Professional Documents
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South Kensington
17 June 2015
LOTS 1-125
MONT PELLIER
LOTS 126-297
WOODBURY HOUSE
LOTS 298-368
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COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2015)
Mr Anthony Hobson
lots 1-125
n1
A GEORGE III BRASS HEXAGONAL HALL LANTERN
LATE 18TH CENTURY
$3,200-4,700
2,800-4,200
2
A PAIR OF ITALIAN GILTWOOD MODELS OF
RECUMBENT LIONS
19TH CENTURY
(2)
$940-1,600
840-1,400
3
A LARGE PAIR OF TALAVERA MAIOLICA VASES
CIRCA 1700-25
$6,300-9,300
5,600-8,300
4
JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)
Herdsmen on a riverbank in a hilly landscape
signed and dated Jean Pillement 1794. V.S.
$2,400-3,100
2,100-2,800
5
JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)
Fisherman on a riverbank with an arched bridge
signed and dated Jean Pillement 1794. V.S
$2,400-3,100
2,100-2,800
6
FRANCESCO PANINI (ROME 1745-1812)
Santa Maria Maggiore, Rome
bodycolour, over the engraving made to Paninis design
by Francesco Barbazzo (1765-1790)
18 x 27 in. (45.8 x 69.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
Lord Arundell, Wardour Castle; Sothebys, London, 26 October 1964,
possibly lot 229.
7
GIOVANNI BATTISTA PIRANESI (1720-1778)
Veduta del Tempio della Fortuna virile
etching, 1758, on laid paper, without watermark, Hinds
third state (of seven), from a contemporary Roman
Edition, with margins, the usual central vertical fold
showing mostly in the margins, pinpoint foxing in the
upper margin, otherwise in good condition, framed
$1,300-1,900
1,200-1,700
LITERATURE:
Hind 46
8
LAURENS SCHERM (ACTIVE 1689-1701) AFTER
JACOB VAN CAMPEN (1596-1657)
Views of the Town Hall of Amsterdam
(Uytstekend Raadhuys tot Amsteldam)
the set of three etchings by Laurens Scherm, 1689-1701,
on laid paper, each impressions of the frst state (of two),
published by Nicolaes Visscher II, presumably the full
sheets, each with central vertical folds with associated
splitting at the lower sheet edge, time and backboard
staining, framed
Plate: 520 x 620 mm., Sheet: 560 x 670 mm. (each) (3)
1,000-1,500
$1,600-2,300
1,400-2,100
LITERATURE:
Hollstein 19-21
8 (a set of three)
9
n9
AN ENGLISH GILTWOOD OVERMANTEL MIRROR
19TH CENTURY, OF GEORGE II STYLE
$2,400-3,900
2,100-3,500
n10
A SET OF FOUR ITALIAN GILTWOOD CHAIRS
FLORENCE, LATE 19TH/EARLY 20TH CENTURY
Comprising two armchairs and two side chairs, each a pierced shaped
back, incised with foliate decoration to the reverse, the padded back,
arms and seat covered in striped green silk, on tapering square legs and
block feet, restorations
36 in. (92 cm.) high; 28 in. (71.5 cm.) wide;
19 in. (49 cm.) deep
(4)
2,000-3,000
PROVENANCE:
Anonymous sale, Christies, London, 9 June 1988, lot 101.
Anonymous sale, Sothebys, London, 2 December 2008, lot 203.
10
$3,200-4,700
2,800-4,200
11
A LARGE BLUE AND WHITE AND UNDERGLAZE RED
BALUSTER JAR
KANGXI PERIOD (1662-1722)
$6,300-9,300
5,600-8,300
n12
A DUTCH GILTWOOD CONSOLE TABLE
19TH CENTURY, AFTER THE 17TH CENTURY MODEL
The serpentine Rouge de Maine marble top above a foliate and rocaille
frieze, on bearded and helmeted soldier headed legs joined by a
X-stretcher, on bun feet, lacking frieze carving
33 in. (85 cm.) high; 55 in. (140.5 cm.) wide; 24 in. (61 cm.) deep
4,000-6,000
$6,300-9,300
5,600-8,300
This console table in the Dutch William and Mary style of around 1700 was almost
certainly made in the 19th century as a pair to an original console. Inspired by French
prototypes introduced to the Netherlands by the celebrated architect and designer
Daniel Marot (1661-1752), such tables furnished the most important palaces. Examples
of which can be found in the collection of H.M. Queen Beatrix of the Netherlands at
Palace Huis ten Bosch near The Hague as well as in the gallery of Het Loo Palace near
Apeldoorn; a similar console table with frieze carving was sold at Christies, London,
11 September 2008, lot 31.
11
13
A PAIR OF LOUIS XVI ORMOLU TWIN-BRANCH WALL-LIGHTS
CIRCA 1775-80
Each tapering futed backplate surmounted by a faming and garlanded urn fnial above a lions mask,
issuing two acanthus clasped branches, with black inked stencil 1287 CHT to side of the backplate,
drilled for electricity
20 in. (52 cm.) high
(2)
7,000-10,000
$11,000-16,000
9,800-14,000
PROVENANCE:
Probably acquired through the dealer Edward Holmes Baldock by William, 2nd Earl of Lonsdale, for 14-15 Carlton House
Terrace and by descent at Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co. house sale, 15-17
April 1947.
COMPARATIVE LITERATURE:
S. Eriksen, Early Neo-Classicism in France, London, 1974, p. 354, pl. 212.
H. Ottomeyer & P. Prschel, Vergoldete Bronzen, Munich, 1986, vol. 1, p. 186, fg. 3.9.2.
14
A LOUIS XVI ORMOLU STRIKING MANTEL CLOCK
LEPAUTE, LATE 18TH CENTURY
$6,300-9,300
5,600-8,300
PROVENANCE:
Probably acquired through the dealer Edward Holmes Baldock by William,
2nd Earl of Lonsdale, for 14-15 Carlton House Terrace and by descent at
Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co.
house sale, 15-17 April 1947, lot 1239.
13
15
A NAPLES MAIOLICA ALBARELLO
DATED 1723, PAINTED MARK G.B.C.
Painted in blue with a scene from the life of Saint Francis of Paola,
with inscription below, adapted as a lamp
18 in. (45.7 cm.) high, including ftments
1,500-2,000
$2,400-3,100
2,100-2,800
16
A SET OF FIVE DANISH PAINTED TERRACOTTA
RELIEF PANELS
BY P. IPSEN, 19TH CENTURY
(5)
$1,100-1,600
980-1,400
17
AN ITALIAN PAINTED TERRACOTTA FIGURE OF A
RIVER GOD
FLORENTINE, 18TH CENTURY
14
$4,700-7,800
4,200-7,000
18
ATTRIBUTED TO VINCENZO
BRENNA (FLORENCE 1745-1820
SAINT PETERSBURG)
Design for a ceiling with grotesque decoration
and a central panel of Venus and Psyche (?)
graphite, pen and brown ink, bodycolour
and watercolour
22 x 24 in. (56.5 x 60.8 cm.)
2,000-4,000
$3,200-6,200
2,800-5,600
19
ATTRIBUTED TO VINCENZO
BRENNA (FLORENCE 1745-1820
SAINT PETERSBURG)
Design for a ceiling with grotesque decoration
and a central panel of Minerva
graphite, pen and brown ink, bodycolour
and watercolour, watermark Strasburg lily
with letters C & I Hon[ig]
20 x 20 in. (51 x 51 cm.)
3,000-4,000
$4,700-6,200
4,200-5,600
15
20
NEAPOLITAN SCHOOL, CIRCA 1820
Twelve fgures in Neapolitan costume
pencil and watercolour, brown ink framing lines, watermark
J WHATMAN
8 x 14 in. (21.3 x 36.2 cm.)
3,000-5,000
(12)
$4,700-7,800
4,200-7,000
PROVENANCE:
Sir Thomas Philipps, Bt.
21
ATTRIBUTED TO ELISABETH SOPHIE CHRON
(PARIS 1648-1711)
A Classical sacrifce, after an engraving
black and red chalk, watercolour and bodycolour
9 x 7 in. (24.2 x 19.4 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
22
CARLO INNOCENZO CARLONE (SCARIA 1686-1775 COMO)
Mars
oil on paper, oval
4 x 6 in. (10.5 x 16.6 cm.)
1,500-2,000
PROVENANCE:
with T.P. Grange, London, 1955.
16
$2,400-3,100
2,100-2,800
23
VIVIANO CODAZZI (BERGAMO C.1604-1670 ROME) AND
DOMENICO GARGIULO, CALLED MICCO SPADARO
(NAPLES 1609/10-1675)
An courtyard with fgures and a mule by a well, a mountainous
landscape beyond
oil on canvas
33 x 44 in.
6,000-8,000
$9,400-12,000
8,400-11,000
LITERATURE:
G Briganti, L Laureati, L. Trezzani, I Pittori Bergamaschi Dal XIII al XIX Secolo, Il Seicento I,
Bergamo, 1983, p. 692, no. 38, illustrated p. 715.
D.R.Marshall, Vivian and Niccol Codazzi and the Baroque Architectural Fantasy, Milan, 1993,
p. 90, no. 17, illustrated.
G. Sestieri and G. Dapr, Domenico Gargiulo detto Micco Spadaro, Paesaggista e cronista
napoletano, Milan, 1994, p. 106, illustrated.
24
DANIEL GARDNER (1750-1805)
Portrait of a gentleman, traditionally identifed as Mr. Smyth, of New
Bond Street, bust-length, in a brown coat and waistcoat with a white
stock; and Portrait of a lady traditionally identifed as his wife, Mrs.
Smyth, bust-length, in a blue dress and a lace shawl
the male fgure with inscription on the backboard Mr Smyth of Bond
Street, and the female fgure with Mrs Smyth/ Lady F. Edens/ mother
pastel, oval
9 x 7 in. (22.8 x 17.7 cm.)
a pair
(2)
4,000-6,000
$6,300-9,300
5,600-8,300
The present pair of pastels probably dates from the late 1770s, and the sitters are John
Paul Smyth (17351797), perfumer of Bond Street, and his wife, ne Mary Higford
(17371800). Their daughter Anne (c.17741808), married Sir Frederick Morton Eden,
2nd Bt (17641809).
We are grateful to Neil Jeffares for his help in preparing this catalogue entry.
17
25
WILHELM SCHUBERT VAN EHRENBERG
(ANTWERP C.1630-C.1676)
The interior of St. Peters, Rome
signed and dated WS van Ehrenberg fe: 1665 (lower centre) and
inscribed with scale (lower centre)
oil on canvas
65 x 54 in. (166.4 x 137.2 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Pope Pius VII, by whom gifted to,
Colonel Rottiers.
Lord Charles Townshend, by 1854.
Dr. Anderson.
H.L. Bischoffsheim; his sale, Christies, London, 7 May, 1926, lot 32 (65 gns. to
Goldschmidt).
Anonymous sale [Ralph Vicars]; Christies, London, 25 February 1949, lot 111 (30 gns. to
Arcade Galleries).
Anonymous sale [Miss D.E. Brahmall]; Christies, London, 15 June 1956, lot 147 (190 gns.
to Drey).
Anonymous sale; Sothebys, London, 18 November, 1959, lot 77 (300 to Vaughan).
LITERATURE:
Dr. A. Wurzbach, Niederlandisches Kunstler - Lexicon, 1906, vol I, p. 486.
This large painting of the interior of St. Peters in Rome, dated to 1665, is a particularly
early documentation of Gian Lorenzo Berninis outstanding contribution to the decoration
of the church. Looking from the central nave, at the height of the Chapels of the
Sacrament and of the Choir towards the high altar, the viewpoint adopted here shows
the vast scale and the splendour of Berninis Baldachin. Commissioned by Pope Urban VIII,
the bronze Baldachin stands 29 metres high, towering over the papal altar, an exuberant
masterpiece of the Baroque. An early work in Berninis career, executed between 1624
and 1632, it was inaugurated on the feast of Saints Peter and Paul, 29 June 1633.
Through the four colossal twisted columns which are adorned with spiral channelling,
branches of olive and bay trees and topped with composit capitols, we can see the
Throne of Saint Peters in Glory or Cattedra: a complex construction projected by
Bernini which contains the relic of the seat of the Apostle Peter. The monument, later
completed in 1666, by the date of this painting was still missing the gilded glory of sunrays
and sculpted clouds that soon surround the central window. Faint rays, few angels and
a dove give a hint of the Gloria, however the central window is still easily recognizable
and has not yet been overwhelmed by the baroque clouds and putti. Roberto Battaglia
(R. Battaglia, La Cattedra Berniniana di San Pietro, Rome 1943) describing the long and
complex construction of the Cattedra, confrms that the four doctors and throne were
placed on the apse at the beginning of 1665, while the Gloria was still to be completed.
According to Battaglia, scaffoldings were still present around the monument on the 29th
of November and were demolished soon afterwards: this would suggest that the present
picture was created on December 1665. After work was completed on the Gloria and
window, the Cattedra was inaugurated on the 17th January 1666.
The gilded stucco decoration on the ceiling of the apse above the Cattedra is yet to be
18
applied, and what is visible here is only the design. To the sides of the Cattedra are the
Monument to Paolo III (on the left we look), sculpted by Giacomo della Porta under
Michelangelos direction, and the Monument to Urban VIII (on the right) by Bernini.
The four piers looking towards the papal altar were decorated to compliment the
Baldacchino. Four niches were opened, each with a colossal statue of a saint, and four
loggias directly above would hold the corresponding relic of the sacred fgure. In the
north-west pier we see Andrea Bolgis statue of Saint Helen carrying the Cross, completed
in 1640, above which stucco angels carry the Cross. Over the loggias, the pendentives
of the dome are decorated with circular mosaics of the four Evangelists. Saint John the
Evangelist, with the Eagle, was executed by Giovanni de Vecchi, while Saint Mark, only
partly visible in the present painting, by both Cesare Nebbia and Paolo Rossetti.
In the 18th century various altarpieces were removed from the basilica, and replaced with
copies in mosaic of more famous paintings. This was the case with the altarpiece on the
altar of Saint Jerome, of which we get a glimpse to the right. Originally, the altar contained
a painting of Saint Jerome by Girolamo Muziano (now in S. Maria degli Angeli, Rome), and
was replaced in the 1730s by Pietro Paolo Cristofaris mosaic after Domenichinos Last
Communion of Saint Jerome (now in the Pinacoteca Vaticana). It might be due to artistic
licence, however the painting depicted in this picture does not seem to correspond to
Muzianos altarpiece.
Along with the signature and date, the artist has inscribed the base of the painting with
a scale measured in roman feet (1 roman foot = circa 29.6 cm.). The scale is meant to
underline the grandeur of the building, the largest of all churches. The numerous fgures
are possibly painted by Charles Emmanuel Biset (Mechelen 1633-1710 Breda), known to
have collaborated with van Ehrenberg.
n26
AN ITALIAN SCAGLIOLA TABLE TOP
20TH CENTURY
$940-1,600
840-1,400
PROVENANCE:
Anonymous sale; Christies, London, 9 June 1988, lot 134.
n~27
A PAIR OF LACQUERED BRASS AND
ROSEWOOD THREE-TIER ETAGERES
LATE 19TH/EARLY 20TH CENTURY
$1,600-2,300
1,400-2,100
n28
A NORTH EUROPEAN RED AND GILT
JAPANNED CHEST-ON-STAND
19TH CENTURY
20
$2,400-3,900
2,100-3,500
29
31
CIRCA 1930
Her hair dressed with ribbons and fowers, painted and glazed, impressed
marks, overlapping WW in a rectangle, Made in Austria, 960; with later
wooden display stand
9 in. (23 cm.) high
2,000-3,000
$3,200-4,700
2,800-4,200
500-700
$780-1,100
700-970
COMPARATIVE LITERATURE:
Gabriele Fahr-Becker, Wiener Werkstatte 1903-1932, Germany, 1994, p. 151 (similar head
illustrated)
32
A LARGE BOW WHITE PORCELAIN FIGURE OF
KITTY CLIVE
CIRCA 1750
30
A PAIR OF MEISSEN FIGURES OF NEPTUNE AND JUPITER
EARLY 19TH CENTURY, BLUE PAINTED MARKS,
PRESSNUMMERN 163 AND 164
2,000-3,000
22
In the character of The Fine Lady from David Garricks farce Lethe,
holding a spaniel under her right arm, standing on a pedestal base
applied with musical and theatrical trophies
13 in. (33.6 cm.) high
(2)
$1,600-2,300
1,400-2,100
$3,200-4,700
2,800-4,200
This fgure is more commonly found on a low base such as the example illustrated by
Rosalie Wise Sharp, Ceramics, Ethics and Scandal (2002), p 126. For another example
of a fgure on the more unusual high base, see the fgure sold at Bonhams, London,
8 September 2010, lot 75.
Lethe was a one act play reworked in 1749 to include the roles of Mrs Riot and the Fine
Gentleman, famously played by Henry Woodward and forming the companion fgure to
the present lot.
