3 Garcoins - Catalogue

WEDNESDAY 5 MARCH 2014
LONDON, SOUTH KENSINGTON

Wednesday 5 March 2014
AUCTI ON
Wednesday 5 March 2014 at 10.30 am
85 Old Brompton Road,
South Kensington,
London SW7 3LD
VI EWI NG
Saturday 1 March 11.ooam - 5.00pm
Sunday 2 March 11.ooam - 5.00pm
Monday 3 March 9.ooam - 7.30pm
Tuesday 4 March 9.ooam - 5.00pm
AUCTI ONEERS
Nic McElhatton
Gemma Sudlow
Arne Everwijn
AUCTI ON CODE AND NUMBER
In sending absentee bids or making
enquiries, this sale should be referred
to as GARONS- 5027
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US: +1 212 703 8080
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CONDI TI ONS OF SALE
This auction is subject to
Important Notices,
Conditions of Sale and
to reserves.
[30]
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2
Private Collections and Country House Sales
Andrew Waters
Director of Sales, Decorative Arts,
London and Head of Department
Orlando Rock
Executive Director,
International Head of Decorative Arts
Amjad Rauf
Director of European Collections
Amelia Walker
Associate Director,
Specialist Head of Department
Adrian Hume-Sayer
Associate Director, Specialist
Charlotte Young
Specialist
Gemma Sudlow
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International Business Director,
Decorative Arts
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Flora Turnbull
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Alexandra Cruden
Administrator
Caitlin Yates
Cataloguer
Katharine Cooke
Administrator
3
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Michel Lasserre, Stefan Karlsson and Hassan Abdullah, photographed at Les Trois
Garons, Shoreditch, Lorenzo Agius
Michel Lasserre, Hassan Abdullah, and Stefan Karlsson Les Trois Garons are best known for
their restaurant of the same name in Londons fashionable Shoreditch. The fabulous trio met
more than twenty ve years ago and, with their shared passion for design, ran a successful
business as antique dealers and interior designers, before making the move East from their
then home in North London. It must have seemed highly unorthodox to many when, in 1996,
the garons acquired the four storey Victorian pub at 1 Club Row in the heart of Shoreditch as
their home, and subsequently as the site of their now famous restaurant. At that time it was not
the fashionable area familiar today, but was a rather neglected, if well located corner of town.
Not to be deterred and steadfast in their vision, Hassan, Michel and Stefan worked tirelessly to
renovate and convert the building and in 2000 Les Trois Garons, opened its doors.
It was the rst restaurant of its kind, not only in Shoreditch but anywhere. With its unique
interiors, mixing old and new, it brought together a fantastic blend of the surreal, the chic
and the eccentric to create a unique and visually rich mise-en-scne, and with its sumptuous
classic French cuisine, the garons soon found themselves inundated with visitors. Foodies,
celebrities and bankers alike all beat a path to their door wanting relief from the standard
west end offerings and to experience the unique pleasures of Les Trois Garons. In short
the restaurant became a destination, and remains so today, counting amongst its illustrious
patrons such well-known personalities as: Nicole Kidman, Gwyneth Paltrow, Grace Jones, Ely
Golding, Kate Moss, Valentino, Miuccia Prada, Damien Hirst, and Madonna, to name but a few.
In addition to the restaurant they run their own interior design practice, L3G Design, as well
as their equally colourful cocktail bar, Loungelover, and caf-cum-design shop, Maison Trois
Garons, all from their Shoreditch apartment above the restaurant.
LES TROIS GARONS
Some years ago the trio purchased the secluded fairytale Chteau de la Goujeonnerie in the
Vende region of France, as a place of retreat from the hustle and bustle of their glamorous
London lives. The magical chteau presented them with the perfect project, derelict when
they acquired it, it was a truly blank canvas on which they have stamped their inimitable style.
Treating each room as an individual space in which to evoke a different mood, both with their
daring use of colour and their bold juxtapositions of antique furniture with striking 20th century
design, they created a unique atmosphere. Although where their skill is truly realised is in the
unity of these very different spaces, which so perfectly inhabit their sublime surroundings.
However with the pressures of their busy lives the garons seldom have chance to enjoy their
retreat and so have decided to simplify their lives by selling the collection from the chteau,
along with some of the collection from their London home and selected iconic pieces from
Les Trois Garons and Loungelover. AHS
We believe that we never really own anything, we are just guardians of beautiful objects
for the next generation, so enjoy and have fun with them while you can.
Hassan, Michel, Stefan
6
THE CHTEAU
DE LA GOUJEONNERIE
7
Design is both a passion and a business for us; collecting is a compulsion, it always has been
we love beautiful things. We bought the chteau as a retreat but in recent years our Shoreditch
businesses have grown, our interior design practice has really taken off, and we have just
launched a range of furniture designed by Hassan as well, so we have little spare time to spend
there. We have now realized that we need to simplify our lives, so have decided to sell some
of our collection and hope that others will enjoy these wonderful objects as much as we have.
Hassan, Michel, Stefan
Les Trois Garons
8
1
A GROUP OF FOUR FRENCH
WALNUT TOADSTOOLS
SECOND HALF 20TH CENTURY
Naturalistically carved, applied with a grey
wash
Largest: 24 in. (62 cm.) high (4)
500-800 $840-1,300
610-970
2
A PAIR OF WHITE-PAINTED
COMPOSITION STONE HEADS
Naturalistically modelled
13 in. (33.5 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
n 3
TWO AFRICAN WENGE LARGE
MASKS
CONGOLESE, FIRST HALF 20TH CENTURY
Modelled as a male and female, the male
wearing a headdress and the female with her
hair tied
Male: 37 in. (94 cm.) high; Female: 34 in.
(87.5 cm.) high (2)
2,000-3,000 $3,400-5,000
2,500-3,600
9
The Entrance Hall
10
n 6
A FRENCH LIMESTONE URN ON A
PERSPEX PEDESTAL
THE URN 19TH CENTURY, THE PEDESTAL
MODERN
The urn decorated overall with vine leaves,
grapes, birds and female masks
Urn: 19 in. (48 cm.) high; 22 in. (56 cm.)
diameter
Pedestal: 41 in. (105 cm.) high (2)
800-1,200 $1,400-2,000
970-1,500
5
A SET OF FOUR GILT-BRONZE
TWIN-LIGHT WALL-APPLIQUES
Each surmounted with a ribbon-tie cresting, the
backplates centred with an oval oral paterae
27 in. (68.5 cm.) high (4)
800-1,200 $1,400-2,000
970-1,500
n 4
AN ITALIAN WHITE PAINTED
METAL AND MOULDED GLASS
DANDELION HEAD CEILING
LIGHT
1970s
The central ten lights within a radiating
framework of rods mounted with glass disc
46 in. (117 cm.) high; 28 in. (72.5 cm.)
diameter
2,000-3,000 $3,400-5,000
2,500-3,600
n ~8
A PAIR OF MOTHER-OF-PEARL INLAID BLACK-
JAPANNED BOMBE CHESTS
THIRD QUARTER 19TH CENTURY, POSSIBLY FRENCH
Each with hinged lid above a shaped front-panel, decorated
throughout with Chinoiserie on later slender cabriole legs
39 in. (99 cm.) high; 58 in. (148 cm.) wide; 17 in. (43 cm.) deep (2)
2,500-4,000 $4,200-6,600
3,100-4,900
n 7
A PAIR OF TAXIDERMY UNICORNS
(EQUUS CABALLUS)
20TH CENTURY
Each tted with a modern simulated narwhal tusk horn
60 in. (152.5 cm.) high; 39 in. (99 cm.) long (2)
4,000-6,000 $6,700-10,000
4,900-7,300
12
n 9
A SWEDISH LARGE GILTWOOD STRIKING
CARTEL CLOCK
EARLY 20TH CENTURY, WITH MOVEMENT BY LENZKIRCH,
GERMANY
The case, with presentation plaque to reverse, the painted dial with
pierced gilt-brass hands, the twin barrel movement with dead beat
escapement and count wheel strike to bell, back plate stamped
LENZKIRCH AUG/ 1 MILLION/ 717141, pendulum lacking
41 in. (105.4 cm.) high; 25 in. (64.7 cm.) wide
1,500-2,500 $2,500-4,200
1,900-3,000
n 10
TWO POLYCHROME WOOD MODELS OF SEATED
GREYHOUNDS
LATE 20TH CENTURY
31 in. (79 cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 11
A GUSTAVIAN WHITE-PAINTED SOFA
LATE 18TH CENTURY
The curved panelled ends each decorated in a relief with a sphinx,
the padded back with three lose cushions above a stuff-over seat on
turned, leaf-carved legs, covered in buff nubuck
33 in. (85 cm.) high; 72 in. ( 184 cm.) wide; 29 in. (73.5 cm.)
deep
2,000-3,000 $3,400-5,000
2,500-3,600
n 12
A PAIR OF FRENCH GILT-METAL AND GLASS FIVE-
LIGHT WALL-APPLIQUES
CIRCA 1935, ATTRIBUTED TO BAGUES FRERES
The foliate shaped back-plates issuing branches mounted with
cut glass oral plaquettes and hand-made glass beads , the curved
branches with candleholders and frosted glass lotus-leaf shades and
minor losses and replacements, redecorated
66 in. (169 cm.) high (2)
5,000-8,000 $8,400-13,000
6,100-9,700
Bagus Frres were noted for their production of a wide variety of luxurious
lighting and were especially well known for their spare, contemporary
interpretations of period styles, particularly Louis XVI, using fountains, fruit,
owers, animals and even a galleon as subjects see lot 339. Their preferred
media, well illustrated in this example, was clear or opalescent glass set in
rich contrast with silvered or gilt metalwork.
A stylistically close chandelier by Bagus was sold The Light Christies,
London, 10 May 2000, lot 97 (15,275 incl.).
13
14
n 14
A PAIR OF LOUIS XVI-
STYLE ORMOLU-MOUNTED
GILTWOOD BERGERES
LATE 19TH/EARLY 20TH CENTURY
Each with shaped wing-back above a
serpentine seat with squab-cushion on
turned and uted tapering legs
45 in. (114 cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 13
A FRENCH BEADED-GLASS
TEN-LIGHT CHANDELIER
1960s-70s
Modelled as a basket with glass and tole-
peinte owers, hung by four chains from a
smaller basket-form corona
38 in. (97 cm.) high (approx.)
5,000-8,000 $8,400-13,000
6,100-9,700
15
The Gold Room
16
15
A PAIR OF RUSSIAN ORMOLU CANDLESTICKS
CIRCA 1820-30, LATER MOUNTED AS CANDELABRAS
With engine turned stem capped by a oral basket issuing a globular
nozel, now tted as candelabras with associated three light upper-
sections
18 in. (46.5 cm.) high overall (2)
1,000-1,500 $1,700-2,500
1,300-1,800
A pair of Russian candlesticks of the same design were sold Imperial
Design, Christies London, 25 November 2008, lot 110 (3,375 incl.); a
further pair of Russian candelabra were sold, Christies, London, 21 January
2010, lot 90 (7,500 incl.).
16
A PAIR OF LOUIS XVI-STYLE ORMOLU CHENETS
FIRST HALF 20TH CENTURY
Each with a uted urn surmounts with covers and laurel swags, on
drapery-hung plinth above uted tapering supports
700-1,000 $1,200-1,700
850-1,200
n 17
A LOUIS XVI BRASS AND EBONY INLAID
MAHOGANY CONSOLE DESSERTE
BY FIDELYS SCHEY, CIRCA 1780
The lobed top with pierced-brass gallery and inset Carrara-marble
top above a single frieze drawer anked by a pair of faux-drawers on
uted supports joined by a shaped lower tier, stamped F. SCHEY
AND JME, restorations
33 in. (85 cm.) high; 44 in. (112 cm.) wide; 17 in. (43 cm.) deep
3,000-5,000 $5,000-8,300
3,700-6,100
Fidelys Schey (d. 1788), matre in 1777. Born in the Duchy of Baden,
Fidelys Schey was one of the many immigrant craftsmen who was
established in the rue du Faubourg-Saint-Antoine and was patronized
by the Garde-Meuble de la Couronne at the chteau de Fontainebleau.
Schey worked from a shop with a showroom adjacent, run by his wife.
Schey worked almost exclusively with mahogany in the restrained
Louis XVI Grecian style, and delivered two tables a jeux in this style to
Fontainebleau in 1786.
A closely related console desserte by Schey of similarly sinuous design was
sold, Christies, New York, 21-22 October 2010, lot 460 ($27,500 incl.).
17 (detail of stamp)
17
~18
A REGENCE ORMOLU-MOUNTED TORTOISESHELL BOULLE STRIKING RELIGIEUSE
CLOCK
GAUDRON, PARIS, CIRCA 1720
The arched case with ball and cockerel nial above herm gural angle mounts, a pair of classical gures beneath the
dial, with signature plaque Gaudron/ A Paris, the cast brass dial with enamel Roman hour plaques and Arabic minutes,
blued steel hands, the twin barrel movement with verge escapement, silk suspension with cycloidal cheeks, rack
striking to bell with passing half hour strike, signed back plate GAUDRON APARIS L/455, front plate stamped GB,
with pendulum, on a later shaped late 19th Century stand with lambrequin to centre, with restorations
Overall: 30 in. (76.2 cm.) high; 17 in. (43.7 cm.) wide; 8 in. (22.2 cm.) deep (2)
6,000-10,000 $10,000-17,000
7,300-12,000
Pierre Gaudron, Faubourg St-Germain, Paris 1690-1730 (Maitre 1695) was Clockmaker to The Regent, Philippe dOrlans
(detail of signature)
18
n 21
A LOUIS XV-STYLE ORMOLU-
MOUNTED SATINWOOD AND
AMARANTH BOMBE COMMODE
MID-20TH CENTURY
The brocatelle marble top above two drawers
sans traverse with rocaille handles and escutcheons,
anked by rocaille chutes, on cabriole legs
34 in. (86 cm.) high; 49 in. (125 cm.) wide; 21
in. (53 cm.) deep
2,000-4,000 $3,400-6,600
2,500-4,900
n 20
A REGENCE-STYLE WALNUT LONG
STOOL
FIRST HALF 20TH CENTURY, COVERED IN
LELIEVRE YELLOW SILK DAMASK
With lattice-carved frieze and shell carved
cabriole legs to the front
20 in. (51 cm.) high; 67 in. (171 cm.) wide;
19 in. (50 cm.) deep
700-1,000 $1,200-1,700
850-1,200
n 19
A FRENCH GILTMETAL CUT AND
PRESSED-GLASS FIFTEEN-LIGHT
CHANDELIER
1940s AND LATER, ADAPTED
With two-tiers of scrolling branches, losses and
replacements to the glass pendants
46 in. (117 cm.) high
2,000-3,000 $3,400-5,000
2,500-3,600
n 22
AN ITALIAN GILTWOOD MIRROR
ROME OR FLORENCE, LATE 17TH/EARLY 18TH CENTURY
The rectangular plate within a boldly-carved and pierced scrolling
acanthus frame, some re-gilding
57 in. (146 cm.) high; 43 in. (110 cm.) wide
8,000-12,000 $14,000-20,000
9,800-15,000
20
25 (detail)
23
A MARBLE-MOUNTED GILT-METAL TABLE LAMP
IN THE FORM OF A BAY TREE
CIRCA 1980
Naturalistically modelled on a square black marble plinth; together
with a cream cotton-shade
26 in. (86 cm.) high including lamp tment
500-800 $840-1,300
610-970
25
A BLOWN GLASS SCULPTURE
ERIK HOGLUND, 1980
Mounted on a veneered block base
18 in. (45.7 cm.) high
engraved Erik Hoglund 80 on base of glass
600-900 $1,000-1,500
730-1,100
n 24
A FRENCH BRASS DRINKS TROLLEY
MID-20TH CENTURY
The simulated bamboo frame with two glazed tiers, glazing replaced
500-800 $840-1,300
610-970
n 26
A PAIR OF BRASS-MOUNTED STEEL X-FRAMED
STOOLS
CIRCA 1970, IN THE MANNER OF MAISON JANSEN,
Each with black leather seat, the supports capped with swans-head
nials
19 in. (48 cm.) high; 26 in. (67 cm.) wide; 14 in. (35.5 cm.) deep(2)
1,000-1,500 $1,700-2,500
1,300-1,800
21
n 27
A FRENCH VERY LARGE
GILT-METAL AND GLASS-
BEAD-MOUNTED SIX-LIGHT
MONGOLFIER CHANDELIER
PROBABLY 1970s
With scrolling branches
61 in. (156 cm.) high
3,000-5,000 $5,000-8,300
3,700-6,100
n 28
A VERY LARGE PIRKENHAMMER
(FISCHER & MIEG) IMARI PATTERN
MEAT DISH
MID-19TH CENTURY
Decorated with chrysanthemums and owering
prunus surrounding three central chinoiserie
gures, enriched with gilding, marked,
FISCHER & MIEG/ PIRKENHAMMER/
BEI CARLSBAD in relief to the underside
40 in. (103.5 cm.) diameter
1,500-2,500 $2,500-4,200
1,900-3,000
n 29
A GLASS AND BRASS COFFEE
TABLE
CIRCA 1980
With perspex panels to the sides
13 in. (34.3 cm.) high; 46 in. (119 cm.)
square
700-1,000 $1,200-1,700
850-1,200
22
n 32
AN IBERIAN PARCEL-GILT WHITE-PAINTED
THRONE CHAIR
The foliate and scroll carved frame with cartouche-shaped back
centred by the initials J.O., covered in chocolate-brown fabric,
indistinct pencil inscription to underside, decoration refreshed
56 in. (143 cm.) high
700-1,000 $1,200-1,700
850-1,200
n 31
AN ITALIAN GILT BRASS STANDARD LAMP
BY HANS KOGL, CIRCA 1970
In the form of a palm tree, tted for electricity
4,000-6,000 $6,700-10,000
4,900-7,300
n 30
A PORTUGUESE FAIENCE MODEL OF A GOOSE
EARLY 20TH CENTURY
Naturalistically modelled with wings outstretched and neck extended,
restored
34 in. (88 cm.) high
800-1,200 $1,400-2,000
970-1,500
23
24
33
AN ITALIAN POLYCHROME BEADED-GLASS
TABLE LAMP MODELLED AS A PARROT
1960s-80s, PROBABLY VENETIAN
On a gilt bronze and amber glass-mounted perch
1,000-1,500 $1,700-2,500
1,300-1,800
n 36
A GILT METAL AND CUT GLASS
CIRCULAR WALL MIRROR
BY LOBMEYER, 1970s-80s
With ttings to back-light
29 in. (70 cm.) diameter
700-1,000 $1,200-1,700
850-1,200
n 35
A BRASS LEAF-FORM WALL LIGHT
1970s, ATTRIBUTED TO TOMMASO BARBI
Modelled with veins and of slightly rounded
form
30 in. (76 cm.) high; 19 in (50 cm.) wide
800-1,200 $1,400-2,000
970-1,500
n 34
A PAIR OF FRENCH BEADED AND
MIRROR GLASS THREE-LIGHT
WALL LIGHTS
CIRCA 1930
Of tent form, hung overall with glass drops and
strung with plaquettes
29 in. (74.2 cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
25
26
37
A PAIR OF FRENCH GILT-BRONZE
THREE-LIGHT WALL-APPLIQUES
Each modelled as baskets of owers suspended
by a ribbon-tied, tted for electricity
17 in. (43 cm.) high; 15 in. (38 cm.) wide; 6 in.
