Fine Interiors 6 December 2022

INTERIORS

TUESDAY 6 DECEMBER, 10AM

Lots 1-34 Old, New and Blue: Modern Classicism in Clare

Lots 35-91 Furniture and Works of Art

Lots 92-107 The Selected Contents of the Estate of Jasper Gibbons Grinling

Lots 108-246 Furniture and Works of Art

Lots 247-257 Style and Simplicity in Chelsea

Lots 258-272 Silver

Lots 273-305 Furniture and Works of Art

T 01279 817778 E fineinteriors@sworder.co.uk

Alexander Hallett Head of Department Sale Co-ordinator Charlotte Lee-Finglas

Director

James Pickup

Old, New and Blue: Modern Classicism in Clare

Sitting in a sought-after location in the historic Suffolk town of Clare, this Grade II listed country cottage has been thoughtfully decorated over the past few years. The owner has awarded more than a gentle nod to the art of classical antiquity, as the pediments, plaster busts, and acanthus motifs show, however, there are touches throughout the house – such as the sitting room’s deep blue Farrow & Ball walls and a mustard velvet armchair – that feel familiarly modern.

Progressing through the house, the decor deviates slightly from purely classical, with an injection of warm patina provided by a selection of 18th and 19th century antiques, and all together create a stylish and comfortable retreat that seamlessly blends the past and present.

Lot 1

A carved and painted oak corbel, late 19th/early 20th century, in the form of a soldier, 34cm wide 23cm deep 44cm high £300-500

Lot 2

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OLD, NEW AND BLUE: MODERN

Lot 3

After Bertel Thorvaldsen, plaster relief, the Child’s Guardian Angel, bearing a Thorvaldsen Museum plaque verso, 47cm wide 67cm high, in a pine frame £500-700

Lot 4

A pair of white marble jambs, third quarter of the 18th century, each carved with a ram’s head and fluted detail, 13cm wide 9.5cm deep 80cm high (2) £300-500

Lot 5

A composition head after the antique, of recent manufacture, depicting a classical Roman, mounted on a square stepped plinth, 17cm wide 36cm high 18cm deep £100-150

Lot 6

Lot 7

A George II-style giltwood console table, probably late 19th/early 20th century, the rectangular marble top above a pair of bold acanthus-carved supports, 93cm wide 52cm deep 87cm high £500-700

A fibreglass winged torso, of recent manufacture, mounted on a metal stand, 46cm wide 42cm deep 95cm high £500-700 6

Lot 8

A pair of marble candlesticks, of recent manufacture, each in the form of a Corinthian column, 46cm high (2) £200-300

Lot 9

An Egyptian bronze shabti figure, 9cm high, on a Perspex display plinth (2) £250-350

Lot 10

An Egyptian bronze shabti figure, 13cm high, on a Perspex display plinth (2) £350-450

Lot 11

A George III carved pine overdoor pediment, third quarter of the 18th century, with rococo detail and foliate scrolls, 136cm wide 14cm deep 35cm high £300-500

Lot 12

A Roman-style alabaster and specimen marble bust of Caracalla, probably late 19th or 20th century, Italian, the robe carved in siena, breccia and brocatelle marble, 66cm wide 32cm deep 66cm high £3,000-5,000

Lot 13

A patinated bronze figure of Ajax, 20th century, French, after the antique, 14.5cm wide 9cm deep 42cm high £500-700

Lot 14

A marble figure of the Venus de Milo, of recent manufacture, on a sienna and veined marble base, 14cm wide 13cm deep 44cm high £150-200

Lot 15

A pair of carved giltwood wall lights, late 19th/early 20th century, Continental, each with a foliate-decorated bracket supporting a cornucopia branch, 24cm wide 25cm deep 37cm high (2) £200-300

Lot 16

A bronze sconce, 19th century, modelled as a cherub, 57cm high £250-350

Lot 17

A carved limewood figure of a saint, 19th century, Continental, 35cm wide 14cm deep 64cm high £200-300

Lot 18

A carved and painted crest, 18th century, French, 23cm wide 29cm high £300-500

Lot 19

A Victorian Gothic Revival oak pew, c.1850, carved to one end with a portcullis emblem, possibly relating to the Palace of Westminster, the back decorated with alternating quatrefoil motifs enclosing paterae, as well as tracery, 134cm wide 57cm deep 137cm high £2,000-3,000 18

Lot 20

A fresco panel after the antique, 20th century, ‘The Adorants’, from the Akrotiri original, 81cm wide 62cm high £500-700

Lot 21

A fibreglass bas relief panel, of recent manufacture, depicting Roman cavaliers in procession, 150cm wide 51.5cm high £300-500

Lot 22

A carved and painted hardwood corbel or figurehead, late 19th/early 20th century, in the form a woman, 29cm wide 20cm deep 109cm high £500-700

Lot 23

A painted canvas shot carrier, 19th century, decorated with a royal crest, with leather carrying handle, 19cm wide 52cm high £300-500

Lot 24

A Regency-style cast iron and marble pier table, 20th century, the rectangular marble top above a grey painted frieze and lion monopodia, 61cm wide 38cm deep 82cm high £300-500

Lot 25

A plaster bust of Minerva, on a circular socle base, 30cm wide 28cm deep 65cm high £200-300

Lot 26

A patinated bronze figure, of recent manufacture, modelled as a Roman soldier with a lion, 20cm wide 14cm deep 40cm high £100-150

Lot 27

A buttoned-leather high-back wing chair, 19th century, with studded detail and raised on turned baluster front supports terminating in brass caps and castors, 100cm wide 65cm deep 127cm high £1,000-1,500

Lot 28

After Hermann Eichberg, bronzed metal figure, a standing Greek warrior, on an ebonised wooden plinth, 18cm wide 40cm deep 38cm high £200-400

Lot 29

After Giambologna (Flemish, 1529-1608), ‘Mercury’, a cast bronze figure, on a marble plinth, 12.5cm wide 43cm high including base £100-150

Lot 30

A grand tour alabaster model of the Medici vase, 19th century, Italian, in the manner of Benedetto Boschetti, on a stepped square plinth, 25cm diameter 35.5cm high £1,200-1,500

Lot 31

A plaster portrait bust, of recent manufacture, depicting Julius Caesar, on an acanthus-decorated bracket, 39cm wide 25cm deep 71cm high overall (2) £200-400

Lot 32

A large bronzed plaster bust, of recent manufacture, after the Augustus of Prima Porta, 55cm wide 28cm deep 78cm high £200-400

Lot 33

A weathered sandstone head, possibly medieval, mounted on a stepped veined marble base, 25cm wide 18cm deep 25cm high 36cm high overall £600-800

Lot 34

An heraldic carved sandstone architectural fragment, 19th century, of square shape, set with an armorial in the form a shield, with a pair of lions rampant and a dog, 58cm wide 13cm deep 46cm high £300-500

Lot 35

A set of ten plaster intaglio displays, of recent manufacture, each of octagonal form, containing approximately thirty variously shaped examples depicting gods, philosophers and mythical scenes, on a mirrored background, 38 x 38cm (10)

£300-500

Lot 36

A set of four composition roundels, depicting gods and goddesses, 82cm diameter, each in a painted circular frame, 96cm diameter (4) £400-600

Lot 37

A George III mahogany-framed sofa, c.1760, with a camel back, upholstered in cream velvet, and raised on moulded square supports united by stretchers, 228cm wide 95cm deep 104cm high £1,000-2,000

Lot 38

A George III mahogany bachelor’s chest, third quarter of the 18th century, the moulded rectangular top above a brushing slide and four graduated drawers, raised on bracket feet, 80cm wide 49.5cm deep 70cm high £600-800

Lot 39

A simulated verde antico marble model of the Warwick vase, late 19th century, on a stepped plinth, 31cm wide 20cm deep 34cm high £300-500

Lot 40

After Louis-François Roubiliac, a composition stone bust of Sir Isaac Newton, on a waisted circular socle, 52cm wide 23cm deep 80cm high £200-400

Lot 41

A George III mahogany mule chest, c.1770, the moulded rectangular top with a shaped superstructure and a hinged lid, above an arrangement of false short and long drawers set between fluted pilasters, raised on ogee bracket feet, 169cm wide 57cm deep 110cm high £400-600

42 FURNITURE AND WORKS OF ART 35-91

Lot 42

A pair of ‘Bridgewater’ armchairs by Howard Chairs Ltd., of recent manufacture, of ‘his and hers’ configuration, each upholstered in foliate-decorated Mulberry fabric, raised on tapering square supports terminating in brass castors, bearing paper label beneath and stamps to legs, larger 75cm wide 90cm deep 86cm high (2) £3,000-5,000

Lot 43

A George III mahogany dressing chest, c.1770, of serpentine outline, the moulded top above four graduated cockbeaded drawers, the uppermost example with a fitted interior, set between stop-fluted column pilasters, raised on a plinth base terminating in concealed lignum vitae castors, 117cm wide 61cm deep 85cm high £3,000-5,000

Lot 44

lot is subject to Buyer’s Premium at

Lot 45

A pair of grand tour bronze urns by the workshop of Benedetto Boschetti, mid-19th century, Italian, each body decorated by trailing ivy and gadrooned detail, set between a pair of ram head handles, on a spreading circular base stamped ‘B. BOSCHETTI ROMA’, raised on a black and serpentine marble plinth, 19cm wide

15cm deep 39cm high (2)

£2,000-3,000

The workshop of Benedetto Boschetti, active c.1820-1870 on the Via Condotti in Rome, was well known for the high quality of its works ‘after the antique’. The workshop had a strong reputation and, in 1856, S Bonfigli noted that ‘The establishment is particularly conspicuous for its great variety of marble works, bronzes etc’ (A González-Palacios, ‘The Art of Mosaics’, 1982, p.166) and the works produced were highly sought after by the young and wealthy ‘grand tourers’ of the 19th century.

Considered ‘the most eclectic virtuoso and certainly the most visionary of all the marmorari’, Boschetti himself is recorded as having won a prize medal at the Great Exhibition in London in 1851, and a bronze ‘Augustus Caesar’ from his workshop was exhibited at the 1876 Centennial Exhibition in Philadelphia.

