT 354

A small William and Mary walnut games table, late 17th century, of demilune outline, the fold-over top above a shaped apron with three frieze drawers and a pair of slides, with a double gateleg action, raised on faceted supports united by stretchers, terminating in ball feet,

72cm wide

70cm deep

68cm high

£800-1,200

353 352

LOT 355

A Charles II oak joined enclosed chest of drawers, c.1670, the moulded rectangular top above a pair of panelled doors enclosing drawers, set with a pair of carrying handles, 80cm wide 45cm deep 74cm high

£1,000-2,000

Provenance: Purchased from Paul Hopwell Antiques.

Literature: V Chinnery, ‘Oak Furniture: The British Tradition’, 1979, p.371 fig. 3:405.

LOT 356

A brass cartel clock late 19th century, French, the cast decorated case surmounted by an urn, over a dial with inset porcelain numerals and engraved seconds, the movement striking on a bell, case 88cm high dial 19.5cm diameter

£300-500

LOT 357

A William and Mar y-style walnut wingback armchair, c.1900, with bulbous supports united by turned stretchers, terminating in Spanish feet,

92cm wide

92cm deep

138cm high

£400-600

LOT 358

A patinated bronze figure of a faun, 19th century, Neapolitan, on a circular base, 10cm wide

28cm high

£200-400

357

358

LOT 359

A Zuckermann Harpsichords kit-built harpsichord, late 20th century, Flemish, the red-painted body with Flemish-style ‘groteschi’ papers to the inner case and around the keyboard, with an inscription above the keyboard ‘SAM LLOYD ANNO 1980’, 81cm wide

197cm long

94cm high

£1,000-2,000

LOT 360

A double manual harpsichord by Joop Klinkhamer of Amsterdam, late 20th century, Dutch, after Ruckers, the grey body decorated with foliate friezes and the soundboard painted with tulips, birds, butterflies and floral sprays, and painted above the keyboard with the inscription ‘IOANNES ANTONIUS KLINKHAMER FECIT AMSTELODAMENSIS 1983’, 273cm long

96cm deep

97cm high

£5,000-7,000

LOT 361

After Jacques de Sève, a set of six copper plate engravings of monkeys, hand-coloured, engravers to include Nussbiegal, Kuffner, Oakes and Bock plates 23.5 x 18.5cm (6)

£300-500

LOT 362

A vernacular oak stool, 19th century, the rectangular top raised on four legs, with crusty old paint beneath, 39cm wide

26cm deep

33cm high

£200-400

LOT 363

A set of four elm dining chairs, 19th century, Suffolk, each open back with ball detail, above a curved seat and tapering square supports united by stretchers, 45cm wide

40cm deep

98cm high (4)

£200-400

LOT 364

A George I walnut chest of drawers, c.1720, the rectangular top above five graduated drawers, 83cm wide

37cm deep

83cm high

£800-1,200

LOT 365-367

Spare lots

364

363

362 361

LOT 368

An oak tester bed, 17th century and later, with a panelled tester above the arcaded headboard, with carved and inlaid floral decoration, with turned end-posts and a panelled footboard, on block supports,

148cm wide

200cm deep

190cm high

£2,000-3,000

A George II walnut and feather-banded kneehole desk, c.1730, the quarter-veneered rectangular top above an arrangement of eight drawers and a cupboard, raised on bracket feet, terminating in brass castors.