(15 cm.) deep (2)
600-900 $1,000-1,500
730-1,100
n 39
AN ITALIAN REVERSE ETCHED
MIRROR
With cartouche-centred cresting above a
rectangular bevelled plate, the border plates
decorated with oral-sprays
2,000-3,000 $3,400-5,000
2,500-3,600
n 38
A LEOPARD-PRINT VELVET POUFFE
ATTRIBUTED TO VERSACE, LATE 20TH
CENTURY
The circular body with black and gold bullion
fringing
18 in. (46 cm.) high; 32 in. (82 cm.) diameter
1,000-1,500 $1,700-2,500
1,300-1,800
27
40
40
A FRENCH BRONZE VISITING CARD
HOLDER MODELLED AS A GREYHOUND
THIRD QUARTER 19TH CENTURY
Modelled seated on a tasselled cushion, with a hinged jaw
for holding cards
15 in. (39.5 cm.) high
2,000-3,000 $3,400-5,000
2,500-3,600
41
41
A FRENCH BRONZE VISITING CARD
HOLDER MODELLED AS A SPANIEL
Seated on a tasselled cushion, with a hinged jaw for holding
cards
2,000-3,000 $3,400-5,000
2,500-3,600
n 42
AN ART NOUVEAU WHITE MARBLE BUST
OF A WOMAN
BY PIETER-JAN BRAECKE (1859-1938), CIRCA 1900
Modelled with her hair loose and owers trimming her
dress, with signature P.BRAECKE to the naturalistic base
1,500-2,500 $2,500-4,200
1,900-3,000
28
n 44
A PAIR OF VENETIAN PARCEL-
GILT GREEN-PAINTED BEDSIDE
CABINETS
MID-20TH CENTURY
Each of tapering serpentine form with marbled
top above a shallow frieze drawer and a
cupboard, the body decorated with oral sprays
28 in. (72 cm.) high; 20 in. (52.5 cm.) wide;
12 in. (32 cm.) deep (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 45
A PAINTED AND PARCEL-GILT
BLACKAMOOR LOW TABLE
MODERN
With a rectangular glass top
39 in. (100 cm.) deep
2,000-3,000 $3,400-5,000
2,500-3,600
n 43
A PAIR OF GILT-METAL OBELISK-
FORM SIMULATED-BAMBOO
ETAGERES
LATE 20TH CENTURY
Each with ve graduated stacking tiers lined
with aged mirror-glass
81 in. (206 cm.) high; 17 in. (44.5 cm.) wide;
17 in. (44.5 cm.) deep (2)
1,200-1,800 $2,000-3,000
1,500-2,200
29
n 47
A EUROPEAN PARCEL-GILT GREY-PAINTED
CENTRE TABLE
LATE 19TH CENTURY, REDUCED IN SIZE
The later eur de peche and black marble top above a scallop and stop-
ute-carved frieze on tassel-swagged square-section legs joined by
foot stretchers, later painted
29 in. (74.5 cm.) high; 48 in. (122 cm.) wide; 39 in. (99.5 cm.)
deep
3,000-5,000 $5,000-8,300
3,700-6,100
n 46
A PAIR OF VENETIAN PARCEL-GILT,
POLYCHROME-PAINTED BLACKAMORE
TORCHERES
20TH CENTURY
Each modelled wearing a turban and feathered skirt holding aloft
a cornucopia issuing a foliate gilt-metal ve-light candelabrum,
standing on a naturalistically modelled rocky mound, minor
restoration and retouching
80 in. (205 cm.) high and similar (including ttings) (2)
4,000-6,000 $6,700-10,000
4,900-7,300
n 48
A VENETIAN MURANO GLASS
TWELVE-LIGHT CHANDELIER
PROBABLY 1950s-60s
With polychrome oral bosses and scrolled
ornament
55 in. (140 cm.) high
7,000-10,000 $12,000-17,000
8,500-12,000
n 49
A LOUIS XV-STYLE BLUE-PAINTED
STOOL
MID-20TH CENTURY, COVERED IN LELIEVRE
YELLOW SILK DAMASK
The shaped square buttoned seat, with squad
cushion
(63 cm.) deep
600-900 $1,000-1,500
730-1,100
n 50
A LOUIS XVI-STYLE PARCEL-GILT
GREEN AND GREY-PAINTED
CANAPE
LATE 19TH CENTURY, COVERED IN LELIEVRE
YELLOW SILK DAMASK
With bowed frame
in. (81 cm.) deep
1,000-1,500 $1,700-2,500
1,300-1,800
31
The Panelled Room
32
n 53
A PAIR OF ALABASTER PEDESTALS
Each with a hollow sectional column with ridged concentric bands,
on an octagonal base, restorations
39 in. (99.3 cm.) high; 18 in. (46 cm.) wide; 18 in. (46 cm.) deep (2)
1,500-2,500 $2,500-4,200
1,900-3,000
51
A SET OF SIX FRENCH PLASTER ARMORIAL
PANELS
20TH CENTURY
Inscribed: FLANDRE 1668; BEARN 1680; 23 LANGUEDOC
1270; ROUSSILLON; 21 ILE DE FRANCE 987(?) and 1602
GASCOGNE
19 in. (49.5 cm.) high; 16 in. (40 cm.) wide and similar (6)
700-1,000 $1,200-1,700
850-1,200
P R OVE NANC E :
Purchased by the present owner in situ at the Chateau de la
Geoujeonnerie, Fougreuse, France.
52
A PAIR OF GILT-BRONZE FIVE-LIGHT
CANDELABRA
MID-20TH CENTURY
Each with a lyre shaped back, on a concave white marble base, dome
elements indistinctly marked with initials
1,200-1,800 $2,000-3,000
1,500-2,200
33
n 55
A LOUIS XVI-STYLE ORMOLU-MOUNTED
TULIPWOOD MARQUETRY COMMODE
The moulded break-front Fleur de Peche top above a Vitruvian-scroll
inlaid frieze with shallow drawer above two further drawers on
restrained cabriole legs with lions-paw sabots
33 in. (85 cm.) high; 53 in. (136.5 cm.) wide; 21 in. (54.5 cm.)
deep
2,000-3,000 $3,400-5,000
2,500-3,600
54
A FRENCH GILT-BRONZE STRIKING MANTEL
CLOCK
LATE 19TH CENTURY
The drum case mounted with putti playing instruments, and with a
musical trophy nial, the white enamel dial with Roman hours, and
Arabic ve minutes the twin barrel movement with recoil anchor
escapement, Brocot regulation/suspension and count wheel strike to
bell, the back plate with Japy Freres trademark and numbered 107,
pendulum lacking, case with minor restorations
1,200-1,800 $2,000-3,000
1,500-2,200
34
n 56
A FRENCH FOLIATE TOLE-PEINTE
GIRANDOLE
The oval plate with naturalistic frame issuing four
candle-sconces, plate possibly replaced, redecorated, one
sconce loose
800-1,200 $1,400-2,000
970-1,500
n 57
FRENCH SCHOOL, 19TH CENTURY
Three putti in a trompe loeil wall panel setting
oil on canvas, laid down on board
115 x 57 in. (293 x 145 cm.)
1,500-2,500 $2,500-4,200
1,900-3,000
P R OVE NANC E :
Great Brampton House Antiques Ltd., Hereford, March
1999.
35
n 58
A VENETIAN BLUE-PAINTED BOMBE COMMODE
The canted tapering body decorated throughout with oral sprays and rocaille-carving, with
two shaped long drawers on cabriole legs
32 in. (82.5 cm.) high; 51 in. (129.5 cm.) wide; 22 in. (57 cm.) deep
5,000-8,000 $8,400-13,000
6,100-9,700
36
n 60
A PAIR OF LOUIS XV-STYLE GREY-PAINTED
BERGERES
LATE 19TH/EARLY 20TH CENTURY, COVERED IN
LELIEVRE BLUE SILK DAMASK
Each covered in white and blue silk damask, carved overall
with foliate decoration, on cabriole legs, one leg restored
41 in. (104 cm.) high; 33 in. (84 cm.) wide; 34 in. (86 cm.)
deep (2)
2,000-3,000 $3,400-5,000
2,500-3,600
n 59
A LOUIS XV GILT-BRONZE MOUNTED
EBONY AND EBONISED STRIKING
BRACKET CLOCK
GAULTIER, PARIS, MID-18TH CENTURY
With classical female gural nial, rocaille and shell mounts
to arch and two putti beneath the dial, on rococo gural
feet, with conforming bracket, the cast brass dial with,
Roman enamel hour plaques, Arabic ve minute plaques
and signed to centre GAULTIER/A PARIS, blued steel
hands, the twin barrel movement with verge escapement
and silk suspension, count wheel strike to bell, signature
repeated to back plate, with pendulum, the case restored,
some external mounts associated, all re-gilt
Overall: 53 in. (135.9 cm.) high; 23 in. (59.7 cm.)
wide; 11 in. (28 cm.) deep (2)
4,000-6,000 $6,700-10,000
4,900-7,300
37
n 61
A FRENCH PLASTER BUST
SECOND HALF 19TH CENTURY, ON AN ASSOCIATED
PARCEL-GILT GREY-PAINTED PEDESTAL
The bust modelled wearing medal R De Siam,
and inscribed Claude de Forbin, C. descardre,
restorations
The bust: 36 in. (92 cm.) high; 29 in. (74 cm.)
wide
The pedestal: 50 in. (128 cm.) high; 19 in. (50
cm.) wide; 19 in. (50 cm.) deep (2)
2,000-3,000 $3,400-5,000
2,500-3,600
Claude de Forbin (1656-1733) was a distinguished French
Naval commander who served under Louis XIV. Forbin
was sent to Siam as part of a diplomatic mission and
subsequently became the governor of Bangkok. After
returning to France in 1688, he became a key commander
in the war with Britain during which he was briey
captured and taken to Plymouth but quickly escaped. In
1708 he assisted The Old Pretender (James Stuart, 1688-
1766) in his failed attempt on the English throne before
retiring from the Navy in 1715.
n 62
A PAIR OF SWEDISH GREY-
PAINTED BERGERES
19TH CENTURY , COVERED IN LELIEVRE BLUE
SILK DAMASK
Each with a moulded oval back, padded seat and
arms covered in celadon silk damask, the toprail
centred by a ribbon-tied on rosette-headed
tapering stop-uted legs
in. (81 cm.) deep (2)
2,000-3,000 $3,400-5,000
2,500-3,600
n 63
A FRENCH CIRCULAR MARBLE-
TOPPED WHITE-PAINTED DINING
TABLE
1980s
The dished rouge-de-France-marble top with
moulded border and reeded edge on a husk-
carved-stop-uted cylindrical pedestal-base with
with laurel-carved band on a square-plinth
29 in. (75.5 cm.) high; 51 in. (129 cm.)
diameter
1,500-2,500 $2,500-4,200
1,900-3,000
n 64
A PAIR OF LOUIS XVI-STYLE GREY-
PAINTED TALL CHESTS
Each with a Carrara marble top above six bead-
carved graduated drawers, one with the second
and third drawers adapted as a cupboard, above a
foliate-carved apron, on rosette-headed cabriole
legs
in. (43 in.) deep (2)
2,500-4,000 $4,200-6,600
3,100-4,900
39
n 65
A PAIR OF GILTWOOD AND PATINATED
MIRROR-GLASS GIRANDOLES
1960s-70s, POSSIBLY BY MAISON JANSEN
Each with aged arched rectangular inner plate applied with a
central foliate-carved giltwood mount issuing three gilt-iron
sconces hung with glass drops
53 in. (135 cm.) high; 36 in. (91.5 cm.) wide (2)
5,000-8,000 $8,400-13,000
6,100-9,700
40
41
67
M. BONARELLI, CIRCA 1952
Mother and child; Woman and dog
each signed and dated M. Bonarelli 1952
(lower right); the rst inscribed Gennario
1952 (on the reverse)
oil on board
39 x 27 in. (100 x 70.5 cm.) (2)
800-1,200 $1,400-2,000
970-1,500
66
ONE MINUTE LAMPSHADES
MARCEL WANDERS, 2004
Gilt-glazed ceramic, modelled as abstract animals, together with gilt-
lined shades
largest: 23 in. (59.5 cm.) high with shade (2)
4,000-6,000 $6,700-10,000
4,900-7,300
Co-founder of the successful design label Moooi, Marcel Wanders was a
former pupil at the Institute of the Arts, Arnheim and is currently Art
Director and Designer at the renowned Powerhouse studio in Amsterdam.
Synonymous with innovation and bold designs, Wanders has received a
number of accolades and awards including the Rotterdam Design and Kho
Liang Ie prizes.
n 70
FOLLOWER OF HENRY CECIL
NOORDHOEK
Untitled - abstract form
black marquina marble on a white veined marble base
25 in. (65 cm.) high overall
2,000-4,000 $3,400-6,600
2,500-4,900
69
A PAIR OF GLASS AND STEEL WALL
LIGHTS
POSSIBLY BY POLIARTE, CIRCA 1970
Formed of stepped glass strips mounted on a gilt metal wall
panel
13 in. (33 cm.) high; 10 in. (26 cm.) wide (2)
700-1,000 $1,200-1,700
850-1,200
68
CONTINENTAL SCHOOL, 20TH CENTURY
Abstract form
numbered s126775
ceramic
deep
800-1,200 $1,400-2,000
970-1,500
43
n 72
AN EBONISED WOOD AND MIRROR-GLASS
COFFEE TABLE
1970s-80s
The square glass top with opaque border above a mirrored interior
centred by a pyramid
13 in. (35 cm.) high; 48 in. (122 cm.) square
2,000-3,000 $3,400-5,000
2,500-3,600
n 71
A PAIR OF ITALIAN MIRRORS
CIRCA 1960
The bevelled mirror plate within a shaped and faceted surround
31 in. (80.4 cm.) high; 23 in. (58.4 cm.) wide (2)
2,000-3,000 $3,400-5,000
2,500-3,600
(detail of interior)
44
n 73
A BRONZE AND PATINATED METAL LANTERN
1940s
Of tapering form, mounted with white-glass panels, some panels
replaced
57 in. (144.5 cm) high; 24 in. (61.5 cm.) wide
2,000-3,000 $3,400-5,000
2,500-3,600
n ~74
AN ITALIAN ROSEWOOD AND PAINTED TOP DESK
CIRCA 1950, ATTRIBUTED TO PAOLO BUFFA FOR DASSI
With Caduceus-inlaid cartouche to the reverse, with replaced clear
glass top above an open shelf on brass sabots; together with a bent
plywood Medea armchair designed by Vittorio Nobili
29 in. (75.7 cm.) high; 70 in. (179.7 cm) wide; 31 in. (80 cm.)
deep (2)
2,500-4,000 $4,200-6,600
3,100-4,900
(detail of reverse)
45
The Media Room
75
46
75
JONATHAN WATERIDGE (B. 1972)
Constitution
oil on perspex sheets, bolted together, in nine parts
overall: 61 x 84 x 6 in. (155.7 x 214 x 17.2 cm.)
executed in 2005.
50,000-80,000 $84,000-130,000
61,000-97,000
P R OVE NANC E :
Acquired directly from the artist in 2005.
The present and following lot were executed circa 2005 and were acquired by Les Trois Garons shortly before the
landmark exhibition of Wateridges work at the David Risley Gallery, London. Constitution is a work on a monumental
scale reminiscent of 19th century grande Salon History painting and the meticulous layering of paint on perspex sheets
lends the work an added perspectival depth into which the viewer is drawn. In this layered method, Wateridge concerned
himself with offering a kind of painting relevant to the 21st century as opposed to merely referencing any historical mode
of representation.
I came upon this way of painting with oil on glass by accident. For me, to paint on canvas seemed to belong in the past, and really
couldnt give me the theatrical quality I was seeking.
To achieve these extraordinary and very beautiful effects is a time-intensive process. First, Wateridge handmakes exquisite
models from which to work, such as crashed planes, a four-masted ship sitting at the bottom of the sea or the sinking of
the battleship Missouri.
A similar work on plexiglass sheets entitled Mountain Wreck sold, Phillips London, 14 February 2013, lot 16 (109,250 incl.).
A plane wreck scene on canvas sold Christies London, 11 October 2012, lot 3 (313,250 incl.).
I found myself looking a lot at 18th- and 19th-century landscape painting, which quite
often contains elements of disaster; and also [looking] at old glass matte paintings used
as backgrounds in cinematography.
Somewhere in that mix the idea to incorporate crashes and wreckage into the images
emerged. There is something in the level of aspiration in ying or crossing oceans that
I felt was suitable to the environments I was looking at.
And of course nature tends to be pretty indifferent to those aspirations and with that in
mind I wouldnt necessarily say the vehicles are the subject of these paintings. They
are landscapes that happen to contain them.
Jonathan Wateridge, 2006
47
48
49
76
JONATHAN WATERIDGE (B. 1972)
Untitled
oil on perspex sheets, bolted together, in eight parts
overall: 40 x 60 x 5 in. (101.6 x 152.7 x 13.3 cm.)
executed in 2005.
25,000-40,000 $42,000-66,000
31,000-49,000
P R OVE NANC E :
Acquired directly from the artist in 2005.
(alternative view showing depth of work)
50
n 77
ABSTRACT PENDANT LIGHT
BY GARETH DEVONALD SMITH, MODERN
Patinated bronze and painted plaster, with gilded & painted details,
and mounted with gilt-glass rods and a hematite sphere, with
additional bronze suspension-rod, tted for electricity
60 in. (152.3 cm.) high
2,000-3,000 $3,400-5,000
2,500-3,600
Gareth Devonald Smith trained in textile design before working for interior
designer Mary Fox Linton and subsequently setting up his own design
practice. As Devonald Smiths career has progressed he has been increasingly
drawn to the medium of metal, designing distinctive sculptural lighting and
furniture, either as one off commissions for private clients or to be produced
in small limited editions. The three works included in this sale typify his
oeuvre, which is dened by a rened semi-industrial quality in combination
with daring abstract design and juxtaposed contrasting materials.
n 78
A PAIR OF ITALIAN ASH ARMCHAIRS
MID-20TH CENTURY
Covered in blue cotton velvet
deep (2)
1,000-1,500 $1,700-2,500
1,300-1,800
51
(detail of top)
n 79
A PAIR OF TWIST BRASS AND PATINATED STEEL
TABLE LAMPS
BY GARETH DEVONALD SMITH, 2010
With painted shades
41 in. (104 cm.) high approx. (2)
2,500-4,000 $4,200-6,600
3,100-4,900
n 80
A SAMURAI PATINATED BRONZE AND STEEL
CONSOLE TABLE
BY GARETH DEVONALD SMITH, MODERN
The top decorated with bronze squares in emulation of traditional
Japanese warriors breastplates
4,000-6,000 $6,700-10,000
4,900-7,300
52
n 82
A GILTMETAL AND SMOKED GLASS COFFEE
TABLE
1970s
Of stepped form
14 in. (36.3 cm.); high; 55 in (139.7 cm.) long; 35 in. (88.9 cm.)
wide
1,500-2,500 $2,500-4,200
1,900-3,000
n 81
TWO CUBO DI TEO LIGHT SCULPTURES
JAMES RIVIERE, 1960s
Produced by Centro Ricerche Arte Industria Lissone, coloured perspex;
together with later painted pedestals
The Sculptures: 17 in. (45 cm.) high; 16 in. (40.6 cm.) square (4)
2,000-3,000 $3,400-5,000
2,500-3,600
n 85
A HEMISPHERICAL PERSPEX AND STEEL
LOUNGE CHAIR
DESIGNED BY CHRISTIAN DANINOS, 1968
Cushions not included
54 in. ( 137 cm.) high; 47 in. (120 cm.) wide; 31 in. (80
cm.) deep
5,000-8,000 $8,400-13,000
6,100-9,700
n 84
A CHROMED METAL AND PERSPEX
SPHERICAL LOW COCKTAIL BAR
DESIGNED BY PIERRE CARDIN, CIRCA 1970
The upper part sliding on metal stem, on metal and rubber
castors
26 in. (66 cm.) high (close) ; 40 in. (101.4 cm.) high (open)
1,200-1,800 $2,000-3,000
1,500-2,200
n 83
A CUBO DI TEO LIGHT SCULPTURE
JAMES RIVIERE, 1960s
Produced by Centro Ricerche Arte Industria Lissone, coloured
perspex
17 in. (45 cm.) high; 16 in. (40.6 cm.) square
800-1,200 $1,400-2,000
970-1,500
A single red perspex Cubo di Teo by James Rivire sold, Phillips
New York, 13 December 2007, lot 185 ($10,000 incl.).
53
88
A GROUP OF TEN FRENCH GLAZED CERAMIC
TABLE LAMPS
MID-20TH CENTURY, BY AND ATTRIBUTED TO VALLAURIS
Modelled as sh and crustacea, revealing a marine landscape, three
stamped VALLAURIS
(10)
800-1,200 $1,400-2,000
970-1,500
n 89
AN ITALIAN SOFA
MID-20TH CENTURY
Of concave form on tapering brass legs, with later white upholstery
37 in. (94 cm.) high; 83 in. (211 cm.) wide; 30 in. (76.2 cm.) deep
2,500-4,000 $4,200-6,600
3,100-4,900
n 86
AN ITALIAN WHITE PAINTED METAL AND GLASS
SPUTNIK CHANDELIER
1960s-70s
Mounted with clear and cranberry glass beads, on a brass and painted
metal frame
37 in. (94 cm.) high approx.