Lot 46

A George III mahogany bachelor’s chest, third quarter of the 18th century, the top drawer set with a leather-lined interior with a ratcheted surface, enclosing various small drawers, over three further graduated drawers, raised on bracket feet, 91cm wide 44.5cm deep 77cm high £500-700

Lot 47

A late George III mahogany library drum table, early 19th century, with a green and gilt leather-lined top, above four real and four blind drawers, on a turned vase turned column with reeded legs, 122cm diameter 71cm high £400-600

Lot 48

A pair of George III painted wooden side chairs, c.1800, each with an ebonised frame, the square back with a square panel painted with classical figures in the manner of Herculaneum or Pompeiian wall paintings, over a caned seat, turned supports and stretchers, 46cm wide 46cm deep 82cm high (2) £400-600

Lot 49

A George III mahogany bachelor’s chest, third quarter of the 18th century, the moulded rectangular top above a slide and four graduated drawers, the primary drawer with a fall front, with brass carrying handles to the sides, raised on bracket feet, 80cm wide 52cm deep 82cm high £400-600

Lot 50

A Victorian composite stone model of the Uffizi Boar, called ‘Il Porcellino’, mid-19th century, attributed to Austin & Seeley, the figure seated on an integral square plinth, 110cm wide 180cm deep 142cm high £8,000-12,000

For further information and images on this lot, please see www.sworder.co.uk

Lot 51

A two-seater sofa by George Smith, second half of the 20th century, with rolled arms, on turned supports, upholstered in ‘Gollut’ monogram fabric in olive on oyster, 180cm wide 100cm deep 94cm high £500-700

Lot 52

A George II-style carved pine fire surround, 20th century, with egg-and-dart moulding and foliate scrolls, 160cm wide 21cm deep 137cm high £200-400

Lot 53

A pair of George IV mahogany hall chairs, c.1825, each back set with a shield cartouche, decorated with patera and anthemion motifs, raised on tapering reeded front supports, stamped ‘D.S’ beneath, 45.5cm wide 39cm deep 83cm high (2) £200-400

Lot 54

A George III mahogany chest on chest, mid-18th century and later, the architectural pediment with Greek key moulding and Chinese-style blind fret carving to the cornice and canted front edges of the upper section, set with three short and six long drawers, raised on bracket feet, 111cm wide 56cm deep 207cm high £800-1,200

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Lot 55

A pair of fibreglass panels, after the Parthenon frieze, 145cm wide 8cm deep 101cm high (2) £600-800

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Lot 56

A weathered marble figure, late 19th/early 20th century, ‘Venus of the Bath’, 25cm wide 25cm deep 82cm high £400-600

Lot 57

A composition fragment after the Standing Discobolus, of recent manufacture, 38cm wide 23cm deep 76cm high £200-400

Lot 58

Five marble architectural panels or soffits, c.1st-2nd century, Roman, lengths of interior loose carved marble, of interlaced design with some having holes along one edge, 36-70cm long (5) £1,000-1,500

Provenance: The collection of Bernard Kay (1927-2021), probably purchased in London or Paris in 1950s.

Lot 59

A grand tour-style bronze figure, depicting Augustus of Prima Porta, on a circular wooden base, 22cm wide 41.5cm high £300-500

Lot 60

A grand tour patinated bronze bust of Lucius Verus, 19th century, on an integral square plinth, 19cm wide 14cm deep 39cm high £400-600

Lot 61

A patinated bronze of Marcus Aurelius, 20th century, depicted on horseback, on a marble base, 26.5cm wide 9cm deep 22cm high £200-300

Lot 62

An ebony and parcel-gilt console table, late 19th century, the rectangular top above an egg-and-dart moulded frieze, with caryatid supports and a mirrored back, raised on a shaped plinth base, 172cm wide 55cm deep 101cm high £1,000-2,000

Lot 65

A George III and later gilt-framed oval mirror, the oval plate in a beaded cavetto frame, the crest with a festooned urn, the apron carved as a leaf spray, 61cm wide 125cm high £400-600

Lot 63

A pair of gilt-metal-mounted vase lamps, 20th century, each decorated with a classical chariot and warrior, on a shaped base, 19cm wide 54cm high (2) £250-350

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Lot 64

An Empire-style bronze figure of a sphinx, second half of the 19th century, French, on a rouge marble base, 8cm wide 28cm deep 17cm high £200-400

Lot 66

A George III mahogany domestic regulator longcase clock, c.1780, by Robert Henderson, London, the break arch hood above a glazed door with stop-fluted columns and sound frets, the trunk with a long door over a panelled plinth base, the 12in dial with subsidiary seconds dial, date aperture and applied nameplate, the silvered Roman numeral chapter ring with rococo spandrels to the sides and a strike/silent dial above, the two-train eight-day movement with six knopped pillars, dead beat escapement and long steel crutch leading to an iron pendulum with silvered engraved rating nut, 54cm wide 68cm deep 220cm high £2,000-3,000

Lot 67

An early Victorian mahogany bergère library chair, with scrolling arms, raised on turned tapering front supports terminating in brass caps and castors, with a loose buttoned-leather cushion, 55cm wide 65cm deep 89cm high £500-700

Lot 68

A George IV rosewood and penwork occasional table, c.1825, the square top centred with a chessboard within a floral-decorated border, above a variously turned column and scrolling tripod base, 48cm wide 48cm deep 74cm high £200-400

Lot 69

A George IV mahogany occasional table, c.1825-1830, the square top raised on a spiral-turned column and tripod base, 56cm wide 56cm deep 75cm high £200-300

Lot 70

A George IV mahogany and parcel-gilt dining table, c.1825, possibly Irish, with a moulded edge, raised on two acanthus-detailed pedestals, each outswept support terminating in a lion paw foot and castors, 295cm long 158cm wide 75cm high £2,000-3,000

Lot 71

A large Laver wool carpet, late 19th century, Iranian, Kirman, decorated with nine bordered saz leaf and floral motifs, to a pale field and navy banded borders, with an Arabic signature, 563 x 410cm £2,000-4,000

Lot 72

A fine Persian Hadji Jalili wool carpet, c.1890, Iranian, Tabriz, the field centred with a floral medallion and further stepped lozenges, woven throughout with dense scrolling Shah Abbasi motifs in tones of red, blue and camel, 513 x 330cm £6,000-8,000

The city of Tabriz in North West Persia has been a major city of fine weaving since the 14th century. It experienced a revival at the end of 19th century and saw the emergence of one of the most important and highly influential Master Weavers, Hadji Jalili. He created magnificent court carpets with his unique artistic drawing and impeccable workmanship, making them highly sought after by collectors and interior designers alike.

74 73 35-91 FURNITURE AND WORKS OF ART

Lot 73

A pair of Regency ebonised and parcel-gilt armchairs, each curved top rail with a lyre splat to down-curved arms, a caned seat on splayed tapering front legs, 52cm wide 85cm high (2) £300-500

Lot 74

A Regency brass-mounted ebonised tripod table, the canted oblong top decorated with chinoiserie scenes, on a baluster-turned column and downswept legs with leaf and anthemion chased mounts, 49.5cm wide 34cm deep 70.5cm high £200-300

Lot 75

A Regency simulated rosewood and parcel-gilt long stool, the drop-in seat to a frame decorated with red and gold lines on cabriole legs, 100cm long 41cm deep 45cm high £300-500

Lot 76

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Lot 77

A set of ten giltwood and painted dining chairs, c.1780, Northern European, each pierced square back with scrolling foliate decoration, above a seat upholstered in striped silk, raised on tapering fluted square supports, 48cm wide 48cm deep 91cm high (10) £2,000-3,000

79 78

Lot 78

A mahogany extending dining table in the manner of Gillows, 19th century, the rounded rectangular top with a reeded edge, raised on tapering reeded legs with anthemion detail, tapering in brass caps and castors, 245cm long 122cm wide 74cm high £500-800

Lot 79

A suite of Baccarat ‘Côte d’Azur’ drinking glasses, mid to late 20th century, consisting of: 10 red wine glasses, 15cm high, 8 white wine glasses, 14cm high, 1 sherry glass, 12.5cm high, a water jug, 24cm high, all with an etched mark to the underside (20) £300-500

Lot 81

A collection of seventy-five mineral specimen eggs, including banded agate, jasper, quartz, aventurine, unakite, and many others, displayed on a softwood tazza, tazza 40.5cm wide 21cm high (76) £300-500

Lot 82

A rosewood and brass-mounted chronometer bracket clock, mid-19th century, by Charles Wieland, numbered ‘752’, the silvered dial engraved ‘Chas Wieland Commercial Road, London’, with a seconds dial, the case with a raised top and pineapple finial, side carrying handles, on ball feet, dial 12.5cm diameter 40.5cm high, with a metal-mounted pine case, with a brass carrying handle and baize-lined, 29cm wide 47cm high (2) £1,000-2,000

Lot 80

81 35-91 FURNITURE AND WORKS OF ART

A pair of Regency-style rosewood and satinwood crossbanded sofa tables, 20th century, in the manner of Arthur Brett, each with crossbanded drawers with ring handles, raised on swept supports terminating in brass castors, 107cm wide, 155cm extended 54.5cm deep 76cm high (2) £1,000-1,500

Lot 83

A rosewood bracket clock, early 19th century, by Finer & Co., London, with an engraved, arched, silvered dial supporting a repeating twin fusee movement striking the hours, the case with a low gadrooned cushion top and turned finial over an arched and gadrooned door, brass grille sides, pressed brass ring handles and compressed bun feet, the engraved backplate inscribed ‘Finer & Co., London’, 42cm high £1,500-2,500

Lot 84

A pair of Regency-style breakfront bookcases, late 20th century or later, white painted, each with an upper section mounted with glass shelves, over a two-door grille-fronted cabinet, 126cm wide 40cm deep 247cm high (2) £400-600

Lot 85

Eight faux bamboo side chairs, c.1900, French, each curved top rail above a caned seat, on supports united by stretchers, 37cm wide 37cm deep 83cm high (8) £400-600

Lot 86

A pair of Regency-style mahogany, ebonised and simulated mahogany lamp tables, of recent manufacture but incorporating some period elements, each with an octagonal top with an egg-and-dart edge, raised on a tapering reeded column, brass collar and simulated mahogany tripod stand, terminating in ball feet, 43cm wide 43cm deep 74cm high (2) £300-500

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Lot 87

A group of three mahogany plate stands, 19th century, each with a shaped plate rest, the weighted base with an egg-and-dart moulded border, 21.5cm wide 12cm deep 33cm high £500-700

Lot 88

George Edwards (1694-1773)

A set of twelve ornithological prints engravings with hand colouring laid on paper plate 23.5 x 18.7cm (12) £300-500

Lot 89

A Sheraton Revival inlaid satinwood cellaret, c.1900, with a hinged top, opening to reveal a baize-lined sleeve with divisions, cast carrying handles to the sides, raised on square tapering supports with brass castors, 44cm wide 25.5cm deep 75cm high £250-350

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Lot 90

A Regency-style gilt-brass electrolier, first half of the 20th century, with an urn-shaped column and ram head detail, the body supporting six branches, with a lobed terminal, 71cm diameter 48cm high £400-600

Lot 91

A Regency mahogany extending dining table, c.1820, the rounded rectangular top with a moulded edge and enclosing a concertina action, raised on spiral-turned supports terminating in brass caps and castors, 128cm wide 253cm long 73cm high £1,000-2,000

The Estate of Jasper Gibbons Grinling (1922-2022)

Jasper Gibbons Grinling was born in 1922, the son of the sculptor, Anthony Grinling. A member of the Gilbey-Grinling drinks dynasty, most of his career was spent as Managing Director of W&A Gilbey, overseeing the firm’s Scotch whisky division. After the company purchased Château Loudenne in the Médoc, France, in 1875, he was closely involved with its renovation, helping the wines of Loudenne prosper in the British trade throughout the 20th century and two world wars.

Outside of his professional work, Jasper was a noted artist and jazz musician, co-founding Jazz FM in 1992, as well as being an enthusiastic winemaker from his Suffolk vineyard.

In the 1970s and 80s, he lived with his wife, Jane, in two houses in Hampstead, London, which accommodated their eclectic collection of furniture, pictures, and objects. Upon retirement, he moved to the peace and serenity of the Old Vicarage at Helions Bumpstead, Essex, where the present items offered for sale by Sworders helped to create a comfortable and relaxed home.