76cm wide

51cm deep

79cm high

£400-600

A silk embroidered panel, 19th century, depicting a saint holding a lily and a bible, 27.5 x 22.5cm, in a gilt and ebonised frame

£200-300

A painted pine corner cupboard, late 18th/early 19th century, Dutch, of bow-fronted outline, with a tiered superstructure above a single door painted with the Waag building, Alkmaar, Netherlands, 56cm wide

38cm deep

131cm high

£300-500

An ebonised walnut stool, early 18th century, with a rectangular drop-in seat and faceted front supports, united by a pierced wavy stretcher, 53cm wide

38cm deep

42cm high

£200-400

LOT 369

LOT 370

LOT 371

LOT 372

LOT 373

A medieval-style oak turner’s chair, early 20th century, by John Starkey of Warwick, of typical triangular shape with notched and turned decoration, bearing a paper label beneath, 66cm wide

66cm deep

87cm high

£300-500

LOT 374

A walnut table dressing table mirror, 18th century, of angular cartouche form, with a laburnum cross-cut moulding and veneered frame, on a fitted rectangular base with bun feet, 40cm wide

20cm deep

72cm high

£200-300

LOT 375

A burr maple wine or occasional table, late 19th/early 20th century, of graduated two-tier configuration with an octagonal column, raised on tapering square supports, 39cm diameter

67cm high

£200-400

LOT 376

A lacquered brass binocular microscope, c.1890, by Negretti & Zambra, London, impressed to the bed plate, in the original mahogany and glazed case with many accessories, case 42.5cm high

£200-400

LOT 377

A suite of George II-style baluster glasses, of recent manufacture, each with a funnel bowl, over a knopped stem and conical folded foot, comprising:

10 water goblets, 21cm high,

10 red wine glasses, 19.5cm high,

8 white wine glasses, 16.5cm high,

8 port glasses, and

4 oversized goblets, 23.5cm high (40)

£400-600

LOT

378

A collection of Roman glass vessels, 3rd to 4th century, comprising: two jugs, 10.5 and 13.5cm high, a vase with trailed decoration, 13cm high, a footed bowl, 10.5cm diameter, a miniature vase or unguentarium, 3cm high, and a large vase, of globe and shaft form, 24.5cm high, each with an iridescent surface finish (6)

£300-500

LOT 379

A group of five cushions, of recent manufacture, in various woven and needlepoint designs, comprising a pair of elephants and three monkeys, elephants 60cm wide (5)

£200-300

LOT

380

A George I walnut stool, c.1720, with a rectangular drop-in seat, raised on inlaid cabriole supports, 48cm wide 39cm deep 39cm high with a matching loose cushion (2)

£200-400

LOT

381

A small George I-style walnut bureau bookcase, late 19th/early 20th century, with a broken arched pediment above a single door, with a bevelled mirror, enclosing shelves, with a fall-front and a fitted interior, three drawers and bracket feet, 66cm wide 52cm deep 210cm high

£800-1,200

LOT 382

A walnut bracket clock by Thomas Cartwright of London,

first quarter of the 18th century, the case with a moulded pediment and variously shaped glass panels, enclosing a brass dial with a silvered chapter ring, set with Roman and Arabic numerals, a strike/silent function, date aperture and applied brass plaque inscribed ‘Thos Cartwright Watchmaker to the King London’, the movement striking on various bells, with a pull repeat, with an engraved backplate,

26cm wide

18cm deep

48cm high

£1,000-2,000

Thomas Cartwright is recorded as having been born in 1679. He apprenticed to Christopher Gould in 1693, taking his own apprentices in 1705. He died in 1741.

LOT 383

A Queen Anne walnut wingback armchair, c.1705, upholstered in yellow leaf-patterned fabric, raised on knee-carved cabriole supports, 86cm wide

73cm deep

111cm high

£300-500

LOT 384

A set of three glass scrooge decanters, c.1880, probably Stourbridge, each with applied raspberry prunts and hollow stoppers, 28cm high, together with three silver labels and three silver-plated coasters (12)

£200-300

382

A coquilla nut snuff box, c.1790, French, modelled as a monkey pulling down a hat, with glass eyes, 6.5cm high £200-300

Provenance: Purchased from Rogers de Rin Antiques, London.