1,500-2,500 $2,500-4,200
1,900-3,000
n 87
A PAIR OF ITALIAN LOUNGE CHAIRS
1950s
With buttoned backs and gilt bronze legs, covered in white suede
1,000-1,500 $1,700-2,500
1,300-1,800
55
90
STUDIO OF MARCELLO PIACENTINI (1880-1960)
A set of nine architectural paintings - designs for the EUR (Esposizione Universale di
Roma), circa 1938
each with inscription ent (on the reverse)
pen and gouache on board
20 x 25 in. (51 x 65.5 cm.) (9)
3,000-5,000 $5,000-8,300
3,700-6,100
Marcello Piacentini (1880-1960) was an Italian architect and urban planner who achieved notoriety
during the height of fascist power in Italy (1922-1943). In 1938, Piacentini was given the task of
building EUR (Esposizione Universale di Roma), a new town on the outskirts of Rome where
Mussolini planned in celebration of the 20th anniversary of the fascist revolution and which was to
host the 1942 Worlds Fair. The project was never fully realised and many of the buildings were only
completed after the war. The project was the culmination of Piacentinis career and it was his vision
which created the unied architecture of EUR which survives today. The present nine works appear
to be architectural designs specically for this project, some of which were never realised. The designs
include those for il Palazzo dei Congressi; Piazza Guglielmo Marconi; Piazza della Scienze; Palazzo della
Civilta di Lovoro.
56
n 94
A BRASS AND GLASS TOP COFFEE TABLE
1970s
The based modelled as braches with owers, foliage and birds
18 in. ( 47 cm.) high; 29 in. (75 cm.) diameter
1,000-1,500 $1,700-2,500
1,300-1,800
n 92
A BLUE-PAINTED STEEL REVOLVING DENTISTS
CABINET
1970s-80s
Of hexagonal form with inset milk-glass top above two banks of ve
shallow drawers and cupboards with adjustable glass-lined shelves, on
a black painted base
800-1,200 $1,400-2,000
970-1,500
n 93
A SPHERICAL CHROMED METAL CHANDELIER
1960s-70s
Inset with lenses
44 in. (112 cm.) high
1,200-1,800 $2,000-3,000
1,500-2,200
91
A FABRICATED GILT-METAL WIRE-SCULPTURE
MID-20TH CENTURY
Modelled as a bull
23 in. (59 cm.) high; 39 in. (99 cm.) long
500-800 $840-1,300
610-970
57
n 96
A PAIR OF PRATFALL ARMCHAIRS
BY PHILIPPE STARCK, CIRCA 1985
Each with black leather seat-pad, within mahogany veneer frame, on
black-enamelled tubular-metal supports
34 in. (87 cm.) high; 24 in. (61.7 cm.) wide; 30 in. (76 cm.) deep
(2)
600-900 $1,000-1,500
730-1,100
P R OVE NANC E :
By repute Caf Beaubourg, Paris.
Philippe Starck (b. 1949) was commissioned by Gilbert Costes (b. 1949)
in the mid 1980s to design the interior of the fashionable caf Beaubourg,
adjacent to the Pompidou Centre, Paris.
n 95
A PAIR OF STILNOVO FLOOR LAMPS
1960s
Brass and painted metal on a marble base, with frosted glass spherical
shades
66 in. (169 cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 97
A PAIR OF EBONISED WOOD AND BRASS
CONSOLE TABLES
Each with stepped bevelled glass top
33 in. (85.7 cm.) high; 55 in. (139.8 cm.) wide; 25 in. (65.4 cm.)
deep (2)
2,500-4,000 $4,200-6,600
3,100-4,900
n 98
A FRENCH ORIENTALIST BRONZE GROUP
ENTITLED LA FANTASIA ARABE
EARLY 20TH CENTURY, AFTER PROSPER LECOURTIER (1855-1924)
On a naturalistic cast base with cast signature P LECOURTIER, on
an oval plinth with applied brass plaque inscribed Fantasia Arabe par
Lecourtier
33 in. (85 cm.) high; 31 in. (80 cm.) wide approx.
3,000-5,000 $5,000-8,300
3,700-6,100
(detail of label)
(alternative view)
n 99
A FRENCH POLYCHROME PLASTER ANATOMICAL
MODEL OF THE HUMAN BODY
EARLY 20TH CENTURY, BY MAISON DEYROLLE, PARIS
With removable arms, the torso opens to reveal removable organs,
on an oak stand, stamped and with brass plaque inscribed Les Fils
dEmille Deyrolle, 46 Rue de Bac, PARIS
72 in. (183 cm.) high
7,000-10,000 $12,000-17,000
8,500-12,000
The Parisian rm of Deyrolle was founded in 1831 by keen Naturalist Jean-
Baptiste Deyrolle, and moved to its present premises at 46 Rue du Bac in
1881. The prodigious company specialised in taxidermy, didactic models,
natural history specimens and microscopes, becoming known as Les Fils
dmile Deyrolle from the late 19th century. During the 20th Century
it became a popular destination for Surrealists such as Andre Breton and
Salvador Dali, and the rm continues to ourish today, maintaining its focus
on taxidermy and specimens as teaching aides, as well as decorative objects.
59
100
A VICTORIAN TAXIDERMY GROUP
OF RED SQUIRRELS
LATE 19TH CENTURY, IN THE MANNER OF
WALTER POTTER
The seated squirrels playing cards around a
circular table, in a glazed walnut display case,
restorations
18 x 18 in. (47 x 46 cm.)
2,000-4,000 $3,400-6,600
2,500-4,900
The Vasery
n 104
A BRASS AND SMOKED-MIRROR-GLASS-
MOUNTED CERAMIC COFFEE TABLE
DESIGNED BY TOMMASO BARBI, 1970s
With smoked mirror inset top
15 in. (38.7 cm.) high; 59 (151 cm.) wide; 30 in. (76.7 cm.)
deep
1,500-2,500 $2,500-4,200
1,900-3,000
n 102
A PAIR OF CHROME-PLATED OVERSIZED ANGLE-
POISE FLOOR-LAMPS
MODERN
Each with domed shade on a sprung, articulated arm and circular base
82 in. (208 cm.) high (2)
600-900 $1,000-1,500
730-1,100
n 103
A PAIR OF BLACK PLASTIC STANDARD LAMPS
MODERN
101 in. (258 cm.) high overall (2)
700-1,000 $1,200-1,700
850-1,200
n 101
A GILT METAL AND STEEL STAG BEETLE WALL
LIGHT
ATTRIBUTED TO FRANCOIS MELIN, 1970s
The hammered body with a single light tting, designed to be tted
with a glass top for use as a coffee table
10 in. (26.7 cm.) high; 36 in. (92 cm.) long; 17 in. (43 cm.) wide
1,500-2,500 $2,500-4,200
1,900-3,000
61
n 107
A SWEDISH PARCEL-GILT
EBONISED SOFA
MID-19TH CENTURY, COVERED IN LELIEVRE
GREEN COTTON-VELVET
Of box-form, the stepped lappet-carved top-rail
with ribbon-cresting and reeded nials above
a buttoned back and arms with columnar front
supports on turned feet
in. (73.5 cm.) deep
1,000-1,500 $1,700-2,500
1,300-1,800
n 106
A PAIR OF BALINESE ELEPHANT-
FORM HARDWOOD ARMCHAIRS
20TH CENTURY
Each carved from a single piece of timber with
dug-out seat, the detachable tusks painted to
simulate ivory
(84 cm.) deep (2)
3,000-5,000 $5,000-8,300
3,700-6,100
n 105
A LARGE ITALIAN MURANO GLASS
HANGING STAR LIGHT
The tiered press steal frame with red and smoked
glass teardrops
2,500-4,000 $4,200-6,600
3,100-4,900
62
108
JEAN MARAIS (FRENCH, 1913-1998)
Hibou; La Main
each signed Jean Marais
terracotta; gilt-bronze
The largest: 17 in. (45 cm.) high
Together with a bronzed glazed clay sculpture
of hands (3)
600-900 $1,000-1,500
730-1,100
108 109
109
TWO FRENCH SCHOOL CERAMIC
SCULPTURES MODELLED AS
ABSTRACT FEMALE FORMS
One terracotta, the other with lustre glaze
The largest: 28 in. (71 cm.) high (2)
600-900 $1,000-1,500
730-1,100
111
111
110
A GROUP OF EIGHT CERAMIC
VASES
Comprising two twin handled glazed vases
signed Vallauris; a black and silver spherical
vase signed Fanns ; a Beswick vase with
ower decoration, and four others
The tallest: 16 in. (41 cm.) high (8)
800-1,200 $1,400-2,000
970-1,500
108 (detail of signature)
110
63
112
111
A GROUP OF THIRTEEN GERMAN POLYCHROME
DECORATED DIDACTIC ANATOMICAL MODELS
LATE 20TH CENTURY
Comprising a cross-section rubber model of a uterus, a plaster eye,
a plaster ear canal and organ models on domed plastic bases, with
various inventory labels inscribed and numbered Rat der Stadt/
Hoyerswerd/ 17/5/Z
Largest: 13 in. (34 cm.) high; Smallest: 7 in. (17.5 cm.) high (13)
2,000-4,000 $3,400-6,600
2,500-4,900
112
A GROUP OF TWELVE VASES
Comprising two glazed ceramic vases signed Vallauris; a painted
earthenware vase stamped BESWICK ENGLAND 1370; a
terracotta jug with incised geometric decoration and seven others,
unsigned, and a gilded and cameo-applied glass vase
1,000-2,000 $1,700-3,300
1,300-2,400
118
AFTER OCTAVE DE ROCHEBRUNE (FRENCH, 1824-
1900)
Vue Generale des Constructions du Chateau de Chambord, Cote
de LOrient
copper plate engraving on laid paper, signed in pencil O de
Rochebrune (lower right), 1870, full-margins, foxing, time-staining,
unexamined out of the frame
P. 525 x 755 mm.
Together with another engraving of a smaller chateau, 1873,
published by Beillet, Paris; P. 320 x 435 mm. (2)
700-1,000 $1,200-1,700
850-1,200
117
A SWISS BLACK FOREST POLYCHROME
DECORATED MODEL A GERMAN POINTERS HEAD
EARLY 20TH CENTURY
With glass eyes, mounted on an oak-leaf-carved plaque
400-600 $670-1,000
490-730
n 116
A VICTORIAN CASED TAXIDERMY DISPLAY OF SEABIRDS
Comprising British seabirds: a Pufn, a Kittiwake, a Gannet and a
Cormorant (some countries including the USA prohibit the import of
such species, purchasers should check before bidding)
32 in. (83cm.) high; 43 in. (109 cm.) wide; 13 in. (34 cm.) deep
1,000-1,500 $1,700-2,500
1,300-1,800
115
MANNER OF ALEXANDRE BENOIS
Set design with classical nymphs set amongst a waterfall and trees
with birds
pen and ink, watercolour and bodycolour on brown paper
15 x 20 in. (38 x 52 cm.)
700-1,000 $1,200-1,700
850-1,200
114
A GERMAN TERRESTRIAL 13 INCH TABLE GLOBE
BY PAUL RATH, LEIPZIG, EARLY 20TH CENTURY
Together with two other examples, smaller, one by Ernst Schotter,
Berlin
The largest: 25 in. (64 cm.) high (3)
600-900 $1,000-1,500
730-1,100
113
A TAXIDERMY WHITE RABBIT
20TH CENTURY
In a black-painted wood case, with pink glass eyes
16 x 21 in. (40.5 x 54.5 cm.)
600-900 $1,000-1,500
730-1,100
n 120
A CARVED LIME FIGURE OF A
STANDING FEMALE NUDE
B. MILLERET, CIRCA 1940
Carved from a single piece of timber, the stylised gure
modelled holding her hair, signed B.Milleret
38 in. (97.8 cm.) high
2,000-4,000 $3,400-6,600
2,500-4,900
119
A GERMAN BRONZE BUST OF A MAN
LATE 19TH CENTURY, AFTER RICHARD
ENGELMANN (1868-1957)
Modelled wearing Medieval armour, the integral
square base cast with signature
Richard Engelmann/Paris/1896
22 in. (57 cm.) high; 22 in. (55.5 cm.) wide
1,500-2,500 $2,500-4,200
1,900-3,000
n 121
A PAIR OF NORTH EUROPEAN
SMALL BLACK LEATHER AMRCHAIRS
SECOND QUARTER 20TH CENTURY
Each with buttoned back, arms and seat covered in
close-nailed leather, one with indistinct metal label
underneath A.B SOLLEBRU... MOBELIDU...
RI SOLLEBRUN
(71 cm.) deep (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 122
AN ITALIAN LARGE FOLIATE PICTURE-FRAME
MIRROR
LATE 19TH, POSSIBLY FLORENCE
The rounded rectangular bevelled plate within a profusely acanthus-
carved frame, minor losses
2,500-4,000 $4,200-6,600
3,100-4,900
n 123
A SET OF TWENTY LOUIS XV-STYLE SILVER-
PAINTED DINING CHAIRS
20TH CENTURY, COVERED IN GREEN LELIEVRE MOHAIR VELVET
Each with cartouche-shaped back and serpentine seat, on cabriole legs
the frames carved overall with rocaille and foliage
8,000-12,000 $14,000-20,000
9,800-15,000
67
124
A COLLECTION OF TWENTY-ONE PINEAPPLE ORNAMENTS
LATE 20TH CENTURY
Of various sizes and materials
Largest: 22 in. (56 cm.) high; Smallest 4 in. (12 cm.) high (21)
800-1,200 $1,400-2,000
970-1,500
The Formal Dining Room
68
127
SWEDISH SCHOOL, 19TH CENTURY
Portrait of Oscar II (1829-1907) King of Sweden and
Norway, when Crown Prince, half-length, in uniform
oil on canvas, oval
35 x 29 in. (89 x 74 cm.)
1,500-2,500 $2,500-4,200
1,900-3,000
127
125
126
126
A PAIR OF PORCELAIN-MOUNTED GILT-
METAL CANDELABRA
MODERN
The branches with oak leaves issuing from pierced C-scroll bases,
mounted with porcelain models of parrots; together with a similar
modern porcelain gilt-metal-mounted parrot candlestick
The pair: 24 in. (61 cm.) high; 22 in. (56 cm.) wide; 15 in. (38
cm.) deep (3)
500-800 $840-1,300
610-970
128
RAYMOND DESVARREUX (FRENCH, 1848-1912)
Portrait of Napolon Franois Charles Joseph Bonaparte, Prince
Imperial, King of Rome, Prince of Parma (1811 1832), small
full-length, on horseback
signed Raymond Desvarreux (lower right)
oil on canvas
25 x 21 in. (65 x 55 cm.)
2,000-3,000 $3,400-5,000
2,500-3,600
128
125
A BEADWORK MODEL OF A PARROT
LATE 19TH/20TH CENTURY, PROBABLY VENETIAN
On an ebonised beech perch, previously mounted as a lamp
10 in. (25.5 cm.) high
1,000-1,500 $1,700-2,500
1,300-1,800
69
n 131
A SET OF SIX BAROQUE-STYLE
POLYCHROME-DECORATED
MIRRORS
MODERN
Each with a cartouche-shaped mirror-plate
in a c-scroll and acanthus-carved frame
(6)
3,000-5,000 $5,000-8,300
3,700-6,100
n 130
AN ITALIAN CARVED BEECH
DINING TABLE
1940s
With foliate carved details and a later inset
mirrored glass top, on gilt bronze sabots
31 in. (80 cm.) high; 78 in. (198 cm.) long;
38 in. (97 cm.) wide
1,500-2,500 $2,500-4,200
1,900-3,000
n 129
A PAIR OF BALTIC GILT-BRASS
AND CUT-GLASS SIX LIGHT
CHANDELIERS
The circular corona issuing fronds, minor
losses and replacements to the glass beads
39 in. (99cm.) high (2)
3,000-5,000 $5,000-8,300
3,700-6,100
n 132
A SILVERED AND GILTMETAL SIX-LIGHT
CHANDELIER
LATE 20TH CENTURY, PROBABLY FRENCH
Of pineapple form
800-1,200 $1,400-2,000
970-1,500
n 133
TWO GILT-METAL-MOUNTED PERSPEX DRINKS
TROLLEYS
LATE 20TH CENTURY
Each with glass shelves, one with central sliding shelf, the other
with bottle compartment to the lower tier, on castors, some shelves
replaced
One: 25 i. (85 cm.) high; 32 in. (82.5 cm.) wide; 16 in. (42.5
cm.) deep
The other: 25 i. (85 cm.) high; 26 in. (66 cm.) wide; 18 in. (47
cm.) deep (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 134
A FRENCH GILT-METAL STANDARD LAMP
LATE 20TH CENTURY
The shaft modelled with a pineapple and leafy fronds, on a domed
base
47 (121 cm.) high, including lamp tment
500-800 $840-1,300
610-970
n 135
A PAIR OF MIRROR-GLASS-MOUNTED WHITE-
CERAMIC OCCASIONAL TABLES IN THE FORM OF
PALM TREES
LATE 20TH CENTURY
Each with circular inset mirror-top, the pedestals issuing from a
rocky-mound, one ceramic top restored
25 in. (64 cm.) high; 24 in. (61 cm.) diameter (2)
700-1,000 $1,200-1,700
850-1,200
71
n 136
A PAIR OF BEECH OCCASIONAL LOW
CHAIRS
MODERN
Each with bowed button-back and squab-cushion,
covered in buff-colour velvet
29 in. (74 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
n 138
AN ITALIAN BEECH REVERSE ETCHED AND
VERRE EGLOMISE DECORATED MIRRORED SIDE-
CABINET
MID-20TH CENTURY
The door-panels decorated with birds, on a detachable base with
cabriole legs; together with a later gilt-framed marginal-mirror
The cabinet: 33 in. ( 85 cm.) high; 40 in. (102 cm.) wide; 15 in.
(39.5 cm.) deep (2)
800-1,200 $1,400-2,000
970-1,500
n 137
A ROCOCO-STYLE WALNUT DAYBED
Carved overall with foliage, garlands and scallop shell, on cabriole
scrolled legs, covered in beige close-nailed leather
1,500-2,500 $2,500-4,200
1,900-3,000
72
n 139
TWO COW SKULLS (BOS
PRIMIGENIUS)
20TH CENTURY
Of typical form
Largest: 21 in. (53.5 cm.) high; 27 in. (69 cm.)
wide (2)
600-900 $1,000-1,500
730-1,100
n 140
A FIBREGLASS LIFE-SIZE MODEL
OF AN ELEPHANTS HEAD
MODERN
Of sectional construction, naturalistically
modelled
53 in. (135 cm.) high; 73 in. (185 cm..) wide; 72
in. (183 cm.) deep approx.