93 92 THE SELECTED CONTENTS OF THE ESTATE OF JASPER GIBBONS GRINLING 92-107

Lot 92

A Victorian walnut chaise longue, of ‘S’ scroll shape with deep buttoned upholstery, raised on scrolling foliate supports terminating in ceramic castors, 63cm wide 153cm long 75cm high £300-500

Lot 93

Lot 94

A pair of Victorian rosewood side chairs, each with a floral finial above a slender arched back and square seat, raised on twisted supports united by turned stretchers, 49cm wide 55cm deep 120cm high (2) £300-500

Lot 95

A small George III mahogany settee, c.1760, with a square back and open arms, raised on moulded splayed front supports, united by stretchers, 113cm wide 70cm deep 92cm high £400-600

Lot 96

Four reverse painted glass portraits, early 19th century, Chinese, made for the Indian market, largest 47 x 34cm (4) £300-500

95 94 48 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%

Lot 97

A Regency painted pine waterfall bookcase, early 19th century, with three graduated open shelves above a pair of cupboard doors decorated with reclining figures, raised on splayed supports, 58cm wide 27cm deep 137cm high £400-600

Lot 98

A Regency painted pine washstand, c.1810, decorated with foliate scrolls, set with two short drawers and raised on faux bamboo supports united by an undertier, 96cm wide 55cm deep 119cm high £300-500

Lot 99

After Barbara Anne Townshend, ‘Groups of Figures, from Cuttings in Black Paper, designed and executed by Miss Barbara Anne Townshend’, published by Edward Orme, Bond Street, January 1, 1808, pl. 1, 2, 4, 5, 6, and 7 engravings of silhouettes by M Dubourg, depicting family groups in pastoral scenes 16 x 23cm each within a gilt frame with verre églomisé mount, 32.5 x 39.5cm (6) £300-500

Lot 100

A Regency pollard oak, yew and ebony centre table attributed to George Bullock, c.1815, the circular top inlaid with a continuous band of honeysuckle, flower heads and ivy, above a turned column and a scrolled triform base with applied roundels, terminating in anti-friction castors, 131cm diameter 73cm high £2,000-3,000

Provenance: The Estate of Jasper Gibbons Grinling, late of The Old Vicarage, Helions Bumpstead, Essex.

Literature: J Murray and H Blairman & Sons, ‘George Bullock Cabinet Maker’, 1988, pp.95-96. George Bullock (c.1777-1818) is one of the most celebrated English cabinetmakers of the Regency period, and those pieces made or designed by him during the early part of the 19th century are particularly recognisable by the abundance of British flora in their ornament and the often used native timbers such as oak, yew, holly, larch and laburnum, in place of the more exotic woods that were so favoured by other leading makers of the time. This example, constructed from pollard oak, yew and ebony, closely resembles several examples that have come to market in recent years, the most notable of which being an example supplied to Matthew Robinson Boulton at Tew Park, Oxfordshire in 1817, which was sold most recently at Christie’s, ‘Important English Furniture’, 27 November 2003, lot 160. The ‘honeysuckle’ pattern for the inlaid border on the table was likely used for the first time on a desk stand that was purchased by Queen Charlotte in 1812 and, according to Murray, it appears in the ‘Wilkinson Tracings’, a scrapbook into which a wide range of tracings and engravings were pasted or loosely inserted, inscribed to the first page ‘Tracings by Thomas Wilkinson, from the designs of the late Mr George Bullock 1820’. These impressions are considered to be one of the most important sources regarding Bullock’s work and were acquired in 1974 by the City Museum and Art Gallery in Birmingham. To date, there is very little evidence with which to identify Thomas Wilkinson or work out how he had access to the original designs. Another close example (Christie’s, ‘The English Collector’, 21 May 2015, lot 121) which, as per Ackermann’s ‘Repository of Arts’, is described as being in the ‘French antique taste’ and is suggested to have possibly come from Bullock’s workshop. It has an identical turned column and base and is noted to bear a black wash to the undersides, which is said to be characteristic of his work; the same wash appears beneath the present example.

Lot 101

A Queen Anne walnut and feather-banded chest of drawers, the rectangular top above two short and three long graduated drawers, raised on bracket feet, 95cm wide 56cm deep 94cm high £400-600

Lot 102

A William IV oak tripod table, c.1830, the thick circular top constructed from satin maple or walnut, with a reeded edge above an acanthus-carved baluster column and moulded tripod supports, terminating in brass lion paw caps and castors, 69cm diameter 75cm high £300-500

Lot 103

A pair of George IV mahogany press cupboards, c.1825, with brass stringing, each having two doors with a silk back, brass grilles within pilasters with applied gilt-brass acanthus leaf mounts, over three drawers with original brass knob handles and a plinth base, 144cm wide 61cm deep 214cm high (2) £500-700

Lot 104

A set of Regency painted wall shelves, c.1810, with conical finials, ‘X’ frame sides and anthemion detail, 71cm wide 23cm deep 62cm high £200-400

Lot 105

A composition stone pineapple finial, 19th century, in the manner of Austin & Seeley, on a circular base, 59cm diameter 90cm high £200-400

Lot 106

A composition stone classical figure, 19th century, in the manner of Austin & Seeley, 50cm wide 40cm deep 160cm high £800-1,200

Lot 107

A carved marble after Antonio Canova, 19th century, ‘Dancer’, the standing figure with head turned and hands on hips, on a circular base, 68cm wide 50cm deep 152cm high £2,000-3,000

FURNITURE AND WORKS OF ART

LOTS 108-246

Lot 108

A marine ivory walking stick, c.1890, the Turk’s head knot handle over a fluted and hatched shaft to the upper section, over a spiral-turned whalebone shaft, with ring banding, 91.5cm long £1,500-2,000

Lot 109

A marine ivory and inlaid walking stick, c.1890, with a reeded pommel, with tortoiseshell bands, on a tapering shaft, with a copper ferrule, 96.5cm long £1,000-1,500

Lot 110

A rhinoceros horn walking stick, c.1890, possibly Indian, with a tapered shaft, mounted with a silver pommel and central band, with a white metal ferrule, 87.5cm long £3,000-5,000

Lot 111

A marine ivory and calamander walking stick, c.1890, the narwhal handle mounted with calamander ends, on a plain tapering shaft, with a brass ferrule, 92cm long £1,000-1,500

Lot 112

A marine ivory walking stick, c.1890, the pommel carved with a fist holding a ball, with tortoiseshell banding and a tapering spiral-carved and fluted shaft, 88.5cm long £1,000-1,500

Lot 113

A marine ivory and inlaid walking stick, c.1890, with a faceted pommel, with tortoiseshell inlaid bands, the tapering shaft with hatched and spiral designs, 94.5cm long £1,200-1,500

Lot 114

An embroidered hanging or bohça, probably early 18th century, Ottoman, worked in cotton and silk thread with stylised couched flower heads in red and blue outlined in stem stitch, on an undyed linen ground, 122 x 132cm

£300-500

The flower heads in the present example bear stylistic similarities to others in the Victoria & Albert Museum collection (accession numbers 622-1890, T.92-1950 and T.741-1950). In Ottoman society, Bohça were square cloths of embroidered fabric used to wrap domestic items such as clean clothes to carry to the hammam, or for covering gifts. Most traditional cloths from the 16th and 17th centuries were embroidered in silk thread (predominantly red and blue) on an undyed linen ground. From the 18th and 19th centuries, more luxurious materials began to be used, such as decoration in gold and silver metal thread on foundation fabrics such as velvet or satin.

Literature: Hülya Bilgi and Idil Zanbak, ‘Skill of the Hand, Delight of the Eye: Ottoman Embroideries in the Sadberk Hanim Museum Collection’, exhibition catalogue, Istanbul, 2012, p.26;

Marianne Ellis and Jennifer Wearden, ‘Ottoman Embroidery’, V&A Publications, 2001, pl. 32 and 33;

Roderick Taylor, ‘Ottoman Embroidery’, London, 1993, pp. 113-122.

Lot 115

A repoussé silver mirror, early 20th century, Continental, in the 17th century style, the frame elaborately decorated with a crown flanked by a pair of birds, within shells and foliate scrolls surrounding a rectangular glass plate, 69cm wide 102cm high £1,000-1,500

Lot 116

A gilt-copper and soft-enamel censer and cover, c.1890, Indian, Kashmir, of urn form, pierced with soft enamel in blue, turquoise and ruby, the cover centred with a concave pierced centre, 17cm high (2) £200-400

Lot 117

A porcelain and bronze urn, of campana form, with bronze handles in the form of a figure resting on a ram’s head, 40cm wide 63cm high £300-500

Lot 118

A silver box, c.1880, Indian, Bombay, in the shape of a heart with a village scene, with a band of floral motifs on the outer lower border, 12.5cm wide 5cm deep 15cm long, 10.9ozt £300-500

Lot 119

A pair of delftware drug jars, c.1670, London, Lambeth, each of ovoid form and decorated with a scrolling panel surmounted by a cherub’s head, one inscribed ‘C. Lujulae’, the other ‘U. Nervin’, 17.5cm high (2) £500-800

Lot 120

An Ottoman silver pen-case, late 19th century, Turkish, with partial foliate-engraved decoration, bearing tughra and other marks, 28.5cm long, 13.7ozt £600-800

Lot 121

A Persian Heriz wool carpet, first quarter of the 20th century, Iranian, the field woven with saz leaves to a blue ground, 515 x 298cm £1,500-2,000

Lot 122

A bronze figure of Shiva as Chandrashekhara, 19th century, Indian, standing, holding an axe and a deer, on a square plinth base, 23cm wide 23cm deep 65cm high £800-1,200

121

Lot 123

A Chinese export reverse glass painting of a girl, c.1810, the three-quarter length study of a girl holding a pocket watch on a blue ground, 49 x 34cm £300-500

Lot 124

A silver ewer, 19th century, Indian, of baluster form on a spreading foot, with a slender neck, curved handle and domed lid attached to the handle with a chain, decorated with swaying chinar tree branches in bloom, 32cm high, 29.8ozt £600-800

Lot 125

A Kashan lustre pottery vessel, possibly 12th or 13th century, Persia, in the form of a seated female figure, 24cm wide 10cm deep 35.5cm high £1,000-2,000

Lot 126

A large patinated bronze fountain, of recent manufacture, in two sections, decorated with lions, classical masks and bacchanalian figures, 114cm wide 104cm deep 300cm high £3,000-5,000

Lot 127

A slate and scagliola low table, 20th century, painted with a world map and signs of the zodiac, raised on a pair of rectangular plinth supports, 115cm wide 54cm deep 43cm high £800-1,200

Lot 128

A folk art shop display, early 20th century, the oak frame inscribed ‘Guest, Keen & Nettlefolds. Limited’, the glazed case displaying screws, bolts and hooks, 57cm wide 70cm high £400-600

Lot 129

A matched pair of Queen Anne-style walnut armchairs, early 20th century, each with an arched back and raised on turned and moulded stretchered supports, upholstered in foliate green and yellow fabric, 84cm wide 84cm deep 106cm high (2) £600-800

Lot 130

A Regency green-painted toleware coffee tin, early 19th century, of rectangular form with twin compartments numbered in gilt with porcelain knobs, inscribed to the front ‘Coffee’, 50cm wide 24cm deep 17cm high £400-600

Lot 131

A Meissen porcelain teapot and cover, c.1830-50, after the Chinese, in the form of bamboo painted with panels of flowers on an alternating green, yellow and purple ground, blue crossed swords mark, incised model no. ‘1.52’, 9cm high (2) £400-600

Provenance: Bonhams, ‘Fine European Ceramics’, 9 December 2009, lot 134.