33
~36
36 (detail)
1,000-1,500
$1,600-2,300
1,400-2,100
$1,600-2,300
1,400-2,100
33 (detail)
34
~35
~37
A GOLD-MOUNTED AGATE
SNUFF BOX
$940-1,200
840-1,100
600-800
600-800
$940-1,200
840-1,100
$940-1,200
840-1,100
23
38
NORTHERN ARTIST ACTIVE IN ITALY
CIRCA 1640
An architectural capriccio of Roman ruins,
with drovers and cattle
oil on canvas
28 x 36 in. (72.7 x 91.8 cm.)
8,000-12,000
$13,000-19,000
12,000-17,000
PROVENANCE:
Sir Robert Gregg, K.C.M.G, Cairo.
with Thos. Agnew & Sons, London, by 1930.
LITERATURE:
N. Coural, Les Patel: Pierre Patel (1605-1676) et ses fls: le
paysage de ruines Paris au XVIIe sicle, Paris, 2001, p. 322,
pp. r34, (r=rejected), illustrated..
39
NORTH ITALIAN SCHOOL, CIRCA 1700
A wooded river landscape with a town beyond
oil on canvas
32 x 34 in. (83.3 x 86.4 cm.)
4,000-6,000
24
$6,300-9,300
5,600-8,300
40
ITALIAN SCHOOL, 18TH CENTURY
A Turkish encampment with fgures, soldiers, camels and cows
oil on canvas
46 x 64 in. (117.5 x 164.5 cm.)
10,000-15,000
$16,000-23,000
14,000-21,000
25
26
oil on canvas
24 x 20 in. (61 x 51.5 cm.)
Painted in 1916.
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.
EXHIBITED:
Sheffeld, Graves Art Gallery, Algernon Newton R.A. 1880-1968, July - August 1980, no. 4.,
this exhibition travelled to Plymouth, City Art Gallery and Museum, September - October
1980 and London, Royal Academy of Arts, November - December 1980.
As the youngest of four boys, Newton was particularly close to his mother, Georgiana
(nee Nicholls), who until her death in 1918 proved to be one of his favourite models.
This portrait painted in 1916 is considered to be one of the most attractive of his early
period. It is a sensitive and serene study dressed waiting for her carriage which art critic
Nicholas Usherwood noted in his introductory essay to the exhibition catalogue of 1980
demonstrates a frmness of handling and confdence in composition that gives some frst
hints of those qualities of stillness and strong sentiment that were later to become the most
characteristic qualities of his work.
l42
ALGERNON CECIL NEWTON, R.A. (1880-1968)
A river landscape with a country house and a farm
signed and dated A. Newton 24 (lower right)
oil on canvas
24 x 30 in. (61 x 76.2 cm.)
7,000-10,000
$11,000-16,000
9,800-14,000
PROVENANCE:
By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.
Painted in 1924, this sweeping estuary scene depicting a white rendered Georgian manor house is as yet unidentifed.
It does however bear some similarities to the landscape of the River Erme, Devon, which Newton was commissioned
to paint a few years later in 1928 for Lord Mildmay, whose family estates were close by at Mothercombe. Although
best-known for capturing the everyday urban landscape of London, Newton was also captivated by the light of rural
landscapes, and his melancholic tone and the common sense of foreboding seen is also evident in the stormy skies in
the present work.
43 No Lot
27
44
ADOLPHE FORESTIER
(FRENCH, 1801-1885)
Queen Victoria in the drawing room at Cinier;
Queen Victoria arriving in Nice; King Edward
VII, Queen Alexandra and the Duke of
Clarence on the deck of a ship; Statue of Lord
Roberts, unveiled at Calcutta by the Viceroy
Lord Elgin; and King Edward VII, seated in a
carriage beside President Loubet
the frst signed, inscribed and dated
AFORESTIER/Cinier 21 March 97(lower
left); the second signed, inscribed and dated
AFORESTIER/ NICE 99 (lower left); the
third signed AFORESTIER (lower left); the
ffth signed with monogram (lower left) and
indistinctly inscribed (lower right)
$1,300-1,900
1,200-1,700
PROVENANCE:
(3) Anonymous sale; Sothebys, London, 22 May 1997,
part lot 535.
LITERATURE:
(1)The Illustrated London News, 18 March 1899, not traced.
(2)The Illustrated London News, 27 March 1897, not traced.
(4)The Illustrated London News, 2 March 1899, not traced.
45
ADOLPHE CHARLEMAGNE (1826-1901)
A group traditionally identifed as Czar
Alexander II, Prince Alfred, afterwards Duke
of Edinburgh and John Savile 1st Baron Savile
of Pontefract riding in a carriage
signed and dated Adolphe
CHARLEMAGNE.1864 (lower right)
28
$1,600-2,300
1,400-2,100
46
46
47
47
The Colosseum in Rome, seen from afar, with Pope Pius VI viewing
antiquities
1,500-2,000
$2,400-3,100
2,100-2,800
1,500-2,000
$2,400-3,100
2,100-2,800
29
48
~49
$2,400-3,900
2,100-3,500
$3,200-4,700
2,800-4,200
n50
A DANISH GILT-LEAD-MOUNTED, PARCEL-GILT,
WALNUT AND CROSSBANDED BOMBE COMMODE
MID-18TH CENTURY AND LATER,
IN THE MANNER OF MATHIAS ORTMANN
30
$4,700-7,800
4,200-7,000
~51
A GROUP OF THREE GEORGE III
TEA CADDIES
LATE 18TH CENTURY
$3,200-4,700
2,800-4,200
n52
A NORTH ITALIAN POLYCHROME
DECORATED OCCASIONAL TABLE
LATE 19TH CENTURY, PROBABLY TYROL
$1,100-1,600
980-1,400
n53
A REGENCY PARCEL-GILT AND
GREEN-PAINTED WINDOW SEAT
CIRCA 1820
32
$1,600-2,300
1,400-2,100
54
LOUIS LAGUERRE (PARIS 1663-1721 LONDON)
Cupid and Psyche before Jupiter - a bozzetto for a ceiling
oil on canvas
36 x 48 in. (91.4 x 122.3 cm.)
10,000-15,000
$16,000-23,000
14,000-21,000
PROVENANCE:
with Hazlitt Gallery, London.
It is unknown to which ceiling the present bozzetto relates, but the story of Cupid and Psyche was a
subject Laguerre painted on several occasions. In 170 a contract was drawn up between the Duke
of Leeds and Laguerre to paint four panels in the great hall, and the walls and ceiling of the staircase
at Kiveton Hall, Yorkshire (demolished in 1811). Laguerre painted scenes from the story of Cupid and
Psyche for the walls of the staircase and he depicted the marriage of Cupid and Psyche on the ceiling.
There is a sketch on paper for the ceiling in the collection of the Duke of Leeds, which is presumably
one and the same as the sketch mentioned in the contract. The sketch however does not correspond
with the bozzetto for the ceiling at the Victoria & Albert Museum, London, of Psyche being robed by
the Gods for her marriage with Cupid.
33
55
55
CHARLES GEORGE NICHOLLS (FL. 1792-1818)
Bridge at Saumpoor near Dacca; Guptar Ghaut near Fyzabad on the
Goggra; Burrumdeo near where the Gaggra starts; View of an ancient
gateway at Dacca; View of Peer Pointy, name of the Saint who is buried
there; and A mosque on the north bank of the Gagra near Debowly
fve signed C.G.Nicholls delt (lower left and lower right) and inscribed
as title
$9,400-12,000
8,400-11,000
PROVENANCE:
Visions of India; Christies, London, 17 June 1998, lots 62, 65, 69, 70 and 76.
56
56
$4,700-7,800
4,200-7,000
PROVENANCE:
William Beckford; Hamilton Palace; Christies house sale, 30 June 1882, lot 146.
The Earl of Derby.
This work is a study for the illustration in W. Alexander, Picturesque Representations of the
Dress and Manners of the Chinese, London, 1814.
34
57
57
n58
Design for a table support illustrating Aesops fable of The Fox and the
Stork
pencil, pen and grey ink, grey and pink wash on paper
5 x 4 in. (13.3 x 10.1 cm. )
1,000-2,000
$1,600-3,100
1,400-2,800
PROVENANCE:
T.E. Lowinsky (L. 2420a).
Johnson was a furniture carver, who adapted Francis Barlows (circa.1626-1704)
illustrations to Aesops Fables into furniture designs. In the 1750s he published several
popular design books, largely rococo in style.
This drawing was previously in the collection of Thomas Edmond Lowinsky (1892-1947),
a collector of drawings and a distinguished artist in his own right, most of his collection
was sold en bloc to the Yale Center for British Art.
MID-18TH CENTURY
$6,300-9,300
5,600-8,300
The geometric design of this unusual cabinet with futed pilasters and rusticated
drawer fronts demonstrates the infuence of the architectural Palladian style on British
cabinetmakers in the second quarter of the 18th century. Architect and furniture designer
William Kent (1648-1748) is the celebrated exponent of the style, designing masterpieces
such as Houghton Hall circa 1726.
For a similar rusticated bookcase see The Collection of Robert Hatfeld Ellsworth Part V,
Christies, New York, 21 March 2015, lot 1029.
35
59
61
19TH/20TH CENTURY
800-1,200
500-700
$1,300-1,900
1,200-1,700
PROVENANCE:
Anonymous sale; Sothebys, London, 17 September 1997, lot 245.
n60
A REGENCY BRASS-MOUNTED, PARCEL-GILT AND
EBONISED OCCASIONAL TABLE
CIRCA 1815
n62
A MAHOGANY AND ROSEWOOD CROSSBANDED
CENTRE TABLE
800-1,200
700-1,000
36
$1,300-1,900
1,200-1,700
63
JOHN FREDERICK LEWIS, R.A., P.O.W.S.
(LONDON 1804-1876 WALTON-ON-THAMES)
A soldier in Albanian costume, full-length, his left arm on his hip
pencil, watercolour and bodycolour, on buff paper
14 x 9 in. (37.1 x 25.1 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
Anonymous sale; Christies, London, 8 February 1902, lot 47.
Mrs R.H.C. Duncan; Sothebys, London, 4 April 1968, lot 75.
LITERATURE:
Major General M. Lewis C.B.E., John Frederick Lewis, R.A., London, 1978, no. 337.
64
JOHN FREDERICK LEWIS, R.A., P.O.W.S.
(LONDON 1804-1876 WALTON-ON-THAMES)
Study of a Spanish lady, full-length, wearing a black mantilla over a
red dress
black and red chalk and watercolour heightened with white on buff
paper
14 x 9 in. (36.2 x 24.8 cm.)
2,000-3,000
$3,200-4,700
2,800-4,200
The present drawing is for the right-hand fgure of the lithograph Las Dos Hermamas,
which was executed for Lewis Sketches of Spain, 1836, a copy of which is sold with this
drawing.
65
GEORGE RICHMOND, R.A.
(BROMPTON 1809-1896 LONDON)
Double portrait of Inglis and Henrietta Synott, as children, full-length,
seated on a terrace
signed, inscribed and dated George Richmond delin. 1844 (lower left)
pencil, pen and black ink and watercolour heightened with white,
framed with an arched top
27 x 19 in. (68.5 x 48.2 cm.)
1,000-1,500
PROVENANCE:
Anonymous sale; Sothebys, London, 8 April 1988, lot 96.
$1,600-2,300
1,400-2,100
n66
A REGENCY EBONY-INLAID,
EBONISED AND BURR-OAK
SOFA TABLE
EARLY 19TH CENTURY, IN THE MANNER
OF GEORGE OAKLEY
The rounded moulded rectangular twinfap top inlaid with oak leaves, above
two drawers and two opposing false
drawers, on end supports joined by a
stretcher, on C-scroll feet and brass
castors
27 in. (70.5 cm.) high;
58 in. (147.5 cm.) wide;
26 in. (66 cm.) deep
2,000-4,000
$3,200-6,200
2,800-5,600
67
A GERMAN PORCELAIN
TWO-HANDLED SOUP TUREEN
AND COVER
THE COVER PROBABLY MEISSEN,
CIRCA 1740, THE TUREEN THURINGIAN,
BLUE CROSSED SWORDS MARKS AND
THREE DOTS TO INTERIOR
$1,600-2,300
1,400-2,100
n68
A SET OF TEN GEORGE IV
MAHOGANY DINING-CHAIRS
CIRCA 1825, POSSIBLY SCOTTISH
$3,200-4,700
2,800-4,200
69
71
$1,600-2,300
1,400-2,100
600-1,000
70
72
40
$940-1,600
840-1,400
$940-1,200
840-1,100
$2,400-3,100
2,100-2,800
73
ENGLISH SCHOOL, 19TH CENTURY
The chapel at Blenheim Palace with a
memorial to the 1st Duke of Marlborough,
by Rysbrack
signed and dated David Roberts R.A 1854.
(lower left)
pencil and watercolour heightened with
bodycolour on buff paper
10 x 9 in. (25.7 x 23.5 cm.)
400-600
$630-930
560-830
PROVENANCE:
with Appleby Brothers, London.
EXHIBITED:
London, Appleby Brothers, Autumn 1966 Exhibition,
no. 162.
74
JAMES DUNTHORNE, JR.,
18TH CENTURY
A book auction (probably at Sothebys)
pencil, pen and black ink and watercolour
14 x 21 in. (36.2 x 54 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
75
ENGLISH SCHOOL,
AFTER DAVID ROBERTS
View of of Puente Nuevo, Ronda with fgures
signed and dated D.Roberts . 1834 (lower right)
$630-930
560-830
41
76
A COMPOSITE ENGLISH AND
FRENCH PORCELAIN
COFFEE-SERVICE
CIRCA 1810, UNDERGLAZE BLUE, GILT R AND
INCISED MARKS
77
A MEISSEN TWO-HANDLED
SOUP-TUREEN AND COVER
CIRCA 1745-50, BLUE CROSSED SWORDS MARK
AND PRESSNUMMER 21 TO TUREEN
$1,600-2,300
1,400-2,100
n78
A SOUTH EUROPEAN WALNUT,
SATIN-BIRCH AND FRUITWOOD
MARQUETRY SIDE TABLE
SECOND QUARTER 19TH CENTURY
42
$1,100-1,600
980-1,400
$1,600-2,300
1,400-2,100
79
A PAIR OF ENGLISH BLACK BASALT
BUSTS OF ARISTOTLE AND CICERO
19TH CENTURY
(2)
$4,700-7,800
4,200-7,000
80
A PAIR OF FRENCH BRONZE FIGURES
OF RECLINING RIVER GODS
18TH CENTURY
$4,700-7,800
4,200-7,000
81
A PAIR OF FRENCH PATINATED
BRONZE BUSTS OF ROUSSEAU
AND VOLTAIRE
EARLY 19TH CENTURY
(2)
$1,600-2,300
1,400-2,100
43
82
84
ISIDORE-ALEXANDRE-AUGUSTIN PILS
(PARIS 1813-1875 DOUARNENEZ)
oil on canvas
11 x 14 in. (27.8 x 36.8 cm.)
oil on canvas
21 x 25 in. (54.6 x 63.5 cm.)
1,500-2,500
1,000-1,500
$1,600-2,300
1,400-2,100
$2,400-3,900
2,100-3,500
PROVENANCE:
Anonymous sale; Sothebys, London, 24 September 1997, lot 42.