A small oak stool, 19th century, with a raised back, asymmetric square seat and three legs, 45cm wide 31cm deep 46cm high

£200-400

A George I walnut and feather-banded kneehole desk, first quarter of the 18th century, the quarter-veneered top above an arrangement of seven drawers and a cupboard door, raised on bracket feet, terminating in castors, 76cm wide 51cm deep 79cm high

£800-1,200

A William and Mary oak cricket table, c.1700, the circular top raised on slender baluster and block supports united by stretchers, terminating in peg feet, 53cm diameter 59cm high

£300-500

LOT 385

LOT 386

LOT 387

LOT 388

LOT 389

A George III walnut longcase clock by John Greaves of Newcastle, third quarter of the 18th century, the brass face set with a silvered chapter ring and Roman numerals, 51cm wide

26cm deep

205cm high

£800-1,200

LOT 390

An elm and oak vernacular stool, probably early 19th century, with an asymmetrical top and a triform undertier between three legs, 48cm wide

36cm deep

50cm high

£400-600

LOT 391

A Victorian painted leather fire bucket, decorated with a royal crest, 28cm diameter

30cm high

£200-400

LOT 392

A large iron log or fire fork, 19th century, 124cm long

£200-400

391

390

LOT

A small upholstered sofa by Howard & Sons, first quarter of the 20th century, with downswept arms and tapering square supports, stamped to the back leg and castors, bearing remnants of the original paper label beneath,

149cm wide

75cm deep

81cm high

£2,000-3,000

LOT

A ‘Howgate Wonder’ painted wood apple, by Howard Rice, 1998, and two smaller apples, 1992, largest 10cm diameter (3)

£200-300

LOT

A tin-glazed stoneware charger, 18th century, French, decorated to the centre with a dog, the border painted with a meandering Greek key pattern, 43cm diameter

£200-300

395

394

393

395 394

393

LOT 396

A painted cotton pichwai, 20th century, Indian, depicting Krishna standing on a lotus leaf, surrounded by flowers and meandering stems, within a border of flower heads, 125 x 78.5cm

£800-1,200

LOT 397

A plangi silk textile, 20th century, Uzbekistani, Tashkent, with a simple repeating tie-dyed pattern on a yellow ground, backed on red cotton, 226 x 180cm

£500-700

LOT 398

A painted cast iron garden table, late 19th/early 20th century, the circular top above a twisted column and triform base, 51cm diameter

72cm high

£200-300

LOT 399

A carved stone fragment, possibly 17th century, in the form of a putto riding a dolphin, 84cm wide

23cm deep

38cm high

£300-500

LOT 400

A Silesian oak and parcel-gilt guild chest, c.1763, Polish or German, of sarcophagus shape, decorated all-over with rococo scrolls, dated ‘1763’ and bearing the coats of arms of the Holy Roman Empire, the Electorate of Mainz and the town of Rottenburg, with various initials to the reverse, with a slide enclosing a triple lock, the interior fitted with compartments, raised on claw and ball feet, and set with a pair of iron carrying handles,

79cm wide

54cm deep

63cm high

£1,500-2,500

The year 1763 played witness to the Treaty of Hubertusburg, which, on 15 February, was signed by Prussia, Austria and Saxony to end the Third Silesian War. Along with the Treaty of Paris which was agreed days earlier, it saw the end of the Seven Years’ War.

399 398

LOT 401

J S Rost after René Lesson, c.1830-1835, a set of five studies of shells taken from ‘Centurie Zoologique’ titled and numbered, pen and ink and watercolour 20 x 14.5cm (5)

£300-500

LOT 402

A pair of reconstituted stone recumbent lions, 20th century, each on separate rectangular plinths, 66cm long

29cm wide

42cm high (4)

£300-400

LOT 403

A joined oak cwpwrdd tridarn, 18th century, North Wales, the open top with turned supports, over two doors, flanking a centre, with fielded panels, above three drawers and two panelled doors, 131cm wide

50cm deep

197cm high

£1,500-2,500

Provenance: Penrhyn Old Hall, Llandudno; A Balkin, Anglesey.

Literature: V Chinnery, ‘Oak Furniture: The British Tradition’, 1979, p.325 fig. 3.276.