3,000-5,000 $5,000-8,300
3,700-6,100
n 141
A LIFE-SIZE FIBREGLASS MODEL
OF A RHINOCEROSS HEAD
MODERN
Naturalistically modelled
in. (173 cm.) deep
3,000-5,000 $5,000-8,300
3,700-6,100
73
n 145
A CHROMED METAL COFFEE TABLE
With a pebble inset resin top, inscribed 623
18 in. (46 cm.) high; 63 in. (160 cm.) wide; 23 in. (60
cm.) deep
1,000-1,500 $1,700-2,500
1,300-1,800
(detail of top)
n 143
A VENETIAN REVERSE-ETCHED MIRROR
With pierced cresting above a central oval bevelled plate, the
four outer plates etched with oral sprays
800-1,200 $1,400-2,000
970-1,500
n 144
A PAIR OF LOUIS XVI-STYLE WHITE-
PAINTED BERGERES
LATE 20TH CENTURY
Each with channelled frame and uted legs, covered in green
velvet
37 in. (94 cm.) high (2)
800-1,200 $1,400-2,000
970-1,500
n 142
A PAIR OF GILT-METAL AND GLASS TABLE
LAMPS
LATE 20TH CENTURY
The reeded central shaft supporting two hexagonal tiers
mounted with glass drops, with later white canvase shades
27 in. (69.5 cm.) high, including tment (2)
500-800 $840-1,300
610-970
75
n 148
AN ITALIAN PARCEL-GILT AND POLYCHROME-
PAINTED THREE-SEAT SOFA
MID-20TH CENTURY
Carved overall with rocaille and foliate motifs, covered in yellow-
green velvet
1,200-1,800 $2,000-3,000
1,500-2,200
n 147
A FRENCH DIVAN
1940s, COVERED IN GREEN LELIEVRE MOHAIR VELVET
With loose squab and bolsters, and later detachable ends, edged in
bullion-fringing
24 in. (61 cm.) high; 80 in. (203 cm.) long; 34 in. (87.5 cm.) deep
800-1,200 $1,400-2,000
970-1,500
n 146
A FRENCH BRONZE HALL LANTERN
Of hexagonal form, each corner with applied rams mask, with
internal four-light hanging tment, lacking one pane
55 in. (140.5 cm.) high
2,000-4,000 $3,400-6,600
2,500-4,900
149
A PAIR OF GILT-METAL AND COLOURED GLASS
WALL LIGHTS
POSSIBLY BY POLIARTE, 1970s
Of asymmetric design
28 in. (71.1 cm.) high; 16 in. (41.9 cm.) wide (2)
800-1,200 $1,400-2,000
970-1,500
n 150
A CERAMIC-TILE MOUNTED, IRON COFFEE TABLE
BY ROGER CAPRON, 1960s
Signed R. CAPRON
11 in. (29.4 cm.) high; 20 in. (52 cm.) deep; 40 in. (102 cm.)
wide
1,000-1,500 $1,700-2,500
1,300-1,800
(detail)
n 151
A PAIR OF ITALIAN LOUNGE CHAIRS
1960s
On gilt metal legs, covered in a buttoned gold fabric
31 in. (78.8 cm.) high; 23 in. (59 cm.) wide (2)
800-1,200 $1,400-2,000
970-1,500
152
A PAIR OF PATINATED IRON AND COLOURED
GLASS WALL LIGHTS
POSSIBLY BY POLIARTE, 1970s
23 in. ( 60.4 cm.) high; 14 in. ( 36.7 cm.) wide; 5 in. (12.4 cm.)
deep (2)
1,000-1,500 $1,700-2,500
1,300-1,800
77
n 153
TWO DANISH BLACK PAINTED METAL
AND COLOURED GLASS STANDARD
LAMPS
ATTRIBUTED TO SVEND AAGE HOLM SORENSEN,
CIRCA 1960
The rods and square section stems with asymmetric
mounts, each with later shades
62 in. (158 cm.) high (2)
2,000-3,000 $3,400-5,000
2,500-3,600
n 155
A GILT-METAL AND GLASS DINING
TABLE
CIRCA 1980
The slatted base of concave diamond form with later
rectangular glass top
29 in. (75.5 cm.) high; 86 in. (220 cm.) wide; 51
in. (180 cm.) deep
2,000-3,000 $3,400-5,000
2,500-3,600
n 154
A PATINATED METAL AND GLASS
MOUNTED, OPEN DISPLAY CABINET
BY KIM MOTZEL, 1970s
Enclosing a light tting and nine glass shelves of
different dimensions
72 in. ( 184 cm.) high; 38 in. (98.4 cm.) wide;
11 in. (29.4 cm.) deep
1,200-1,800 $2,000-3,000
1,500-2,200
158
157
S. FAVRIOU, 20TH CENTURY
Daroca en Aragon
signed S. Favriou (lower right)
with inscription S. Fravriou/Daroca en/Aragon/S.Favriou (on the stretcher)
oil on canvas
32 x 39 in. (81 x 101 cm.)
600-900 $1,000-1,500
730-1,100
157
156
KRISTIAN LUNDSTEDT (SWEDISH, 1894-1959)
The timber mill
signed Lundstedt (lower right)
oil on canvas
51 x 62 in. (131 x 159 cm.)
1,200-1,800 $2,000-3,000
1,500-2,200
156
158
ROBERT HILL, CIRCA 1963-5
Waterfall; Apple tree; Hollow trunk
signed Robert Hill (upper left), the second signed and dated Robert Hill 1963
(upper leftt) and the third signed and dated Robert Hill 1965 (upper left)
oil on canvas, oil on board
28 x 35 in. (71 x 90 cm.), minor variations (3)
1,000-1,500 $1,700-2,500
1,300-1,800
79
n 159
A FRENCH TOLE-PEINTE EIGHT-LIGHT
CHANDELIER
MID-20TH CENTURY
Modelled with vines wrapping around owering branches and the
stem
45 in. (114 cm.) high
1,000-1,500 $1,700-2,500
1,300-1,800
n 160
A VIENNESE BENTWOOD JARDINIERE
BY THONET, CIRCA 1900
The oval top with metal liner above four exuberantly curved legs on
later feet, with paper label THONET WIEN
800-1,200 $1,400-2,000
970-1,500
n 161
A PAIR OF FRENCH TOLE-PEINTE PEDESTAL
JARDINIERES
19TH CENTURY
Of tapering form, painted with capricci, with zinc liners, knocks and
damages
50 in. (127 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
n 162
A FRENCH GILTWOOD MIRROR
1930s-40s
The cartouche shaped plate within a uted frame, decorated with a
double-ended quiver to the cresting anked by rosettes
800-1,200 $1,400-2,000
970-1,500
80
n 163
A PLASTIC MODEL OF A TYRANNOSAURUS REX
SKELETON
MODERN
On an associated black-painted board plinth base
57 in. (145 cm.) wide
500-800 $840-1,300
610-970
n 164
A PAIR OF SCULPTED COMPOSITION STONE
CANDELABRA
MODERN
Of abstract form
34 in. (86.3 cm.) high (2)
600-900 $1,000-1,500
730-1,100
81 The Orangery
n 166
A FRENCH PROVINCIAL DEUX CORPS
The upper section with shelves enclosed by a pair of later-glazed doors,
the base with conforming panelled doors on scrolling feet, paper labels
to the reverse .../Paris St Lazare and 74, later painted
2,000-3,000 $3,400-5,000
2,500-3,600
n 167
A BRASS AND STEEL FLOOR LAMP MODELLED AS
A HERON AMONGST BULL-RUSHES
1970s IN THE MANNER OF MAISON JANSEN
On a box-shaped base housing the light tting
55 in. (140 cm.) high
1,000-1,500 $1,700-2,500
1,300-1,800
n 168
AN ITALIAN WHITE-PAINTED CASSONE
INCORPORATING 17TH CENTURY ELEMENTS
The high back applied with various foliate carving centred on a
model of a galleon and a femal mask, the base with hinged top, the
front panels applied with conforming foliate and mask carvings
70 in. (178 cm.) high; 72 in. (183 cm.) wide; 23 in. (58.5 cm.) deep
1,200-1,800 $2,000-3,000
1,500-2,200
n 165
A FRENCH WROUGHT-IRON OCCASIONAL TABLE
CIRCA 1940
The base modelled as a group of stylised rushes re-gilt with later
circular glass top
700-1,000 $1,200-1,700
850-1,200
n 169
A PAIR OF TOLE-PEINTE AND
BRONZE SIX-LIGHT WALL-
APPLIQUES
1940s-50s
Modelled as a bouquet of calla lillies
34 in. (86.5 cm.) long (2)
3,000-5,000 $5,000-8,300
3,700-6,100
n 170
A FRENCH PAINTED-TIN
HANGING LANTERN
Of rectangular form, with ogee domed roof and
glazed tapering side panels, the upper pointed
part of the roof replaced
30 in. (77 cm.); 31 in. (79 cm.) wide
1,000-1,500 $1,700-2,500
1,300-1,800
n 171
A WHITE AND GREEN PAINTED
METAL SIGN
CIRCA 1950-60
Spelling COCK joined by two metal hanging
girders, probably 1950s and reduced in length
(23 cm.) deep
1,000-1,500 $1,700-2,500
1,300-1,800
84
172
n 172
A FRENCH TOLE-PEINTE TWELVE-
LIGHT CHANDELIER
Of basket form, applied overall with autumnal
leaves issuing two tiers of branches
43 in. (109 cm.) high
5,000-8,000 $8,400-13,000
6,100-9,700
173
n 173
A PAIR OF POLYCHROME-
DECORATED TOLE-PEINTE WALL
APPLIQUES
CIRCA 1970
Each modelled as a bouquet of owers issuing
four candle sconces, redecorated
1,000-1,500 $1,700-2,500
1,300-1,800
n 174
A FRENCH STEEL AND PERSPEX
CAFE SIGN
Modelled as a coffee pot, back-lit
50 in. (127.5 cm.) high; 44 in. (112 cm.) wide
500-800 $840-1,300
610-970
85
86
n 177
A PAIR OF FRENCH WROUGHT-IRON GATES
20TH CENTURY
Naturalistically modelled as entwined rose stems
Each gate: 64 x 41 in. (163 x 104 cm.) wide (2)
3,000-5,000 $5,000-8,300
3,700-6,100
The Grounds
n 175
A PAIR OF TERRACOTTA GARDEN URNS
LATE 19TH CENTURY
Each with egg and dart moulded rim above a body modelled with
oak leaf swags, raised on reeded stiff-leaf and uted socle, the interiors
each marked 5
23 in. (60 cm.) high (2)
800-1,200 $1,400-2,000
970-1,500
176
n 176
A PAIR OF VICTORIAN GREEN-PAINTED
WROUGHT-IRON BENCHES
LATE 19TH CENTURY
Each with a slatted seat and back with scrolled arms
1,500-2,500 $2,500-4,200
1,900-3,000
P R OVE NANC E :
By repute, Regents Park, London.
177
n 180
A SUITE OF WHITE PAINTED METAL GARDEN
FURNITURE
MODERN
Comprising six armchairs and a circular table
The chairs: 41 in. (104 cm.) high; 20 in. (51 cm.) wide; 20 in. (61
cm.) deep
The table: 31 in. (79 cm.) high; 47 in. (120 cm.) diameter (7)
800-1,200 $1,400-2,000
970-1,500
n 181
A GROUP OF SIX COPPER AND SHEET-METAL
MODELS OF PLANTS
With integral square bases, losses
The largest: 57 in. (145 cm.) high; 45 in. (114 cm.) wide; 48 in. (122
cm.) deep, and smaller (6)
1,200-1,800 $2,000-3,000
1,500-2,200
182 No Lot
n 179
A WHITE-PAINTED ARCHITECTURAL BIRDCAGE
PROBABLY LATE 19TH/EARLY 20TH CENTURY
With wire-grille paneled sides
deep
700-1,000 $1,200-1,700
850-1,200
n 178
A SET OF FOUR BRONZE GLOBE-FORM HANGING
LANTERNS
MODERN
Each with removable panel and central pierced band; together with
four acanthus-cast s-shape wall-brackets
The lanterns: 27 in. (68 cm.) high; 16 in. (41 cm.) diameter
The brackets: 14 in. (46 cm.) deep (4)
2,500-4,000 $4,200-6,600
3,100-4,900
89
n 185
A SET OF FOUR COMPOSITION STONE
JARDINIERES
20TH CENTURY
Of square form, modelled in relief with ribbon-tied oral sprays
Each: 16 in. (42 cm.) high; 18 in, (47 cm.) wide; 18 in. (47 cm.)
deep (4)
600-900 $1,000-1,500
730-1,100
n 184
A COMPOSITION STONE BUST OF A ROMAN
EMPEROR
20TH CENTURY
On an Ionic column-form pedestal
The bust: 32 in. (81.5 cm.) high; 29 in. (75 cm.) wide;
The column: 57 in. (145 cm.) high; 16 in. (40 cm.) wide; 16 in. (40
cm.) deep
1,500-2,500 $2,500-4,200
1,900-3,000
n 183
TWO BLACK-PAINTED LEAD FIGURES OF CUPID
AND THE YOUNG MARS
PROBABLY EARLY 20TH CENTURY, IN THE MANNER OF THE
BROMSGROVE GUILD AND POSSIBLY CAST BY CROWTHER
Largest: 31 in. (78.5 cm.) high (2)
2,000-3,000 $3,400-5,000
2,500-3,600
91
n 188
A PAIR OF WHITE-PAINTED AND DECOUPAGE-COVERED
THREE-QUARTER LIFE-SIZE MODELS OF DEER
MODERN
Each mounted with a pair of antlers and decorated throughout with applied hand-
written letters and bills, on wooden plinth bases
70 in. (178 cm.) high; 56 in. (142.5 cm.) wide; 28 in. (72.5 cm.) deep (2)
3,000-5,000 $5,000-8,300
3,700-6,100
n 187
A PLASTER STATUE OF A CLASSICAL YOUTH
PROBABLY LATE 19TH/EARLY 20TH CENTURY
Modelled holding a bird aloft and wearing a lion-skin, some cracking and old repair
restorations, notably to the shoulders, one arm slightly loose
62 in. (159 cm.) high
1,500-2,500 $2,500-4,200
1,900-3,000
187
n 186
A FRENCH PLASTER MODEL OF ARISTIDES
The base inset with a cast lead medallion REDUCTION MECANIQUE/A.
COLLAS/BREVETTE
700-1,000 $1,200-1,700
850-1,200
Achille Collas (1795-1859) was a French engineer and inventor who devised a mechanical
means of producing accurate reductions of three-dimensional sculpture, such as the present
model of the 6th century B.C. Athenian Statesman Aristides. Collas formed a partnership
with Ferdinand Barbedienne (d. 1892) and together they founded what became one of the
most prodigious metalworking rms of the 19th century, the Barbedienne Foundry, Paris.
186
92
n 192
A PAIR OF TRAVATINE AND BLACK MARBLE
PEDESTALS
MODERN
Each with a moulded top and base
40 in. (102 cm.) high; 14 in. (36 cm.) square (2)
700-1,000 $1,200-1,700
850-1,200
191
A PAIR OF EUROPEAN SILVER-PLATED LAMPS
LATE 19TH CENTURY, LATER MOUNTED AS LAMPS
Of twin-handled urn form, on triple baluster stems and domed base,
with grey card shades
23 in. (58.5 cm.) high, including lamp tment (2)
600-900 $1,000-1,500
730-1,100
n 190
A WHITE-PAINTED WEIGHING SCALE
BY SHANKS & CO. LTD., EARLY 20TH CENTURY
The slender stem supporting a circular dial on a rectangular base
deep
700-1,000 $1,200-1,700
850-1,200
n 189
A PAIR OF GOTHIC-STYLE FABRICATED AND
PRESSED STEEL WALL LANTERNS
With glass panels decorated with quatrefoil ornament, two panes
cracked
46 in. (117 cm.) high (2)
1,200-1,800 $2,000-3,000
1,500-2,200
93
n 195
A PAIR OF PARCEL-GILT GREEN-
PAINTED WROUGHT-IRON CONSOLE
TABLES
1930s-40s
Each with serpentine Siena-marble top edged with
a grey-marble moulding above a shaped frieze on
acanthus-capped cabriole legs
cm.) deep (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 194
A SET OF SIX ITALIAN GREEN-PAINTED
DINING CHAIRS
MID-19TH CENTURY
Each with cartouche-shaped back and serpentine-seat on
slender cabriole legs, covered in brown cotton moleskin,
redecorated
33 in. (85 cm.) high (6)
800-1,200 $1,400-2,000
970-1,500
n 193
A FRENCH BEECH BERGERE
EARLY 20TH CENTURY, COVERED IN LELIEVRE GREEN
COTTON-VELVET
The arched back with shallow wings descending to
scrolling arms, the seat with squab-cushion on cabriole
legs
800-1,200 $1,400-2,000
970-1,500
94
196
196
CONTINENTAL SCHOOL, EARLY 20TH
CENTURY
Abstract form - head
white marble on plinth base
14 in. (37 cm.) high; 16 in. (40.5 cm.) wide; 12 in.
(30.5 cm.) deep
800-1,200 $1,400-2,000
970-1,500
197
n 197
ENGLISH SCHOOL, CIRCA 1960
Astronauts Helmet
painted fabricated steel
(28 cm.) deep
1,000-2,000 $1,700-3,300
1,300-2,400
n 198
A PAIR OF BLUE PERSPEX CONSOLE
TABLES
LATE 20TH CENTURY
With inset glass tops
(40.4 cm.) deep
(2)
2,500-4,000 $4,200-6,600
3,100-4,900
95
199
A FRENCH GILT METAL WALL LIGHT
1991
Wall light modelled as a horses head with resin elements, signed
Lambert Ph gufo 1991
deep
2,000-3,000 $3,400-5,000
2,500-3,600
200
A PAIR OF FRENCH GLASS AND GILT-METAL
THREE BRANCH CANDELABRA
BY SCHNEIDER, CIRCA 1970
Each engraved Schneider France; together with an art glass vase,
possibly by Val Saint Lambert
The candelabra: 8 in. (20 cm.) high (3)
600-900 $1,000-1,500
730-1,100
The Bedrooms
96
201
ENGLISH SCHOOL, 20TH CENTURY
Untitled (optical)
screenprint in colours on wove paper, from the edition of unknown
size
34 x 34 in. (88 x 88 cm.)
400-600 $670-1,000
490-730
202
HENRIK SAMUELSSON (SWEDISH, B. 1960)
Pakt
signed with a monogram (lower right) and further signed, signed
with initials, inscribed and dated Pakt/1991/Henrik Samuelsson/
HS (on the reverse)
mixed media on canvas
47 x 39 in. (121 x 100 cm.)
800-1,200 $1,400-2,000
970-1,500
203
JULES DE GOEDE (DUTCH, 1937-2007)
Rounded form
signed, inscribed and dated Jules de Goede 1983/TITLE: Rounded
form (on the reverse)
oil on canvas
67 x 87 in. (171.5 x 221.5 cm.)
800-1,200 $1,400-2,000
970-1,500
n 204
A GOLD AND BROWN-PAINTED FIBREGLASS
MODEL OF A ROMAN EAGLE AQUILA
PROBABLY 1963
Modelled facing sinister with outstretched wings
700-1,000 $1,200-1,700
850-1,200
P R OVE NANC E :
Almost certainly from the 1963 Twentieth Century Fox production
CLEOPATRA.
The Twentieth Century Fox production directed by Joseph L. Mankiewicz
stared Richard Burton and Elizabeth Taylor; it was notorious for its lavish
sets and spiralling production costs which not only made it one of the
most expensive lms ever made, but the only lm in history to make a loss
despite being the highest grossing lm of the year when released.
n 205
A LARGE BEADED GLASS FLOOR LAMP IN THE
FORM OF THE EIFFEL TOWER
The sectional steel frame wrapped with strands of glass beads and
mounted throughout with faceted glass drops
2,000-3,000 $3,400-5,000
2,500-3,600
n 206
A FORNASETTI RUG
1980s
Woven with a tiger on a patterened ground
78 in. (198 cm.) long; 56 in. (142 cm.) wide
1,000-1,500 $1,700-2,500
1,300-1,800
n 209
AN ITALIAN BUTTONED BEECH THREE
SEAT SOFA
Of concave form on tapering beech legs, covered in grey
satin
34 in. (86.4 cm.) high; 81 in. (200.5 cm.) wide; 33 in.
(84.5 cm.) deep
3,000-5,000 $5,000-8,300
3,700-6,100
n 208
A PAIR OF GERMAN TUBULAR STEEL AND
LEATHER UPHOLSTERED ARMCHAIRS
CIRCA 1980
Each with canvas support and detachable buttoned white
leather cushion
30 in. (76.5 cm.) high; 29 in. (73.8 cm.) deep; 29 in.
(73.8 cm.) wide (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 207
A SILVERED METAL AND CUT-GLASS SIX-
LIGHT CHANDELIER
CIRCA 1970
The circular body strung with heavy faceted drops
1,200-1,800 $2,000-3,000
1,500-2,200
99
n 210
A SQUARE GLASS MIRROR
BY VENINI, CIRCA 1960
The deep frame designed to be back-lit
4,000-6,000 $6,700-10,000
4,900-7,300
n 211
A PERSPEX CONSOLE TABLE
With brech violette top
31 in. (78.5 cm.) high; 63 in. (160 cm.) wide;
19 in. (49.5 cm.) deep
3,000-5,000 $5,000-8,300
3,700-6,100
100
n 214
A PAIR OF GILT-METAL AND
PERSPEX FRAMED ARMCHAIRS
CIRCA 1980, COVERED IN LELIEVRE BUFF-
COLOURED VELVET
Of box form
each 26 in. (66.7 cm.) high; 42 in. (106.7 cm.)
wide; 33 in. (83.8 cm.) deep (2)
2,000-3,000 $3,400-5,000
2,500-3,600
n 213
A GILT BRONZE COFFEE TABLE
ATTRIBUTED TO MAISON JANSEN, MID-20TH
CENTURY
With a foliate cast frame and later glass top
17 in. (43.8 cm.) high; 41 in. (104.8 cm.)
long; 19 in. (50.2 cm.) wide
800-1,200 $1,400-2,000
970-1,500
n 212
A SILVERED METAL AND CUT-
GLASS CHANDELIER
FRENCH OR ITALIAN 1970s
The circular tiered frame hung with large faceted
drops
2,000-3,000 $3,400-5,000
2,500-3,600
101
215
LEON GARLAND, CIRCA 1924
Portrait of a gentleman, full-length, seated, in uniform before a bureau plat
signed and dated Leon Garland 1924 (lower right)
oil on canvas , unframed
70 x 40 in. (178 x 103 cm.)