Lot 132

A carved and painted wood model, late 19th/early 20th century, Indian, polychrome painted, of an ox-drawn carriage with a domed top, carrying two seated figures and a driver, 25cm wide 40cm deep 21cm high £200-300

Lot 133

A pair of Bloor Derby wine coolers, early 19th century, each of campana form with moulded borders over bands of trailing, fruiting, vines, the body with gilt reserves, panels painted with river landscapes and flowers verso, on green and gilt grounds within entwined gilt handles, a pedestal base and cylindrical base with moulded feet, printed marks, 26cm diameter 29.5cm high (2) £1,500-2,500

Lot 134

A large bisque vase and cover by George Jones, c.1900, the figural decorated body with applied winged maidens, on a triform base, 30cm wide 57cm high (2) £200-300

Lot 135

A Meissen porcelain Hausmalerei waste bowl, mid/late 18th century, the exterior decorated in the ‘fels und vogel’ pattern, embellished in enamels and gilding in the workshop of F J Ferner, the interior depicting two figures and a stag in a landscape, crossed swords mark and ‘W’ in underglaze blue, impressed ‘20’, 16cm diameter £500-700

Provenance: Bonhams, ‘Fine European Ceramics’, 9 December 2009, lot 89.

Lot 136

A Meissen porcelain saucer, c.1740, painted with a European landscape with figures by a river, within a gilt cartouche and stylised gilt border, the reverse with three iron-red concentric circles, crossed swords mark in underglaze-blue, impressed ‘2’, 12cm diameter £600-800

Provenance: Bonhams, ‘The Hoffmeister Collection of Meissen Porcelain Part Three’, 24 November 2010, lot 48.

Exhibited: Hamburg, Museum für Kunst und Gewerbe, 1999-2009.

Literature: D Hoffmeister, 18th century Meissen porcelain: the Hoffmeister Collection, Hamburg, 1999, I, no. 102.

Lot 137

A Meissen porcelain Hausmalerei saucer, c.1735-60, of twin-handled form painted with a central scene of a building and trees enclosed by three flower sprays and a scrollwork border, embellished in enamels and gilding, probably in the workshop of F J Ferner, crossed swords mark and triangle in underglaze blue, 7.6cm wide £500-700

Provenance: Bonhams, ‘The Hoffmeister Collection of Meissen Porcelain Part 1’, 25 November 2009, lot 114.

Exhibited: Hamburg, Museum für Kunst und Gewerbe, 1999-2009.

Literature: D Hoffmeister, 18th century Meissen porcelain: the Hoffmeister Collection, Hamburg, 1999, I, no. 252.

Lot 138

A Chinese export black lacquerwork table, early 19th century, the top decorated with figures and pavilions in two-colour gold within a wide dragon diapered border, to a fitted interior with lidded and lift-out trays, on a lyre and stretchered base with lion paw feet, 62cm wide 42cm deep 70cm high £300-500

Lot 139

A large George Smith ‘Elverdon’ modular sofa, of recent manufacture, upholstered in Osborne & Little ‘Torcello’ fabric, raised on tapering oak supports, overall 370cm wide 180cm deep 90cm high, seat 55cm high £600-800

Lot 140

A cut glass and gilt-metal chandelier, early 20th century, with eight foliate-cast branches and variously shaped drops, 84cm wide 117cm high £800-1,200

Lot 141

A chromed brass occasional table in the manner of Maison Jansen, late 20th century, the square top inset with glass, above tubular supports, 50cm wide 50cm deep 37cm high £200-400

January

10 Homes & Interiors | entries close Friday 30 December 2022

17 & 18 Design | entries close Friday 2 December 2022

25 Jewellery | entries close Friday 6 January 2023

31 Homes & Interiors | entries close Friday 20 January 2023

February

5 Paint. Print. Sculpt. Timed Auction | entries close Friday 6 January 2023

7 Out of the Ordinary | entries close Friday 23 December 2022

14 Homes & Interiors | entries close Friday 3 February 2023

22 Jewellery | entries close Friday 3 February 2023

March

7 Homes & Interiors | entries close Friday 24 February 2023

14 & 15 Fine Interiors | entries close Friday 13 January 2023

28 Homes & Interiors | entries close Friday 17 March 2023

29 Jewellery | entries close Friday 10 March 2023

Kilburn’s Finest: A Private Collection of Mouseman Furniture

Unlike many collectors, David Lamb grew up in a house with no antiques and very little in the way of original art. His parents had built the family home in 1960 and filled it with furniture which would now be classed as ‘mid-century modern’, and they enjoyed holidays and experiences rather than objects and pictures.

Indeed, spending money on art and antiques was not something they easily understood: ‘I first bought a serious piece of art in 1984 with my first bonus,’ recalls David. ‘It was a Bridget Riley gouache from the London gallery Karsten Schubert. My dad exploded when he found out what I had done, but that picture has been a source of pleasure for almost forty years and is probably the best financial investment I have ever made.’

David has now been collecting for much of his life and the items to be sold by Sworders across several sales include Modern British, contemporary and sporting art, a collection of furniture by Robert ‘Mouseman’ Thompson, and an eclectic mix of 19th and 20th century furnishings. Their sale is driven primarily by the need to downsize as a move to Yorkshire beckons, but also because, he says, renewal can be a positive experience: ‘the passions change – over the years collections of modern silver and Scandinavian pottery have been built up and let go. That’s the joy of it.’

Mouseman has been a healthy obsession for David for many years, and Sworders’ Design sale on 17-18 January includes several pieces from his collection including a range of dining and bedroom furniture. ‘I love craftsmanship, and indestructibility, and the power of a brand. The Mouseman story is charming and the furniture beautifully made. It fits within just about any decor, withstands daily use and steps up to the most special occasions. People love to sit around it and spot the mouse. But I am overrun with mice now - no one needs three dining tables even of different sizes – so I am confining my Thompson addiction to the smaller pieces.’

Light oak furniture by Kilburn’s finest has provided an ample foil to some fine examples of post-war silver. A pair of candlesticks with tulip form sconces by Grant MacDonald, London 1976 (estimate £400-600) and a silver-gilt bowl with a ‘pebbled’ body by Stuart Devlin, London 1969 (estimate £250-350) will be offered for sale. So will some good examples of art pottery such as a yellow-glazed dog bowl made by CH Brannam in Devon for Liberty & Co. Inscribed ‘Love Me Love My Dog’ was quite possibly a one-off commission (estimate £250-350).

David will continue to buy the furniture and works of art he loves: ‘most of my buying is at auction now. It has become so easy with online bidding, access to condition reports, and shipping companies - and there is always the adrenalin of the moment. This won’t be the end of my collecting. The new house has just enough space and the occasional blank wall to allow me to explore what’s next.’

Tuesday 17 & Wednesday 18 January 2023

John Black | design@sworder.co.uk

Keeping It Classical: The Influence of Classical Art on the Modern European Decorative Style

Classical art and architecture, with its extraordinary precision and astounding scale, has been enjoyed, exalted and emulated more or less consistently for the last two and a half thousand years, and has been responsible for many aesthetic movements and revivals. Since the Renaissance, classicism has been arguably the greatest source of inspiration for artists, architects and designers in the West.

Following a relative departure from classicism throughout Europe in the late sixteenth and seventeenth centuries, there was a marked return to the aesthetic, philosophical and political ideals of Greece and Rome in the eighteenth century, through opposition to what some saw as the pomp and indulgence of the baroque and rococo, as well as the discovery of the ancient site of Herculaneum and the huge popularity of the grand tour, a sojourn on which wealthy young Europeans would embark as a means of cultural and artistic education, and as such would come into contact with and become enamoured by classical and Renaissance art. They would have the opportunity to purchase antiquities, copies and keepsakes, which would adorn their homes, serving as tangible evidence of their sophistication and intellect. The current fashion for plaster fragments and marble busts in the modern interior is based in large part on the grand tour.

As a consequence of the rejuvenated appreciation of classical art and architecture, not only were some of the finest and most important European collections of antiquities formed during this time, but the neoclassical style, which dominated building and furniture design for the second half of the eighteenth century, was born. Buildings influenced by Andrea Palladio’s designs of the 1500s, themselves based on Roman examples, appeared across Europe, and this influence can be seen today in many of the notable civic buildings and stately homes throughout the country and indeed the Continent. Of course, the owners of such grand abodes needed equally splendid objects with which to furnish them, and the prominent silversmiths, painters and cabinetmakers of the day, who had harnessed the finesse and ornament of popular classical forms in their work, were well suited to do so.

Furniture makers, such as Robert Adam, Thomas Chippendale, Thomas Sheraton and George Hepplewhite, among many others, conceptualised and created elegant pieces which utilised the swags, festoons, fluted columns and other decorative motifs of Greece and Rome, either in carved form or applied in paint. Neoclassicism found popularity elsewhere in Europe also. For example, the furniture produced in France under Louis XVI echoed the rectilinear simplicity of ancient architecture, as were those pieces made in Sweden during the reign of Gustav III; the Gustavian style, in particular, often painted in muted tones, has found popularity in the contemporary minimalist interior.

The designs of the great names of the eighteenth and early nineteenth centuries, based on the Greek and Roman visual arts, have been considered by many to be the benchmark of conventional taste from their conception through to the modern day, and as such have been reproduced en masse. To see the effect of the ancient world in today’s decorative tradition, one need only look at the acanthus leaves and garlands which adorn the friezes and finials of a piece of Georgian furniture, the fine details of grand tour bronzes and Italian marbles, or the scrolling capitals of columnar candlesticks, proving that when it comes to interior style, classical will always be classic.

Tuesday 14 & Wednesday 15 March 2023

Alexander Hallett | fineinteriors@sworder.co.uk

The Pied Pyper of Curiosities: The Gary Pyper Collection

Gary Pyper began collecting at a very early age. A fascination with objects and the stories behind them proved a welcome alternative to school textbooks and was the impetus behind his first regular Saturday job, working alongside his friend’s father at the local auction house. By the mid-90s, having studied industrial design at university, he was filling vans with mid-century design and running them into London. However, highlights from the Gary Pyper Collection offered as part of Sworders’ annual Out of the Ordinary sale on Tuesday 7 February display a more eclectic eye. From the fossil of a keichousaurus, a marine reptile from the Triassic period (estimate £300-500) to a pair of leather miner's helmets (estimate £300-500), this is the stuff of the Wunderkammer.

‘Objects give me a tangible connection to the past and to the craftsman who shaped them,’ says Gary. ‘If something makes me feel intrigued or enlightened in some way, then I add it to the collection.’

For Gary, there was also the joy of the hunt: ‘the more unexpected the discovery, the more rewarding they are. Many of the objects in the collection were found by scouring local flea markets by torchlight, or simply by following up on a random conversation with a stranger.’ It was in this way that he came to own items as diverse as a carrier pigeon message written in code during the Boer War (estimate £150-250) and a 5000-year-old ‘eye’ idol from the ancient Syrian city of Tell Brak (estimate £400-600). Some of the most spirited stories found in the objects Gary sourced have proved invaluable in inspiring the same fascination with the world in his children: ‘educating my kids became one of the main motivations - and justifications - for maintaining such a large and quirky collection. They are both entering into teens now so it’s time to share the contents with a wider audience and free them from the solitude of the attic.’

Out of the Ordinary Tuesday 7 February 2023 Otto Billström | outoftheordinary@sworder.co.uk

A Cut Above: A History of Diamond Cutting

Diamonds, like many other gemstones, were historically thought to hold powerful talismanic or magical properties and, at various times, have been attributed with the power to impart energy, strength and beauty; to heal the body if held in the mouth while fasting; to cure the spiritual defects of a liar; and to heal chronic cases of bladder disease… In the early centuries in which these beliefs were held, there was little incentive to polish and cut diamonds, since it was in their natural crystal form that the diamonds’ powers could be imparted; in the Indian lapidary work Agastimata, it is written that polishing a diamond on a wheel would cause the diamond to lose its magical properties. The diamonds most commonly found in jewellery from this time are known as ‘point cut’ diamonds, though these diamonds are in fact not ‘cut’ at all, but are simply octahedral crystals, one of the natural crystal forms of diamond.