LOT 404

A composite stone garden statue, of recent manufacture, in the form of a griffin,

36cm wide

46cm deep

75cm high

£300-500

LOT 405

A pair of medieval carved limestone lions, possibly 13th or 14th century, 12.5cm wide

40cm deep

25cm high (2)

£300 - 500

LOT 406

A George III oak cricket table, late 18th/early 19th century, the circular top raised on three tapering supports,

68cm diameter

68cm high

£200-400

404

403

401

A cotton patchwork blanket, probably early 20th century, consisting of squares in a diamond pattern, each one sewn with strips of fabric in various striped, checked and floral patterns, 168 x 140cm

£300-500

LOT

A carved wooden figure, 19th century, Spanish-Colonial, with reticulated arms and glass eyes, on a wooden base, 11cm wide

9cm deep

35cm high

£200-400

LOT 409

A yew refectory table, 17th century, with a plank top over a carved frieze, raised on turned baluster legs, united with stretchers, 224.5cm long 82cm wide

77.5cm high

£2,000-3,000

408

LOT 407

409

408

407

A Persian wool rug, c.1920, Iranian, Kirman, the pale field woven with a central medallion, within scrolling floral and foliate spandrels and borders, 305 x 215cm

£300-500

A pine pot stand containing three clay amphora vases, 20th century, each twin-handled pot inset into the base, 108cm wide

39cm deep

57cm high pots 45cm high approximately (4)

£300-500

A rare four-bells-in-sight rosewood and ebonised musical box, late 19th century, Swiss, playing eight airs, the bells struck by two automaton seated Arabian figures, within a rosewood and line inlaid case with transfer-printed decoration within ebonised borders, the lid with a paper tune sheet, cylinder 6in (15cm) long case 42.4cm wide

28cm deep

22cm high

£1,000-1,500

An elm yoke-back stick chair, 18th century, Welsh, probably Cardiganshire, the low crest rail above a one-piece seat, raised on four shaped supports, 64cm wide

36cm deep

71cm high

£200-300

LOT 410

LOT 411

LOT 412

LOT 413

413 412

411

410

LOT 414

A glazed terracotta corbel or chimney jamb in the Della Robbia style, late 19th/early 20th century, Italian, in the form of a putto, decorated with foliate scrolls, 30cm wide

24cm deep

58cm high

£300-500

LOT 415

An oak tripod table, probably second quarter of the 19th century, the circular top above a turned column and a stepped tripod base, 69cm diameter

63cm high

£200-400

LOT 416

A Persian wool carpet, 20th century, the yellow field with repeating geometric foliate detail within a triple border, 426 x 353cm

£800-1,200

LOT 417

A fruitwood farmhouse table, 19th century, French, the cleated plank top above drawers and raised on chamfered supports, 225cm wide

87cm deep

80cm high

£400-600

LOT 418

A carved and stained lindenwood ‘Black Forest’ stick stand, late 19th century, Swiss, Brienz, in the form of a standing bear, on an imitation rockwork base, fitted with a metal liner, 38cm wide

51cm deep

83cm high

£300-500

LOT 419

A painted brass ship’s badge for HMS Walker, first half of the 20th century, English, the shield centred with a stag’s head proper issuant from an Eastern Crown on a green field, surmounted with The Naval Crown, mounted on a wooden plaque, 29cm wide

5cm deep

42cm high

£300-500

For a similar example, see National Maritime Museum, Greenwich, London (object ID: AAA1339).