2,000-4,000 $3,400-6,600
2,500-4,900
102
n 219
A PAIR OF INCISED AND PARCEL-GILT BLACK
JAPANNED PEDESTALS
Decorated with stylised Egyptian columns to the corners
600-900 $1,000-1,500
730-1,100
216
AN ITALIAN ALABASTER BUST OF AN EGYPTIAN
BOY PHARAOH
EARLY 20TH CENTURY
Signed R. Colivichi to the reverse, on an onyx socle
600-900 $1,000-1,500
730-1,100
218
A BRONZE STATUE OF A STANDING MALE NUDE
LATE 20TH CENTURY
Modelled leaning on a sword, mounted on a stepped black-granite
base
400-600 $670-1,000
490-730
n 217
A PAIR OF ITALIAN WALNUT BEDSIDE CABINETS
1940s
With glass tops and brass pulls and sabots, retail label to inside of each
drawer Ducrot Milano-Roma-Palermo-Napoli
deep (2)
700-1,000 $1,200-1,700
850-1,200
103
220
A PAIR OF ITALIAN BEADED-GLASS WALL
LIGHTS
1920s-30s
Each modelled as a scrolling feather on a gilt-metal frame
and later back panel
23 in. (59.6 cm.) high; 9 in. (23 cm.) wide (2)
1,200-1,800 $2,000-3,000
1,500-2,200
n 221
AN ITALIAN GILTWOOD CONSOLE TABLE
20TH CENTURY, IN THE MANNER OF MAISON JANSEN
The associated alabastro orito top, with stepped edge on
two palm-form supports joined by a shaped plinth
cm.) deep
2,000-3,000 $3,400-5,000
2,500-3,600
n 222
A PARCEL-GILT, SILVERED AND BROWN-
PAINTED BOWED, SECTIONAL ROOM
PANEL
SIGNED PAVDO, 20TH CENTURY
Depicting the construction of the pyramids, Egypt,
possibly conceived as part of a stage set
Each panel: 95 x 19 in. (243 x 49.5 cm.)
1,200-1,800 $2,000-3,000
1,500-2,200
104
n 225
AN ITALIAN COCKTAIL CABINET
1930s, LATER EBONISED
The glass top above shaped quarter-veneered central
doors enclosing a mirrored interior anked by a pair of
cupboard doors enclosing shelves
cm.) deep
2,000-4,000 $3,400-6,600
2,500-4,900
n 224
A PAIR OF FRENCH ART DECO
MAHOGANY ARMCHAIRS
CIRCA 1930
The high outward-splayed arms anking a deep seat with
squab cushion, covered in cream leather
30 in. (78 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
n 223
AN ITALIAN NICKEL-PLATED
TUBULAR METAL AND ETCHED-GLASS
CHANDELIER
The outer glass rim etched with sea creatures and animals
42 in. (106.5 cm.) high; 32 in. (82.5 cm.) diameter
1,500-2,500 $2,500-4,200
1,900-3,000
105
n 227
A NEST OF THREE GRADUATED MACCASAR-
EBONY VENEERED OCCASIONAL TABLES
CIRCA 1930, IN THE MANNER OF EMILE-JACQUES RUHLMANN (1879-
1933)
The largest: 28 in. (71 cm.) high; 27 in. ( 69.8 cm.) wide: 13 in. (33
cm.) deep (3)
1,500-2,500 $2,500-4,200
1,900-3,000
n 226
A PAIR OF CHINESE LARGE EBONISED
HARDWOOD ARMCHAIRS
CIRCA 1930, PROBABLY CANTONESE
Each with bold scrolling back and arm-supports, the padded armrests
with wavy-frieze anking a deep stuff-over with deep moulded rails
on squat cabriole legs, covered in blue velvet
44 in. (116 cm.) high
5,000-8,000 $8,400-13,000
6,100-9,700
n 228
A PAIR OF FRENCH BRONZE
HANGING LANTERNS
MODERN
The frames of scrolling hexagonal form, with
concave etched glass panels and a four-light
internal tment
43 in. (110 cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 230
A PAIR OF WILLIAM IV PARCEL-
GILT CREAM-PAINTED
PELMETS
CIRCA 1830-40
Each with a lappet-carved cornice above
a frieze applied with a composition band
of fruiting foliage supported by a pair of
scrolling acanthus and lappet-carved brackets
36 in. (92 cm.) high; 113 in. (288 cm.)
2,500-4,000 $4,200-6,600
3,100-4,900
n 229
A PAIR OF EBONISED
SERPENTINE COMMODES
MID-20TH CENTURY
Each with three long drawers on cabriole
legs, later ebonised
19 in. (48 cm.) deep (2)
800-1,200 $1,400-2,000
970-1,500
107
n 233
AN EBONISED SERPENTINE
COMMODE
On bracket feet, later ebonised, one handle
replaced
34 in. (86 cm.) high; 62 in. (157.5 cm.)
wide; 22 in. (57 cm.) deep
800-1,200 $1,400-2,000
970-1,500
n 232
A VICTORIAN GILTWOOD AND
COMPOSITION OVERMANTLE
MIRROR
BY C. NOSOTTI, LATE 19TH CENTURY
The foliate shell-cresting mounted with birds,
label to the reverse C. Nosotti/ Carvers and
Gilders/.../398 & 399 Oxford Street
1,000-1,500 $1,700-2,500
1,300-1,800
n 231
A CHINESE OVERSIZED
YELLOW-GLAZED VASE
Of bottle form, restoration to foot rim
43 in. (110 cm.) high
2,000-4,000 $3,400-6,600
2,500-4,900
n 234
A VENETIAN LARGE REVERSE-CUT TRIPTYCH
DRESSING TABLE MIRROR
1930s-40s
With pierced scrolling cresting above a bevelled tilting central plate
anked by hinged bevelled plates
600-900 $1,000-1,500
730-1,100
n 235
A LOUIS XV-STYLE GREY-PAINTED CANAPE
MID-20TH CENTURY, COVERED IN LELIEVRE PINK SILK-DAMASK
The channeled frame carved with scrolling decoration
1,200-1,800 $2,000-3,000
1,500-2,200
n 236
A PAIR OF LOUIS XVI-STYLE GREY-PAINTED
BERGERES
MID-20TH CENTURY, COVERED IN LELIEVRE PINK SILK-DAMASK
Each with oral cresting and reeded frame above an oval seat on
uted legs
33 in. (84 cm.) high (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 237
A VENETIAN PARCEL-GILT POLYCHROME-
PAINTED BOMBE COMMODE
Decorated throughout with oral panels, the serpentine top with
shallow drawer to the cavetto-moulded frieze above two long drawers
on cabriole legs
37 in. (94.5 cm.) high; 51 in. (131.5 cm.) wide; 22 in. (57 cm.)
deep
1,500-2,500 $2,500-4,200
1,900-3,000
109
238
A PAIR OF PINK GLASS TABLE LAMPS
LATE 20TH CENTURY
With gold sequin shades
29 in. (74 cm.) high (including tting) (2)
1,200-1,800 $2,000-3,000
1,500-2,200
n 239
A LARGE LOUIS XVI-STYLE GILTWOOD CHEVAL
MIRROR
The oval swing-plate with garland-hung ribbon-cresting on an
acanthus and rosette-carved uted stand
1,200-1,800 $2,000-3,000
1,500-2,200
n 240
A LOUIS XVI-STYLE GREY-PAINTED BED
LATE 19TH CENTURY, COVERED IN LELIEVRE PINK SILK-BROCADE
The head and footboards with entrelac and gadroon-carved upper
border above padded panels, anked by pomegranate-capped spiral-
uted columns; together with a later mattress
51 in. (130 cm.) high; 58 in. (148 cm.) wide; 83 in. (211 cm.) long
1,500-2,500 $2,500-4,200
1,900-3,000
110
n 241
A GEORGE III-STYLE PAINTED PINE DOOR
SURROUND
LATE 19TH CENTURY
With broken swan-neck pediment above a deep frieze with protruding
bosses applied with oval patera on anthemion-carved scrolling brackets
and uted jambs
121 in. (307 cm.) high; 82 in. (208.5 cm.) wide; 14 in. (35 cm.) deep
2,000-3,000 $3,400-5,000
2,500-3,600
243
AN IBERIAN PARCEL-GILT POLYCHROME-
DECORATED PINE GROUP
Modelled as an eagle anked by two putti
800-1,200 $1,400-2,000
970-1,500
n 242
AN ITALIAN PARCEL-GILT, POLYCHROME-DECORATED BAROQUE ALTAR
REREDOS
LATE 17TH/EARLY 18TH CENTURY, POSSIBLY SICILIAN
Mounted with cherubic-angels anking an oil on canvas depicting a marriage ceremony above a niche
with later mirror plate anked by sculptures of saints, some redecoration, minor losses and reconguration
175 in. (445 cm.) high; 143 in. (363 cm.) wide approx.; 24 in. (61 cm.) deep
12,000-18,000 $20,000-30,000
15,000-22,000
P R OVE NANC E :
Almost certainly, St. Peter, Barnsley, West Yorkshire, before removal to
St John The Divine, Grantham, Lincolnshire.
This is almost certainly the altar referenced by Sir Nikolaus Pevsner, in his volume on Lincolnshire,
form his Buildings of England series (London, 1990, p. 295), where he describes a White and gold,
Flemish (?), c. 1700 with gures and lush acanthus in situ at St. John The Divine, which was
deconsecrated in the early 2000s.
n 244
A FRENCH TOLE-PEINTE SIX-LIGHT
CHANDELIER
The body modelled as owering branches with a rope-tie to the base,
with applied ower heads twisting around the stem
27 in. (68.5 cm.) high
1,200-1,800 $2,000-3,000
1,500-2,200
n 245
A PAIR OF FRENCH BRASS-MOUNTED WROUGHT-
IRON ARMCHAIRS
Covered in buttoned red mohair velvet
35 in. (89 cm.) high (2)
600-900 $1,000-1,500
730-1,100
n 246
AN IBERIAN BRASS-STUDDED LEATHER CHEST
The domed lid enclosing a red baize-lined interior, on two H-shaped
supports (not illustrated)
(excluding supports)
400-600 $670-1,000
490-730
n 247
A FRENCH BLACK-PAINTED WROUGHT-IRON
CONSOLE TABLE
1930s-40s
The grey-green veined serpentine-shaped marble-top with moulded-
edge above a scrolling foliate frieze applied with repous ower-heads
on acanthus-capped cabriole-legs joined by a conforming stretcher
36 in. (91.5 cm.) high; 56 in. (144 cm.) wide; 17 in. (44 cm.) deep
1,200-1,800 $2,000-3,000
1,500-2,200
n 248
A PAIR OF NORTH ITALIAN PARCEL-
GILT GREEN-PAINTED GIRANDOLES
19TH CENTURY
Each with replaced cartouche-shaped plate within
a pierced c-scroll and oral-carved frame, lacking
sconces, redecorated
1,000-1,500 $1,700-2,500
1,300-1,800
n 249
A PAIR OF ITALIAN BAROQUE-STYLE
GILTWOOD FLOOR-STANDING ALTAR
CANDELABRA
20TH CENTURY
Each with an elaborate ve-light foliate upper-
section, on a turned and foliate-carved shaft and a
tripod-base with marbled plinth, losses
1,500-2,500 $2,500-4,200
1,900-3,000
n 250
AN EUROPEAN AGNUS DEI SUNBURST
19TH CENTURY, MOUNTED AS A MIRROR
The later mirror plate within a swirling cloud-form
frame issuing carved rays, traces of gilding
69 x 66 in. (176 x 167.5 cm.)
1,000-1,500 $1,700-2,500
1,300-1,800
114
n 252
TWO JAPANESE BRONZE MODELS OF
CRANES
LATE 19TH CENTURY
Meiji period of sectional construction and typical form
4,000-6,000 $6,700-10,000
4,900-7,300
n 251
A SOUTH-EAST ASIAN POLYCHROME-
DECORATED HARDWOOD FIGURE OF
LUOHAN
MING DYNASTY (1368-1644)
Modelled seated, with section cut-away to the reverse where
previously mounted
39 in. (100 cm.) high; 23 in. (58 cm.) 22 in. (58 cm.) deep
6,000-10,000 $10,000-17,000
7,300-12,000
115
Shoreditch:
Les Trois Garcons
Loungelover
The Apartment
116
n 253
AN ANTLER-MOUNTED OAK HALL
LANTERN
BY ANTHONY REDMILE, 1970s-80s
Of very large proportion, with brass suspension loop and
glass-panelled sides
cm.) deep
4,000-6,000 $6,700-10,000
4,900-7,300
n 254
A LIFE-SIZE PASTE JEWEL MOUNTED HALF-
MODEL OF A POUNCING SABRE-TOOTHED
TIGER
LATE 20TH CENTURY, LATER DECORATED
Naturalistically modelled and designed to be wall-mounted,
variously mounted with coloured beads and cabochons
45 in. (114 cm.) protrusion
2,500-4,000 $4,200-6,600
3,100-4,900
P R OVE NANC E :
By repute, the model originally form a display at The Natural
History Museum, London.
The decoration of this model was commissioned as part of a window
display designed by Les Trois Garons for Selfridges department store,
Oxford Street, London.
n 255
A TOLE PEINTE-MOUNTED AND
COMPOSITION COFFEE TABLE
BY ANTHONY REDMILE, 1970s-80s
Modelled as a tortoise with smoked glass top, loss to central
boss
2,000-3,000 $3,400-5,000
2,500-3,600
n 256
A PAIR OF ITALIAN LARGE GILTWOOD MIRRORS
The cartouche-shaped plates within moulded frames, re-gilt
3,000-5,000 $5,000-8,300
3,700-6,100
n 257
A PAIR OF GILTWOOD EAGLES
IN THE MANNER OF WILLIAM KENT, MODERN
Each with attened head and outstretched wings on an egg-and-dart-
moulded plinth; together with an associated pair of painted board
plinths
32 in. (81 cm.) high; 47 in. (120 cm.) wide (excluding associated
plinths) (2)
1,500-2,500 $2,500-4,200
1,900-3,000
118
259
ENGLISH SCHOOL, 20TH CENTURY
Portrait of a lady, full-length, in a red gown and
white fur wrap, by a replace in an interior
oil on canvas, unframed
88 x 62 in. (224 x 158 cm.)
3,000-5,000 $5,000-8,300
3,700-6,100
n 258
A PAIR OF SCOTTISH POLYCHROME-
PAINTED, FRAMED, CANVAS
OVERDOORS
EARLY 20TH CENTURY
Each of semi-eliptical form depicting an owl anked
by other birds amidst foliage on a pale blue ground
Each: 31 in. (79 cm.) high; 100 in. (254 cm.) wide,
including frames (2)
1,500-2,500 $2,500-4,200
1,900-3,000
P R OVE NANC E :
By repute, removed from a Scottish Manor House.
262
THEODORE LEVIGNE (1848-1912)
A pheasant, a hare and a snipe on a marble topped table; and A hare
and a hunting horn on a ledge
both signed Theodore Levigne (lower right)
oil on canvas
44 x 35 in. (112 x 89 cm.) (2)
2,000-3,000 $3,400-5,000
2,500-3,600
261
A NOVELTY TAXIDERMY HARE
20TH CENTURY
Modelled on a shoot, with a shotgun and stick, wearing a knapsack
with pheasant feathers
31 in. (78.5 cm.) high
800-1,200 $1,400-2,000
970-1,500
260
A TAXIDERMY ALBINO WALLABY
20TH CENTURY
Modelled standing upright, with pink glass eyes
1,000-1,500 $1,700-2,500
1,300-1,800
263
A PAIR OF GERMAN MODELS OF BOLOGNESE
TERRIERS AND AN ALGORA MODEL OF A POODLE
EARLY 20TH CENTURY, THE POODLE MARKED ALGORA / MADE IN
SPAIN
The terriers naturalistically modelled with heads inclined, the poodle
modelled sitting on hindquarters
700-1,000 $1,200-1,700
850-1,200
264
264
ITALIAN SCHOOL, 19TH CENTURY
Prince of Hounds
oil on canvas
27 x 59 in. (70 x 150 cm.)
1,500-2,500 $2,500-4,200
1,900-3,000
265
265
GUMME AKERMARK, (SWEDISH 1847-1927)
Bernese mountain dog
signed and dated Gumme Ackermark 1887 (lower right)
oil on canvas
31 x 49 in. (80 x 124.5 cm.)
2,500-4,000 $4,200-6,600
3,100-4,900
121
n 266
AN OVERSIZED WALL CLOCK MODELLED AS A GIANT POCKET-WATCH
BY THE OHIO CLOCK COMPANY, MID-20TH CENTURY, THE ELECTRIC MOVEMENT REPLACED
With simulated loop and winder above an ebonised and gilt bezel and a painted dial with roman
numerals and subsidiary seconds dial, bearing inscription Tiffany & Co., the case with stencilled
inscription to the reverse OHIO CLOCK CO/ 6.38 and inscribed in pencil 2nd oor
3,000-5,000 $5,000-8,300
3,700-6,100
P R OVE NANC E :
By repute, originally produced as part of a Tiffany & Co., shop display.
n 270
A PAIR OF WHITE MARBLE
PEDESTALS
20TH CENTURY
Of uted tapering form, on square bases,
weathered
2,000-3,000 $3,400-5,000
2,500-3,600
n 269
A PAIR OF PERSPEX-MOUNTED
VIBONIC FLOOR LAMPS
BY FUTURETRO, 2003
Modelled with neon perspex discs, on square
metal bases
52 in. (133 cm.) high (2)
2,000-3,000 $3,400-5,000
2,500-3,600
269
268
A PAIR OF FRENCH GILT-METAL
WALL-LIGHTS
MID-20TH CENTURY
In the form of triple-masted schooners, on
scrolled brackets
25 in. (65 cm.) high (2)
600-900 $1,000-1,500
730-1,100
268
267
A FRENCH TOLE PEINTE-
MOUNTED AND GREENPAINTED
WOOD COIFFEUR SIGN
The paintwork distressed
600-900 $1,000-1,500
730-1,100
n 271
A PAIR OF ITALIAN GILTWOOD MIRRORS
LATE 19TH CENTURY
Each with an oval plate within a pierced foliate frame surmounted by
an eagle and carved to the base with an armorial cartouche, one plate
marked to the reverse G. DALLEIZETTE & CO./ ROMA, later
gilt
4,000-6,000 $6,700-10,000
4,900-7,300
P R OVE NANC E :
By repute, The House of Savoy,
The arms to the base of these mirrors are apparently those of The House
of Savoy, the ancient dynasty who reined as Kings of Italy from 1861 until
1945, thereby supporting the reputed provenance.
124
125
n 272
A PAIR OF OVERSIZED ITALIAN MILK GLASS
CHANDELIERS
SECOND HALF 20TH CENTURY, THE GLASS PENDANTS POSSIBLY
MURANO
Each of conical form, hung with layers of milk glass leaves, minor losses
26 in. (66 cm.) high; 41 in. (104 cm.) diameter and similar (2)
7,000-10,000 $12,000-17,000
8,500-12,000
n 273
A PATINATED METAL GEOMETRIC CHANDELIER
ATTRIBUTED TO GAETANO SCIOLARI , SECOND HALF 20TH
CENTURY
30 in. (77.5 cm.) high
700-1,000 $1,200-1,700
850-1,200
274
AN ALUMINIUM AND ACRYLIC MOLECULAR
TABLE LAMP
BY ROBERT HAUSSMANN, SECOND HALF 20TH CENTURY
Together with polished and brushed aluminium and perspex three
branch table lamp by Gaetano Sciolari, stamped Sciolari, Roma,
Mod 644
21 (54.6 cm.) high and 20 (51.5 cm) high respectively (2)
600-900 $1,000-1,500
730-1,100
n 275
TWO PAIRS OF PASTE JEWEL MOUNTED
ANTLERS
LATE 20TH CENTURY
Painted and applied with pink and red paste gemstones
54 in. (128 cm.) high; 45 in. (114.5 cm.) wide approx. (2)
2,000-3,000 $3,400-5,000
2,500-3,600
The decoration of these antlers was commissioned as part of a window
display designed by Les Trois Garons for Selfridges department store,
Oxford Street, London.