Visit www.christies.com for additional information on this lot.
83
85
oil on board
13 x 11 in. (35 x 29.8 cm.)
1,500-2,500
PROVENANCE:
with Browse and Darby, London.
44
$2,400-3,900
2,100-3,500
n86
A FRENCH PATINATED BRONZE BUST OF A BOY
19TH CENTURY
$2,400-3,100
2,100-2,800
n87
A VICTORIAN ORMOLU AND BRASS-MOUNTED
SATINWOOD, AMARANTH AND MAHOGANY BOOKCASE
SECOND HALF 19TH CENTURY
The breakfront grey-veined white marble top with pierced threequarter pierced gallery, above a ftted secretaire drawer, and two open
adjustable shelves between columns
37 in. (96 cm.) high; 22 in. (57 cm.) wide; 10 in. (26.5 cm.) deep
1,000-1,500
$1,600-2,300
1,400-2,100
n88
A FRENCH GILT-METAL MOUNTED
MAHOGANY AND PATINATED BRONZE
CONSOLE
20TH CENTURY, INCORPORATING LATE 19TH CENTURY
CARYATIDS
$1,300-1,900
1,200-1,700
45
92
89
89
91
GIUSEPPE VALERIANI
(ROME 1708-1762 SAINT PETERSBURG)
FRENCH/ITALIAN SCHOOL,
LATE 18TH CENTURY
1,000-1,500
90
$1,600-2,300
1,400-2,100
PROVENANCE:
The Duke of Leuchtenberg.
E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959,
part of lot 241 (an album of 143 drawings of various sizes
by Valeriani and his Studio.)
300-500
$470-780
420-700
PROVENANCE:
E. Fatio (L. 3472).
EXHIBITED:
Saint Petersburg, Lomonosoff et lpoque dElisabeth, 1912
(the whole album of which this drawing was a part).
LITERATURE:
A. Benois, Review of St. Petersburg exhibition, Stary Gody,
May 1912, pp. 3-28 (article on the whole album).
90
92
91
46
$1,300-1,900
1,200-1,700
$780-1,200
700-1,100
93
93
94
95
94
$1,600-2,300
1,400-2,100
$3,200-6,200
2,800-5,600
PROVENANCE:
Collection of Drawings of Thomas and Paul Sandby
formed by William Sandby, Part I; Christies, London, 24
March 1959, possibly part of lot 13.
$2,400-3,900
2,100-3,500
95
96
THOMAS HOSMER SHEPHERD
(LONDON 1793-1864)
St. Georges Church, Bloomsbury, with fgures
signed Thos. H. Shepherd (lower centre)
pen and ink and brown wash
4 x 3 in. (11.5 x 9.5 cm. )
500-800
$780-1,200
700-1,100
LITERATURE:
H. Colvin, A Dictionary of British Architects, London, 1995,
p. 982.
Visit www.christies.com for additional information on
this lot.
96
47
97
OFFICE OF ROBERT ADAM (1728-1792)
Two designs for the elevation and pavilions of
the east and west fronts at Gosford House, East
Lothian, seat of the Earl of Wemyss
pencil, pen and grey ink, grey wash on paper
16 x 25 in. (40.6 x 64.9 cm.); two in one
frame
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
W.H. Playfair, Edinburgh.
It has been suggested that this drawing is in the hand of
one of Adams two lead draughtsmen from the period
1790-1792, John Robertson or Robert Morison. he
drawings do not show the house exactly as executed, as
it was not fnished until 1800, eight years after Adams
death.
William Henry Playfair (1790-1857) was one of the
greatest Scottish architects of the 19th Century and the
designer of many of Edinburghs neo-classical landmarks
Edinburghs New Town.
98
CIRCLE OF WILLIAM KENT (1685-1748)
Alternative designs for the main elevation and
pavilions of an English Country House; and a
foor plan of the ground foor
all annotated with scale
48
$4,700-7,800
4,200-7,000
99
FOLLOWER OF ROBERT ADAM
(1728-1792)
Design for a neo-classical entrance and
doorway with subsidiary plans for the
supporting Ionic columns
pencil, pen and grey ink, grey wash on
paper, lightly squared
18 x 12 in. (47.6 x 30.5 cm.)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
100
FRENCH SCHOOL,
LATE 18TH CENTURY
section of an entrance hall with Ionic Column,
painted dome and coiffered vaulted ceiling
annotated with scale (lower centre)
$1,600-2,300
1,400-2,100
49
101
FRENCH SCHOOL, LATE 18TH CENTURY
Design for a Palladian villa set above a fountain and
colonnade
pencil, pen and black ink, grey wash, watercolour, on
two joined sheets, watermark D & C Blauw
11 x 28 in. (30.2 x 71.6 cm.)
1,500-2,000
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
$2,400-3,100
2,100-2,800
102
ITALIAN SCHOOL, LATE 18TH CENTURY
Design for a room with a coffered vault and arched
doorway
pencil, pen and black ink, grey wash, watermark
D & C Blauw
17 x 29 in. (43.5 x 75 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
103
ITALIAN (?) SCHOOL, 18TH CENTURY
Design for a fortifed palazzo: Elevation and section
pencil, pen and black ink, grey, green and ochre
wash on three joined sheets
15 x 28 in. (38.9 x 71.8 cm.)
1,000-1,500
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
$1,600-2,300
1,400-2,100
104
FRENCH SCHOOL, MID-18TH CENTURY
A design of a column in a piazza
with number 63 (verso)
50
$2,400-3,100
2,100-2,800
105
FRENCH SCHOOL, MID-18TH CENTURY
A cross-section of a church showing the dome, crossing
and crypt
pencil, pen and black ink, grey wash, traces of
watercolour, on two joined sheets
21 x 26 in. (52.8 x 68.1 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh
The Signet Library, Edinburgh.
106
107
400-600
$630-930
560-830
PROVENANCE:
E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959, lot 34.
500-800
$780-1,200
700-1,100
EXHIBITED:
Zurich, Technische Hochschule, Graphische Sammlung, Architekturund Dekorations-Zeichnungen der Barockzeit aus der Sammlung
Edmond Fatio, 1946, no. 68.
51
109
108
108
A PAIR OF FRENCH GILT-BRONZE THREE-BRANCH
CANDELABRA LAMPS
LATE 19TH/EARLY 20TH CENTURY, OF LOUIS XVI STYLE
(2)
$1,300-1,900
1,200-1,700
109
A PAIR OF FRENCH ORMOLU TWIN-LIGHT
CANDELABRA LAMPS
LATE 19TH CENTURY, OF LOUIS XVI STYLE
(2)
$940-1,600
840-1,400
n110
A FRENCH GILT-BRONZE, BLUED-STEEL AND
MAHOGANY GUERIDON
SECOND HALF 19TH CENTURY, OF LOUIS XVI STYLE
$3,200-4,700
2,800-4,200
53
111
A PAIR OF EMPIRE PATINATED BRONZE CANDLESTICKS
EARLY 19TH CENTURY
$2,400-3,900
2,100-3,500
n112
A REGENCY MAHOGANY CANED BERGERE
CIRCA 1815
The reeded frame with padded arms and two squab cushions
upholstered with green horsehair, on sabre legs
34 in. (87.5 cm.) high; 27 in. (70.5 cm.); 30 in. (77.5 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n113
A GEORGE III MAHOGANY AND SATINWOOD PARTNERS
PEDESTAL DESK
LATE 18TH CENTURY
The tooled green leather writing-surface above three frieze drawers and
six pedestal drawers to each side, on bracket feet and recessed castors
32 in. (81 cm.) high; 49 in. (124.5 cm.) wide; 37 in. (94 cm.) deep
2,500-4,000
PROVENANCE:
Samuel Leigh Sotheby (1805-1861), New Bond
Street, London.
Edward Grose Hodge.
Thomas Hodge.
G. D. Hobson, and by descent.
According to a signed note from Mr. Hobson:
This desk belonged to Samuel Leigh Sotheby (d. 1861)
and was bequeathed by his widow, Julia Emma Sotheby,
to her husbands partner in Sothebys, Edward Frose
Hodge. It was inherited by his son, Tom Hodge, who sold
it to my father, Geoffrey Dudley Hobson. I used it in my
offce in Sothebys until I left the frm in 1977.
54
$3,900-6,200
3,500-5,600
n114
A GEORGE III MAHOGANY TUB BERGERE
LATE 18TH CENTURY
$3,200-6,200
2,800-5,600
n115
A GEORGE III MAHOGANY BREAKFRONT
LIBRARY BOOKCASE
LATE 18TH CENTURY
The cornice above four astragal-glazed doors and four cupboard doors,
on a plinth base
102 in. (259 cm.) high; 110 in. (279.5 cm.); 22 in. (56 cm.) deep
2,000-3,000
$3,200-4,700
2,800-4,200
55
116
WILLIAM HENRY DAVIS (FL. 1803-1849)
A prize roan bull in a landscape, a country house beyond
signed and dated W.H Davis / 1853. (lower left)
oil on canvas
22 x 30 in. (57.2 x 76.2 cm.)
2,500-3,500
$3,900-5,400
3,500-4,900
n117
A SOUTH GERMAN BRASS-MOUNTED WALNUT,
BURR-WALNUT, BIRDS-EYE MAPLE AND
EBONY BANDED BUREAU-CABINET
MID-18TH CENTURY
$4,700-7,800
4,200-7,000
n118
A GEORGE II MAHOGANY CARD TABLE
MID-18TH CENTURY
The eared hinged top enclosing a baize-lined surface and counter wells,
above a frieze drawer, on club legs and pad feet
28 in. (73 cm.) high; 33 in. (84.5 cm.) wide; 16 in. (41.5 cm.) deep
800-1,200
56
$1,300-1,900
1,200-1,700
119
ADOLPHE FORESTIER (FRENCH, 1801-1885)
121
La lecture
pencil, pen and black ink and grey wash, heightened with white
6 x 9 in. (17.2 x 22.8 cm.)
600-800
$940-1,200
840-1,100
$780-1,100
700-970
120
122
Intercepted letter
signed and dated W.P. Frith/1901 (lower left), inscribed Intercepted
letter (on the reverse)
oil on canvas
16 x 12 in. (40.6 x 30.5 cm.)
oil on canvas
17 x 13 in. (44.7 x 34.3 cm.)
800-1,200
A tempting treat
$1,300-1,900
1,200-1,700
700-1,000
$1,100-1,600
980-1,400
57
n123
A SET OF GEORGE III MAHOGANY METAMORPHIC STEPS
EARLY 19TH CENTURY
With four green baize-lined treads, hinging to form a rectangular gilttooled green leather lined low table/luggage rack
As steps: 28 in. (71 cm.) high; 17 in. (44.5 cm.) wide;
28 in. (72.5 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n124
A LOUIS XVI ORMOLU-MOUNTED MAHOGANY
BUREAU PLAT
LATE 18TH CENTURY
The eared top inset with gilt-tooled brown leather over three frieze
drawers opposing false drawers, each side with a leather-lined slide, on
turned tapering futed legs and castors, heavy wear to the leather and
fading to the reverse
30 in. (77 cm.) high; 63 in. (160 cm.) wide; 30 in. (77.5 cm.) deep
1,000-2,000
$1,600-3,100
1,400-2,800
n125
A GEORGE III MAHOGANY AND CHEQUER-BANDED
SERPENTINE CHEST-ON-CHEST
LATE 18TH CENTURY
The upper section with a moulded cornice above two short and three
long drawers, the base with three graduated long drawers, on canted
bracket feet, losses
63 in. (160 cm.) high; 46 in. (117 cm.) wide; 21 in. (54.5 cm.) deep
1,000-1,500
58
$1,600-2,300
1,400-2,100
*126
A PAIR OF CHINESE BLUE AND WHITE BOTTLE
VASE LAMPS
19TH CENTURY
$3,200-4,700
2,800-4,200
n*127
A CHARLES II OAK COFFER
SECOND HALF 17TH CENTURY
$1,300-1,900
1,200-1,700
PROVENANCE:
With Avon Antiques.
n*128
A PAIR OF ENGLISH MAHOGANY HALL CHAIRS
19TH CENTURY
Each with a moulded shield back, carved with ribbon tied drapery swags,
centred by a crest, on tapering channelled legs, each with fragmented
depository label, Cowley & Co Ltd
35 in. (90 cm.) high; 19 in. (49 cm.) wide; 19 in. (48 cm.) deep
(2)
800-1,200
$1,300-1,900
1,200-1,700
*129
A DERUTA MAIOLICA DISH
CIRCA 1530
Painted with St. Barbara holding a martyrs palm and a castle within a
wide imbricated and foliate border
14 in. (37.1 cm.) diameter
3,000-5,000
PROVENANCE:
With Jonathan Horne Antiques Ltd.
n*130
A PAIR OF GEORGE III POLYCHROME-PAINTED
DUMMY-BOARDS
LATE 18TH CENTURY
Depicting a girl wearing a black dress with lace jabot and cuffs and a
feathered headdress, and a girl wearing a brown dress with white trim
and red shawl, with later supports
45 in. (115 cm.) high and smaller
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
With Avon Antiques.
n*131
A GEORGE III OAK DRESSER
LATE 18TH CENTURY, PROBABLY SOUTH WALES
$3,200-4,700
2,800-4,200
$4,700-7,800
4,200-7,000
*132
FOLLOWER OF JAN BRUEGHEL I
Allegory of Sight
oil on canvas
29 x 45 (75.5 x 116.5 cm.)
10,000-15,000
$16,000-23,000
14,000-21,000
PROVENANCE:
Anonymous sale; Phillips, Son & Neale, London, 5 December 1995, lot 46, as Frans
Francken III.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
65
*133
A SET OF FOUR ENGLISH REVERSEPAINTED GLASS PICTURES OF SHIP
SILHOUETTES
LATE 19TH CENTURY
$1,300-1,900
1,200-1,700
n*134
A PAIR OF FRENCH WALNUT
THRONE ARMCHAIRS
MID-19TH CENTURY
$2,400-3,900
2,100-3,500
n*135
AN EARLY GEORGE II OAK
SIDE TABLE
CIRCA 1730
$1,600-2,300
1,400-2,100
*136
EBENEZER COLLS (1812-1887)
A three-decker calling for a pilot at the entrance to Portsmouth Harbour,
with a paddle steamer and other shipping beyond; and Fishermen on
a blustery day with prison hulks and a three-decker lying at anchor in
Portsmouth Harbour
both signed E. Colls (lower left)
oil on canvas
20 x 30 in. (50.8 x 76.3 cm.)
4,000-6,000
a pair (2)
$6,300-9,300
5,600-8,300
*137
HUGH MUNRO (1873-1928)
The foot of the Garden
signed Hugh Munro (lower left)
oil on canvasboard
10 x 14 in. (25.4 x 35.5 cm.)
1,500-2,500
$2,400-3,900
2,100-3,500
PROVENANCE:
Given by the artist to the Scottish Artists Benevolent Association, in aid of a special fund
raised by the Association for the relief of artists in distress owing to the War, March 1915.
with T & R Annan & Sons, Ltd., Glasgow.
EXHIBITED:
Glasgow, Scottish Artists Benevolent Association, March 1915, no. 159.
l*138
CECIL KENNEDY (LONDON 1905-1997 ST ALBANS)
Roses, hydrangeas and other fowers in a glass vase on a marble ledge with
a ladybird
signed Cecil Kennedy (lower right)
oil on canvas
20 x 16 in. (50.8 x 41.2 cm.)
2,000-3,000
$3,200-4,700
2,800-4,200
PROVENANCE:
with Polak Mandells Gallery, St Helier, where acquired by the present owner.