LOT 420

A James II oak dresser base, late 17th century, the plank top above three geometric moulded drawers, raised on turned front supports, 187cm wide

50cm deep

82cm high

£300-500

LOT 421

A polished brass pricket candlestick, c.1580, Flemish, of multistage form, on a spreading circular base, 11cm diameter

25cm high

£300-500

LOT 422

A large Azerbaijan carpet, with nine medallions to a red field and blue border, 380 x 290cm

£500-700

LOT 423

An iron and brass stove by J G Requille, 19th century, Belgian, with pierced foliate detail and cast feet,

85cm wide

41cm deep

92cm high

£400-600

LOT 424

A carved wooden kovsch, c.1900, Russian, in the style of Sergiev Posad, each of the twin handles in the form of a bogatyr, with scrolling foliate decoration,

24cm wide

11cm deep

25cm high

£200-400

LOT 425

A large wooden kovsch, c.1900, Russian, in the style of Sergiev Posad, the handle in the form of a chicken, with carved and painted floral and geometric decoration,

19cm wide

51cm deep

32cm high

£300-500

LOT 426

A chip-carved wooden wall-hanging cabinet, c.1900, Russian, after a design by Yelena Dmitrievna Polenova (1850-1898) for Abramtsevo, with stained decoration,

27.5cm wide

11cm deep

31cm high

£400-600

LOT 427

A fruitwood butcher’s block table, 19th century and later, French, the chopping and preparation surfaces above drawers, raised on reeded baluster supports, 261cm wide

75cm deep

83cm high

£400-600

LOT 428

A narrow Persian Heriz wool runner, 20th century, woven with geometric motifs, 427 x 70cm

£800-1,200

LOT 429

A rustic elm occasional table, 19th century, the oval single-piece top, raised on intertwined branch supports, 74cm wide

46cm deep

72cm high

£400-600

LOT 430

A set of six pitch pine stools, late 19th/early 20th century, the oval tops with cut-out centres, 31cm wide

22cm deep

53cm high (6)

£400-600

LOT 431

A set of three carved polychrome antelope, possibly Indian, each with distressed paint, mounted to shield,

63cm high (3)

£200-400

LOT 432

A cherrywood farmhouse table, 19th century, French, the cleated plank top over a single drawer and square tapering legs, 189cm long

75cm wide

73cm high

£700-1,000

LOT 433

A Louis XV walnut armoire, 18th century but incorporating earlier elements, French, with all-over carved foliate detail, the doors inset with figural panels, raised on scrolling bracket feet, 154cm wide

66cm deep

238cm high

£800-1,200

LOT 434

An oak waterfall clock, c.1900, German, the domed top with a crisply carved roof over an enamel dial and fountain, the movement impressed ‘Made in Wurttemburg’, 49cm high

£300-500

434

433

LOT 435

A set of George III polished steel fire tools, comprising a shovel, poker and tongs, all with twisted stems, 71cm long (3)

£300-500

LOT 436

A silk ikat panel, late 19th/early 20th century, Central Asian, probably Uzbekistan, woven in polychrome silks with a series of alternating parallel bands, with bold stylised repeat patterns in shades of magenta, yellow and white, 122 x 183.5cm

£500-700

LOT 437

A pair of oval carved giltwood mirrors, late 19th century, each with pierced foliate detail and a bevelled plate, 81cm wide 114cm high (2)

£1,500-2,500

LOT 438

A pair of Queen Anne-style mahogany armchairs attributed to Gillows, late 19th century, each with a shield back and shepherd’s crook arms, raised on knee-carved cabriole supports terminating in claw and ball feet, bearing a stamped number beneath, with a needlepoint-upholstered drop-in seat,

62cm wide

58cm deep

89cm high (2)

£1,500-2,500

LOT 439

An ebonised fruitwood mirror, c.1680, Flemish, the ripple moulded frame applied with foliate silver mounts, one engraved with a coat of arms, surrounding a later mercury glass plate,

68cm wide

78cm high

£4,000-6,000

The coat of arms bears resemblance to the municipality of Bergheim in Salzburg, Austria.