276
A PAIR OF CHINESE CARVED GREEN QUARTZ
VASES AND COVERS
EARLY 20TH CENTURY
On square hardwood bases, chips and losses
14 in. (37 cm.) high, including bases (2)
700-1,000 $1,200-1,700
850-1,200
127
n 277
A MONUMENTAL PAIR OF
CHINESE BLUE AND WHITE
PORCELAIN VASES
MODERN
With ared rim and slender necks, the
tapering bodies decorated with mountainous
landscapes
6,000-9,000 $10,000-15,000
7,300-11,000
n 281
A PAIR OF REGENCY-STYLE BLACK PAINTED
EBONISED WINDOW-SEATS
SECOND HALF 20TH CENTURY, IN THE MANNER OF THOMAS HOPE
Each with mask capped elongated x-frame and black velvet covered
seat, later ebonised
28 in. (72 cm.) high; 51 in. (130 cm.); 18 in (46 cm.) (2)
1,500-2,500 $2,500-4,200
1,900-3,000
280
A LARGE FIBRE-GLASS LAMP MODELLED AS A
CONCH SHELL
1970s
On a square base, mounted with brass plate indistinctly inscribed with
signature
48 in. (122 cm.) high
600-900 $1,000-1,500
730-1,100
n 279
A PAIR OF SWEDISH WHITE-PAINTED TUB-
ARMCHAIRS
Each with lappet-carved back above a uted seat-rail on turned and
uted legs, covered in black leather
32 in. (83 cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 278
AN OVERSIZED CHINESE HARDWOOD-LANTERN
MOUNTED WITH REVERSE PAINTED GLASS
PANELS
EARLY 20TH CENTURY
With associated acanthus-carved corona above a hexagonal body
with foliate and dragon-mask carved frame and hinged panel to one
side, the frame later gold painted, two panes cracked, minor losses to
carving, frame loose
1,200-1,800 $2,000-3,000
1,500-2,200
n 284
A PAIR OF SCANDINAVIAN
ART-DECO WALNUT AND ELM
ARMCHAIRS
CIRCA 1930
Each with rounded arms and squab-cushions
above cross-banded seat-rails on cabriole legs,
covered in red-leather
30 in. (76 cm.) high (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 283
A BRASS CENTRE TABLE
LATE 20TH CENTURY
The base modelled as three stylised adorsed
dolphins on a triform plinth supporting a circular
glass top, variously numbered to the underside
29 in. (75 cm.) high; 47 in. (120 cm.)
diameter
2,000-3,000 $3,400-5,000
2,500-3,600
n 282
A LARGE TAXIDERMY WILD-BOARS
HEAD
POSSIBLY GERMAN, LATE 19TH CENTURY
Mounted on a walnut panel carved with oak-
leaves and acorns, paper label to the reverse
...ROM HARTEL & FRANCISZ. KALKU/
LWOW, .ULKA, STRASZICA L...
The panel: 34 in. (86 cm.) high; 28 in. (71 cm.)
wide
600-900 $1,000-1,500
730-1,100
129
n 285
A PATINATED BRONZE SEVEN
LIGHT CHANDELIER
EARLY 20TH CENTURY
With ambeau nial above a spherical body
issuing seven torch-shaped branches, with
frosted-glass ambeau shades
29 in. (74 cm.) high (excluding chain); 29
in. (75 cm.) wide
2,500-4,000 $4,200-6,600
3,100-4,900
n 286
A SET OF FOUR BRONZE-
MOUNTED OPAQUE-GLASS
WALL LIGHTS
PROBABLY EARLY 20TH CENTURY, FRENCH
OR BELGIAN
Each of demi-lune form with bands of
scrolled pressed metal decoration
36 in. (91.5 cm.) high; 8 in. (22 cm.) wide;
4 in. (11.5 cm.) deep
(4)
1,500-2,500 $2,500-4,200
1,900-3,000
287
A LARGE GLAZED
EARTHENWARE
ARCHITECTURAL MOUNT
The latticed rim, with four protruding
Bacchic gures on a circular base
29 in. (75 cm.) high; 22 in. (57 cm.)
square
1,000-1,500 $1,700-2,500
1,300-1,800
131
290
A SILVER-PLATED MODEL OF A BULL
Mounted on an ebonised plinth
11 in. (28 cm.) high; 20 in. (52 cm.) wide; 7 in. (17 in.) wide
800-1,200 $1,400-2,000
970-1,500
291
A PAIR OF BLACK-PAINTED-METAL SPOT LIGHTS
BY A.E. CREMER PARIS, 1930s-50s
Each on stand with adjusting wooden handles, tted for electricity
18 in. (47 cm.) high; 12 in. (30.5 cm.) wide; 13 in. (33 cm.) deep(2)
400-600 $670-1,000
490-730
n 289
A GLASS AND MIRROR-GLASS-MOUNTED
PAINTED-CORK DIORAMA OF OLD LONDON
BRIDGE
Realistically modelled, in a glazed grained-rosewood frame, hinged
panels to the reverse allowing lights to be inserted into the buildings
700-1,000 $1,200-1,700
850-1,200
n 288
A VICTORIAN LARGE SCALE SHOP DISPLAY
MODEL OF A BALMORAL BOOT
LATE 19TH CENTURY
18 in. (45.5 cm.) high; 35 in. (89 cm.) long
1,200-1,800 $2,000-3,000
1,500-2,200
n 294
A PAINTED-BRONZE PANDA COFFEE TABLE
1970s-80s
With replaced glass top
19 in. (50 cm.) high; 47 in. (120.5 cm.) wide; 31 in. (80
cm.) deep
2,000-3,000 $3,400-5,000
2,500-3,600
n 293
A LARGE RAILWAY-TYPE CLOCK
INCORPORATING AN EARLY 20TH CENTURY
PAINTED COPPER CHAPTER RING
With white perspex dial applied with a modern
battery operated movement, designed to be
back-lit
48 in. (122 cm.) diameter; 5 in. (14.5 cm.)
deep
1,200-1,800 $2,000-3,000
1,500-2,200
n 292
A LARGE SCRATCH-BUILT MODEL
OF A S.E.5. BI-PLANE
The wooden airframe with painted fabric covering
(193 cm.) deep
1,500-2,500 $2,500-4,200
1,900-3,000
This model depicts the S.E.5(a) (Scout Experimental 5), which was a ghter
plane introduced to the Royal Flying Corps towards the end of the Great
War (1914-1918). The S.E.5 was produced in great numbers by several
important factories of the time including the Royal Air Factory, Vicars,
Wolseley Motors and Martinsyde, with the eventual output exceeding 5000.
134
295
MATTHEW STRADLING
Rebis
signed, inscribed and dated Matthew
Stradling/1993./Rebis (on the reverse)
mixed media on canvas, unframed
51 x 37 in. (129.5 x 96 cm.)
2,000-4,000 $3,400-6,600
2,500-4,900
Working from a north London studio, the pictures
of Matthew Stradling celebrate the human form and
explore the themes of sensuality by questioning norms
and subverting pictorial convention. His work has
been exhibited internationally and he has had twelve
solo exhibitions in London and Paris. The central
gure framed by pearls and with arms outstretched
has an almost spiritual and meditative quality which
is counterbalanced by the stark contrast between the
esh tones and dark background from which the
gure emerges.
n 296
THREE REVERSE-PRINTED-GLASS
PINBALL MACHINE PANELS
1970s
The largest: 28 in. x 31 in. (71 x 79 cm.) (3)
500-800 $840-1,300
610-970
135
136
n 299
A REGENCY-STYLE PATCHWORK-COVERED
HARDWOOD DAYBED
BY SQUINT, MODERN
The scrolling foliate-carved frame on naturalistic legs with ball-and-
claw feet, covered in coloured silks and striped cotton ticking
2,000-3,000 $3,400-5,000
2,500-3,600
n 297
A CHROMIUM-PLATED, CLEAR AND MILK-GLASS
CHANDELIER
1970s, PROBABLY ITALIAN
The dished top edged with hooks suspending twisted glass rod-
pendants which surround a white-glass conical-shaped body
terminating in a ball nial, losses
43 in. (109 cm.) high approx; 27 in. (69 cm.) diameter
1,000-1,500 $1,700-2,500
1,300-1,800
n 298
A FABRIC-COVERED MIRROR
BY SQUINT, MODERN
The rectangular bevelled plate within a moulded frame with with
pierced scrolling acanthus decoration, covered in a patchwork of
silks, velvets and other textiles
800-1,200 $1,400-2,000
970-1,500
137
300
BRIDGET ORLANDO, CIRCA 2009
Butteries
signed and dated Bridget Orlando/2009 and variously
inscribed with the latin species names (on the reverse)
acrylic on canvas, unframed
36 x 48 in. (91.5 x 122 cm.)
1,200-1,800 $2,000-3,000
1,500-2,200
n 301
A BEAD-WORK AND BRASS TABLE LAMP
MODELLED AS A PERCHING PARROT
1970s
On a green perspex plinth, with integral cream-cotton
pagoda-shape shade
44 in. (112 cm.) high including shade
700-1,000 $1,200-1,700
850-1,200
n 302
A FRENCH WHITE-PAINTED WROUGHT-
IRON AND STEEL PARROT CAGE ON
STAND
1960s-80s
Of pagoda form with three glass-panelled and three
wire-grille sides
(86.5 cm.) deep
1,200-1,800 $2,000-3,000
1,500-2,200
304
305
304
PAUL SOUTHEY, CIRCA 1971
Penelopes Piano IV
signed inscribed and dated Paul Southey 71/72
Penelopes Piano IV (to the side of the stretcher)
oil on board
60 x 40 in. (152 x 101.5 cm.)
800-1,200 $1,400-2,000
970-1,500
305
ENGLISH SCHOOL, 20/21ST
CENTURY
Untitled
60 x 58 in. (152.5 x 148.5 cm.)
1,000-1,500 $1,700-2,500
1,300-1,800
306
306
RUIZ, CIRCA 1947
Abstract gures on grey (recto); Untitled, 1947
(verso)
signed Ruiz (lower right, recto) and signed and
dated Ruiz/1947 (lower left, verso)
oil on board
36 x 35 in. (92 x 91 cm.)
700-1,000 $1,200-1,700
850-1,200
n 303
AN ITALIAN PATINATED AND
PAINTED METAL FLOOR LAMP
With adjustable arms, on a marble base
85 in. (217 cm.) high
1,500-2,500 $2,500-4,200
1,900-3,000
307
A LARGE CROSS-SECTION OF GREY
BANDED-AGATE
Worked with three integral dished sections
19 in. (48.5 cm.) long
500-800 $840-1,300
610-970
n 309
A PAIR OF ENGLISH BLACK-
JAPANNED ARMCHAIRS
CIRCA 1930
Each with low caned back and lattice arm-supports,
the seats with black leather squab-cushions on
square legs
28 in. (73 cm.) high (2)
1,200-1,800 $2,000-3,000
1,500-2,200
P R OVE NANC E :
Barclays Bank, 160 Piccadilly, London (now The
Wolsley resturant)
L I T E R AT UR E :
Illustrated (in situ in the managers ofce), J.
Friedman, Inside London, London, 1998, p 93.
n 308
AN AMETHYST-MOUNTED BRASS LAMP
CIRCA 1970
Modelled as two owers stems and a crane; together
with a gold painted die-cast table modelled as a lily
with glass top
The lamp: 45 in. (115.5 cm.) high and 55 in. (139.7
cm.) high (2)
1,500-2,500 $2,500-4,200
1,900-3,000
312
F. SCHLIT, 20TH CENTURY
Untitled
indistinctly signed F....Schlit (?) (lower right)
29 x 23 in. (74 x 60 cm.)
300-500 $500-830
370-610
n 313
A COMPOSITE IRON STONE AND GLASS-MOSAIC
INLAID PANEL OF A BOXER
1970s
Reputedly intended to depict Mohammed Ali
34 in. (88.5 c.m) high; 30 in. (76 cm.) wide
1,000-1,500 $1,700-2,500
1,300-1,800
P R OVE NANC E :
By repute, removed from an East London boxing gym.
n 310
A METAL CHICAGO SIGN
LATE 20TH CENTURY
600-900 $1,000-1,500
730-1,100
311
PETER ASTROM (SWEDISH, B. 1945)
Untitled
signed and dated Peter Astrom/Aug 97 (on the reverse)
mixed media on canvas
53 x 59 in. (136 x 150 cm.)
500-800 $840-1,300
610-970
141
n 314
A STAINED-BEECH FLOOR LAMP
Of waved form with vellum shade
68 in. (173 cm.) high; 50 in. (127 cm.) wide (approx.)
1,500-2,500 $2,500-4,200
1,900-3,000
n 316
A PAINTED BOOKCASE
CIRCA 1962, MANUFACTURED BY STAVERTON, LATER DECORATED
BY ALAN FEARL
Each door enclosing three compartments, marked Sep. 1962,
Staverton, 01 ,18,097 with crown and later signed Alan Fearl 2013
deep
700-1,000 $1,200-1,700
850-1,200
n 315
AN ITALIAN SATIN BIRCH CORNER BAR
ATTRIBUTED TO OSVALDO BORSANI, MID-1950s
Comprising an asymmetric corner shelving unit and matching
freestanding bar with curved inset glass top, the cupboard door
enclosing a drawer and glazed open shelves
43 in. (109 cm.) high; 54 in. (137 cm.) wide; 19 in (49 cm.) deep
Top part: 35 in. (91 cm.) high; 50 in. (127.4 cm.) wide
(2)
2,000-3,000 $3,400-5,000
2,500-3,600
142
n 319
A REGENCY PARCEL-GILT GREEN-PAINTED SOFA
EARLY 19TH CENTURY
The scrolling frame with composition rosettes and trailing-husk
decoration, the seat with squab-cushion on turned legs, covered in
purple velvet, redecorated, lacking castors
30 in. (77 cm.) high; 87 in. (222 cm.) wide; 29 in. (74.5 cm.)
deep
1,500-2,500 $2,500-4,200
1,900-3,000
n 317
A EUROPEAN ACRYLIC BEADWORK PICTURE
1960s, PROBABLY ITALIAN
Depicting a vase of owers, signed to the right corner Caly, designed
to be back-lit
60 x 50 in. (152.5 x 127 cm.)
1,500-2,000 $2,500-3,300
1,900-2,400
n 318
A PATCHWORK BURGUNDY VELVET COVERED
DRESSING-MIRROR
BY SQUINT, MODERN
With pierced cresting above a rectangular bevelled plate
1,000-1,500 $1,700-2,500
1,300-1,800
P R OVE NANC E :
Given to the present owners by Lisa Whatmough, founder of Squint.
143
n 320
A PERSPEX AND STEEL HANGING LIGHT
1970s
Each geometric element with a different colour light lter; red,
pink, light and dark blue, clear, green and orange
58 in. (146 cm.) high approx.
800-1,200 $1,400-2,000
970-1,500
n 321
AN ITALIAN PERSPEX AND CHROMED METAL
FLOOR LAMP
1970s
Each tubular element with removable acrylic glass tops,
enclosing light ttings
72 in. (184 cm.) high; 16 in. (40.5 cm.) diameter
1,500-2,500 $2,500-4,200
1,900-3,000
n 322
A GILT-METAL-MOUNTED PERSPEX AND
CLEAR GLASS CIRCULAR DINING TABLE
CIRCA 1980
The sectional vase-shape pedestal with circular base
2,000-3,000 $3,400-5,000
2,500-3,600
(alternative view)
144
n ~325
A PAIR OF MONUMENTAL LACQUERED
FIBREGLASS VASES
MODERN, IN THE MANNER OF JEAN DUNAND
Inlaid with eggshell and mother of pearl, decorated with tropical sh
66 in. (168 cm.) high; 33 in. (84 cm.) diameter (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 324
A PAIR OF SMOKED GLASS AND GILT-METAL
DEMI-LUNE CONSOLE TABLES
CIRCA 1970-80
Each with segmental inset top
deep (2)
2,000-3,000 $3,400-5,000
2,500-3,600
323
A PAIR OF ITALIAN GILT-BRONZE AND
GLASS WALL LIGHTS
DESIGNED BY ANGELO BROTTO, CIRCA 1970
Produced by Esperia, the semi-circular bronze
element enclosing light ttings, mounted on
a glass panel, one with engraved signature Brotto
31 in. (80 cm.) square (2)
3,000-5,000 $5,000-8,300
3,700-6,100
145
326
A PAIR OF PAPIER-MACHE COVERED MODELS OF BULL HEADS
MID-20TH CENTURY
With painted decoration and gilt horns, on square bases, possibly intended as stage props
31 in. (79.5 cm.) high (2)
2,000-4,000 $3,400-6,600
2,500-4,900
146
n 329
A MIRROR MOSAIC DINING
TABLE
BY EUGENE C., 1980s
The canted rectangular top centred by a
mottled-mirror-glass star within a geometric
lozenge surround, on twin mirrored
supports, signed to the top Eugene C.
30 in. (78.2 cm.) high; 98 in. (250.6
cm.) wide; 44 in. (112.3 cm.) deep
4,000-6,000 $6,700-10,000
4,900-7,300
328
A SET OF EIGHT CHROME-
PLATED DINING CHAIRS
DESIGNED BY PIERRE CARDIN, CIRCA 1970
Mnufactured by Dillingham Furniture Co.,
covered in buff cotton
34 in. (87.5 cm.) high; 18 in. (47.7 cm.)
1,500-2,500 $2,500-4,200
1,900-3,000
n 327
A PAIR OF ITALIAN GLASS
WALL-LIGHTS
ATTRIBUTED TO VENINI, 1970-80
Each tiered light hung with glass prismic
drops on a silver-painted steel frame
40 in. (103 cm.) high; 20 in. (51.4 cm.)
2,500-4,000 $4,200-6,600
3,100-4,900
147
n 330
A MIRROR MOSAIC BAR
BY EUGENE C., 1980s
Covered overall with geometric motifs, the interior with
black painted open shelves, signed Eugene C.
43 in. (110.5 cm.) high; 51 in. (130.5 cm.); 27 in,
(70.5 cm.) deep
1,000-1,500 $1,700-2,500
1,300-1,800
330
331
n 332
A LARGE ITALIAN STEEL ROOM DIVIDER
CIRCA 1970
In six sections with stands on steel and plastic castors stamped
BREVETTATO
Each section, 94 in. (239 cm.) high; 14 in. (36 cm.) wide; 1
in. (3 cm.) deep
3,000-5,000 $5,000-8,300
3,700-6,100
n 331
A MIRROR MOSAIC CORNER CABINET
BY EUGENE C., 1980s
In two parts, each section with cupboard doors enclosing
a shelved interior, signed Eugene C.
(44 cm.) deep
1,500-2,500 $2,500-4,200
1,900-3,000
148
n 333
A PAIR OF SILVERED-BRONZE
OCTAGONAL HANGING LANTERNS
BY CHARLES EDWARDS, MODERN
Each with a pagoda shaped canopy issuing bell-hung
scrolls above a glazed body with internal hanging four light
pendant, differences to internal pendants
2,000-3,000 $3,400-5,000
2,500-3,600
n 335
A VELLUM AND CREAM-PAINTED
CABINET
1930s-40s
The doors covered in vellum, with brass handles
modelled as bows, enclosing three sections reduced in
depth and later tted with shelves
72 in. (183.5 cm.) high; 107 in. (272.3 cm.) wide;
18 in. (45.7 cm.) deep
3,000-5,000 $5,000-8,300
3,700-6,100
n 334
A PAIR OF BRASS-MOUNTED AND
EBONISED ARMCHAIRS
ATTRIBUTED TO GUGLIELMO ULRICH, CIRCA 1940
Covered in white velvet
26 in. (66 cm.) high; 39 in. (100.4 cm.) wide; 34 in.