European diamond cutting originated in Venice circa 1330, after Venetian merchants opened trade routes to the East facilitating the entry of diamonds into Europe from India, the only diamond source at the time. The first true diamond cut was a ‘table cut’ diamond and appears in the early 16th century. The table cut was an octahedron with the top point flattened to a square facet, known as the table, and this type of cut remained in favour well into the 17th century.

In the mid-18th century, as the Indian diamond mines were starting to be exhausted, new deposits were found in Brazil which produced a steady supply of diamonds. This supply hugely increased the amount of rough diamond available to the extent that prices dropped by 30%. The increase in material meant that diamonds were more and more accessible; they were no longer reserved for European nobility. The increase in demand in turn powered the growth of the diamond-cutting industry, and this rapid growth led to innovation and progress. It was during this period of innovation that the ‘old mine cut’ diamond was developed, with a cushionshaped outline and a total of 58 facets. Old mine cut diamonds were one of the earliest forms of the ‘brilliant cut’ diamond, so named because of the amount of the ‘brilliance’, or sparkle that the stone has.

The 19th century saw the next significant development in diamond cutting, with the invention of the steam-powered bruting machine. Bruting is the process by which the girdle, or outline of the diamond is shaped, by grinding the diamond’s girdle against another diamond, on a specially designed lathe. Before this development, there was no effective way of rounding the outline of the diamond - hence the square or cushion-shaped outline of old mine cut diamonds. After the introduction of the bruting machine, old mine cut diamonds lost popularity, in favour of ‘old European cut’ diamonds, with a round outline and lower crown.

The newly possible round outline laid the groundwork for the ‘modern round brilliant cut’ diamond, developed by Marcel Tolkowsky in the early 20th century. Tolkowsky, an engineer and member of a family of diamond cutters from Poland, worked out the angles and relative sizes needed for each facet of a diamond to produce the greatest scintillation, and published this work in 1919. While there have been minor developments to Tolkowsky’s formula since, the modern round brilliant cut diamond remains the most popular to this day.

Auctions Held Monthly Catrin Jones | jewellery@sworder.co.uk

Jewellery

West End Lights: The Bustle of Sworders London Gallery

A mong the rapid bust le of central London lies one of the ol des t thoroughfares i n Covent Garden, which, since its cons truction, has been a heartl i ne o f in trigue, antiques and o b ject s of cu riosity. Linking Cha ri ng Cross Road and S t Ma rtin's Lane, Cec i l Court dates to the e nd of the 1 7 th century and provides a picturesque and cen tr ally located home for our London gallery.

If you venture on to t he website of Cecil Court , it is aptly self-described as ‘the ultimate destination for art, an tiques, books, culture an d curiosities – a w ho l e street of uncommo nly good independent shops ’

Th e Cecil Court gallery p rovides an excellent st age for showcasin g both highlights an d en tiresale exhibitions and previews for Sworder s’ sales, and is ju st a moment’s walk from Leicester Sq uare tube station . Our gallery’s scene i s set in an excit ing and cons ta nt state of flux - attend th e gallery one week and be greeted by some of th e finest works by Bri tish contemporary art i st s a nd pioneers of design ; a nother, and see an cient works from the ha nd s Chinese craftsme n, working for the highes t in society; another a nd find a sparkling array jewels, fit to e ncr ust the hands of royalty.

Mo st recently, the ga ll ery was thrilled to hos t the preview of our sale ‘Instinct, Sch ola rship and Curiosity : T he J a n Finc h Collection’, a sale containing 350 eclec tic lots of ethnography, n atural history , European ar t, a nd astonishing antique s from the connoisse urs at F inch & Co. A pa rt i cular h i g hlig ht f r om t hi s previ ew was lo t 1 02 of this sa le: a fine French prisoner-of-war ship model, c.1820, of a forty-e i g ht -g un frigate of th e R oya l Navy, inlaid wit h bone This was m ade by French p risoners of war at Portches te r Ca st le in about 1810, a mediev al f ortress east of Far eham. Th e castle was used as a prison from the 17th century and, i n t he early 19th ce ntury, it housed o ve r 7,000 French pris oners of the Nap oleonic Wars. Crafted w i th the finest th rea d rigging a nd including miniscu l e models of buckets, row boats and ca nnon barrels, the detail of this s hip model was truly astoundi ng to behold We were thrilled to bring this item to th e L ondon gallery and share it wi th a wider audience, wher e i ts intricacy and wo rkma ns hip could really be a ppreciated in a real-wo r ld setting.

S te p through our door and you will b e greeted by our London te am, consisting of Mark Wilkinson and Madelei ne Armstrong. Mark w as appointed Head of the London Ga l lery in the a utumn of 2021 and with over 4 0 ye ar s of auction experience , runs the remarkably uniqu e Out of the Ordinary sal es, for which he deve l oped his love of a l l things unusual du ring his time a t Christie’s. Maddie joine d o ur team as Gallery Manager in Apr i l 2022 from Sotheby’s Dublin, having garnered a passion fo r a r t an d antiques through both he r ac ademic career and exte rn al i nt erests.

S w orders ’ London Gall er y, with its 700 s qua re feet of exhibit i on space and pr i vate valuation r oom, is open from M on d a y to Friday for f ree a uction valuations, auction preview even ts and ex hibitions. In addition, ou r t eam of experts are available to o ff er advice on a broad rang e of s p ecialisms, from classic c a rs to coins and fine wine t o fur niture. We conduct valuat i on s for a r a nge of purposes includi ng sale, probate, and insu ra nce.

L ook ing to 2023, the L ondon Galley is busy p reparing an excit i ng calendar of s ale p reviews, ex hibitions, and evening events, and we can’t wai t to welcome you soon!

Sworders London Gallery

Open Monday - Friday 10am-5pm london@sworder.co.uk | 0203 971 2500

How to Start Your Art Collection

Auctions can seem daunting. Some people grow up visiting them, but until I started my career, I had never stepped foot in a saleroom. At a gallery, you can see a picture on the wall, buy it and take it home – the familiarity of retail. With an auction, the process is rather different, looking in a catalogue, viewing a few days before the sale and then competing against others to buy the work. However, once I became familiar with them, I fell in love with the theatre of auction. Now, with timed online sales, there is another exciting way to bid.

Paint. Print. Sculpt. Sworders will be holding four timed online art sales in 2023. Our rebranded auctions aim to provide affordable modern and contemporary art for both established collectors and new starters. The sales are online for ten days giving the buyer time to peruse the work at their leisure. When you have found something you like, you can leave a bid; if you are outbid, then you are informed and can increase this offer. At 6pm on a Sunday, the fun begins. Post Sunday lunch, with a glass of wine, who needs the Antiques Roadshow when you can sit in front of the laptop and watch the completion of the sale? With lots closing for sale every 15 seconds and frantic last-minute bidding, it can be great entertainment.

Now you know how you can buy - but what should you choose?

Buy what you like. If you are thinking about collecting art, but are not sure where to begin, the simple rule is to pick something you love. Ultimately, you’re going to have to live with it in your home, hopefully for many years, so look for something that calls out to you, grabs your attention and makes you feel something.

An easy option is to find something that fits in with your current interior design. If you have recently renovated or decorated, the right picture or sculpture could complement and complete the look. Eclectic taste works too, so there is no reason why you can’t hang a piece of bright and impactful pop art in a Georgian home, or a mid-century oil next to a contemporary sculpture.

It may be that an oil or work on paper are what you desire, but buying prints rather than originals can be a great way to own something by a big name at a budget-friendly price. Original pieces by artists such as Pablo Picasso, L S Lowry, David Hockney and Francis Bacon can sell for millions, but one of their signed editions could be a way for you to showcase their recognisable styles on your wall.

If you are looking beyond one or two pieces with the aim of building a collection, then it can be difficult to decide where to focus your attention. Follow your instincts and trust your taste. Visit museums and galleries, talk to fellow enthusiasts and keep an eye online or on social media for emerging artists. As your artistic education increases, so will your interest in buying certain works, and soon enough your personal style will shine through in your new collection.

We all change our minds sometimes, life would be boring otherwise, so don’t worry if you fall out of love with a piece. Perhaps you could move it to a different place in the home or keep it stored for a while and see if you miss it. If you decide it really isn’t for you, just contact Sworders – we are always happy to meet our new vendors!

Paint. Print. Sculpt. Friday 27 January - Sunday 5 February 2023 Amy Scanlon | paintings@sworder.co.uk

Lot 142

A Louis XV carved giltwood overmantel mirror, second quarter of the 18th century, French, the frame with elaborate scrolling rococo decoration, surrounding a split mercury-glass plate, 143cm wide 166cm high £1,500-2,500

Lot 143

A mahogany and brass-mounted mahogany console, 19th century, in the Directoire style, a three-quarter brass galleried marble top above a single drawer and marble undertier, on brass fluted mahogany legs and turned feet, 37cm wide 36cm deep 86cm high £400-600

Lot 144

A pair of Louis XV painted and parcel-gilt fauteuils, each with a moulded and floral carved frame, padded arms, upholstered back and seat in a needlework fabric, one stamped ‘LEROUCE JME’ to the seat rail, 62cm wide 60cm deep 90cm high (2) £400-600

Lot 145

A needlepoint carpet of Aubusson design, of recent manufacture, woven with floral bouquets to a black ground, 453 x 360cm £2,000-3,000

Lot 146

A pair of mahogany and rosewood console tables, probably early 20th century but incorporating some 19th century elements, Italian, each with a rectangular marble top above a frieze decorated with a shell, raised on cabriole front supports with knee-carved detail in the form of knights, 96cm wide 44cm deep 84cm high (2) £500-700

149 148 147

150 108-246 FURNITURE AND WORKS OF ART

Lot 147

A Louis XVI-style painted canapé, late 19th/early 20th century, the frame with scrolling rococo decoration, with open arms and raised on cabriole supports, 195cm wide 90cm deep 122cm high £800-1,200

Lot 148

A wrought metal and cut glass chandelier, early 20th century, of elaborate scrolling form, with twelve branches and variously cut drops, 74cm wide 87cm high £300-500

Lot 149

A Louis XVI-style mahogany occasional table by François Linke (French, 1855-1946), c.1900, French, with an oval marble top and gilt-metal mounts, stamped ‘F. LINKE’ beneath the apron, raised on tapering cabriole supports, 63cm wide 47cm deep 74cm high £600-800

Lot 150

Lot 151

A small Transitional tulipwood and marquetry writing table by Godefroy Dester, c.1775, French, the white marble top with a pierced brass gallery, above three drawers and a slide, raised on tapering square supports united by an undertier, terminating in caps and castors, stamped ‘G. DESTER JME’ beneath, 39cm wide 30cm deep 75cm high £3,000-5,000

Literature: P Kjellberg, ‘Le Mobilier Français du XVIIIe Siècle, Dictionnaire des Ébénistes et des Menuisiers’, 2002, p.297.

During the latter years of the 18th century, Godefroy Dester established himself as one of the most important cabinetmakers working in Paris. After qualifying as a ‘maître’ in July 1774, he opened his workshop in the rue du Faubourg Saint-Antoine and gained renown for his high-quality work in marquetry. One of his most important commissions, however, were a pair of commodes for the Comte d’Artois, brother of Louis XVI, which incorporated Paris porcelain plaques and placed in the Comte’s bedchamber at the Palais du Temple.