67
nl*139
nl*141
Curlew
Curlew
1,500-2,000
$2,400-3,100
2,100-2,800
1,200-1,800
$1,900-2,800
1,700-2,500
n*140
n*142
MID-19TH CENTURY
19TH CENTURY
$780-1,200
700-1,100
500-800
$780-1,200
700-1,100
n*143
AN ENGLISH WALNUT STRIKING MINIATURE
LONGCASE CLOCK
19TH CENTURY AND LATER, ASSEMBLED IN THE 20TH CENTURY
The brass dial with silvered Roman chapter ring with Arabic fve minutes,
the arch with a circular plaque with spurious signature Richard Ganthony/
London, the twin train movement with anchor escapement and rack
striking to bell, with pendulum, two weights and winding key
67 in. (171 cm.) high; 13 in. (34.3 cm.) wide; 8 in. (21 cm.) deep
1,000-1,500
$1,600-2,300
1,400-2,100
n*144
A SET OF THREE VICTORIAN WALNUT X-FRAME
ARMCHAIRS
MID-19TH CENTURY
(3)
$780-1,200
700-1,100
LITERATURE:
For a similar pair of chairs see Stokesay Court, Shropshire, Sothebys, London, 28-30
September 1994, vol. IV, lot 409.
n*145
A GEORGE III MAHOGANY SERPENTINE CHEST
CIRCA 1760
$4,700-7,800
4,200-7,000
l*146
GABRIEL DESCHAMPS (FRENCH, B. 1919)
Lt, Grasse
signed G. Deschamps (lower left)
oil on canvas
21 x 25 in. (54.5 x 63.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
with Galerie Robin, Cannes, where acquired by the present owner.
146
l*147
GABRIEL DESCHAMPS (FRENCH, B.1919)
Un paysage avec un moulin eau; Le mas de Santon, Grasse; et
Un chateau, Grasse (one illustrated)
the frst signed G Deschamps (lower right) and indistinctly
inscribed (on the stretcher); the second signed G Deschamps
(lower left) and inscribed Le mas du SANTON, pur de
Grasse. A.M. (on the stretcher); the third signed
G. Deschamps (lower left)
oil on canvas
21 x 25 in. (54 x 64.7 cm. ); and smaller
1,500-2,500
(3)
$2,400-3,900
2,100-3,500
PROVENANCE:
with Galerie Robin, Cannes, where acquired by the present owner.
147 (part)
l*148
GABRIEL DESCHAMPS (FRENCH, B. 1919)
Mas dans les coquelicots, Grasse; Un vue Speracdes, Grasse;
et Un vue a Grasse avec une blanchisseuse
two signed G.Deschamps (lower right); one signed
G.Deschamps (lower left); and each inscribed indistinctly on
the stretcher
oil on canvas
each 10 x 13 in. (27.2 x 33 cm.)
1,200-1,800
(3)
$1,900-2,800
1,700-2,500
PROVENANCE:
with Galerie Robin, Cannes, where acquired by the present owner.
148 (part)
71
*149
n*151
Each fxed to a metal stand; together with a painted duck decoy model
of a duck, possibly Spanish
The pigeons: 11 in. (29 cm.) high
The duck: 16 in. (42.5 cm.) high
(3)
500-800
PROVENANCE:
With Robert Young Antiques, London, where acquired by the late Mrs Barbara Overland.
$780-1,200
700-1,100
600-1,000
$940-1,600
840-1,400
PROVENANCE:
The pigeons: with Robert Young Antiques, London, where acquired by the late
Mrs Barbara Overland.
n*150
n*152
The twin-fap top above a drawer to each side, on turned legs joined by
stretchers
31 in. (79 cm.) high; 55 in. (141 cm.) wide; 43 in. (109 cm.) deep
The quarter-veneered top above two short and three long drawers, the
lower drawer with indented front inlaid with a sunburst, restorations to
the veneers, on later bun feet, probably adapted from a tallboy
35 in. (91 cm.) high; 37 in. (95 cm.) wide; 22 in. (57 cm.) deep
700-1,000
72
$1,100-1,600
980-1,400
1,200-1,800
$1,900-2,800
1,700-2,500
lW153
A GROUP OF ANNE GORDON CERAMIC
ANIMALS AND BIRDS
LATE 20TH CENTURY, BLACK PAINTED MONOGRAMS
AND DATES
$940-1,600
840-1,400
lW154
A GROUP OF ANNE GORDON CERAMIC FRUIT
LATE 20TH CENTURY
lW155
A GROUP OF ANNE GORDON CERAMIC
VEGETABLES
LATE 20TH CENTURY
$3,200-4,700
2,800-4,200
$1,600-3,100
1,400-2,800
*156
A PAIR OF STAFFORDSHIRE POTTERY
MODELS OF RABBITS
MID-19TH CENTURY
(2)
$3,200-4,700
2,800-4,200
*157
A COLLECTION OF
STAFFORDSHIRE POTTERY
CIRCA 1800 - LATE 19TH CENTURY
$1,300-1,900
1,200-1,700
PROVENANCE:
With Oliver Sutton Antiques, London.
*158
ELEVEN STAFFORDSHIRE
POTTERY DOGS
A GROUP OF LATE 19TH CENTURY
74
$780-1,200
700-1,100
*159
A GROUP OF FOUR STAFFORDSHIRE
POTTERY COW CREAMERS
EARLY 19TH CENTURY
$1,300-1,900
1,200-1,700
PROVENANCE:
With Oliver Sutton Antiques, London.
With Jonathan Horne Ltd., London.
*160
A STAFFORDSHIRE PEARLWARE
MODEL OF A SQUIRREL
CIRCA 1800
$1,100-1,600
980-1,400
PROVENANCE:
With Oliver Sutton Antiques, London.
*161
TWO STAFFORDSHIRE CREAMWARE
MODELS OF CATS AND A PEARLWARE
MODEL OF A HORSE
CIRCA 1780
$1,100-1,600
980-1,400
75
*162
A STAFFORDSHIRE POTTERY
INCENSE BURNER
CIRCA 1800
$1,600-2,300
1,400-2,100
PROVENANCE:
With Jonathan Horne Ltd, London.
*163
A PAIR OF STAFFORDSHIRE POTTERY
MODELS OF A COCKEREL AND HEN
EARLY 19TH CENTURY
On circular bases
Cockerel: 8 in. (21.6 cm.) high
1,000-1,500
(2)
$1,600-2,300
1,400-2,100
PROVENANCE:
With Oliver Sutton Antiques, London.
*164
TWO PAIRS OF STAFFORDSHIRE
POTTERY ZEBRAS AND A PAIR
OF DEER
LATE 19TH CENTURY
76
$1,100-1,600
980-1,400
*165
A GROUP OF
STAFFORDSHIRE POTTERY
LATE 19TH CENTURY
$1,600-2,300
1,400-2,100
PROVENANCE:
With Oliver Sutton Antiques, London.
*166
A PAIR OF PRATT WARE GROUPS OF A
SHEPHERD AND SHEPHERDESS
CIRCA 1790
(2)
$940-1,600
840-1,400
PROVENANCE:
With Oliver Sutton Antiques, London.
*167
A LONGTON HALL LEAF SAUCE BOAT
AND STAND
MID-18TH CENTURY
$3,200-4,700
2,800-4,200
~*168
n*170
The arched silvered dial with Roman hours and signed Ja.s Tupman/ G.t
Russell Street/ BLOOMSBURY, strike/silent to top of dial, the twin fusee
movement with dead beat escapement and rack striking to bell, with
trip repeat, repeat signature to back plate, with pendulum lock; with
pendulum
9 in. (23 cm.) high; 5 in. (14.5 cm.) wide; 5 in. (12.5 cm.) deep
1,000-1,500
700-1,000
$1,100-1,600
980-1,400
$1,600-2,300
1,400-2,100
n*169
n*171
The slope enclosing a ftted interior above two short and two long
graduated drawers, on later bun feet
40 in. (102 cm.) high; 36 in. (91.5 cm.) wide; 21 in. (54 cm.) deep
The single frieze drawer with bone-inlaid escutcheon and opposing false
drawer, on slender tapering reeded legs with brass caps and castors
28 in. (73 cm.) high; 36 in. (91.5 cm.) wide; 30 in. (78 cm.) deep
3,000-5,000
700-1,000
80
$4,700-7,800
4,200-7,000
$1,100-1,600
980-1,400
n*172
A MATCHED PAIR OF GEORGE II PARCEL-GILT
WALNUT MIRRORS
MID-18TH CENTURY
$4,700-7,800
4,200-7,000
n*173
A PAIR OF ENGLISH MAHOGANY
BOW FRONT CABINETS
EARLY 19TH CENTURY, ADAPTED
$6,300-9,300
5,600-8,300
PROVENANCE:
With Norman Adams Ltd., London.
81
174 (a pair)
n*174
JACOB DE WIT (AMSTERDAM 1695-1754)
Allegory of Autumn, en grisaille; and Allegory of Summer, en grisaille
signed and dated J.d.Wit/.f./1745 (lower left); and signed and dated
JdWit/1741 (lower right)
$19,000-28,000
17,000-25,000
PROVENANCE:
Anonymous sale; Christies, London, 20 February 1981, lot 52. (Allegory of Autumn)
Anonymous sale; Sothebys London, 30 May 1997, lot 205. (Allegory of Summer)
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
175
n*175
n*176
oil on canvas
32 x 33 in. (82.5 x 85 cm.)
oil on canvas
69 x 38 in. (175.3 x 97.2 cm.)
in a rococo-style carved and gilded frame
5,000-7,000
PROVENANCE:
Anonymous sale; Bonhams, London, 22 October 1992, lot 157.
82
$7,800-11,000
7,000-9,700
6,000-8,000
PROVENANCE:
Lord Middleton.
with Leggatt, London, 1955.
$9,400-12,000
8,400-11,000
176
*177
DAVID DE HEEM (ANTWERP 1663-1714 THE HAGUE)
Hydrangeas, morning glories, a parrot tulip and other fowers with grapes, oranges, cherries,
blackberries, ears of corn, loquats, and chestnuts, with two snails, hanging from a blue bow in a
feigned arched stone niche
oil on canvas
22 x 18 in. (58.1 x 48 cm.)
15,000-20,000
$24,000-31,000
21,000-28,000
PROVENANCE:
Anonymous sale [Mrs. D.E. Bramhall]; Christies, London, 16 March 1956 lot 135, as C. DE HEEM (180 gns. to Rivett)
E.R.G. Billmeir, Westbrook House, Elstead, Surrey; Sothebys, London, 19-20 September 1995, lot 468, as Cornelis de
Heem.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
We are grateful to Fred Meijer, of the RKD, The Hague, for confrming the attribution on the basis of photographs,
although he does not exclude a collaboration between David and his father Cornelis de Heem. They shared a studio
in The Hague from the late 1670s to 1690.
84
*178
ATTRIBUTED TO JAN BREUGHEL II (ANTWERP 1601-1678)
AND ATTRIBUTED TO HENDRIK VAN BALEN I (ANTWERP 1575-1632)
The Virgin and Child surrounded by a garland of fowers
oil on copper
18 x 14 in. (45.9 x 36.6 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
E.R. Rolph, Toronto, by 1929 (according to an inscription to the reverse).
Anonymous sale; Sothebys, New York, 24 April 1995, lot 5 as attributed to Jan Breughel and Pieter van
Avont.
Private Collection, USA, 1995-1996.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
We are grateful to Fred Meijer, of the RKD, The Hague, for proposing the attribution on the basis of
photographs.
85
*179
*180
Roses and carnations hanging from a green ribbon with a moth and a
butterfy
oil on panel
11 x 10 in. (30 x 25.5 cm.)
8,000-12,000
$13,000-19,000
12,000-17,000
a pair (2)
$32,000-47,000
28,000-42,000
PROVENANCE:
Anonymous sale [The Earl of Middleton, M.C.];Christies, London, 16 November 1973, lot
131 as Jean-Baptist Pillement.
86
*181
MARTIN VAN DORNE (FLEMISH, 1736-1808)
A trompe loeil of swags of fruit and fowers pinned to a white wall with moths and other insects
signed and dated M. Van Dorne / Lovaniensis F. / 1770. (lower left)
oil on canvas
26 x 33 in. (68 x 85.6 cm.)
25,000-35,000
PROVENANCE:
Sir Henry Webb Bart., by 1857 (according to a label on the reverse).
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
88
$39,000-54,000
35,000-49,000
*182
EDWARD COLLIER (BREDA C.1640-?1710 ?LEIDEN)
A trompe loeil of a letter rack with documents, pamphlets, a miniature of King William III
(1650-1702), a medallion, a quill, a stick of red wax, a magnifying-glass, combs, scissors,
and other objects
signed and inscribed Mr. Edward Collier / Painter in / London (lower right)
oil on canvas
24 x 29 in. (61 x 73.5 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Anonymous sale; Sothebys, London, 11 July 1990, lot 104.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
LITERATURE:
D. Wahrman, Mr. Colliers Letter Racks: A Tale of Art and Illusion at the Threshold of the Modern Information Age, Oxford,
2012, detail illustrated p. 89.
89
*183
A PAIR OF POLYCHROME-PAINTED TOLE
CHESTNUT VASES
SECOND HALF 20TH CENTURY
(2)
$780-1,200
700-1,100
n*184
A GEORGE I WALNUT AND FEATHERBANDED HANGING
CORNER CUPBOARD
EARLY 18TH CENTURY
$1,100-1,600
980-1,400
n*185
A PAIR OF GEORGE III MAHOGANY OPEN ARMCHAIRS
CIRCA 1760, POSSIBLY SCOTTISH
Each with arched padded back and scrolled arms on reeded supports,
the serpentine seat on foliate-carved cabriole legs and scrolled feet,
covered in brown velvet
41 in. (104 cm.) high; 27 in. (68.5 cm.) wide; 30 in. (76 cm.) deep
(2)
5,000-8,000
90
$7,800-12,000
7,000-11,000
n*186
A PAIR OF NORTH ITALIAN WALNUT, FRUITWOOD AND
MARQUETRY COMMODES
LATE 18TH CENTURY
Each with rounded rectangular top, the centre inlaid with a foliate
medallion, above a frieze drawer inlaid with scrolls, one ftted with
green baize compartments, and two drawers inlaid sans traverse with
musical instruments, on later tapering square futed legs and spade feet,
restorations
34 in. (87 cm.) high; 47 in. (119.5 cm.) wide; 23 in. (60.5 cm.) deep
(2)
10,000-15,000
$16,000-23,000
14,000-21,000
*187
A NEAR PAIR OF CHINESE FAMILLE
ROSE OVOID JAR LAMPS
CIRCA 1900
$1,300-1,900
1,200-1,700
*188
A PAIR OF AUSTRIAN POLYCHROMEDECORATED PLASTER MODELS OF
RECUMBENT STAGS
19TH CENTURY
$630-930
560-830
*189
A COLLECTION OF CONTINENTAL
MILLEFIORI SCENT-BOTTLES
MID-19TH CENTURY AND LATER
$2,400-3,100
2,100-2,800
*190
ATTRIBUTED TO REVEREND JAMES WILLS
(ACTIVE 1740-1777)
Portrait of a lady, traditionally identifed as Ann Burney, half-length, in
pink dress with lace bonnet and sleeves with pearl earrings and choker, in
a feigned oval
30 x 25 in. (76.5 x 63.5 cm.)
oil on canvas
20,000-30,000
94
$32,000-47,000
28,000-42,000
PROVENANCE:
(Probably) the Burney family, London.
(Probably) the Mountbatten family, London.
with Newhouse Galleries, Inc., New York, by 1948, when acquired by
Mr. and Mrs. Kay Kimbell, Fort Worth, bequeathed to
Kimbell Art Foundation, Fort Worth, Texas; Sothebys, New York, 2 June 1989, lot 98, as
George Beare, Portrait of a lady said to be Mrs Ann Burney.
with Thomas Agnews, London, as Rev. James Wills, from whom acquired by the late Mrs.
Barbara Overland.
LITERATURE:
Famed Collection Await Museum in The Victoria Advocate, 20 January 1966, as Mrs. Ann
Burney by William Hogarth.
Kimbell Art Museum: Catalogue of the Collection, Fort Worth, 1972, pp. 119-120, as
attributed to George Beare.
Kimbell Art Museum: Handbook of the Collection, Fort Worth, 1981, p. 30, as attributed to
George Beare.
F. Trapp, British art, Amherst, 1986, p. 17, as by George Beare.
*191
THOMAS GAINSBOROUGH, R.A.