LOT 440

A large needlepoint carpet, early 20th century, English, with repeating bordered foliate motifs, enclosed by a chequered border, 370 x 300cm £800-1,200

LOT 441

A ‘Black Forest’ carved linden coat stand, c.1900, Swiss, Brienz, surmounted by a chicken and a sheaf of wheat, with three hooks, 71cm wide 20cm deep 34cm high £300-500

LOT 442

A Black Forest carved linden smoking compendium, late 19th century, Swiss, Brienz, decorated all-over with bears, the pierced oval top with two compartments and a well, above a column in the form of a standing bear with a hinged neck and glass eyes, raised on a canted rectangular stand, 47cm wide 36cm deep 90cm high £1,000-1,500

LOT 443

A small delft tin-glazed bowl, 18th century, of circular form, decorated with a building in a landscape, 7.5cm diameter 4cm high £200-300

LOT 444

A tin-glazed earthenware delft bowl, 18th century, with chinoiserie decoration, 19cm diameter 8cm high

£200-300

LOT 445

A large country house wool carpet, early 20th century, Anatolian, the red field centred with a shaped medallion, with all-over geometric floral and foliate decoration to a red ground, 595 x 423cm

£1,000-2,000

LOT 446

A beech and gilt-metal musical clock, late 19th century, German, with a spring-driven movement, the gilt-metal dial with a bead border, an original white chapter ring with Arabic numerals, in a beech case of architectural form, with applied twisted gilt-metal columns, a hinged cover with gadrooned decoration and a gilt-metal handle, opening to reveal a Symphonion disc-playing movement, on four bun feet, 30cm high overall, together with five 4½in Symphonion discs (6)

£400-500

LOT 447

A cotton patchwork quilt, early 20th century, with polychrome detail, in a Perspex box frame, 116 x 136cm

£200-400

LOT 448

A Renaissance-style carved walnut stool, late 19th century, Italian, of ‘X’ shape with eagle head finials above a padded seat, raised on shaped supports united by stretchers, terminating in claw and ball feet,

73cm wide

38cm deep

63cm high

£200-300

LOT

A George III oak cricket table, early 19th century, with a circular top raised on tripod supports, 59cm diameter

65cm high

£200-300

LOT 450

A small velvet-upholstered side chair, 20th century, with a square back and seat, raised on ‘X’ frame supports,

58cm wide

65cm deep

75cm high

£200-400

LOT 451

An Oushak wool carpet of Ziegler design, of recent manufacture, with bold foliate decoration to a pale ground, 307 x 240cm

£300-500

LOT 452

A marble fragment, probably 15th or 16th century, North Italian, depicting Eros with plaited hair, 46cm wide

23cm deep

37cm high, on an associated stone, 52cm wide (2)

£500-1,000

Provenance: Private collection, Dorset.

449

451

452

450

449

448

LOT 453

A set of four oak navy letter racks, 20th century, each set with thirty-two pockets, bearing stamped numbers to the reverse, 155cm wide

10cm deep

98cm high (4)

£400-600

Purportedly taken from the wardroom of HMS Drake.

LOT 454

An Edwardian inlaid mahogany mantel clock, the arched case front profusely inlaid with scrolls, foliage and husks, the brass dial with subsidiary chime/ silent and slow/fast dials and a silvered chapter ring, the quarter movement striking on two gongs, with a brass presentation plaque reading ‘Presented to Mr G W Haines…21-09-07’, case 56cm high dial 15cm diameter

£400-800

LOT 455

A William and Mary oyster-veneered olive wood, walnut and marquetry longcase clock, late 17th century and later, with inlaid floral and foliate decoration, and a glass lenticle to the trunk, the hood enclosing an associated movement, the dial signed ‘Joseph Warren, Ixworth’, 38cm wide

24cm deep 192cm high

£1,000-2,000

LOT 456

A pair of walnut and inlaid hall chairs, c.1900, Swiss, each with a pierced carved back, decorated with deer and goats, raised on foliate-carved supports, 47cm wide

38cm deep

93cm high (2)

£200-400

LOT 457

A walnut and inlaid occasional table, c.1900, Swiss, the circular top centred with mountain goats within foliate scrolls, raised on a floral carved tripod base, 54cm diameter