(86.2 cm.) deep (2)
3,000-5,000 $5,000-8,300
3,700-6,100
n 336
A PAIR OF CUT ALUMINIUM AND
SILVERED METAL WALL-LIGHTS
CIRCA 1930-40, PROBABLY FRENCH
With integral pink silk-covered shades issuing palm
fronds on ringed cylindrical shafts, minor variations
to the bases of the shafts
62 in. (158 cm.) high; 28 in. (71 cm.) wide approx. (2)
3,000-5,000 $5,000-8,300
3,700-6,100
n 337
A PAIR OF BRASS-MOUNTED AND
EBONISED SOFAS
ATTRIBUTED TO GUGLIELMO ULRICH, CIRCA 1940
Covered in blue crushed velvet, variances in size,
The largest: 30 in. (76.2 cm.) high;
99 in. (251.5 cm.) wide; 38 in. (96.5 cm.) deep (2)
6,000-10,000 $10,000-17,000
7,300-12,000
149
338
GEORGE SPENCER WATSON (1869-1934)
Cynthia
with inscription Cynthia (on the reverse)
oil on canvas
43 x 34 in. (109 x 86.5 cm.)
7,000-10,000 $12,000-17,000
8,500-12,000
P R OVE NANC E :
Property of the late Mary Spencer Watson, Christies,
London, 19 June 1936, lot 109.
E XHI B I T E D:
London, Royal Academy, 1932.
Bristol, 1932-33.
George Spencer Watsons Edwardian society portraits
recall Sargent in their brilliant, condent brushwork.
Spencer Watson won the silver medal for drawing and
the Landseer scholarship at the RA Schools, and exhibited
132 works at the Royal Academy throughout his career.
Although he preferred to paint subject pictures, his
evident facility as a portraitist led to a steady stream of
commissions. Until the First World War, he also exhibited
at the Paris Salon.
n 339
A FRENCH BEADED GLASS MODEL OF
A SHIP
CIRCA 1940, POSSIBLY BY MAISON BAGUES
Conceived as a chandelier and retaining internal tting;
together with a later mirror topped, ebonised stand and
perspex case
Case overall: 54 in. (137 cm.) high;
Ship: 31 in. (79 cm.) high (2)
4,000-6,000 $6,700-10,000
4,900-7,300
For note on Bagus see lot 12.
340-341 No Lots

151
342
A PAIR OF SILVERED METAL AND GLASS
TABLE LAMPS
1970s-80s
On carrara marble square bases; with later polygonal
canvas shades
18 in. (45.5 cm.) high (2)
600-900 $1,000-1,500
730-1,100
n 343
A HARDWOOD MODEL OF AN EAGLE
With glass eyes on a rocky base, together with an
associated white-painted wood plinth
86 in. (219 cm.) high overall (2)
1,000-2,000 $1,700-3,300
1,300-2,400
n 344
A PAIR OF FRENCH WROUGHT-IRON
GATES
CIRCA 1930-40
Of scrolling lattice design, and serpentine prole, with
bronzed highlights; together with matching wrought-
iron side panels
The gates each: 100. in. (356 cm.) high; 27 in. (69
cm.) wide
The side panels/posts: 100 in. (255 cm.) high; 7 in.
(20 cm.) wide
(2)
3,000-5,000 $5,000-8,300
3,700-6,100
153
n 345
A PAIR OF BEADWORK PAGODA-FORM
CHANDELIERS
MODERN
Each with spreading canopy above a hexagonal body with six
branches
4,000-6,000 $6,700-10,000
4,900-7,300
n 346
A PAIR OF ART-DECO-STYLE BOWED SOFAS
MODERN
Each with a wavy padded back divided into three panels above a
down squab cushion on tapering ebonised legs, covered in lilac denim
(2)
4,000-6,000 $6,700-10,000
4,900-7,300
n 350
A PAIR OF LOUIS XV-STYLE WHITE PAINTED LOW
CHAIRS
IN THE MANNER OF MAISON JANSEN, MID-20TH CENTURY
Each with waved toprail, curved back, armrest and seat covered in
close-nailed orange mohair-velvet, on cabriole legs
700-1,000 $1,200-1,700
850-1,200
349
AN OVERSIZED FRENCH BRASS ALARM CLOCK
BY BLANGY, MID-20TH CENTURY
The circular dial inscribed BLANGY and MADE IN FRANCE
16 in. (41 cm.) diameter; 10 in. (25 cm.) deep
500-800 $840-1,300
610-970
n 348
AN ITALIAN GILT-BRASS, LACQUERED WOOD AND
STEEL FLOOR-STANDING FAN
BY ERCOLE MARELLI, CIRCA 1940
On a domed circular base with operating button
72 in. (185 cm.) high
800-1,200 $1,400-2,000
970-1,500
A similar example was sold, Christies South Kensington, 16 September
2008, lot 52 (2000 incl.).
347
A PAIR OF RED SPANISH RED-PAINTED AND
CHROMED METAL TABLE LAMPS
BY FASE, 1960s
Repainted
each 16 in. (40.5 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
155
n 352
AN ITALIAN EBONISED AND SATINWOOD
VENEERED DESK
ATTRIBUTED TO OSVALDO BORSANI, MID-20TH CENTURY
Of concave form, the knee hole anked by four short drawers, the
opposing side with one long open shelf; together with a green velvet-
covered revolving chair of similar date
Table: 31 in. (79.3 cm.) high; 70 in. (177.8 cm.) wide; 31 in.
(79.3 cm.) deep
Chair: 31 in. (80.7 cm.) high; 25 in. (65.4 cm.) wide; 26 in. (66
cm.) deep (2)
2,000-3,000 $3,400-5,000
2,500-3,600
n 351
A OVAL MIRROR CONSOLE
BY CRYSTAL ARTE, CIRCA 1940
The mirror mounted to the centre with a rounded glass shelf, the oval
mirror plate with reverse-cut gilt border, the plate marked
deep
3,000-5,000 $5,000-8,300
3,700-6,100
n 353
AN ITALIAN TEAK AND BRASS
WALL-LIGHT
1960s-70s
With an adjustable painted metal shade
33 in. (84.4 cm.) high; 33 in. (88.4 cm.) deep
500-800 $840-1,300
610-970
n 356
AN ITALIAN ASH AND STAINLESS
STEEL DESK
DESIGNED BY GIOVANNI OFFREDI, CIRCA 1970
Produced by Saporiti, Italy, ash and stainless steel,
the top with a pencil tray
33 in. (84.4 cm.) high; 55 in. (139.7 cm.) wide;
33 in. (83.7 cm.) deep;
1,200-1,800 $2,000-3,000
1,500-2,200
n 355
A PAIR OF FRENCH GILT-
BRASS-MOUNTED BIRCH AND
FRUITWOOD BEDSIDE TABLES
Each with a frieze drawer and glass top
in. (33 cm.) deep (2)
700-1,000 $1,200-1,700
850-1,200
n 354
AN ITALIAN OAK, BIRCH AND
WALNUT DRESSING TABLE
MID-20TH CENTURY
Together with a matching mirror and wood
stool
The dressing table: 34 in. (86.2 cm.) high; 50
in. (128.4 cm.) wide; 13 in. (35 cm.) deep
The mirror: 40 in. (102.3 cm.) high; 25 in.
(64.5 cm.) wide (3)
1,200-1,800 $2,000-3,000
1,500-2,200
157
n ~357
A PAIR OF LOUIS XV-STYLE
ORMOLU-MOUNTED
ROSEWOOD BEDSIDE CABINETS
LATE 19TH CENTURY
Each with marble-lined cupboard
16 in. (42 cm.) deep (2)
1,500-2,500 $2,500-4,200
1,900-3,000
n 358
A PAIR OF WALNUT AND
GILTWOOD TORCHERES
19TH CENTURY AND LATER
Minor losses to decoration
90 in. (229 cm.) high (2)
1,000-1,500 $1,700-2,500
1,300-1,800
n 359
A PAIR OF FRENCH GILT-METAL
MOUNTED, GREEN-PAINTED
WROUGHT-IRON GATES
CIRCA 1940
Of interlaced-scrolling design with foliate
mounts, designed for internal use
overall (2)
2,000-3,000 $3,400-5,000
2,500-3,600
158
n 362
A BLACK-PAINTED PLASTER BUST, PROBABLY A
ROMAN WARRIOR
20TH CENTURY
Modelled with integral moulded square socle, chips and restorations
to base; together with an ebonised pedestal with panels painted to
simulate Portor-marble
The bust: 30 in. (76 cm.) high
The pedestal: 59 in. (150 cm.) high; 19 in (150 cm.) wide; 19 in
(150 cm.) deep (2)
1,000-1,500 $1,700-2,500
1,300-1,800
361
SPANISH SCHOOL, 20TH CENTURY
Portrait of a young man, bust-length
indistinctly signed (lower right) and with inscription Propriedad/de
Angel/Ortiz-Garcela/Morato 15/Madrid (on the reverse)
Oil on canvas
22 x 18 in. (56 x 46 cm.)
400-600 $670-1,000
490-730
360
PETROVA UTISHEV, CIRCA 1968
Three sailors
signed inscribed and dated Citizen Petrova Utishev/1968 in cyrillic
(on the reverse)
oil on canvas
39 x 56 in. (99 x 143 cm.)
2,500-4,000 $4,200-6,600
3,100-4,900
159
n 363
A PLASTER MODEL OF THE HEAD OF A
CLASSICAL YOUTH
20TH CENTURY
Rough-cast to the reverse, the head mounted on a
separately-cast square base; together with an ebonised
tapering square pedestal with panels painted to simulate
Portor-marble
The bust: 32 in. (81 cm.) high
The pedestal: 59 in. (150 cm.) high; 19 in (150 cm.)
wide; 19 in (150 cm.) deep (2)
1,500-2,500 $2,500-4,200
1,900-3,000
364
A GROUP OF TWELVE PLASTER HAT
MOULDS
20TH CENTURY
Of varying style and size
700-1,000 $1,200-1,700
850-1,200
n 366
A FRENCH PAINTED PLASTER FIGURE OF
JOAN OF ARC
LATE 19TH CENTURY
Modelled with her hands clasped, with inscription to the
base ARRON E. DU ORLEANS, damages
43 in. (111 cm.) high
1,000-1,500 $1,700-2,500
1,300-1,800
n 365
A PAIR OF WHITE-PAINTED PLASTER
ANGELS
20TH CENTURY
Modelled praying, on brown-painted integral bases
33 in. (84 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
367
n 367
TWO FRENCH PLASTER BUSTS
One modelled as a monk, wearing a cross around his
neck, the other a Chinaman with signature to the reverse
E,Jacquet.1924. minor losses
1,000-1,500 $1,700-2,500
1,300-1,800
366
365
369
A GREEN-PATINATED SPELTER PANTHER GROUP
CIRCA 1930
On white and brown onyx plinth base, signed Plagnet
deep
800-1,200 $1,400-2,000
970-1,500
368
A PAIR OF ART DECO BRONZE MODELS OF
WRESTLERS
CIRCA 1920
Each with cast signature H.Muller, on Verde Antico marble bases
Largest: 13 in, (35 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
370
A FRENCH BRONZE MODEL OF A PROWLING
PANTHER
EARLY 20TH CENTURY, CAST AFTER L. BUREAU
On a removable ebonised wood rocky base, the panther signed to the
underside L.BUREAU
600-900 $1,000-1,500
730-1,100
371
A FRENCH PLASTER MODEL ENTITLED LION AU
SERPENT
PROBABLY EARLY 20TH CENTURY, AFTER THE MODEL BY ANTOINE-
LOUIS BARYE (1795-1875)
On a portor marble oval base
14 in. (35.5 cm.) high
600-900 $1,000-1,500
730-1,100
368
369
370
371
162
n 374
A CLOSE-NAILED RED-LEATHER LIBRARY POLE-
LADDER
LATE 20TH CENTURY
Designed to fold
103 in. (261 cm.) long (closed)
700-1,000 $1,200-1,700
850-1,200
375
A FRENCH BRONZE AND MARBLE STRIKING
MANTEL CLOCK
LEPINE, PARIS, LATE 19TH CENTURY
The seated bronze putto with inscription qui que tu sois, tu vois ton
maitre/ il lest, le fut, ou le doit etre, on uted rouge-griotte marble base,
the dial signed LEPINE/ 2 PLACE DES VICTOIRES/ ET PALAIS
ROYAL/ GALERIE DE VALOIS 124, pendulum lacking, the bronze
gure possibly associated
19 in. (48.2 cm.) high; 9 in. (22.8 cm.) diameter
800-1,200 $1,400-2,000
970-1,500
373
A GEORGE III-STYLE PARCEL-GILT WALNUT AND
BURR-WALNUT CUTLERY-URN
MID-20TH CENTURY
The raising domed lid mounted with rams-masks enclosing a stepped
interior with cutlery apertures
700-1,000 $1,200-1,700
850-1,200
372
A PAIR OF LACQUERED BRASS WALL-LIGHTS
20TH CENTURY
Each with a ovoid cut-glass shade suspended from a swan-form
bracket
1,500-2,500 $2,500-4,200
1,900-3,000
163
n 379
A FRENCH PARCEL-GILT AND PAINTED BED
CIRCA 1920-40
The headboard carved as a stylised shell, the footboard with uted
corner-posts; together with a later mattress
long
1,500-2,500 $2,500-4,200
1,900-3,000
n 378
A PAIR OF ITALIAN PARCEL-GILT CREAM-
PAINTED BOMBE COMMODINIS
LATE 20TH CENTURY
Each with alabaster top above a shaped door enclosing a single shelf
30 in. (76 cm.) high; 22 in. (57 cm.) wide; 14 in. (37 cm.) deep(2)
700-1,000 $1,200-1,700
850-1,200
n 377
A LOUIS XV-STYLE PARCEL-GILT GREY-PAINTED
MERIDIENNE
LATE 19TH/EARLY 20TH CENTURY, COVERED IN BLUE LELIEVRE
MOHAIR VELVET
With high slender padded arms, the shaped back with ribbon-
wrapped serpentine rail centred by a rose-carved cresting, the seat
with buttoned squab and matching bolsters above an entrelac seat-rail
1,500-2,500 $2,500-4,200
1,900-3,000
n 376
A PAIR OF LOUIS XV-STYLE WHITE-PAINTED
BERGERES
LATE 20TH CENTURY
Each with arched chanelled back and padded arms above a serpentine
seat on cabriole legs, covered in buff-coloured nubuck, later
decorated
36 in. (92 cm.) high (2)
700-1,000 $1,200-1,700
850-1,200
n 380
A LARGE STANDING SILVERED BRONZE FIGURE
BY PIERRE LE FAGUAYS, CIRCA 1930
The gure representing Victory, the base signed and with sous frres
foundry stamp and also marked cire perdu
40 in. (103.5 cm.) high
5,000-8,000 $8,400-13,000
6,100-9,700
n 381
A FRENCH PLASTER MODEL OF A CHIMPANZEE
LATE 19TH/EARLY 20TH CENTURY, AFTER H.L. PONCET
Modelled seated on a naturalistic base, with incised signature
H.L.Poncet, minor losses and repairs
2,500-4,000 $4,200-6,600
3,100-4,900
END OF SALE
165
166
Important Notices and Explanation of
Cataloguing Practice
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. Such property is identified
in the catalogue with the symbol next to the lot
number. This symbol will be used both in cases
where Christies holds the financial interest on its
own, and in cases where Christies has financed
all or part of such interest through third parties.
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. 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. Where Christies has an
ownership or financial interest in every lot in the
catalogue, Christies will not designate each lot
with a symbol, but will state its interest at the front
of the catalogue.
In this catalogue, if property has
X next to the lot

number, Christies guarantee of a minimum price
has been financed through third parties.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department
for a condition report on a particular lot. The
nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
06/12/11
PROPERTY INCORPORATING MATERIALS
FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species
of coral, together with Brazilian rosewood.
Prospective purchasers are advised that several
countries prohibit altogether the importation
of property containing such materials, and that
other countries require a permit (e.g., a CITES
permit) from the relevant regulatory agencies in
the countries of exportation as well as importation.
Accordingly, clients should familiarise themselves
with the relevant customs laws and regulations prior
to bidding on any property with wildlife material
if they intend to import the property into another
country. For example, the U.S. generally prohibits
the importation of articles containing species that
it has designated as endangered or threatened if
those articles are less than 100 years old. Please note
that it is the clients responsibility to determine
and satisfy the requirements of any applicable laws
or regulations applying to the export or import of
property containing endangered and other protected
wildlife material. The inability of a client to export
or import property containing endangered and
other protected wildlife material is not a basis for
cancellation or rescission of the sale. Please note also
that lots containing potentially regulated wildlife
material are marked as a convenience to our clients,
but Christies does not accept liability for errors
or for failing to mark lots containing protected or
regulated species.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
FOR PICTURES, DRAWINGS, PRINTS AND
MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all state-
ments in this catalogue as to authorship are made
subject to the provisions of the Conditions of Sale
and Limited Warranty. Buyers are advised to inspect
the property themselves. Written condition reports
are usually available on request.
Name(s) or Recognised Designation of an Artist
without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of / Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature / With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
*This term and its definition in this Explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term, and the Limited Warranty shall not
be available with respect to lots described using this
term.
167
FURNITURE
Christies does not accept liability for failing
to describe any alteration or addition to a Lot
which is concealed by upholstery, gilding or
painted decoration and could only be detected by
physically dismantling the Lot.
The following expressions with their accompanying
explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot
or of the extent of any restoration.
EUROPEAN SCULPTURE AND
WORKS OF ART
By
In our opinion a work by the artist.
Cast from a model by
In our opinion a work from the artists model,
originating in his circle and cast during his lifetime
or shortly thereafter.
Attributed to
In our opinion a work probably by the artist.
In the style of
In our opinion a work of the period of the artist and
closely related to his style.
Ascribed to
A work traditionally regarded as by the artist.
In the manner of
In our opinion a later imitation of the period, of the
style or of the artists work.
After
In our opinion a copy or aftercast of a work of the
artist.
Signed/Dated/Inscribed
/Stamped
In our opinion the signature/date/inscription/stamp
is by the artist or manufacturer.
Bearing the signature/Bearing the date/
Bearing the Inscription/Bearing the stamp
In our opinion the signature/date/inscription/stamp
is not by the artist or manufacturer.
CLOCKS
Prospective purchasers are reminded that the items
in the catalogue are sold as is. Where possible,
significant damage is mentioned in the description of
the Lot although this does not include all faults and
imperfections or restoration. No warranty is made
that any clock is in working order and nothing in
the catalogue description of any Lot should be taken
as implying such. Neither should the description of
any Lot be taken as indicating the absence of restora-
tion or repair or to be a statement as to the condition
of the Lot or the state of conservation. Not all clocks
are sold with pendulums, weights or keys; please
refer to the catalogue text for details of what is sold
with each lot.
SILVER
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all state-
ments in this catalogue as to Authorship are made
subject to the provisions of the CONDITIONS
OF SALE.
A GEORGE II SILVER CUP AND COVER
mark of Paul de Lamerie,
London, 1735
In Christies opinion either made in the workshop of
the master or struck with his sponsors mark prior to
retailing and hallmarked at the London Assay Office
between May 29, 1735 and May 29, 1736. The date
letter has usually, but not always, changed since the
early 18th century on, or around, May 29. Prior to
the 18th century, the date letter changed on various
dates ranging from May 8 to August 3. Since 1975,
the date letter has run from January 2 to January 1 of
the subsequent year.
Other countries and English, Irish and Scottish
provincial offices have varying dating systems.
circa 1735
In Christies opinion made during the specified
monarchs reign and unmarked or struck with illeg-
ible marks.
bearing transposed marks for London, 1735, with
the mark of Paul De Lamerie
In Christies opinion made during the specified
monarchs reign and, in all probability, in the
workshop of, or sponsored by, the maker cited, but
with marks transposed from a previously hallmarked
object. Where applicable the catalogue will note that
these transposed hallmarks have been cancelled to
bring them into conformity with modern English
hallmarking laws.
Please note that the ounce weights given in this
catalogue are troy ounces.
CHINESE PORCELAIN AND CERAMICS
(a) A piece catalogued with the name of a period,
reign or dynasty without further qualification
was, in our opinion, made during or shortly
after that period, reign or dynasty (eg. a Ming
vase)
(b) A piece catalogued in the style of a period,
reign or dynasty is in our opinion, quite pos-
sibly a copy or imitation of pieces made during
the named period, reign or dynasty (e.g. a vase
in Ming style)
(c) A reference to a mark and of the period
means that, in our opinion, the piece is of the
period of the mark (e.g. Kangxi six-character
mark and of the period).