Lot 152

A Savonnerie pattern Aubusson carpet, late 19th century, the pink field with a circular patera medallion supported by stars, an ivory-coloured arcaded leaf and floral border, 371 x 272cm £700-1,000

Lot 153

A Louis XVI walnut bouillotte table, 19th century, a galleried white marble top, parquetry inlaid with drawer and candle slide, on square tapering legs, 61cm diameter 75cm high £250-350

Lot 154

A Louis XVI-style giltwood side table, late 19th century, French, the shaped top inset with rouge marble, with a ribbon and stick edge above a foliate-pierced frieze, raised on tapering fluted supports united by an undertier surmounted by an urn, 82cm wide 51cm deep 78cm high £300-500

156 155

Lot 155

A pair of Louis XV-style brèche violette marble and gilt-bronze cassolettes, early 20th century, French, each hinged lid set with a flame finial, the body with floral swags, on a square base, 18cm wide 42cm high (2) £500-700

Lot 156

A pair of Directoire bronze and gilt candlesticks, c.1795, each urn-shaped nozzle supported by a standing cherub on milled feet and a square white marble plinth, 11.5cm wide 40cm high (2) £600-800

Lot 157

A Louis XVI-style ebonised oak and brass-mounted bureau plat, of recent manufacture, French, the rectangular top with an inset leather writing surface, above three frieze drawers and a pair of slides, raised on tapering square supports terminating in sabots, 200cm wide 100cm deep 76cm high £800-1,200

Lot 158

A biscuit porcelain portrait bust of Napoleon by Sèvres, dated 1807, French, after the model by Antoine-Denis Chaudet, stamped and inscribed to the front of the base, the back with incised marks for Alexandre Brongniart and Alexandre Brachard, dating its execution to 30 March 1807, 15.5cm wide 15cm deep

29.5cm high, on a later rouge griotte and ormolu plinth (2) £4,000-6,000

Literature: T Préaud, ‘The Sèvres Porcelain Manufactory, Alexander Brogniart and the Triumph of Art and Industry, 1800-1847’, 1997, pp. 345-346.

This bust is after the marble original by the French sculptor Antoine-Denis Chaudet, and in 1804 the Sèvres factory, under the stewardship of director Alexandre Brongniart, secured the rights to reproduce the image in biscuit porcelain. In 1807, these busts were produced in two sizes, this being the smaller, to be displayed in offices throughout France, as well as being given as diplomatic gifts. Alexandre Brachard (1775-1830) is recorded at having worked at the factory intermittently from 1784-1827. A larger example ‘of first magnitude’, executed by Brachard on 18 June 1807 is in the Uffizi Gallery in Florence, inv. Pitti Objects of Art 1911 no. 486.

159 FURNITURE AND WORKS OF ART 108-246

Lot 159

An Aubusson rug, of recent manufacture, woven with scrolling blossoming branches, 276 x 182cm £800-1,200

Lot 160

A Directoire ebonised semainier, with a white marble top above seven drawers with gilt handles, flanked by gilt-mounted fluted column sides and turned legs, 97cm wide 42cm deep 143.5cm high £400-600

Lot 161

A pair of bronze and ormolu candlesticks, late 19th century, French, each with a milled nozzle and drip pan supported by a standing caryatid, on a red marble socle and square slate plinth, 9cm wide 27cm high (2) £300-500

Lot 162

161 160

165 108-246 FURNITURE AND WORKS OF ART

163

Lot 163

A Directoire brass-mounted mahogany commode, early 19th century, the white marble top above a triple-panelled frieze drawer and two long drawers, fluted pilasters and turned feet, 114.5cm wide 58.5cm deep 88cm high £500-700

Lot 164

An Empire flame mahogany secrétaire à abattant, early 19th century, French, the marble top above a frieze drawer and fall front, enclosing a satin-birch-veneered fitted interior, two cupboard doors and a base drawer, raised on bun feet, with gilt-bronze mounts, 98cm wide 44cm deep 154cm high £400-600

Lot 165

A glass six-branch chandelier, early 20th century, French, with floral decoration and variously shaped drops, 82cm wide 88cm high £300-500

Lot 166

Lot 167

An oak lambing chair, 18th century, with a panelled back set between curved wings, above a pair of shaped arms and a panelled box seat, raised on stile supports, 66cm wide 70cm deep 116cm high £400-600

Lot 168

A needlework rug, last quarter of the 19th century, English, the ivory-coloured field with an overall linked polychrome orchid floral bouquet, with paterae corners and a rope-tied and tassel border, 262 x 183cm £300-500

169 108-246 FURNITURE AND WORKS OF ART

Lot 169

Three glazed stoneware vessels, early 20th century, French, Savoie, to include a spotted jug, 19.5cm wide 13cm deep 16cm high, largest 22cm wide 19cm deep 26cm high, together with a confit pot (4) £250-350

Lot 170

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Lot 171

A reverse-painted glass mirror, probably late 18th or early 19th century, Chinese, the plate decorated with a peacock among peonies, within a moulded frame, 69cm wide 51cm high £500-700

Lot 172

A pair of George III walnut-framed salon armchairs, c.1780, in the neoclassical manner, each with an oval back, padded arms and a serpentine seat, upholstered in needlepoint fabric, on fluted tapering legs, 58cm wide 57cm deep 92cm high (2) £1,200-1,800

Lot 173

A large carved stone mortar, 19th century, set with a pair of lug handles, 34cm diameter 26cm high, together with a fruitwood pestle, 48cm long (2) £300-400

Lot 174

A pair of lead trough planters, probably early 20th century, each of oval form with central patera and all-over scrolling acanthus ornament, 57cm wide 23cm deep 24cm high (2) £300-500

Lot 175 Spare lot

Lot 176

A large painted birdcage, early 20th century, in the form of a chateau with two turrets, the central clock above a triple-front facade, 63cm wide 36cm deep 65cm high £500-800

Lot 177

A walnut side table, 18th century, Spanish, the rectangular top raised on stretchered square supports united by scrolling iron brackets, 120cm wide 67cm deep 79cm high £800-1,200

Lot 178

A William and Mary walnut and feather-banded chest of drawers, c.1700, the quarter-veneered rectangular top above two short and three long drawers, raised on bun feet, 106cm wide 57cm deep 89cm high £300-500

Lot 179

An ash Windsor chair attributed to Gillows, c.1800, with hoop back and a moulded saddle seat constructed from sycamore or beech, raised on turned front supports united by a stretcher, with traces of green paint beneath, 55cm wide 50cm deep 93cm high £300-500

Literature: S Stuart, ‘The Regional Furniture Society Journal’, 2010, pp. 83-120.

Lot 180

A hand-painted folk art model, early 20th century, of a London horse-drawn tram, inscribed ‘Knightsbridge’, ‘Kensington’, ‘Oxford St’, 23cm wide 70cm long 39cm high £400-600

Lot 181

A pine refectory table of slender proportions, 19th century, the rounded rectangular plank top raised on square supports, 63cm wide 266cm long 72cm high £1,000-1,500

Lot 182

A pair of Victorian ash and elm Windsor chairs, second half of the 19th century, North East Midlands, each with a low hoop back and raised on double ring-turned supports united by ‘H’ stretchers, 56cm wide 53cm deep 91cm high (2) £300-500

Lot 183

A George III provincial elm silver table, the two-piece top within a moulded border, over a serpentine-shaped frieze and turned pad-foot legs, 67cm wide 44cm deep 72cm high £300-500

Lot 184

A painted pine wall shelf, late 19th century, Eastern European, possibly Hungarian, with overall floral decoration, set with two plate racks and hanging pegs, 103cm wide 16cm deep 82cm high £300-500

Lot 185

An oak chest of drawers, late 17th/early 18th century, the rectangular top above three graduated drawers with variously moulded geometric decoration and knobs, raised on ring-turned bun feet, 108cm wide 57cm deep 103cm high £400-600

Lot 186

A Victorian yew and elm Windsor chair, second half of the 19th century, Yorkshire, with a high hoop back and a pierced fruitwood splat, raised on ring-turned supports united by a crinoline stretcher, 56cm wide 63cm deep 112cm high £300-400

Lot 187

An oak tripod table, 18th century, Continental, the circular dished top over an unusually shaped birdcage, a baluster-turned column and hexagonal pedestal base and three square, shaped, outswept supports, 46cm diameter 73cm high £400-600

Lot 188

An oak dresser, first half of the 18th century, Shropshire, the upper section set with three plate racks with reeded detail, above six short drawers, raised on a base with further drawers and cupboard doors, terminating in bracket feet, 180cm wide 50cm deep 209cm high £500-700

Lot 189

A pair of provincial painted wall hanging planters, early 20th century, French, each of slatted construction, in a green painted finish, 104cm wide 24cm deep 18cm high (2) £200-400

Lot 190

A painted pine window frame mirror, late 19th/early 20th century and later, with nine arched divisions, 185cm wide 47cm high £400-600

Lot 191

An oak wainscot cupboard, early 18th century, with a foliate-carved frieze above a pair of panelled cupboard doors and sides, raised on stile supports, 159cm wide 53cm deep 150cm high £700-900

Lot 192

A Gustavian painted pine commode, 19th century, Swedish, set with three drawers, raised on short tapering supports, 105cm wide 51cm deep 76cm high £500-700

Lot 193

A large wrought iron and brass baker’s stand, 19th century, French, of bow-fronted form with scrolling foliate detail, 175cm wide 50cm deep 215cm high £600-800

Lot 194

A large Seljuk bronze basin, 13th century, Persian, with two round handles, 49cm diameter £500-700

Provenance: Private collection, Switzerland.

Lot 195

A provincial painted pine kitchen table, late 19th century, French, the scrubbed top over a single frieze drawer, iron hooks to one side and an undertier, 94cm wide 60cm deep 77cm high £400-600

Lot 196

A group of spongeware, 19th century, comprising three large dishes and four plates, to include a camellia pattern example, largest 30cm diameter (7) £250-350

Lot 197

A collection of spongeware, 19th century, comprising: a plate decorated with a ram within a moulded border, 18cm diameter, and five shallow dishes (6) £200-400

Lot 198

Three spongeware mugs, 19th century, to include two Scottish examples, all with various polychrome floral and foliate decoration, largest 13cm wide 11cm deep 10cm high (3) £200-400

Lot 199

Nine spongeware bowls, 19th century, each with varying polychrome decoration, largest 17.5cm diameter 9cm high (9) £300-500

200 FURNITURE AND WORKS OF ART 108-246

Lot 200

A painted and parcel-gilt weight-driven wall clock, probably 18th century, Maltese, the moulded rectangular case with shaped crest and all-over gilt foliate decoration on a red ground, a door with original glass opening to the 17in rectangular painted wooden dial decorated with four corner floral sprays enclosing a Roman chapter ring with central landscape and pierced brass hands, with pendulum aperture, another door opening to the movement striking on a bell, 63cm wide 15cm deep 85cm high £5,000-7,000

Lot 201

A gilt and gesso weight-driven wall clock, probably 19th century, Maltese, the moulded rectangular case with shaped pediment and apron, a door opening to the 11.5in rectangular giltwood dial with black scrolling foliate decoration and Roman chapter ring with pierced brass hands, with pendulum aperture, another door opening to the movement striking on a bell, 54cm wide

15cm deep 95cm high £2,000-3,000

Lot 202

An enamelled brass globe clock, late 19th century, French, by Antoine Redier, with a gilt chapter ring and enamelled numerals, raised on an ormolu support terminating on to an octagonal marble foot, with maker’s mark to the enamel, 13cm wide 21cm high £600-800

Lot 203

A gilt gesso girandole, 19th century, the cartouche plate in a scroll-decorated frame to the apron with two scrolling candle branches, 58cm wide 90cm high £200-300