(SUDBURY, SUFFOLK 1727-1788 LONDON)
Portrait of Lady Anne Furye, ne Greenly (b. 1738), half-length, in a
white satin sack-back dress with blue echelles, wearing a blue ribbon and
lace choker, with crystal earrings and pompom fowers in her hair
oil on canvas
30 x 25 in. (76.3 x 63.5 cm.)
30,000-50,000
$47,000-78,000
42,000-70,000
PROVENANCE:
By descent from the sitter to
J.O.H. Greenly, Titely Court, Herefordshire; sold Christies, 6 November 1959, lot 75 (to
the following)
with Newhouse Galleries, Inc., New York, by 1948, when acquired by
Mr. and Mrs. Kay Kimbell, Fort Worth, by 1960, until 1965., when bequeathed to
The Kimbell Art Museum, Fort Worth, Texas; sold Sothebys, New York, 17 June 1976,
lot 147.
Property of a Main Line Philadelphia Estate; sold Sothebys, New York, 11 October 1990,
lot 169A (to the following)
With Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
This portrait will be included in the forthcoming catalogue raisonn of the artists paintings
being prepared by Dr. Hugh Belsey, to whom we are grateful for his assistance in the
cataloguing of the picture.
Dr. Hugh Belsey dates the present lot to circa 1762.
95
*192
PHILIP MERCIER (BERLIN 1689/91-1760 LONDON)
A young boy holding a kitten, in a rose garden
signed and dated Ph. Mercier. / fecit.anno. 1744[?] (lower right)
oil on canvas
33 x 25 in. (84.5 x 63.5 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
PROVENANCE:
Anonymous sale; Christies, New York, 25 May 1999, lot 92.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
*193
CIRCLE OF DANIEL MYTENS
(DELFT C.1590-1647 THE HAGUE)
Portrait of a gentleman, thought to be Henry de Vere, 18th Earl of
Oxford KB (1593-1625), small full-length, in a silver embroidered black
slashed doublet and hose, holding his black hat in his right hand, his
wand of offce against a draped table at his side
oil on canvas
24 x 15 in. (62.2 x 38.8 cm.)
with inventory number 279 (lower left)
5,000-7,000
$7,800-11,000
7,000-9,700
PROVENANCE:
Anonymous sale [The Trustees of the late Most Honorable Marquess of Lothian,
P.C, K.T., C.H.]; Christies, London, 19 October 1951, lot 47 (13 gns to Jurrnic).
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
96
*194
JAN MIJTENS (THE HAGUE C. 1614-1670)
Portrait of Henriette Catherina van Oranje-Nassau (1637-1708), small
three-quarter-length, in a yellow dress at a fountain with a spaniel
signed JANMijtens F: (JAN in monogram, lower left)
oil on panel
16 x 12 in. (43 x 32.5 cm.)
6,000-8,000
$9,400-12,000
8,400-11,000
PROVENANCE:
Mrs. van der Steen van Ommeren-van Beek, Amsterdam.
Anonymous sale; Paul Brandt, Amsterdam, 11 May 1971, lot 31.
with A.H. Bies, Eindhoven, 1973.
Anonymous sale; Christies, Amsterdam, 7 May 1996, lot 58.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
The sitter was the youngest daughter of Prince Frederik Hendrik (1584-1647) and
Amalia van Solms (1602-1675). She married Johan George II von Anhalt-Dessau
(1627-1693) in 1659. The present lot formed part of a series, portraying the children
of Frederik Hendrik, which were separated at the sale in 1971.
*195
CAREL DE MOOR II (LEIDEN 1656-1738 WARMOND)
Portrait of a lady, small three-quarter-length, in a white satin dress
and blue wrap, standing by a crimson curtain, a mansion and estended
landscape beyond
signed Moor (lower left)
oil on panel
7 x 5 in. (18.3 x 14.5 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
PROVENANCE:
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
The coat of arms on the frame could be that of the van Zanen family in Haarlem and
Leiden, and the lady in the portrait therefore a member of the family.
97
*196
CIRCLE OF PIETER COECKE VAN AELST I
(AELST 1502-1550 BRUSSELS)
King Balthazar - a fragment
oil on panel
12 x 8 in. (32 x 21.5 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
196
*197
MANNER OF FRANOIS CLOUET
Portrait of a lady, traditionally identifed as Elizabeth of Valois
(1545-1568), bust-length, in a gold embroidered white dress and
ermine-lined coat
oil on panel
12 x 9 in. (30.6 x 22.8 cm.)
600-800
$940-1,200
840-1,100
197
*198
MANNER OF FRANOIS CLOUET
Portrait of a lady, possibly Mary, Queen of Scots (1542-1587),
half-length, in a black dress with white cap
oil on panel
11 x 8 in. (29.5 x 22.5 cm.)
600-800
198
98
$940-1,200
840-1,100
n*199
A FLEMISH GAMEPARK PERGOLA TAPESTRY
FIRST HALF 17TH CENTURY
Woven in wools and silks, depicting a hunting scene and various wild animals in formal gardens
within an architectural pergola surround, reduced in size and lacking borders
91 x 65 in. (233 x 166.5 cm.)
6,000-10,000
$9,400-16,000
8,400-14,000
99
n*200
A DUTCH MOTHER-OF-PEARL-INLAID WALNUT AND
MARQUETRY SIDE TABLE
LATE 18TH/EARLY 19TH CENTURY
The marquetry depicting a club trophy with birds, cherubs and foliate
decoration, with one long and two short drawers on club legs and pad
feet, restorations
28 in. (71 cm.) high; 31 in. (80 cm.) wide; 16 in. (41 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n*201
A GEORGE III GILT-BRASS MOUNTED MAHOGANY AND
SATINWOOD CROSSBANDED TRAY
THE TRAY LATE 18TH CENTURY, THE STAND LATER
$1,100-1,600
980-1,400
PROVENANCE:
With Norman Adams Ltd., London.
n*202
A VICTORIAN ORMOLU-MOUNTED KINGWOOD,
TULIPWOOD AND MARQUETRY WRITING-TABLE
CIRCA 1870
The canted rectangular top inset with green leather, above a frieze
drawer, on trestle-end supports, the later ivorine plaque inscribed: this
table was used by her late majesty queen victoria during her visit to sir
1889
28 in. (72.5 cm.) high; 35 in. (91 cm.) wide; 21 in. (55 cm.) deep
theodore martin bryntysilio llangollen
2,000-3,000
100
$3,200-4,700
2,800-4,200
*203
AN ALABASTER FIGURE OF A GIRL
CIRCA 1900
$1,600-2,300
1,400-2,100
n*204
AN ITALIAN ALABASTER BUST OF A GIRL
CIRCA 1900
$2,400-3,100
2,100-2,800
n*205
AN ITALIAN ALABASTER FIGURE OF A FISHER BOY
LATE 19TH CENTURY
Wearing a straw hat and rolled up breeches, with a wooden fshing rod
and looking at his catch, on a naturalistically-carved base, restorations
33 in. (85 cm.) high
1,000-1,500
$1,600-2,300
1,400-2,100
n*206
A PAIR OF ENGLISH PINE AND OAK WALL
CARVINGS
19TH CENTURY AND LATER ELEMENTS
$940-1,200
840-1,100
*207
A CHINESE BLUE AND WHITE PRUNUS JAR
AND COVER
19TH CENTURY
*208
A GROUP OF ENGLISH DELFT BLUE AND
WHITE FLOWER BRICKS
CIRCA 1760
102
$4,700-7,800
4,200-7,000
$940-1,600
840-1,400
n*209
AN AUBUSSON CARPET
FRANCE, SECOND HALF 19TH CENTURY
$3,200-6,200
2,800-5,600
n*210
A GEORGE IV GRAINED STOOL
CIRCA 1830
n*211
A GEORGE III MAHOGANY AND
INDIAN ROSEWOOD-CROSSBANDED
SERPENTINE BACHELORS CHEST
CIRCA 1770
$4,700-7,800
4,200-7,000
$940-1,600
840-1,400
n*212
n*214
CIRCA 1900
300-500
$470-780
420-700
600-1,000
$940-1,600
840-1,400
n*213
n*215
$940-1,600
840-1,400
Each grey-veined white marble top inlaid with bows and ribbon swags,
the green marbleised base with tapering square legs, one table with
depository label to base harrods limited/furniture depository, barnes,
s.w.1./mrs h hadow/d/No.5231/10/1/68 and numbered 39
28 in. (72.5 cm.) high; 29 in. (75 cm.) wide; 13 in. (34 cm.) deep
(2)
1,200-1,800
104
$1,900-2,800
1,700-2,500
n*216
A VICTORIAN POLYCHROME-PAINTED SATINWOOD,
ROSEWOOD-CROSSBANDED AND EBONY-STRUNG
BREAKFRONT BOOKCASE
CIRCA 1900
$4,700-7,800
4,200-7,000
PROVENANCE:
Mrs Jilly Williams, deposited with Langlois storage depositories, Jersey, 22 March 1955.
105
*217
JAMES SALT, 19TH CENTURY
Set of four Venetian capriccios
signed JSalt (two lower left; and two lower right)
oil on canvas
14 x 24 in. (35.5 x 61 cm.)
2,000-3,000
106
*218
GEORGE EDWARDS HERING (1805-1879)
The Colosseum from the Palace of the Caesars, Rome
indistinctly signed and inscribed G.E. He.../The Colise...[sic.] /from the
P... (on a fragment of a label attached to the reverse)
$3,900-5,400
3,500-4,900
PROVENANCE:
with Thos. Agnew & Sons, Manchester.
with The Maclean Gallery, London.
l*219
JEAN EUGNE JULIEN MASS
(FRENCH, 1856-1950)
Moulin aube
signed J. Mass (lower left)
oil on canvas
13 x 18 in. (33 x 45.6 cm.)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
with Richmond Gallery, London.
*220
EVELYN CHESTON
(RANMOOR 1875-1929 MUSBURY, AXMINSTER)
A summers day on the west country coast
signed E Cheston (lower left)
oil on canvas
22 x 30 in. (55.8 x 76.2 cm.)
1,200-1,800
$1,900-2,800
1,700-2,500
PROVENANCE:
with the Maclean Gallery, London.
*221
FRENCH SCHOOL, 19TH CENTURY
A fgure before a river with a chateau beyond
oil on canvas
21 x 38 in. (53.9 x 97.8 cm.)
700-1,000
$1,100-1,600
980-1,400
107
n~*222
W224
MID-19TH CENTURY
MID-20TH CENTURY
Each with three tiers and mirrored backs, with turned supports
28 in. (73 cm.) high; 13 in. (33 cm.) wide; 6 in. (15 cm.) deep
1,500-2,500
(2)
$2,400-3,900
2,100-3,500
(2)
$780-1,200
700-1,100
n~*223
n*225
CIRCA 1815
The shaped rectangular twin-fap top above two drawers opposing false
drawers, on downswept reeded legs joined by a stretcher, with brass
caps and castors
28 in. (73 cm.) high; 54 in. (137 cm.) wide; 24 in. (61 cm.) deep
1,000-1,500
500-800
108
$1,600-2,300
1,400-2,100
Later decorated with foliate garlands, the strung twin-fap top above a
frieze drawer to both sides, on tapering square legs, restorations
28 in. (73 cm.) high; 52 in. (132 cm.) wide; 34 in. (86.5 cm.) deep
$780-1,200
700-1,100
*226
A SET OF FOUR ENGLISH CUT PAPER PICTURES
19TH CENTURY
Each depicting a stylised cottage and trees, later laid down on black
board
19 x 20 in. (48.9 x 51.8 cm.)
2,000-3,000
(4)
$3,200-4,700
2,800-4,200
PROVENANCE:
With Asprey, London, where acquired by the late Mrs Barbara Overland.
227 No Lot
109
n*228
A GEORGE III POLYCHROME-PAINTED DUMMY-BOARD
LATE 18TH CENTURY
$3,200-4,700
2,800-4,200
n*229
A PAIR OF ENGLISH WALNUT SIDE CHAIRS
19TH CENTURY, OF GEORGE II STYLE
Each with shell cresting above a shaped splat, drop-in seat and on shellcarved cabriole legs and claw-and-ball feet, one chair stamped VIII,
restorations
40 in. (103 cm.) high; 23 in. (58.5 cm.) wide; 22 in. (57 cm.) deep (2)
1,000-1,500
$1,600-2,300
1,400-2,100
n*230
A GEORGE II MAHOGANY CHEST
MID-18TH CENTURY
$6,300-9,300
5,600-8,300
*231
*233
4,000-6,000
$6,300-9,300
5,600-8,300
3,000-5,000
$4,700-7,800
4,200-7,000
n*232
A GEORGE II WALNUT, FEATHERBANDED AND
CROSSBANDED KNEE-HOLE DESK
n*234
AN ENGLISH MAHOGANY BUTLERS TRAY-ON-STAND
CIRCA 1730
19TH CENTURY
2,000-3,000
600-1,000
112
$3,200-4,700
2,800-4,200
W235
*237
Comprising: four squat circular mustard pots with gadroon borders, the
sides alternately futed and chased with vertical foliate bands, on lion
mask ball-and-claw feet, blue glass liners, a set of four large oval salts en
suite, also with blue glass liners, and a set of four pepper casters en suite,
the upper bodies chased with shells and scrolls on a textured ground, all
engraved with a small crest of a crowned demi-lion rampant
Salts 4 in. (10 cm.) long
89.75 oz. (2791 gm.)
(12)
1,500-2,500
$2,400-3,100
2,100-2,800
$2,400-3,900
2,100-3,500
*238
A MATCHED PAIR OF GEORGE III SILVER COVERED SAUCE
TUREENS
*236
A PAIR OF EDWARDIAN SILVER CORINTHIAN COLUMN
CANDLESTICKS
MARK OF WALTER PHILLIPS, SHEFFIELD, 1909
With stepped square bases and bead borders, detachable nozzles, one
engraved to foot rim with a viscounts coronet and a crest of a cockerel
standing on a brass musical instrument
9 in. (24 cm.) high
(2)
500-800
$780-1,200
700-1,100
Plain oval on pedestal bases with bead borders and ribbed loop handles,
domed covers with urn fnials
8 in. (22.5 cm.) long
36 oz. (1119 gm.)
(2)
800-1,200
$1,300-1,900
1,200-1,700
Since the mark of Digby Scott & Benjamin Smith (II), (Grimwade 505), was introduced in
1803, the only explanation for the presence of this mark is that these were retailed at a
later date by these gentlemen.
*239
n*241
(2)
$2,400-3,900
2,100-3,500
$630-930
560-830
n*240
n*242
800-1,000
114
(2)
$1,300-1,600
1,200-1,400
3,500-5,000
$5,500-7,800
4,900-7,000
n*243
A GEORGE III MAHOGANY DUMB
WAITER
CIRCA 1780, LATER EMBELLISHED
$2,400-3,900
2,100-3,500
n*244
A MAHOGANY THREE PEDESTAL
DINING-TABLE
20TH CENTURY, OF GEORGE III STYLE
$2,400-3,900
2,100-3,500
n*245
A SET OF FOURTEEN MAHOGANY
DINING-CHAIRS
LATE 19TH/EARLY 20TH CENTURY, OF GEORGE III
STYLE
Including two armchairs, each with a shieldshaped back and pierced splat, the serpentine seat
upholstered in foral pattern and cream woven
cotton fabric, on channelled legs and spade feet
38 in. (96.5 cm.) high; 20 in. (52 cm.) wide;
21 in. (53 cm.) deep
(14)
3,000-5,000
$4,700-7,800
4,200-7,000
115
*246
GABRIEL GERMAIN JONCHERIE
(FRENCH ACTIVE 1830-1844)
A trompe loeil bank interior with coins and inkwell
signed and dated Joncherie 1829 (lower right)
oil on canvas
18 x 14 in. (45.8 x 37.5 cm.)
2,000-4,000
$3,200-6,200
2,800-5,600
PROVENANCE:
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
*247
FLEMISH SCHOOL, LATE 17TH CENTURY
Diana and her nymphs disarming cupids, in a wooded landscape
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)
700-1,000
116
$1,100-1,600
980-1,400
*248
ATTRIBUTED TO LOUIS DE CAULLERY (CAMBRAI 1555-1622 ANTWERP)
Elegant company dancing, conversing and making music in an interior
dated 1615 (centre left, on the centre window)
oil on panel
26 x 36 in (66.4 x 93.3 cm.)