73cm high

£200-300

LOT 458

An Edwardian walnut and satinwood centre table, c.1900, the octagonal top inlaid with Renaissance motifs, above column supports united by a shaped undertier, raised on splayed feet, 83cm diameter

73cm high

£200-400

LOT 459

A carved walnut figure group, probably late 15th or early 16th century, Flemish, depicting the Adoration, 19cm wide

10cm deep

33cm high

£1,500-2,000

LOT 460

A carved wood figure, 15th century, Continental School, of a saint holding an open bible, 20cm wide

19cm deep

64cm high

£700-1,000

LOT 461

A medieval carved walnut reliquary bust of a female saint, probably 15th or 16th century, French or Italian, 28cm wide

16cm deep

31cm high

£2,000-3,000

LOT

A verdure tapestry fragment, late 17th century, Flemish, decorated with dense foliage, a castle in the distance, 248 x 260cm £2,000-3,000

LOT

A George III satinwood and inlaid Pembroke table, c.1790, the oval top centred with a patera, above a single drawer stamped ‘950’, raised on tapering square supports terminating in brass sabots, 73.5cm wide 50cm deep 70cm high

£300-500

LOT

A Persian wool carpet, late 19th century, Iranian, Tabriz, the field with a central medallion and Herati motifs, within floral and foliate-decorated borders, 390 x 272cm approximately £300-500

464

463

462

464

463

462

LOT 465

A George II carved giltwood pier glass, c.1750, the frame set with an acanthus crest, scrolling acanthus and rocaille decoration, with a pair of pillars enclosing a mercury glass plate, 52cm wide

76cm high

£1,000-1,500

LOT 466

A pair of silk embroidered ecclesiastical banners, decorated in floral and foliate patterns, in Perspex frames, 244.5 x 20cm, together with a similarly embroidered stole, 185 x 27cm (3)

£300-500

LOT 467

A polychrome silk embroidered chasuble, probably 18th century, with floral and foliate decoration on a cream silk ground, 118cm long 64cm wide, together with a metal thread embroidered panel and a tapestry runner, panel 82cm square runner 117cm long (3)

£400-600

LOT 468

A pair of Renaissance-style silk and metal thread embroidered panels, late 19th century, probably Italian, each decorated with grotesque beasts, patterns and motifs, in polychrome silk threads and braids, on a red silk ground, 101 x 23cm (2)

£300-500

LOT 469

A George III-style mahogany library table, c.1900, of elongated rectangular form, with an inset leather surface, and raised on tapering square supports terminating in brass castors, 199cm long

46cm wide

67cm high

£700-1,000

A Herend porcelain ‘Fruit and Flowers’ part service, 20th century, Hungarian, comprising seventy-five pieces, each with painted and gilt-heightened decoration, printed and impressed marks to base, dinner plates 28cm diameter (75) £1,000-1,500

For an itemised list of this service, please see the online catalogue.

An Edwardian satinwood and mahogany side cabinet, c.1900, with a galleried top above a single drawer and a pair of doors decorated with classical figures, raised on square bracket feet, 82cm wide

32cm deep

78cm high

£400-600

A pair of Regenc y-style mahogany night tables, late 19th/early 20th century, with ebony inlaid detail, each with a tray top, pierced handles and a single door, raised on ring-turned supports, 39cm wide 36cm deep 74cm high (2)

£300-500

A verdure tapestry fragment, late 17th/early 18th century, French, decorated with flowers, birds and animals, with a river and a town beyond, 229 x 188cm

£700-1,000

473 472

471 470

LOT 470

LOT 471

LOT 472

LOT 473

LOT 474

A Persian Mahal wool runner, early 20th century, the blue field woven with repeating paisley motifs, 367 x 103cm

£400-600

LOT 475

A pair of Edwardian satinwood bookcases, c.1900, each of bow-front outline with a faux drawer and three shelves, raised on square feet, 70cm wide

28cm deep

84cm high (2)

£800-1,200

LOT 476

A painted wood Noah’s ark with animals, 19th century, German, the ark with a lift-open roof, above applied paper frieze detailing and removable side, opening to a collection of approximately ninety-one figures, 48cm long (qty.)