Lot 204

A large icon of St Nicholas of Myra, c.1900, Russian, flanked by Christ and the Mother of God, tempera and gold on wood, 124 x 71cm £800-1,200

Lot 205

A brass and serpentine marble coffee table, 19th century, the rectangular top raised on tubular supports, 120cm wide 68cm deep 42cm high £800-1,200

Lot 206

A pair of giltwood girandoles, 18th century, Venetian, each frame carved with masks and floral scrolls, enclosing an etched glass plate centred with a figure in profile, 49cm wide 90cm high (2) £1,000-2,000

Lot 207

A hardwood and mother-of-pearl inlaid settee, late 19th/early 20th century, Chinese, with a panelled back and reeded supports, with all-over floral and foliate decoration, 175cm wide 56cm deep 75cm high £800-1,200

Lot 208

A matched pair of Chinese export huanghuali wood tables, late 19th century, each with a rouge marble inset top over a foliate and carved frieze, one with an undertier, 42cm wide 32cm deep 80cm high (2) £800-1,200

Lot 209

A carved giltwood pier table, late 19th century, Italian, with a serpentine top above a floral and foliate-decorated frieze, raised on a pair of sweeping supports united by a shell, 67cm wide 39cm deep 91cm high £400-600

Lot 210

A carved and pierced hardwood cabinet, late Qing dynasty (1644-1911), Chinese, of multistage form, decorated with flying dragons, fruit, flowers and bamboo, raised on squat cabriole feet and a plinth base, 120cm wide 40cm deep 194cm high £3,000-5,000

Lot 211

A horn and sandalwood box, 19th century, Indian, with a hinged cover, the interior containing a removable tray with fitted compartments, the four square corner compartments with carved wood covers surmounted by knops shaped as flower heads, with a rectangular hinged panel to the interior of the lid, raised on compressed circular feet, the base with a paper label reading ‘54’, 34cm wide 25.5cm deep 16cm high £500-700

Lot 212

A pair of satinwood and mahogany low side tables, late 19th century, each with a canted imitation porphyry top, above pierced scrolling supports with anthemion detail, terminating in paw feet, 69cm wide 45.5cm deep 50.5cm high (2)

£500-700

Lot 213

A Persian wool carpet, late 20th century, the field woven with a central floral medallion, within floral and foliate scrolls with hunting motifs, within a figural border, bearing an Arabic signature, 373 x 292cm £800-1,200

Lot 214

A large carved walnut hall stand, early 20th century, Italian, with wrought iron rails and bobbin-turned supports terminating in paw feet, 146cm wide 43cm deep 200cm high £300-500

Lot 215

A lacquered wooden marriage cabinet, 19th century, Chinese, painted to the front with figures, pagodas and landscapes, with two doors enclosing an interior with shelves and cupboards, raised on square supports, 115cm wide 58cm deep 184cm high £500-800

Lot 216

A Tekke wool rug, mid-20th century, Afghan, 233 x 167cm £600-800

Lot 217

A large Persian Ziegler Sultanabad wool carpet, 20th century, Iranian, 586 x 390cm £5,000-7,000

Lot 218

A William IV mahogany library armchair, upholstered in button leather with scrolling open arms and ‘X’ frame supports, terminating in brass caps and castors, 67cm wide 110cm deep 99cm high £1,000-2,000

For a similar example, see Susan Stuart, ‘Gillows of Lancaster and London, 1730-1840’, p.230.

Lot 219

An oak chest of drawers, late 17th/early 18th century, the moulded rectangular top above two short and three long geometric drawers, on bracket feet, 86.5cm wide 55.5cm deep 90cm high £300-500

Lot 220

A coco de mer shell, Lodoicea maldivica, unpolished, 29cm wide 32cm high £200-300

222 221 FURNITURE AND WORKS OF ART 108-246

Lot 221

A Persian wool runner, mid-20th century, North West Iranian, 365 x 80cm £600-800

Lot 222

is

Lot 223

A modernist wool rug of square shape, of recent manufacture, 260 x 247cm £800-1,200

Lot 224

A Charles II oak chest of drawers, late 17th century and later, the moulded rectangular top above four geometric long drawers, raised on bun feet, 99cm wide 56.5cm deep 101cm high £300-500

Lot 225

A rare tufa rock jardinière, 19th century, of oval shape with a gadrooned body, 81cm long 37cm wide 36.5cm high £800-1,200

Lot 226

A small Maori carved hardwood taiaha staff, probably early 20th century, New Zealand, possibly for a child, 102cm long £500-700

228 227

Lot 227

An undyed kilim flatweave rug, of recent manufacture, 286 x 180cm £600-800

Lot 228

A large collection of decorative shells, comprising: queen conch, starfish, spider conch and common whelk, presented in a softwood bowl, largest shell 28cm long bowl 50cm diameter (qty.) £300-500

230 229

Lot 229

A pair of George II-style mahogany Gainsborough armchairs, c.1900, each with open arms and raised on knee-carved front supports terminating in scroll feet, upholstered in corduroy fabric, 72cm wide 72cm deep 94cm high (2) £800-1,200

Lot 230 A brass gong, early 20th century, wall mounted, modelled as an owl in flight, with twin serpent branches supporting a circular gong with striker, 33cm wide 82cm high gong diameter 31cm (3) £300-500

232 231 108-246 FURNITURE AND WORKS OF ART

Lot 231

A stripped walnut writing table, 18th century, Italian, the moulded rectangular top above two banks of drawers, raised on square cabriole legs terminating in hoof feet, 97cm wide 65cm deep 73cm high £500-600

Lot 232

A walnut display cabinet, 19th century, Dutch, the shaped cornice carved with ‘C’ scrolls over two astragal glazed doors, a bombé drawer, a shaped apron and lion’s paw front feet, the sides with shaped glazed panels, 213cm wide 40cm deep 251cm high £400-500

Lot 233

A Bessarabian kilim wool rug, of recent manufacture, woven with floral motifs to a pale ground, 252 x 170cm £500-700

Lot 234

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236 235 238 237 FURNITURE AND WORKS OF ART 108-246

Lot 235

A relief-moulded clay figure of Ganesh, Indian, standing with one foot on his vahana, the other on a mouse, on a lotus base, 23cm wide 4.5cm deep 31cm high £800-1,200

Provenance: Acquired from a private German collection, put together in the 1980s.

Lot 236

An unusual carved gourd vase, mid-20th century, Japanese, with a red urushi lacquered interior, 14cm diameter 39cm high £400-600

Lot 237

A carved wooden form in the manner of Dame Barbara Hepworth, of recent manufacture, pierced with a single eyelet, raised on an ebonised wooden plinth, 10cm wide 7cm deep 36cm high £200-400

Lot 238

239 108-246 FURNITURE AND WORKS OF ART

Lot 239

A small late Victorian sofa by Howard & Sons, c.1890, upholstered in floral silk, raised on ring-turned walnut front supports, terminating in brass caps and castors, bearing stamps to the back left leg and castors, 170cm wide 82cm deep 72cm high £1,000-2,000

Lot 240

An hardwood bust of a woman, 20th century, Balinese, 26cm wide 27cm high £300-500

Lot 241

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Lot 242

A near pair of sang-de-boeuf glazed porcelain table lamps, early 20th century, Chinese, of ovoid form, each with an integral circular hardwood base and raised on a later stepped octagonal stand, 32cm wide 32cm deep 86cm high (6) £200-300

Lot 243

A George III red japanned bow-front side table, decorated with chinoiserie scenes, bow fronted with three fitted drawers, on tapering square legs, 93cm wide 52.5cm deep 72cm high £300-500

Lot 244

A square wool rug of Aubusson design, of recent manufacture, 216 x 213cm £600-800

Lot 245

A pair of Dutch-style walnut vitrines by Gillows of Lancaster, late 19th century, each of breakfront shape, the glazed upper section with a broken swan neck pediment above a single door enclosing shelves, on a base set with two drawers, raised on claw and ball feet, stamped to the locks, 102cm wide 45cm deep 206cm high (2) £1,000-2,000

Lot 246

A Persian wool rug, c.1940, Iranian, Tabriz, woven with bold Shah Abbasi motifs to a red ground, 390 x 297cm £2,000-3,000

Style and Simplicity in Chelsea

Situated just moments away from the bustling King’s Road in a quiet and peaceful enclave, this Chelsea townhouse presents the antithesis to many of the maximalist interiors we have seen of late. Sympathetically decorated in a light and modern palette, full attention is given to the softly aged materials of the furniture and decor, such as the rich warmth of an 18th century oak dresser or the vibrant wool threads of an Aubusson tapestry.

Including both antique pieces, from country oak to Regency, and contemporary trend-led furniture such as a kilim-upholstered stool in the manner of George Smith, the collection’s remaining pieces will be sold in sales of Old Master, British and European Art, Modern and Contemporary Art, and Asian Art in early 2023.

247 247-257 STYLE AND SIMPLICITY IN CHELSEA

248

Lot 247

An Aubusson tapestry panel, 18th century, depicting a group of children beside a tree with a castle in the background, 170 x 130cm £800-1,200

Lot 248

An oak dresser base with associated plate rack, 18th century, the open shelves above three frieze drawers on pad-foot supports, 182cm wide 52cm deep 193cm high £400-600

Lot 249

A chinoiserie-decorated wall mirror, 19th century, the bevelled plate within an ebonised and parcel-gilt moulded frame with tree, bird and architectural details in gilt, 60.5cm wide 145cm high £200-400

Lot 250

Lot 251

An ebonised overmantel mirror, 19th century, French, the rectangular plate with a moulded frame and cornice, 128cm wide 135cm high £200-300

252 254 STYLE AND SIMPLICITY IN CHELSEA 247-257

Lot 252

A walnut chest of drawers, late 17th century, the quarter-veneered top with inlaid detail, above two short and three long drawers, on bun feet, 95.5cm wide 57cm deep 87cm high £500-800

Lot 253 Spare lot

Lot 254

lot is subject

Lot 255

A kelim-upholstered stool in the manner of George Smith, of recent manufacture, the rectangular seat on turned supports, 105cm wide 34cm high £200-400

Lot 256

A large giltwood overmantel mirror, 19th century, the triple plate within a moulded frame, 180cm wide 107cm high £300-500

Lot 257

An upholstered ottoman, 19th century, with a Caucasian-type geometric ring, 130cm wide 60cm deep 52cm high £100-200

Lot 258

A pair of silver three-light candelabra, by Mappin & Webb, London 1921, the central light and two reeded branches with foliate engraved sockets, each raised on a square tapering column, on a loaded square spreading base, with presentation engraving and County Borough of Grimbsy crest, 39cm high (2) £600-800

Lot 259

A Victorian four-piece silver tea service, by Samuel Hayne & Dudley Cater, London 1852, comprising: a coffee pot, 27cm high, teapot, 21cm high, a twin-handled sugar bowl and cream jug, each with foliate and cartouche engraved body, on four scroll and apron feet, the tea and coffee pots with scroll handles and ivory spacers, 76.9ozt overall (4) £800-1,200

This item has been registered as exempt from the UK Ivory Act 2018, on account of it being made before 3 March 1947 with less than 10% ivory by volume. Ivory declaration submission reference: CYREYGRX.