15,000-20,000
$24,000-31,000
21,000-28,000
PROVENANCE:
The Gaia Foundation; sold Sothebys, London, 4 July 1990, lot 101.
with Rafael Valls, London.
117
n*249
n*251
CIRCA 1660
The wavy gallery top above a slide, on chamfered legs and spade feet,
with fragment of trade label to the underneath
25 in. (64 cm.) high; 12 in. (30.5 cm.) square
700-1,000
800-1,200
$1,100-1,600
980-1,400
$1,300-1,900
1,200-1,700
PROVENANCE:
With Norman Adams, January 2002.
n*250
n*252
Strung overall, the hinged lid enclosing a red stained interior with nine
divisions, with carrying-handles, the base with tapering square legs and
castors
29 in. (75 cm.) high; 15 in. (39.5 cm.) square
1,200-1,800
800-1,200
118
$1,900-2,800
1,700-2,500
$1,300-1,900
1,200-1,700
n*253
n*254
$1,600-2,300
1,400-2,100
$1,900-2,800
1,700-2,500
n*255
A QUEEN ANNE WALNUT, BURR-WALNUT AND
FEATHERBANDED BUREAU
EARLY 18TH CENTURY
120
$3,900-6,200
3,500-5,600
*256
n*257
FRANCESCO PASCUCCI
(ITALIAN, ACTIVE AT THE END OF THE 18TH CENTURY)
oil on canvas
26 x 31 in. (66.8 x 79 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
$7,800-12,000
7,000-11,000
121
258
259
260
261
262
l*258
l*259
l*260
Rivire en Touraine
oil on canvas
18 x 21 in. (45.7 x 55 cm)
oil on canvas
15 x 18 in. (38.1 x 46.4 cm.)
oil on canvas
18 x 21 in. (35.7 x 54.6 cm.)
2,500-3,500
$3,900-5,400
3,500-4,900
PROVENANCE:
with Frost & Reed Ltd., London.
with Polak Mandells Gallery, St Helier, where acquired by
the present owner.
This work has been authenticated by Claudine Dyf and is
registered in the Dyf archives under no. 2907.
2,000-3,000
2,500-3,500
$3,900-5,400
3,500-4,900
PROVENANCE:
with Frost & Reed Ltd., London.
with Mandells Gallery, Norwich.
PROVENANCE:
with Frost & Reed Ltd., London.
with Mandells Gallery, Norwich.
l*261
l*262
oil on canvas
23 x 28 in. (59.6 x 73.1 cm.)
oil on canvas
24 x 29 in. (60.9 x 73.8 cm.)
3,000-5,000
3,500-5,500
$4,700-7,800
4,200-7,000
PROVENANCE:
with Galerie Robin, Cannes.
This work has been authenticated by Claudine Dyf and is
registered in the Dyf archives under no. 2467.
122
$3,200-4,700
2,800-4,200
$5,500-8,600
4,900-7,700
PROVENANCE:
with Frost & Reed Ltd., London.
with Mandells Gallery, Norwich.
This work has been authenticated by Claudine Dyf and is
registered in the Dyf archives under no. 2171.
*263
265
1,000-1,500
1,500-2,000
$1,600-2,300
1,400-2,100
$2,400-3,100
2,100-2,800
n*266
A GEORGE I WALNUT CLOSE STOOL
n*264
The hinged top enclosing leather, above a frieze drawer and simulated
drawers to each side, with bone handles and escutcheons, on slender
tapering reeded legs and brass caps and castors
30 in. (76 cm.) high; 16 in. (42 cm.) wide; 17 in. (44.5 cm.) deep
700-1,000
$1,100-1,600
980-1,400
$1,600-2,300
1,400-2,100
PROVENANCE:
With Norman Adams Ltd, London, where acquired by the late Mrs Barbara Overland.
123
n*267
A MATCHED PAIR OF ENGLISH WALNUT OVAL STOOLS
ONE EARLY 18TH CENTURY, THE OTHER 20TH CENTURY
$1,600-2,300
1,400-2,100
n*268
A GEORGE I WALNUT ARMCHAIR
LATE 17TH CENTURY
$2,400-3,900
2,100-3,500
n*269
A GEORGE I WALNUT, BURR-WALNUT AND
FEATHERBANDED SMALL BUREAU-CABINET
EARLY 18TH CENTURY
$3,900-6,200
3,500-5,600
n*270
A GEORGE I WALNUT AND CROSSBANDED CHEST
EARLY 18TH CENTURY
The moulded top above two short and three graduated long drawers on
bracket feet
36 in. (91.5 cm.) high; 37 in. (94.5 cm.) wide; 20 in. (51 cm.) deep
1,200-1,800
$1,900-2,800
1,700-2,500
n~*271
A REGENCY MAHOGANY AND ROSEWOOD
CROSSBANDED SOFA-TABLE
CIRCA 1815-20
The twin-fap top above two frieze drawers opposing false drawers, on a
central scroll support, downswept legs, lions-paw feet and castors
28 in. (73 cm.) high; 56 in. (144 cm.) wide; 25 in. (65.5 cm.) deep
1,200-1,800
$1,900-2,800
1,700-2,500
n*272
A LATE GEORGE III MAHOGANY WING ARMCHAIR
CIRCA 1800
$2,400-3,900
2,100-3,500
125
273
273
*273
AN EMBROIDERED SILK COLIFICHET PICTURE
EARLY 19TH CENTURY
$1,300-1,900
1,200-1,700
PROVENANCE:
The frst: with Queens Parade Antiques Ltd., Stow-on-the-Wold.
*274
AN ENGLISH WALNUT, SILK AND NEEDLEWORK MIRROR
EARLY 20TH CENTURY, IN THE MANNER OF LEONORA JENNER
$1,600-2,300
1,400-2,100
This embroidered mirror closely relates to the work of Leonora Jenner. Not much is
known about Mrs Jenner, but together with her husband Colonel Jenner, they lived at
Avebury Manor, Wiltshire and set about bringing the house and gardens back to their
former glory. There is a similar mirror at Avebury Manor that is now in the possession
of the National Trust.
*275
A CHARLES II EMBROIDERED SILKWORK PICTURE
CIRCA 1660
Depicting the three wise men and their camels speaking to a shepherd, a
church, tent, birds and insects in the background, in a moulded frame
12 in. x 16 in. (30.3 x 42.5 cm.)
1,000-1,500
275
$1,600-2,300
1,400-2,100
*276
A PAIR OF EARLY VICTORIAN CUT-FELT PICTURES
BY GEORGE SMART, FRANT, CIRCA 1840
One depicting Old Bright The Postman leading a donkey with Frant
church in the distance, on a painted background; the other depicting
The Goose Woman before a milestone with a castle and windmill in
the distance, on a painted background with makers paper label on the
reverse g. smart,/frant. neartunbridge wells, artist/in cloth and velvet
figures,/To his Royal highness/ The DUKE of SUSSEX
10 x 7 in. (26.1 x 19.7 cm.)
(2)
1,500-2,500
$2,400-3,900
2,100-3,500
LITERATURE:
R. Kenny, J. Mc Millan, M. Myrone, British Folk Art: The House that Jack Built, Tate, London,
2014, pp. 42-47.
George Smart (c.1775-1845) was, by trade a tailor in the village of Frant, near Tunbridge
Wells, Kent. Alongside his business, he made and sold pictures out of scraps of leftover
textiles. He referred to himself as Artist in Cloth and Velvet Figures to His Royal Highness
the Duke of Sussex. Often depicting portraits of local fgures, The Goosewoman is
known to have been Elisabeth Horne of Tunbridge Wells, and Old Bright the Postman
was the postman in the area at this time.
*277
A PAIR OF REGENCY SILKWORK COLIFICHET PICTURES
CIRCA 1800
$940-1,600
840-1,400
*278
n*280
MID-19TH CENTURY
1,200-1,800
800-1,200
$1,300-1,900
1,200-1,700
$1,900-2,800
1,700-2,500
PROVENANCE:
With Mallet, August 2001.
n*279
n*281
The back and arms with spindles, above a studded light-green velvet
upholstered seat, on moulded square legs and brass castors, with trade
label ANTIQUE FURNITURE/from/NORMAN ADAMS LTD/8-10
HANS ROAD, LONDON, S.W.3.
36 in. (93.5 cm.) high; 24 in. (61.5 cm.) wide; 22 in. (57 cm.) deep
600-1,000
PROVENANCE:
With Norman Adams Ltd., London.
128
$940-1,600
840-1,400
$1,100-1,600
980-1,400
*282
W284
With ogee, cup, funnel, bell and bucket bowls, comprising: a pair with
airtwist stems, eight with opaque-twist stems, six with colour-twist
stems, and one with incised-twist stem
6 in. (17.4 cm.)
(17)
Comprising: eight larger plates, eight smaller plates, a teapot and cover,
a large milk jug, a small milk jug, a circular sugar bowl, four tea cups and
saucers and eight coffee cups and saucers
The larger plates 8 in. (22.8 cm.) diameter
(45)
1,000-1,500
1,000-1,500
$1,600-2,300
1,400-2,100
$1,600-2,300
1,400-2,100
n*283
n*285
MID-18TH CENTURY
The shaped gallery with pierced handles, above a slide, drawer and a pair
of doors, the commode drawer adapted with maroon leather writing
surface
33 in. (85 cm.) high; 21 in. (55.5 cm.) wide; 17 in. (45 cm.) deep
700-1,000
500-800
$1,100-1,600
980-1,400
The galleried top with pierced handles above a pair of doors, the
commode drawer adapted with leather, on tapering square legs
28 in. (73 cm.) high; 20 in. (53 cm.) wide; 18 in. (47.5 cm.) deep
$780-1,200
700-1,100
PROVENANCE:
With Norman Adams Ltd., London.
129
286
287
l*286
l*287
the frst signed with initials CJH (lower right) and inscribed as titled
(lower left); the second signed with initials CJH (lower left) and
inscribed as titled (lower right)
oil on board
19 x 36 in. (50.2 x 91.5 cm); and similar
2,000-3,000
a pair (2)
$3,200-4,700
2,800-4,200
PROVENANCE:
the second with Polack Mandells Gallery, St Helier, where acquired by the present owner.
oil on board
26 x 18 in. (67.4 x 45.7 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
l*288
CHRISTOPHER JOHN HARRISON (B.1945)
Trompe loeil of Spanish maiolica pottery and a key
signed with initials CJH (lower right)
oil on board
20 x 36 in. (50.7 x 91.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
l*289
288
oil on board
19 x 40 in. (48.3 x 101.5 cm.)
1,000-1,500
PROVENANCE:
with John Birch Fine Art, London.
289
$1,600-2,300
1,400-2,100
l*290
EDWARD HENRY WINDRED (BRITISH, 1875-1953)
Prize racing pigeons: Brownie and Fifty Two
both signed E. H. Windred (lower right); the frst inscribed Mr J.
Dunsters. R.C.C Brownie NURP25VP. 118. & P.P. 25J. 1st Perth
363 miles Vel-942. 2nd Abbotts/Ripton.Victoria Park H.S.1st Dalston
& Dist. H.S.1st Nom L.N.R.Fed-100race & 2nd Fed.1073 birds/as
Young bird Flown.all Stages. to Broughty Ferry. Winner of Best Average
O.B.s.1927 (lower centre); the second inscribed Mr J.Dunsters B.C.C.
Fifty Two NURP26VP 52.PP52.1st Victoria Park HS.2nd Dalston Dist.
HS.6th London/North Rd Combine.Thurso 507 miles.also Best Old Bird
Average.all Races.Victoria Park H.S.1928 (lower centre)
oil on canvas
13 x 17 in. (34.9 x 43.8 cm.); and similar
a pair
1,000-1,500
(2)
$1,600-2,300
1,400-2,100
PROVENANCE:
with Robert Young, London, where acquired by the present owner.
*291
HENRY KOEHLER (AMERICAN, B. 1927)
Household Cavalry on parade
signed Henry KOEHLER (lower right)
$1,900-2,800
1,700-2,500
*292
HENRY KOEHLER (AMERICAN, B. 1927)
The stick stand
signed Henry KOEHLER (lower right)
$1,300-1,900
1,200-1,700
131
n*293
A GEORGE III POLYCHROME-PAINTED DUMMY-BOARD
LAST QUARTER 18TH CENTURY
$4,700-7,800
4,200-7,000
PROVENANCE:
Christopher Gibbs, The Manor House at Clifton Hampden; Christies house sale, 25-26
September 2000, lot 44.
The Housewife with her Broom was, according to Ned Ward in The London Spy, 1700,
very usually set up in Great Families as good Examples to Servant Wenches, to make
em mindful of their Cleanliness. One such sweeper featured amongst the cut out pieces
to stand upon the stairs that were listed in the inventory at Cobham Hall, Kent (1672),
and noted by John Abdy Repton in the Gentlemans Magazine, November 1845 (p. 590)
as a painting...cut out of a board. Such wooden templates large as life have also been
known since the 19th Century as picture board dummies. Dummy-boards had a variety
of purposes, but primarily they were used as whimsical decoration in private houses,
where they depicted maid servants or butlers who welcomed the guests. They were also
used to disguise empty freplaces in the summer. A pair of dummy-boards symbolising
Vanity and Industry (Industry shown holding a broom) in the costume of the mid-17th
Century were formerly at Sutton Park, Kent (C. Graham Dummy Boards and Chimney
Boards, Aylesbury, 1988, p. 13). A dummy-board of similar subject was sold Christies
London, 8 February 1996, lot 9.
n*294
A GEORGE III OAK AND CROSSBANDED WING ARMCHAIR
LATE 18TH CENTURY, PROBABLY LANCASHIRE
The shaped top rail and panelled back with fattened arms, the rope seat
with needlework squab cushion depicting vine leaves and grapes
46 in. (117.5 cm.) high; 31 in. (79.5 cm.) wide; 30 in. (76 cm.) deep
1,000-1,500
PROVENANCE:
With Avon Antiques.
132
$1,600-2,300
1,400-2,100
295
nW295
nW296
20TH CENTURY
The scrolled trellis back with central foliate motif, the slatted seat on
square legs
58 in. (148.5 cm.) high; 61 in. (155 cm.) wide; 16 in. (42.5 cm.) deep
The slatted arched back and seat above slightly splayed legs joined by
stretchers
47 in. (119.5 cm.) high; 102 in. (259 cm.) wide; 22 in. (56 cm.) deep
500-800
600-900
$780-1,200
700-1,100
296
$940-1,400
840-1,300
nW297
A SET OF FOUR GREY-PAINTED GARDEN CHAIRS
BY ANDREW CRACE, LATE 20TH CENTURY
Each with a trellis back and slatted seat; together with a circular table, one large bench and two
similar smaller benches, two chairs labelled, ANDREW CRACE/MUCH HADHAM and two labelled,
CRACE/MUCH HADHAM
Four chairs: 39 in. (99 cm.) high; 27 in. (69 cm.) wide; 24 in. (61 cm.) deep
Table: 28 in. (71 cm.) high; 42 in. (107 cm.) diameter
Larger bench: 38 in. (98.5 cm.) high; 78 in. (199.5 cm.) wide; 24 in. (61 cm.) deep
Two chairs: 36 in. (93.5 cm.) high; 33 in. (84 cm.) wide; 21 in. (53 cm.) deep
(8)
1,500-2,000
$2,400-3,100
2,100-2,800
The David Hicks interior of St Leonards Terrace, London, showing lots 327 and 328 (part) in situ, D. Hicks, David Hicks on Decoration, p. 57
136
The Samuels had long been keen collectors and their possessions
had been inherited, collected and assembled over many decades
and displayed all the characteristics of a discerning collectors eye.
Their collection of paintings ranged from Old Masters to the works
of the Impressionist Edouard Vuillard, the Victorian painter Atkinson
Grimshaw and the 20th-century artist Nicolas de Stal. Following
the death of Anthony Samuel in 2001 their London house was
sold. The de Stals and selected works of art, which could not be
accommodated at Woodbury House, were sold at Christies and the
collection from Woodbury House is now offered here following the
death of Mercy Samuel earlier this year.