£600-800

LOT 477

A carved pine figure of a putto, probably late 17th/early 18th century, Scottish, standing with a turned head and one leg raised, on a later base,

45cm wide

52cm deep

118cm high

£1,500-2,500

476

475

474

LOT 478

A painted cast iron urn fountain, 20th century, with a moulded egg-and-dart border, on a circular pedestal foot, 65cm wide 54cm deep 42cm high

£200-400

LOT 479

An Art Nouveau mahogany barograph, by ‘Hezzanith’, the case inlaid in brass and pewter with Art Nouveau motifs enclosing bevelled glass panels over a base drawer, 42cm wide 28cm deep 25cm high

£300-500

LOT 480

A brass lantern clock, 18th century, by Peter Carson, near London Bridge, the bell under a cross frame above pierced dolphin mounts and turned finials, the dial engraved and standing on turned supports, the movement with an anchor escapement, dial 14.5cm diameter case 38cm high

£400-800

LOT 481

A rosewood and kingwood musical box, 19th century, Swiss, playing twelve airs, with zither attachment, tune indicator and Picard-Lion tune sheet, the strung rosewood case with kingwood crossbanding and a coloured print to the hinged lid, cylinder 13in (33cm), case 65cm wide 26cm deep 18cm high

£500-800

LOT 482

A Qashqai kilim rug, 20th century, the red fields with all-over bold geometric decoration, 250 x 150cm

£300-500

LOT

A walnut centre table, late 17th century, Portuguese, the single-piece top above a panelled frieze with a drawer to each end, with a pierced scrolling apron punctuated with ball finials, raised on bulbous turned supports united by a moulded stretcher, 186cm wide

85cm deep

84cm high

£700-900

LOT

A Welsh wool blanket, 20th century, of Caernarfon design, with a reversible black and white geometric pattern to a pale-blue ground and fringe, 227 x 168cm

£150-250

Originally purchased by the vendor in Wales during the 1960s.

LOT 485

A painted wooden and composition salmon mount, 20th century, on an oval ash plaque, 132cm wide

11cm deep 46cm high

£300-500

LOT

An oak, straw and seagrass armchair, first half of the 20th century, Scottish, Orkney Islands, the high back above curved arms and a drop-in seat, raised on tapering square supports united by stretchers, 63cm wide

66cm deep 102cm high

£400-600

LOT

A jajim kilim wool rug, 20th century, with variously coloured decoration, 240 x 168cm

£300-500

483

484

486

487

A painted wooden rocking horse, first half of the 20th century, 46cm wide

138cm deep

120cm high

£600-800

An oak refectory table in the 17th century style, 20th century, the plank top raised on baluster supports united by stretchers,

225cm long

84cm wide

79cm high

£500-700

Cesare Lapini (Italian, 1848-1893), a carved marble figure group, ‘Gli Adirati’, on a circular base bearing an inscription,

43cm wide

28cm deep

86cm high

£2,000-3,000

488 489

LOT 488

LOT 489

LOT 490

LOT 491

A painted pine marriage cabinet, 19th century, South German or Austrian, of canted rectangular form, with a moulded cornice above a single door painted with an urn and flowers, inscribed ‘Maria Nagl 1859’, raised on tapering square feet,

108cm wide

52cm deep

164cm high

£1,000-2,000

LOT 492

Spare lot

LOT 493

A Qashqai kilim wool rug, 20th century, the biscuit fields with all-over bold geometric decoration, 345 x 180cm

£400-600

LOT 494

A George III elm barrel-back settle, late 18th/early 19th century, 136cm wide 42cm deep

150cm high

£400-600

494

493

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 15%. 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.

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.

‘Auctioneer’

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).

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 15% 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

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