Lot 260

A pair of George II silver table candlesticks, by William Cafe, London 1758, each with a fluted baluster stem, chased shoulders with anthemia, on a shaped base and engraved with a crest, 23cm high, 34.5ozt (2) £1,200-1,500

Lot 261

A silver caster, 17th century, Copenhagen, Denmark, of writhen baluster form, raised on a shaped foot, marked to the underside ‘Copenhagen 1679’, with assayer’s mark of Conrad Ludolf, further mark of Detleff Pape, 1747, 17cm high, 4.8ozt £300-500

Lot 262

A Russian silver-gilt and cloisonné snuff box, with maker’s mark of JFA, probably for Ivan Fedorov Andreev, Moscow, 1887, 84 standard, of circular form, the lid and base decorated with polychrome enamel arabesques, scrolls and flower heads, with gilt interior, 6cm diameter, 3cm high, 2.5ozt £400-600

Lot 263

A Russian silver-gilt and cloisonné snuff box, with maker’s mark ‘AB’, Moscow, 1893, 84 standard, of circular form, the lid and base decorated with polychrome enamel arabesques, scrolls and flower heads, with gilt interior, 5cm diameter, 3.5cm high, 1.9ozt £300-500

Lot 264

A Russian silver-gilt and cloisonné powder compact, with maker’s mark, assayer’s mark, late 19th/early 20th century, 84 standard, of rectangular form, the hinged cover and the reverse decorated with polychrome enamel arabesques, scrolls and flower heads, fitted with a mirror and silk interior, 8cm wide, 6.5cm high, 5.5ozt £500-700

Lot 265

A Russian silver-gilt and cloisonné cigarette case, with maker’s mark, assayer’s mark, late 19th/early 20th century, 84 standard, of rectangular form with rounded corners, the hinged cover and the reverse decorated with polychrome enamel arabesques, scrolls and flower heads, with gilt interior, 10.3cm wide, 7.5cm high, 4.9ozt £300-500

Lot 266

A Russian silver-gilt and cloisonné enamel cigarette case, with maker’s mark CK, assayer’s mark, early 20th century, 84 standard, of rectangular form with rounded corners, the hinged cover and the reverse decorated with enamels in blue, green and orange, gilt interior, 10cm wide, 8cm high, 5.1ozt £800-1,200

270

Lot 267

A Russian silver and cloisonné cigarette case, with mark of Feodor Ruckert, Moscow, c.1908-1917, 84 standard, of rectangular form, the hinged cover and the reverse decorated with polychrome enamel arabesques, scrolls and flower heads, 9cm wide, 7.5cm high, 5.2ozt £1,200-1,500

Lot 268

A Russian silver-gilt and cloisonné enamel cigarette case, with maker’s mark possibly of Ivan Zaharov, Moscow, c.1856-1896, 84 standard, of rectangular form with rounded corners, the hinged cover and the reverse decorated with polychrome enamel arabesques, scrolls and flower heads on a green ground, gilt interior, 10.5cm wide, 8.5cm high, 6.7ozt £700-1,000

Lot 269

A Russian silver and cloisonné cigarette case, Moscow, c.1900, marked 84 standard, of rectangular form with rounded corners, the hinged cover and the reverse decorated with polychrome enamel scrolls and flower heads mainly in blue, within a flower head border, 10.5cm wide, 7cm high, 6.6ozt £500-600

Lot 270

Two silver-gilt and cloisonné cigarette cases, in the Russian style, each of rectangular form with rounded corners, the hinged cover and the reverse decorated with polychrome enamel scrolls and flower heads, gilt interior, with spurious marks, 11cm wide, 8.5cm high, 17.8ozt (2) £500-700

Lot 271

A Russian silver-gilt and cloisonné cigarette case, c.1873, 84 standard, of rectangular form with rounded corners, the hinged cover and the reverse decorated with polychrome enamel scrolls and flower heads in blue, pink and purple, with gilt interior, 11.5 x 8cm, 6.7ozt £300-500

Lot 272

A Russian silver and cloisonné cigarette case, Moscow, c.1908, marked 84 standard, of rectangular form with rounded corners, the hinged cover and the reverse decorated with polychrome enamel scrolls and flower heads in blue, pink and green, 10.5cm wide, 7cm high, 6.9ozt £500-700

FURNITURE AND WORKS OF ART

Lot 273

A gilt and patinated bronze table lamp, early 20th century, French, in the Renaissance style, the three candle sconces with scrolled ram’s head arms, on an ornate column and a triform base mounted by three sphinxes, 35cm wide 70cm high £400-600

Lot 274

A matched pair of high back oak side chairs, c.1890, in the Carolean manner, each covered in close-nailed floral-decorated tooled leather, with a pierced crown cresting above a vacant cartouche with turned uprights, the plain seat rail on turned and carved forelegs with scrolled feet, the slightly larger 47cm wide 47cm deep 130cm high (2) £300-500

Lot 275

A Moorish octagonal teak occasional table, late 19th century, the octagonal top inlaid profusely with brass in a foliate pattern, raised on a latticed base, 55cm diameter 52cm high £300-500

276

Lot 276

Lot 277

A wool runner, late 20th century, woven with vases and floral motifs to a navy blue field, 374 x 80cm £500-700

A Persian Heriz wool carpet, early to mid 20th century, Iranian, of typical design, with a central medallion to a red field and navy borders, 315 x 259cm £300-500 277

Lot 278

A narrow Persian Heriz wool runner, mid-20th century, 475 x 80cm £800-1,200

Lot 279

A Persian wool carpet, first quarter of the 20th century, North West Iranian, woven with a central floral medallion within scrolling Shah Abbasi motifs, 368 x 271cm £800-1,200

278

Lot 280

A Gothic carved and painted oak relief, late 15th or early 16th century, Flemish, probably originally part of an altarpiece, depicting two saints beneath pierced tracery, with traces of polychrome decoration, 39cm wide 11cm deep 66.5cm high £1,200-1,800

Lot 281

A finely detailed 4in gauge nickel-plated 4-4-0 live steam locomotive ‘Argentina’ and tender, c.1900, spirit fired with detailed scale back head fittings including a pressure gauge, marked ‘VER, B. Aires’, sight glass, regulator, feed water pump, firebox door and brake; external details include steam whistle, safety valve, sprung buffers, hinged front buffers, spring and brake detail, internal mechanism, full boiler tubing and burner detail, bell, headlamp, Stephenson weighted reverse gear, cylinder drain cocks, water and spirit storage to tender, extensive rivet detail and wooden-clad cylinders, 80cm long, on a display track, 92cm long, within an oak-framed display case, 102cm wide 28cm deep 44cm high £3,000-5,000

Provenance: The Railway Collection of Leopold de Rothschild CBE (1927-2012); Special Auction Services, ‘Trains Galore’, 5-6 December 2012, lot 1404.

283 FURNITURE AND WORKS OF ART 273-305

282

Lot 282

A Gothic Revival wirework garden seat, late 19th century, French, the arched back with quatrefoil motifs, 100cm wide 65cm deep 91cm high £200-300

Lot 283

A carved wooden occasional table, late 19th/early 20th century, Syrian, of octagonal form, inlaid with mother-of-pearl and with several folding platforms, 54cm deep 73cm high £300-500

Lot 284

A pair of brass student-style table lamps, 20th century, each with a cut glass globe mounted column, openwork scroll and on a square base, 20cm wide 89cm high (2) £400-600

Lot 285

284

Lot 286

A pair of zinc wall lights, early 20th century, each in the form of a wyvern, 22cm wide 45cm deep 66cm high (2) £300-500

Lot 287

A Charles X mahogany guéridon, c.1825, French, the circular marble top with a moulded edge, above a plain frieze, and raised on a lobed column and a square base, terminating in lion paw feet, 100cm diameter 72cm high £1,000-1,500

Lot 288

A set of four mother-of-pearl and coloured glass charpai table legs, 19th century, Indian, Gujarat, each of stepped multistage form, 16cm wide 16cm deep 37cm high (4) £1,200-1,800

Provenance: Private collection, France. For a similar example, see Christie’s, ‘The Ann & Gordon Getty Collection: Indian, Ottoman, Global Works of Art, Jewellery and Textiles’, 10-24 October 2022, lot 1105.

Lot 289

A small mother-of-pearl and bone inlaid occasional table, c.1900, Syrian, Damascus, with overall geometric decoration, raised on open architectural supports, 34cm wide 34cm deep 55cm high £200-300

291 290 FURNITURE AND WORKS OF ART 273-305

Lot 290

A Gothic Revival parcel-gilt pier table, of recent manufacture but incorporating some possibly earlier elements, with a shaped marble top and a turned column, 60cm wide 43cm deep 95cm high, together with a similar wall-hanging niche, 61cm wide 18cm deep 120cm high (2) £500-700

Lot 291

An oak cellaret, late 19th century but possibly incorporating some earlier elements, the hinged lid with relief-carved decoration with putti and animals, enclosing eight divisions, with further carved detail to the body and raised on large paw feet, 74cm wide 47cm deep 68cm high £300-500

Lot 292

A carved giltwood Gothic Revival corner settee or banquette, probably first half of the 20th century, with pierced floral detail and hexagonal feet, upholstered in linen fabric decorated with bees, 120cm wide 110cm deep 94cm high £600-800

Lot 293

293 292 120 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%

294 273-305 FURNITURE AND WORKS OF ART

Lot 294

A large Kashan carpet, c.1930, with foliate scrolling motifs to an oatmeal ground, 410 x 280cm £1,500-2,000

Lot 295

295 www.sworder.co.uk 121

Lot 296

A bronze horse and rider, probably early 17th century, attributed to the workshop of Caspar Gras (1585-1674), depicted in parade armour, on a later marble base, 15cm wide 35.5cm long 36.5cm high £4,000-6,000

For a similar example see: Christie’s, ‘The Royal House of Savoy’, 15 October 2019, lot 41.

Lot 297

A carved stone figure of a bishop, 16th or 17th century, French, probably originally from the facade of a cathedral, 67cm wide 33cm deep 114cm high £2,000-3,000

298 FURNITURE AND WORKS OF ART 273-305

Lot 298

A pair of large carved walnut pilasters or terms, 18th century, Italian, each in the form of a standing lion, on a later canted oak base, 19cm wide 19cm deep 88cm high (2) £800-1,200

Lot 299

A bronze relief, early/mid-19th century, North Italian, depicting two angels singing, cast of an original by Donatello (1386-1466), probably cast from an original in Padua, possibly Firenze or Rome, 56 x 20cm, mounted in a wooden frame, 63.5 x 28cm £500-800

Lot 300

A walnut and penwork box, 18th century, Continental, the hinged lid enclosing four compartments, above a base drawer, with all-over foliate scrolled decoration, 43cm wide 28.5cm deep 32cm high £300-500

lot is subject to Buyer’s

Lot 302

A pair of Renaissance-style imitation bronze urns, of recent manufacture, each with foliate detail and lion mask handles, raised on a tripod stand, 50cm diameter 96cm high (4) £400-600

Lot 303

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) £1,000-1,500

Provenance: Private collection, Dorset.

Lot 304

A bronze andiron section, early 17th century, North Italian, attributed to the workshop of Niccolo Roccatagliata (1559-1629), mounted on a later base, 19cm wide 19cm deep 33cm high £1,000-1,500

A near identical bronze with a later top fitting is in the Wallace Collection, London, acquired in the 1880s (inventory number 580).

Lot 305

A marble relief panel, probably 16th century, North Italian, in the Byzantine style, depicting the head of Christ set between a pair of candles, 33cm wide 5cm deep 42cm high, on a modern display stand (2) £1,000-2,000

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.

2. TERMS OF SALE

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

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

1. Definitions and interpretation

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

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

‘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.

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.

Data Protection

16.

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.

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:

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

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

Hertford

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

London

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

Kent kent@sworder.co.uk | 01732 757675

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