AHS
298
A CHINESE WUCAI BALUSTER JAR
17TH CENTURY
$940-1,600
840-1,400
299
A PAIR OF FRENCH ORMOLU-MOUNTED BLEU
DU ROI PORCELAIN CANDELABRA
19TH CENTURY, OF LOUIS XVI STYLE
$1,300-1,900
1,200-1,700
300
A PAIR OF PARIS PORCELAIN BASKETS AND A
PAIR OF VASES
FIRST HALF 19TH CENTURY
138
$1,300-1,900
1,200-1,700
301
n302
2,000-3,000
10,000-15,000
140
$3,200-4,700
2,800-4,200
Each top inlaid with a radiating fan and a central ribbon medallion
fanked by scrolling foliage, above a futed frieze, on turned tapering
futed legs
32 in. (83 cm.) high; 63 in. (161.5 cm.) wide; 22 in. (57 cm.) deep
(2)
$16,000-23,000
14,000-21,000
303
ENGLISH FOLLOWER OF GIOVANNI ANTONIO CANAL, IL CANALETTO,
18TH CENTURY
The Strand front of Northumberland House, London, with the equestrian statue of Charles
I and fgures conversing
oil on canvas
30 x 49 in. (76.8 x 126.3 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
After the picture of 1753 in the Collection of the Duke of Northumberland at Alnwick Castle.
141
n304
A GEORGE IV GILTWOOD AND GILTCOMPOSITION CONVEX MIIRROR
CIRCA 1830
$1,300-1,900
1,200-1,700
305
A PAIR OF ITALIAN STRIATED MARBLE URNS
AND COVERS
MID-19TH CENTURY
$4,700-7,800
4,200-7,000
n306
A FINE KIRMAN LAVER CARPET, SOUTH PERSIA
CIRCA 1900
$1,900-2,800
1,700-2,500
307
A GEORGE III SILVER OVAL TEA CADDY
MARK OF HENRY CHAWNER, LONDON, 1790
Engraved with two bands of foliate motifs and diagonal bars, domed
cover with urn fnial and engraved futed border, the front with
octagonal cartouche with incurved corners, engraved with twin crests,
vis. a blackamoors head couped and a hand holding aloft a sword, the
back with a conforming vacant cartouche
5 in. (14 cm.) high
11 oz. (342 gm.)
1,000-1,500
$1,600-2,300
1,400-2,100
n308
A SET OF TEN VICTORIAN WALNUT DINING-CHAIRS
SECOND HALF 19TH CENTURY
309
A SET OF FOUR GEORGE III SILVER CANDLESTICKS AND A
PAIR OF TWIN-BRANCH CANDELABRA EN SUITE
MARK OF JOHN GREEN & CO., SHEFFIELD, 1799
Each with an elaborately carved shell top rail above a solid vase splat
with the crest and motto TIENS A LA VERITE, on a shaped drop-in
seat covered in grey and black with horse hair, on cabriole legs and clawand-ball feet
47 in. (119.5 cm.) high; 23 in. (58.5 cm.) wide; 22 in. (56 cm.) deep (10)
6,000-8,000
3,000-5,000
$4,700-7,800
4,200-7,000
$9,400-12,000
8,400-11,000
n310
$1,300-1,900
1,200-1,700
311
CIRCLE OF JAN FRANS VAN BLOEMEN,
LORIZZONTE
(ANTWERP 1662-1749 ROME)
A wooded landscape with fgures and goats by a
lake, a town and mountainous landscape beyond
oil on canvas
29 x 38 in. (73.7 x 98.4 cm.)
5,000-8,000
$7,800-12,000
7,000-11,000
PROVENANCE:
John Sargent of Halstead House and by descent to his
great great grand daughter,
Constance Rosamund Hankey
(according to a label on the reverse)
Colonel J.B. Hankey, Melrose
(according to a label on the reverse)
312
CIRCLE OF JOOS DE MOMPER
(ANTWERP 1564-1635)
A mountainous wooded river landscape with
a waterfall and buildings, fgures, horsemen, a
goatherd and goats on a path
oil on panel
22 x 36 in. (55.8 x 93.4 cm.)
5,000-10,000
$7,800-16,000
7,000-14,000
313
CIRCLE OF JAN JOSEPHS VAN GOYEN
(LEIDEN 1596-1656 THE HAGUE)
A river landscape with boats on the water, a village
with a windmill and a church on the shore beyond
oil on panel
15 x 23 in. (39.4 x 60.6 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
145
314
A GEORGE III ONSLOW PATTERN
SILVER SOUP LADLE
PROBABLY MARK OF JOHN LAMPFERT,
LONDON, 1771
$780-1,100
700-970
316
315
314
$940-1,200
840-1,100
316
~317
$940-1,200
840-1,100
$1,600-2,300
1,400-2,100
318
320
Of plain baluster form; together with a George III silver pepper, mark of
George Gray overstriking Peter and Ann Bateman, London, 1791, with
bead borders and trumpet foot; a George III oval mustard pot, mark of
John Mewburn, London, 1798, pierced with a band of stiff-leaves and a
band of slats and beads, domed cover with urn fnial, reeded borders
and crested cartouche, blue glass liner; a pair of George III oval salts
by Robert Hennell, London, 1777, with bead borders and conforming
pedestal bases, blue glass liners; and a pair of Old Sheffeld Plate sauce
tureens, circa 1820, oval on acanthus leaf and paw feet, with gadroon
and foral border and engraved coat-of-arms
The mug: 5 in. (12.7 cm.) high
Weighable silver 26 oz. (808 gm.)
(7)
1,200-1,800
$1,900-2,800
1,700-2,500
319
TWO FRENCH SILVER SPRUNG
SANDWICH SERVERS
ONE MARK OF A. DEBAIN, THE OTHER MARK
OF E. PUIFORCAT, BOTH PARIS, CIRCA 1900
800-1,200
$1,300-1,900
1,200-1,700
321
322
$1,100-1,200
980-1,100
$1,100-1,600
980-1,400
$940-1,200
840-1,100
147
n323
A PAIR OF NORTH EUROPEAN GILTWOOD
PIER MIRRORS
INCORPORATING 18TH CENTURY CREST ELEMENTS,
ADAPTED
$7,800-12,000
7,000-11,000
PROVENANCE:
With John Bell, Aberdeen.
n324
A PAIR OF CHINESE EXPORT BLACK AND GILTLACQUER CABINET STANDS
EARLY 19TH CENTURY
148
$3,900-6,200
3,500-5,600
n325
A PAIR OF GERMAN GILTWOOD PIER MIRRORS
MID-18TH CENTURY
Each later rectangular plate within a rocaille and foliatecarved frame, probably originally with sconces
55 in. (139 cm.) high; 22 in. (56 cm.) wide
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
LITERATURE:
D. Hicks, David Hicks on Decoration, London, 1966, p. 58.
n326
A LOUIS XV ORMOLU-MOUNTED BOIS SATINE,
ROSEWOOD, AMARANTH AND MARQUETRY
COIFFEUSE
BY GERARD PERIDIEZ, MID-18TH CENTURY
$3,200-4,700
2,800-4,200
LITERATURE:
D. Hicks, David Hicks on Decoration, London, 1966, p. 119.
Grard Pridiez, matre in 1761.
Grard Pridiez originally worked as an independent supplier for
merchants such a Lonard Boudin, Louis Nol Malle and probably Pierre
Migeon. Pridiez did open his own shop, but due to a fre in 1770 was
forced to close it, however he continued his production in the years
preceding the revolution. A coiffeuse of identical form, but lacking similar
mounts was sold anonymously at Drouot on 8 December, 1975, lot 11.
150
n327
n328
All covered in green velvet with carved ribbon-tied detail to the centre
of the top and seat rail, each stamped J.E ST GEORGES, decoration
refreshed
(6)
2,000-3,000
5,000-8,000
$3,200-4,700
2,800-4,200
LITERATURE:
D. Hicks, David Hicks on Decoration, London, 1966, p. 57.
$7,800-12,000
7,000-11,000
LITERATURE:
D. Hicks, David Hicks on Decoration, London, 1966, p. 57.
Jean tienne Saint-Georges (1723-1790) matre 10 April 1747, worked initially with his
father tienne Saint-Georges, before sharing a workshop with his brother-in-law Claude I
Sen. He is best known for his Transitional and Louis XVI seat furniture, with their strong
lines and good portions as demonstrated in this canap en corbeille and the six fauteuils
en suite (lot 328). A set of six Transitional fauteuils are in the collection of Muse des
Arts Dcoratifs, Strasbourg.
151
n~329
A LOUIS XVI ORMOLU-MOUNTED, IVORY, MOTHER-OFPEARL AND PEWTER-INLAID KINGWOOD. AMARANTH
AND PARQUETRY SECRETAIRE A ABATTANT
BY CLAUDE MATHIEU MAGNIEN, CIRCA 1780
$24,000-39,000
21,000-35,000
This striking secrtaire motifs darchitecture forms part of a group of furniture decorated
with marquetry panels depicting classical capricci and views of Rome. These marquetry
panels were admired for their painterly effect and evoked memories of sights seen and
sensations experienced while on the Grand Tour. Architectural marquetry panels were
often inspired by the works of Giovanni Battista Piranesi (1720-1778) and Hubert Robert
(1733-1808), while other pictorial marquetry panels featuring arcaded ruins were often
based on engraved sources, for instance a series of eight engravings by P.-F. Basan, derived
from a painting by P.-A. de Machy (1723-1807), who was acknowledged as an expert
painter of architecture and ruins: in LAvant-Coureur, 23 January 1764, he was described
as lunique en ce genre (G. de Bellaigue, Ruins in Marquetry, Apollo, January 1968, p. 20).
These pictorial marquetry panels are frequently very closely related while being stamped
by various bnistes, rendering a frm attribution to the marquetry diffcult. It has been
convincingly suggested that specialist marqueteurs, such as Christophe Wolff (matre
in 1755), Charles Topino (matre in 1773) and Andr-Louis Gilbert (matre in 1774),
supplied marquetry panels to other bnistes to construct their own furniture around
(G. de Bellaigue, Engravings and the French Eighteenth-Century Marqueteur, Burlington
Magazine, May 1965, pp. 240-250 and July 1965, pp. 356-363). This is almost certainly
the case for the present secrtaire stamped by Claude Mathieu Magnien, who, in addition
to his own atelier, also ran a magasin de toutes sortes de meubles where it is possible he
stamped furniture by other craftsmen (P. Kjellberg, Le Mobilier Franais du XVIIIme sicle,
Paris, 1989, p. 542).
n330
AN EARLY LOUIS XV ORMOLU-MOUNTED KINGWOOD
COMMODE
CIRCA 1730-40
The moulded serpentine shaped brche dAlep marble top above two
short and one long drawer, mounted with rocaille, scallop-shell and
foliate handles and c-scroll and shell escutcheons, above a confronting
C-scroll, foliate and rocaille apron mount, on cabriole legs and sabots,
with spurious ink stamp 1012, partially re-mounted
33 in. (84 cm.) high; 58 in. (147 cm.) wide; 26 in. (66 cm.) deep
20,000-30,000
$32,000-47,000
28,000-42,000
The overall shape and ormolu mounts of this commode echo the elegant designs of the
bnistes Jacques-Philippe Carel (matre in 1723), Jean Desforges (matre before 1730)
and Bernard II van Risen Burgh, BVRB (matre in 1730). A strong similarity in form can
be seen in a drawing of a commode by BVRB in the State Archives, Munich (illustrated).
BVRB supplied the majority of the commodes ordered circa 1733 for the refurnishing of
the Munich Residenz by Elector Charles-Albert of Bavaria (G. Hojer & H. Ottomeyer, Die
Mbel der Residenz Mnchen, Munich, 1995, vol. I, p. 89).
The distinctive apron mount of confronting C-scrolls, though, was employed on
commodes by Jean Desforges and Jacques-Philippe Carel. Carel - at the same time as
BVRB also supplied a commode to the Residenz in Munich via the marchand-mercier
Charles Darnault, which was veneered with trellis parquetry and mounted with very
closely-related chutes, as well as the distinctive apron mount seen on this commode.
The commode supplied by Desforges to the duchesse de Richelieu circa 1745-9; the
commode attributed to Desforges from the property of a Swiss collector, sold Christies,
London, 4 July 2013, lot 14 and the magnifcent matched pair of commodes veneered
in Chinese and Japanese lacquer in the Riahi Collection, sold Christies, London, 6
December 2012, lot 40, attributable to either BVRB or Desforges, all feature this same
apron mount (A. Pradre, Les Ebnistes Franais, Paris, 1989, p. 176). Moreover, another
comparable example stamped by Carel, with similar parquetry decoration, was sold from
the collection of Viscount Abercorn, Christies, London, 26 June 1929, lot 118.
153
331
333
$1,600-2,300
1,400-2,100
$1,900-2,800
1,700-2,500
n332
n334
1,000-1,500
700-1,000
154
$1,600-2,300
1,400-2,100
335
CIRCLE OF ALESSANDRO
MAGNASCO, IL LISSANDRINO
(GENOA 1667-1749)
A Quaker sermon
inscribed XIINXTCIXI / VIVIXI VCX / OVVI
IX / TVI (centre, on the pedestal)
oil on canvas
32 x 27 in. (82.3 x 70.2 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
336 No Lot
337
FOLLOWER OF DAVID TENIERS II
A winter landscape with fgures slaughtering a
pig in a village, and others skating on the ice
oil on canvas
28 x 36 in. (71.1 x 92.1 cm.)
2,000-3,000
$3,200-4,700
2,800-4,200
155
338
A MATCHED PAIR OF LOUIS XV STYLE
ORMOLU-MOUNTED CHINESE TURQUOISEGLAZED JARDINIRES
THE PORCELAIN BOTH WITH YONGZHENG SEAL MARKS
AND POSSIBLY OF THE PERIOD (1723-1735),
THE MOUNTS 19TH CENTURY
$6,300-9,300
5,600-8,300
n339
A FRANCO-FLEMISH VERDURE TAPESTRY
FRAGMENT
LATE 16TH/EARLY 17TH CENTURY
156
$4,700-7,800
4,200-7,000
340
A PAIR OF JAPANESE KUTANI VASE LAMPS
MEIJI PERIOD (1868-1912)
$1,100-1,600
980-1,400
n341
A PAIR OF FRENCH GILTWOOD FAUTEUILS
SECOND HALF 19TH CENTURY, OF LOUIS XVI STYLE
$2,400-3,900
2,100-3,500
n342
A PAIR OF BUTTONED-BACK
KIDNEY-SHAPED SOFAS
LATE 20TH CENTURY
(2)
$940-1,600
840-1,400
343
345
$1,100-1,600
980-1,400
$780-1,200
700-1,100
344
346
oil on canvas
26 x 36 in. (67.3 x 91.6 cm.)
2,000-4,000
158
oil on board
12 x 10 in. (31.6 x 26 cm.)
1,500-2,500
$2,400-3,900
2,100-3,500
347
A PAIR OF CHINESE SANG-DE-BOEUF
VASE LAMPS
Each baluster vase covered in an even deep red glaze with
a mushroom rim and base, adapted as lamps
The porcelain 15 in. (39 cm) high, with shades and ftted
for electricity
(2)
700-1,000
$1,100-1,600
980-1,400
348
A FRENCH ORMOLU-MOUNTED WHITE
MARBLE MANTEL TIMEPIECE
19TH CENTURY, OF LOUIS XVI STYLE, THE MOVEMENT
ASSOCIATED
$1,600-3,100
1,400-2,800
349
A CHARLES X ORMOLU AND BRONZE ENCRIER
LATE 18TH/EARLY 19TH CENTURY
160
$940-1,600
840-1,400
350
CIRCLE OF JOHN WOOTTON
(SNITTERFIELD C. 1682-1764 LONDON)
Two greyhounds in a wooded landscape with Parham House and a
temple beyond
oil on canvas
58 x 59 in. (149.5 x 150.2 cm.)
10,000-15,000
Parham Park situated in West Sussex, was originally owned by the Abbey of Westminster.
The house was granted to Robert Palmer by King Henry VIII in 1540. The foundation
stone of the Elizabethan house was laid in 1577 by the two year old Thomas Palmer
and was subsequently bought in 1597 by Thomas Byshopp (later Sir Thomas Byhopp,
1st Baronet). The house and its estate remained within the descendents of the Byshopp
family until acquired in 1922 by the Hon. Clive Pearson, younger son of the 1st Viscount
Cowdray and together with his wife opened the house and gardens to the public in 1948.
$16,000-23,000
14,000-21,000
161
351
A PAIR OF CHINESE MANDARIN PATTERN FAMILLE ROSE
VASES AND COVERS
QIANLONG PERIOD 1736-1795
Each cover applied with a Buddhist lion fnial, the body applied with
stylised dragon handles, brightly enamelled with panels of fgures at
leisure in pavilions and courtyards with river landscapes beyond, all
reserved on a gilt and iron-red geometric ground
13 in. (34.2 cm.) high
(2)
500-800
$780-1,200
700-1,100
n352
AN ITALIAN WHITE MARBLE BUST OF DANTE
19TH CENTURY
$2,400-3,900
2,100-3,500
n353
A LOUIS XV ORMOLU-MOUNTED KINGWOOD,
TULIPWOOD AND MARQUETRY BOMBE COMMODE
MID-18TH CENTURY
The serpentine shaped Rouge de Maine marble top above two long
drawers inlaid sans traverse with a musical trophy and foliage, on splayed
legs and sabots, partially re-mounted
33 in. (84 cm.) high; 50 in. (127 cm.) wide; 25 in. (65 cm.) deep
5,000-8,000
$7,800-12,000
7,000-11,000
163
n354
A PAIR OF ITALIAN MARBLE BUSTS OF
GETA AND PLAUTILLA
CIRCLE OF BARTOLOMEO CAVACEPPI (17161799), LATE 18TH CENTURY
(2)
$6,300-9,300
5,600-8,300
n355
A PAIR OF ONYX AND WHITEMARBLE CYLINDRICAL COLUMN
PEDESTALS
19TH CENTURY
On square bases
44 in. (112 cm.) high
4,000-6,000
164
(2)
$6,300-9,300
5,600-8,300
n356
AN ENGLISH WHITE-PAINTED MIRROR
20TH CENTURY, OF CHIPPENDALE STYLE
$1,300-1,900
1,200-1,700
n357
A GEORGE I WALNUT AND
FEATHERBANDED BUREAU-CABINET
CIRCA 1710
$6,300-9,300
5,600-8,300
165
358
A PAIR OF CONTINENTAL PORCELAIN VASES
AS LAMPS
20TH CENTURY
$940-1,200
840-1,100
n359
A LOUIS XVI CREAM-PAINTED BANQUETTE
LATE 18TH CENTURY
Re-covered in cornfower blue brushed cotton, on stopfuted legs headed by patera, later decorated
19 in. (48 cm.) high; 39 in. (99 cm.) wide;
16 in. (40.5 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n360
A GEORGE II WALNUT AND CROSSBANDED
CHEST-ON-STAND
CIRCA 1730
$1,600-2,300
1,400-2,100
n361
A GILTWOOD RECTANGULAR
MIRROR
EARLY 20TH CENTURY
$1,100-1,600
980-1,400
n362
n~363
$1,300-1,900
1,200-1,700
$1,300-1,600
1,200-1,400
167
n364
A LATE LOUIS XV ORMOLU-MOUNTED BOIS SATINE AND
TRELLIS PARQUETRY OCCASIONAL TABLE
CIRCA 1770
$2,400-3,900
2,100-3,500
n365
A COLONIAL BRASS-MOUNTED HARDWOOD
FOUR-POSTER BED
SECOND HALF 19TH CENTURY
With turned supports, the head and footboards centred by a shell and
fanked by reeded S-scrolls
500-800
168
$780-1,200
700-1,100
n366
A LOUIS XVI PROVINCIAL BEECH CANED FAUTEUIL DE BUREAU
LATE 18TH CENTURY
With a later red cushion, on tapering futed legs, restorations; together with a beech caned
bergere, 19th century, of Louis XVI style
34 in. (87 cm.) high; 25 in. (64 cm.) wide; 23 in. (59 cm.) deep
30 in. (77 cm.) high; 28 in. (71 cm.) wide; 24 in. (61 cm.) deep
500-1,000
(2)
$780-1,600
700-1,400
n367
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, BOIS SATINE AND
FLORAL MARQUETRY SEMAINIER
THIRD QUARTER 18TH CENTURY
The serpentine grey-veined white marble top above seven drawers inlaid with foliage, later
re-mounted
55 in. (141 cm.) high; 22 in. (57 cm.) wide; 13 in. (35 cm.) deep
2,000-3,000
n368
$3,200-4,700
2,800-4,200
The padded back, scroll ends and squab cushion covered in printed foliate cotton, on splayed
reeded legs, two legs repaired
32 in. (82 cm.) high; 70 in. (178 cm.) long; 26 in. (66 cm.) deep
700-1,000
$1,100-1,600
980-1,400
END OF SALE
169
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
8 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve, the
auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of 5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights or remedies
we have by law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
EU VAT registered
buyer
* and
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
No Symbol and
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to,
mark a lot.
Important Notices
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified
in the catalogue with the symbol next to its lot
number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an advance
to the consignor that is secured solely by consigned
property. Where Christies holds such financial interest
on its own we identify such lots with the symbol
next to the lot number. Where Christies has financed
all or part of such interest through a third party the
lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold, and will be remunerated
in exchange for accepting this risk based on a fixed
fee if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss.
Third party guarantors are required by us to disclose
to their clients their financial interest in any lots they
are guaranteeing. However, for the avoidance of any
doubts, if you are advised by or bidding through an
agent on a lot identified as being subject to a third
party guarantee you should always ask your agent
to confirm whether or not he or she has a financial
interest in relation to the lot.
174
EUROPEAN CERAMICS
A piece catalogued with the name of a factory, place
or region without further qualification was, in our
opinion, made in that factory, place or region (e.g.
A Worcester plate).
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
A plate in the Worcester style
In our opinion a copy or imitation of pieces made in
the named factory, place or region.
A Svres-pattern plate
In our opinion not made in the factory, place or
region named but using decoration inspired by
pieces made therein.A Pratt-ware plate
In our opinion not made in the factory, place or
region named but near in the style or period to
pieces made therein.
A Meissen cup and saucer
In our opinion both were made at the factory named
and match.
A Meissen cup and a saucer
In our opinion both pieces were made at the factory
named but do not necessarily match.
Modelled by
In our opinion made from the original master
mould made by the modeller and under his
supervision.After the model by
In our opinion made from the original master mould
made by that modeller but from a later mould based
on the original.
Painted by
In our opinion can properly be attributed to that
decorator on stylistic grounds.
175
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
BELGIUM
BRUSSELS
DELHI
SPAIN
BARCELONA
ISRAEL
TEL AVIV
MADRID
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
ITALY
MILAN
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
PORTUGAL
LISBON
E MA I L info@christies.com
14/04/15
177
INDIAN
CONTEMPORARY ART
POSTERS
PRINTS
JAPANESE
WORKS OF ART
JEWELLERY
AUSTRALIAN PICTURES
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SWISS ART
MINIATURES
TOPOGRAPHICAL
PICTURES
MODERN DESIGN
ORIENTAL CERAMICS
AND WORKS OF ART
SILVER
TWENTIETH CENTURY
BRITISH ART
EUROPEAN CERAMICS
AND GLASS
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
MUSICAL INSTRUMENTS
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
PRIVATE SALES
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
VALUATIONS
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
info@christiesrealestate.com
info@christiesrealestate.com
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
PHOTOGRAPHS
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
AUCTION SERVICES
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
09/04/15
178
Contacts
59 June 2015
8 King Street
London SW1Y 6QT
Marcus Rdecke
mradecke@christies.com
Jacques-Antoine Gannat
jagannat@christies.com
+44 (0)20 7389 2217
christies.com
POWELL, ANTHONY. [A DANCE TO THE MUSIC OF TIME]. LONDON: WILLIAM HEINEMANN LTD., 1951-1975. 12 VOLUMES,
FIrsT edITIons, PresenTaTIon CoPIes To anThonY hoBson. a CoMPLeTe seT oF PoWeLLs MasTerPIeCe
5,000-8,000
Modern Literature:
The Personal Collection of Anthony Hobson
London, South Kensington 10 June 2015
Viewing
Contact
59 June 2015
85 Old Brompton Road
London SW7 3LD
Sophie Hopkins
shopkins@christies.com
+44 (0)20 7752 3144
christies.com
Contact
13-17 June
20 Rockefeller Plaza
New York, NY 10020
Katie Banser-Whittle
kbanser@christies.com
+1 212 707 5991
christies.com
Contact
Pippa Jacomb
pjacomb@christies.com
+44 (0)20 7389 2293
christies.com
Contact
4 7 July
85 Old Brompton Road
London SW7 3LD
Victoria Koehn
vkoehn@christies.com
+44 (0) 20 7752 3055
Contact
46 July 2015
8 King Street
London SW1Y 6QT
Benjamin Peronnet
bperonnet@christies.com
+44 (0)20 7389 2272
christies.com
Contact
49 July 2015
8 King Street
London SW1Y 6QT
Freddie de Rougemont
frougemont@christies.com
+44 (0)20 7389 2415
christies.com
186
Written bids must be received at least 24 hours before the auction begins.
Christies will confirm all bids received by fax by return fax. If you have not received
confirmation within one business day, please contact the Bid Department.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
11567
Client Number (if applicable)
Sale Number
BIDDING INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments) of up to 10 per cent.
The auctioneer will decide where the bidding should
start and the bid increments. Written bids that do not
conform to the increments set below may be lowered
to the next bidding interval.
UK50 to UK 1,000
by UK50s
UK1,000 to UK2,000
by UK100s
UK2,000 to UK3,000
by UK200s
UK3,000 to UK5,000
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000
by UK1,000s
UK20,000 to UK30,000
by UK2,000s
UK30,000 to UK50,000
UK50,000 to UK100,000
by UK5,000s
UK100,000 to UK120,000
by UK10,000s
Above UK200,000
at auctioneers discretion
Post Code
Daytime Telephone
Evening Telephone
Fax (Important)
Please tick if you prefer not to receive information about our upcoming sales by e-mail
I have read and understood thIs WrItten BId Form and the CondItIons oF sale - Buyers agreement
Signature
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or
passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank
statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore
companies or partnerships: please contact the Compliance Department at +44(0)20 7839 9060 for advice on
the information you should supply. If you are registering to bid on behalf of someone who has not previously
bid or consigned with Christies, please attach identification documents for yourself as well as the party on
whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients,
clients who have not made a purchase from any Christies office within the last two years, and those wishing
to spend more than on previous occasions will be asked to supply a bank reference.
The auctioneer may vary the increments during the course of the
auction at his or her own discretion.
1. I request Christies to bid on the stated lots up to the
maximum bid I have indicated for each lot.
2. I understand that if my bid is successful the amount payable
will be the sum of the hammer price and the buyers
premium (together with any taxes chargeable on the hammer
price and buyers premium and any applicable Artists Resale
Royalty in accordance with the Conditions of Sale - Buyers
Agreement). The buyers premium rate shall be an amount
equal to 25% of the hammer price of each lot up to and
including 50,000, 20% on any amount over 50,000 up to and
including 1,000,000 and 12% of the amount above 1,000,000.
For wine and cigars there is a flat rate of 17.5% of the hammer
price of each lot sold.
3. I agree to be bound by the Conditions of Sale printed in
the catalogue.
4. I understand that if Christies receive written bids on a lot for
identical amounts and at the auction these are the highest bids on
the lot, Christies will sell the lot to the bidder whose written bid
it received and accepted first.
5.
Written bids submitted on no reserve lots will, in the
absence of a higher bid, be executed at approximately 50% of the
low estimate or at the amount of the bid if it is less than 50%
of the low estimate.
I understand that Christies written bid service is a free service
provided for clients and that, while Christies will be as careful as
it reasonably can be, Christies will not be liable for any problems
with this service or loss or damage arising from circumstances
beyond Christies reasonable control.
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
Code
L187
L100
L49
L99
L225
L224
L226
Subscription Title
Furniture and Works of Art
Centuries of Style: Silver, European Ceramics,
Portrait Miniatures and Gold Boxes
European Noble & Private Collections
Oriental Rugs and Carpets
Private Collections and House Sales
The English Collector
The European Connoisseur
The Opulent Eye 19th Century
furniture and sculpture
Location
Issues
UKPrice
US$Price
EURPrice
King Street
48
76
72
King
King
King
King
King
King
Street
Street
Street
Street
Street
Street
2
2
6
2
2
2
48
48
171
48
48
48
76
76
285
76
76
76
72
72
262
72
72
72
York
York
York
York
1
2
9
12
21
42
103
114
33
67
171
190
31
63
154
175
N18
N218
N96
N223
American Silver
European Silver
Interiors
Decorative Arts Europe
New
New
New
New
P22
P96
Paris
Paris
2
3
38
19
61
30
57
29
K50
K96
South Kensington
South Kensington
2
32
38
361
61
578
57
542
South Kensington
South Kensington
4
6
38
57
61
91
57
86
Worldwide
Worldwide
2
2
48
48
76
76
72
72
K127
K132
W39
W227
European Sculpture
The Exceptional Sale
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Photographs, Posters and Prints Impressionist and Modern Art
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Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairwoman and CEO
Stephen Brooks, Global Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Hlose Temple-Boyer,
Jussi Pylkknen, Global President
CHRISTIES EMERI
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Olivier Camu, Roland de Lathuy,
Eveline de Proyart, Philippe Garner,
Roni Gilat-Baharaff, Richard Knight,
Francis Outred, Christiane Rantzau,
Andreas Rumbler, Franois de Ricqles,
Jop Ubbens, Juan Varez
ADVISORY BOARD
Pedro Girao, Chairman,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece,
Marquesa de Bellavista Mrs Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
CHRISTIES UK
CHAIRMANS OFFICE
Orlando Rock, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Simon Andrews, Daniel Baade,
Philip Belcher, Jeremy Bentley,
Ellen Berkeley, Jill Berry, Peter Brown,
James Bruce-Gardyne, Sophie Carter,
Benjamin Clark, Christopher Clayton-Jones,
Karen Cole, Isabelle de La Bruyere,
Leila de Vos, Nicole Dembinska,
Paul Dickinson, Harriet Drummond,
Julie Edelson, Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Karen Harkness, Philip Harley, James Hastie,
Karl Hermanns, Paul Hewitt, Rachel Hidderley,
Mark Hinton, Nick Hough, Michael Jeha,
Donald Johnston, Erem Kassim-Lakha,
Nicholas Lambourn, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Clarice Pecori-Giraldi,
Benjamin Peronnet, Henry Pettifer, Steve Phipps,
Will Porter, Paul Raison, Tara Rastrick,
Amjad Rauf, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Alexandra Baker, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Lucy Campbell, Jason Carey, Sarah Charles,
Romilly Collins, Ruth Cornett, Nicky Crosbie,
Armelle de Laubier-Rhally, Sophie DuCret,
Anna Evans, Arne Everwijn, Adele Falconer,
Nick Finch, Emily Fisher, Peter Flory,
Elizabeth Floyd, Christopher Forrest,
Giles Forster, Sarah Ghinn, Zita Gibson,
Alexandra Gill, Sebastian Goetz, John Green,
Simon Green, David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Kate Hunt, Simon James,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok,
Robert Lagneau, Joanna Langston, Tina Law,
Darren Leak, Adriana Leese, Brandon Lindberg,
Laura Lindsay, David Llewellyn, Murray Macaulay,
Sarah Mansfield, Nicolas Martineau,
Roger Massey, Joy McCall, Neil McCutcheon,
Daniel McPherson, Neil Millen, Edward Monagle,
Jeremy Morgan, Leonie Moschner,
Giles Mountain, Chris Munro, Rupert Neelands,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
23/04/15