(d) A reference to a mark without reference to
and of the period means that, in our opinion,
although bearing the mark, the pieces were
possibly not made in the period of the mark
(e.g. Kangxi six-character mark).
(e) Where no date, period, reign or mark is men-
tioned, the lot is, in our opinion, of uncertain
date or 19th or 20th century manufacture.
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 mas-
ter 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.
168
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
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.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference.
For assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the sale-
room, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on no
reserve lots will, in the absence of a higher bid, be executed
at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
estimate.The auctioneer may execute absentee bids directly
from the rostrum, clearly identifying these as absentee bids,
book bids, order bids or commission bids. Absentee
Bids Forms are available in this catalogue, at any Christies
location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only. A
limit of 25,000 for credit card payments will apply. This limit
is inclusive of the buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies will not accept credit card payments
for purchases made in any other sale site. The fax number to
send completed CNP (Card Member not Present) authorisation
forms to is +44 (0) 20 7389 2821. The number to call to make
a CNP payment over the phone is +44 (0) 20 7752 3388.
Alternatively, clients can mail the authorisation form to the
address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be
drawn in GBP on a UK bank, clearance will take 5 to 10
business days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department,
8 King Street, St Jamess, London, SW1Y 6QT
Please direct all inquiries to King Street
Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
Zero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme
In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
This wine is in bond. You can choose to take the wine
in bond or duty paid. See the additional conditions of sale
relating to wine for further details.
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty For the portion of the Hammer Price (in Euro)
4.00% up to 50,000
3.00% between 50,000.01 and 200,000
1.00% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
0.25% in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the
purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate. For more information
please contact the Shipping Department at + 44 (0)20 7389
2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Christies VAT authorised Shipper:
If you use a Christies VAT authorised shipper you will not be
required to pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme lots Please obtain GB Tax Free form from
the Cashiers. This document must be stamped by UK Customs
on leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the Museums, Libraries
and Archives Council: Acquisitions, Export and Loans Unit at
+44 (0)20 7273 8269/8267.
20/11/13
169
Storage and Collection
COLLECTION AND STORAGE CHARGES
FOR CLIENTS
Specified lots, marked with a filled square ( Q ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Fine Art Logistics Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots will be available for collection on the first full
business week after transfer to Cadogan Tate Fine
Art Logistics Ltd and every business weekday from
9.00 am to 5.00 pm.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage, per
client request. CFASS is a separate subsidiary of
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
Telephone: +44 (0)20 7622 0609 for details.
STORAGE CHARGES (PER LOT)
CHARGES Furniture/ Pictures/
Large Objects Small Objects
Transfer 40.00 20.00
Storage per day 5.00 2.50
Extended The lower amount of 0.6% of
Liability Charge: Hammer Price or 100% of the
above charges
All charges are subject to VAT. Exceptionally large
or heavy items will be subject to a surcharge.
Please note that there will be no charge to
purchasers who collect their lots within two
weeks of this sale
COLLECTION & PAYMENT OF ANY
CHARGES DUE
Lots will be available for collection from
Cadogan Tate at
Cadogan Tate Fine Art Logistics Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order obtained from
the cashiers office at Christies, 85 Old Brompton
Road, London SW7 or Christies, 8 King Street,
London SW1
b) payment of any charges that may be due to
Cadogan Tate
To assist Cadogan Tate to provide a swift release please
telephone on the business day prior to collection to
ensure that Lots are available and to ascertain any
charges due. If sending a carrier please ensure that
they are provided with all necessary information, your
written authority to collect, the Collection Order and
the means to settle any charges.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage, per
client request. CFASS is a separate subsidiary of
Christies and clients enjoy complete confidentiality.
Telephone: +44 (0)20 7622 0609 for details.
CADOGAN TATE WAREHOUSE
241 Acton Lane, Park Royal,
London NW10 7NP
tel +44 (0)800 988 6100
05/11/13
EXTENDED LIABILITY CHARGES
All services provided by Fine Art Logistics Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are available
at Christies South Kensington. Please note in
particular that Cadogan Tate
does not accept any liability for damage or loss,
due to its negligence or otherwise, exceeding the
Hammer Price of a Lot plus associated Buyers
Premium, or, at its sole option, the cost of repairing
or replacing the damaged or missing Lot and
it reserves a lien over all goods in its possession
for payment of storage and all other charges due to
it and
it automatically arranges on behalf of the Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
Premium. The Extended Liability Charge covers the
Lot from the time of collection from the saleroom
until release of the Lot to the owner or the owners
agent. The Extended Liability Charge payable by the
owner of the Lot is 0.6% of the sum of the Hammer
Price and Buyers Premium or 100% of the transfer
and storage charges, whichever is the smaller. This
Extended Liability will not be arranged and no
charge will be payable only on receipt by Cadogan
Tate of advance written notice from the owner of
the lot together with formal waiver of subrogation
from the owners insurers.
Christies Fine Art Storage Services (CFASS)
also offers storage solutions for fine art, antiques
and collectibles in London, New York and
Singapore FreePort.
Telephone: +44 (0)20 7622 0609 for charges and
other details.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tates opening hours
are Monday to Friday 9.00 am to 5.00 pm, and
purchases transferred to their warehouse are not
available for collection at weekends.
170
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2. CATALOGUE DESCRIPTIONS
AND CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are likely,
due to their nature and age, to show signs of wear
and tear, damage, other imperfections, restoration or
repair. Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the item
and the nature of the auction in which it is included.
Any statement as to the physical nature or condition
of a lot, in a catalogue, condition report or otherwise,
is given honestly and with appropriate care. However,
Christies staff are not professional restorers or trained
conservators and accordingly any such statement will
not be exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution etc
Any statements made by Christies about any lot,
whether orally or in writing, concerning attribution
to, for example, an artist, school, or country of origin,
or history or provenance, or any date or period, are
expressions of our opinion or belief. Our opinions and
beliefs have been formed honestly and in accordance
with the standard of care reasonably to be expected
of an auction house of Christies standing, due regard
having been had to the estimated value of the item
and the nature of the auction in which it is included.
It must be clearly understood, however, that, due to
the nature of the auction process, we are unable to
carry out exhaustive research of the kind undertaken
by professional historians and scholars, and also that, as
research develops and scholarship and expertise evolve,
opinions on these matters may change. We therefore
recommend that, particularly in the case of any item of
significant value, you seek advice on such matters from
your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose
Lots sold are enormously varied in terms of age, category
and condition, and may be purchased for a variety
of purposes. Unless otherwise specifically agreed, no
promise is made that a lot is fit for any particular purpose.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or
can come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax. The buyers premium
is 25% of the final bid price of each lot up to and
including 50,000, 20% of the excess of the hammer
price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and
Cigars: 17.5% of the final bid price of each lot, VAT
is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
171
(d) Collection of purchases
We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, at our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled
to cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies International plc, or any of its
affiliates, subsidiaries or parent companies
worldwide, may owe the buyer in any other
transactions, the outstanding amount remaining
unpaid by the buyer;
(vii) where several amounts are owed by the buyer
to us, or to Christies International plc, or
to any of its affiliates, subsidiaries or parent
companies worldwide, in respect of different
transactions, to apply any amount paid to
discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to reject at any future auction any bids made by
or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in our
possession owned by the buyer, whether by way
of pledge, security interest or in any other way,
to the fullest extent permitted by the law of the
place where such property is located. The buyer
will be deemed to have granted such security to
us and we may retain such property as collateral
security for such buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv) above,
the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(h) Failure to collect purchases
Where purchases are not collected within two calendar
days from the date of the sale, whether or not payment
has been made, we shall be permitted to remove the
property to a third party warehouse at the buyers
expense, and only release the items after payment in full
has been made of removal, storage, handling, and any
other costs reasonably incurred, together with payment
of all other amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out in
clause 2 of these Conditions, but subject to the terms
and conditions of this paragraph, Christies warrants for
a period of five years from the date of the sale that any
property described in headings printed in UPPER CASE
TYPE (i.e. headings having all capital-letter type) in
this catalogue (as such description may be amended by
any saleroom notice or announcement) which is stated
without qualification to be the work of a named author
or authorship, is authentic and not a forgery. The term
author or authorship refers to the creator of the
property or to the period, culture, source or origin, as the
case may be, with which the creation of such property
is identified in the UPPER CASE description of the
property in this catalogue. Only UPPER CASE TYPE
headings of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does not
apply to supplemental material which appears below
the UPPER CASE TYPE headings of each lot and
Christies is not responsible for any errors or omissions
in such material. The terms used in the headings are
further explained in Important Notices and Explanation
of Cataloguing Practice. The warranty does not apply
to any heading which is stated to represent a qualified
opinion. The warranty is subject to the following:
(i) It does not apply where (a) the catalogue
description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
(ii) The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
(iii) The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
(iv) The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
(v) The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
(vi) The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with
respect to these Conditions of Sale, the conduct of
the auction and any matters connected with any
of the foregoing shall be governed and interpreted
by the laws of England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
172
Worldwide Salerooms and European Offices
s DENOTES SALEROOM ENQUI RI ES Call the Saleroom or Office EMAI L info@christies.com
For a complete salerooms & offices listing go to christies.com
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(Consultant)
+ 45 2612 0092
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(Consultant)
FINLAND AND THE
BALTIC STATES
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(Consultant)
FRANCE
s PARIS
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Rantzau
MUNICH
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Huyn
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INDIA
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+972 (0)3 695 0695
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ITALY
s MILAN
+39 02 303 2831
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+39 06 686 3333
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+377 97 97 11 00
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THE NETHERLANDS
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PEOPLES REPUBLIC
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IRELAND
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UNITED STATES
s NEW YORK
+1 212 636 2000
12/12/13
173
Christies Specialist Departments and Services
KEY TO ABBREVIATIONS
KS:
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NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230
AMERICAN INDIAN ART
NY: +1 212 606 0536
AMERICAN PICTURES
NY: +1 212 636 2140
ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570
ANTIQUITIES
SK: +44 (0)20 7752 3219
ASIAN 20TH CENTURY
AND CONTEMPORARY ART
NY: +1 212 468 7133
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AUSTRALIAN PICTURES
KS: +44 (0)20 7389 2040
BOOKS AND
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KS: +44 (0)20 7389 2674
SK: +44 (0)20 7752 3203
BRITISH & IRISH ART
KS: +44 (0)20 7389 2682
NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278
SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945
CARPETS
KS: +44 (0)20 7389 2370
SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577
SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
CONTEMPORARY ART
KS: +44 (0)20 7389 2920
SK: +44 (0)20 7752 3313
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3215
EUROPEAN CERAMICS
AND GLASS
SK: +44 (0)20 7752 3026
FURNITURE
KS: +44 (0)20 7389 2482
SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638
SK: +44 (0)20 7752 3218
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700
NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236
NY: +1 212 636 2032
ISLAMIC WORKS OF ART
KS: +44 (0)20 7389 2700
SK: +44 (0)20 7752 3239
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2591
SK: +44 (0)20 7752 3239
JEWELLERY
KS: +44 (0)20 7389 2383
SK: +44 (0)20 7752 3265
LATIN AMERICAN ART
NY: +1 212 636 2150
MARITIME PICTURES
SK: +44 (0)20 7752 3284
NY: +1 212 707 5949
MINIATURES
KS: +44 (0)20 7389 2650
MODERN DESIGN
SK: +44 (0)20 7389 2142
MUSICAL INSTRUMENTS
SK: +44 (0)20 7752 3365
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
KS: +44 (0)20 7389 2699
NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443
SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347
SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251
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KS: +44 (0)20 7389 2531
SK: +44 (0)20 7752 3250
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3235
PHOTOGRAPHS
KS: +44 (0)20 7389 2292
POPULAR CULTURE
AND ENTERTAINMENT
SK: +44 (0)20 7752 3275
POST-WAR ART
KS: +44 (0)20 7389 2450
SK: +44 (0)20 7752 3210
POSTERS
SK: +44 (0)20 7752 3208
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KS: +44 (0)20 7389 2328
SK: +44 (0)20 7752 3109
PRIVATE COLLECTION
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2343
RUSSIAN WORKS OF ART
KS: +44 (0)20 7389 2057
TRAVEL, SCIENCE
AND NATURAL HISTORY
SK: +44 (0)20 7752 3291
SCULPTURE
KS: +44 (0)20 7389 2331
SK: +44 (0)20 7389 2794
SILVER
KS: +44 (0)20 7389 2666
SK: +44 (0)20 7752 3262
TOPOGRAPHICAL
PICTURES
KS: +44 (0)20 7389 2040
SK: +44 (0)20 7752 3291
TRIBAL AND PRE-
COLUMBIAN ART
PAR: +33 (0)140 768 386
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2684
SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
AND DESIGN
KS: +44 (0)20 7389 2140
SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
SK: +44 (0)20 7752 3218
VICTORIAN PICTURES
KS: +44 (0)20 7389 2468
SK: +44 (0)20 7752 3257
WATERCOLOURS
AND DRAWINGS
KS: +44 (0)20 7389 2257
SK: +44 (0)20 7752 3293
WINE
KS: +44 (0)20 7752 3366
AUCTION SERVICES
CORPORATE
COLLECTIONS
Tel: +44 (0)20 7389 2548
Email:
norchard@christies.com
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624
Fax: +44 (0)20 7389 2204
HERITAGE
AND TAXATION
Tel: +44 (0)20 7389 2101
Fax: +44 (0)20 7389 2300
PRIVATE COLLECTION
AND
COUNTRY HOUSE SALES
Tel: +44 (0)20 7389 2343
Fax: +44 (0)20 7389 2225
Email:
awaters@christies.com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570
Email:
llindsay@christies.com
PRIVATE SALES
US: +1 212 636 2034
Fax: +1 212 636 2035
Email:
edechaunac@christies.com
VALUATIONS
Tel: +44 (0)20 7389 2280
Fax: +44 (0)20 7389 2038
Email:
fhaiderer@christies.com
OTHER SERVICES
CHRISTIES EDUCATION
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
CHRISTIES FINE ART
STORAGE SERVICES
London
+44 (0)20 7622 0609
cfassuk@christies.com
New York
+1 212 974 4570
cfassny@christies.com
Singapore
+852 2978 9998
cfasssingapore
@christies.com
CHRISTIES
GREAT ESTATES
Tel: +44 (0)20 7389 2734
Fax: +44 (0)20 7389 2403
Email:
info@christiesge.com
27/09/13
christies.com
Contact
Kate Brambilla
kbrambilla@christies.com
+1 212 636 2464
Viewing
28 February4 March
20 Rockefeller Plaza
New York, NY 10020
TWO DISTINGUISHED AMERICAN COLLECTIONS:
The Estate of the Hon. Noreen Drexel, Newport, R.I.
The Estate of Van Cliburn, Fort Worth, TX.
Including English Furniture and Porcelain, Fine Art, Russian Works of
Art, English and American Silver, Chinese Works of Art and Jewels
New York s 4-5 March 2014
LUDWIG BEMELMANS (1898-1963)
Dog, front cover of The New Yorker, 13 February 1965
ink and gouache on paper
$2,0004,000
MICHAEL GEARY (B. 1932)
Moon Landing
oil and collage on canvas 50 x 40 in. (127 x 117 cm.) Painted in 1970
2,0003,000
Contact
Angus Granlund
agranlund@christies.com
+44 (0) 20 7752 3240
Viewing
15-19 March
85 Old Brompton Road
London SW7 3LD
Modern British and Irish Art
London, South Kensington s 20 March 2014
PHILIP ARCTANDER (1916-1994)
A Pair of Clam Chairs, Designed 1944
beech, lamb skin
15,00025,000
Contact
Jeremy Morrison
jmorrison@christies.com
+44 (0) 20 7752 3382
Consignment
Deadline
28 February
Invitation to Consign:
20th Century Decorative Art & Design
London s 30 April 2014
AN ITALIAN WHITE MARBLE GROUP OF LEDA AND THE SWAN
BY VITTORIO CARADOSSI, FLORENCE, LATE 19TH CENTURY
The gure: 46 in. (117 cm.) high
The plinth: 29 in. (74 cm.) high; 20 in. (51 cm.) diameter
80,000120,000
Contact
Giles Forster
gforster@christies.com
+44 (0) 20 7389 2146
Viewing
2-5 March
8 King Street
London SW1Y 6QT
The Opulent Eye
London, King Street s 6 March 2014
Contact
Rachel Allen
rallen@christies.com
+44 (0) 20 7752 3212
Viewing
1517 February
London SW7 3LD
INTERIORS including The Modern Sale
London, South Kensington s 18 & 19 February 2014
christies.com
Victorian & British Impressionist Art
London, South Kensington s 12 March 2014
EDWARD SEAGO, R.W.S., R.B.A. (19101974)
Sunny glade
signed Edward Seago (lower left) and further signed and inscribed Edward Seago/Sunny Glade. (on the reverse) oil on board
13 x 20 in. (34.9 x 52.8 cm.) 5,0007,000
Contact
Louisa Howard
lhoward@christies.com
+44 (0) 20 7752 3129
Viewing
811 March
London SW7 3LD
181
PLEASE PRINT CLEARLY
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS
Please quote number below:
Lot number Maximum Bid UK Lot number Maximum Bid UK
(in numerical order) (excluding buyers premium) (in numerical order) (excluding buyers premium)
Please also refer to the information contained in Buying at
Christies.
I request Christies to bid on the following lots up to the
maximum price I have indicated for each lot. I understand
that if my bid is successful, the purchase price will be the
sum of my final bid plus a buyers premium of 25% of the
final bid price of each lot up to and including 50,000,
20% of the excess of the hammer price above 50,000 and
up to and including 1,000,000 and 12% of the excess of
the hammer price above 1,000,000, together with any
VAT chargeable on the final bid and the buyers premium.
VAT is chargeable on the purchase price of daggered () lots,
and for buyers outside the EU on () lots, at the standard
rate. VAT is chargeable on the purchase price of starred (*)
lots at the reduced rate.
Christies South Kensington is not able to notify successful
bidders by telephone. While Invoices are sent out by mail
after the auction we do not accept responsibility for notifying
you of the result of your bid. Buyers are requested to contact
us by telephone or in person as soon as possible after the
sale to obtain details of the outcome of their bids to avoid
incurring unnecessary storage charges.
I understand that Christies provides the service of executing
absentee bids for the convenience of clients and that Christies
is not responsible for failing to execute bids or for errors
relating to execution of bids. On my behalf, Christies will try
to purchase these lots for the lowest possible price, taking into
account the reserve and other bids. Absentee bids submitted
on no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre-sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. If identical absentee bids are received for
the same lot, the written bid received first by Christies will
take precedence. Please contact the Telephone Bid office at
least 24 hours in advance of the sale to make arrangements for
telephone bidding. Tel: +44 (0)20 7752 3225
All bids are subject to the terms of the Conditions of Sale
and Limited Warranty printed in each Christies catalogue.
BIDDING INCREMENTS
Bidding generally opens below the low estimate
and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that
do not conform to the increments set below may
be lowered to the next bidding interval.
UK50 to UK1,000 by UK50s
UK1,000 to UK2,000 by UK100s
UK2,000 to UK3,000 by UK200s
UK3,000 to UK5,000 by UK200, 500, 800
(ie: UK4,200, 4,500, 4,800)
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 by UK2,000, 5,000, 8,000
(ie: UK32,000, 35,000,
38,000)
UK50,000 to UK100,000 by UK5,000s
UK100,000 to UK200,000 by UK10,000s
above UK200,000 at auctioneers discretion
The auctioneer may vary the increments during the
course of the auction at his or her own discretion.
Auction Results: +44 (0)20 7839 9060
Absentee Bids Form
Christies South Kensington
Absentee bids must be received at least 24 hours before the auction begins.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
5027
Client Number (if applicable) Sale Number
Billing Name (please print)
Address
Post Code
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Signature
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Individuals: government-issued photo identification (such as a photo driving licence, national identity card,
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bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts,
offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7752 3137 for advice
on the information you should supply. If you are registering to bid on behalf of someone who has not
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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 one year, and those
wishing to spend more than on previous occasions may be asked to supply a bank reference. We may at our
option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request
that you complete the section below with your bank details:
Name of Bank(s)
Address of Banks(s)
Account Number(s)
Name of Account Officer(s)
Bank Telephone Number
Les Trois Garons
WEDNESDAY 5 MARCH 2014 AT 10.30 AM
85 Old Brompton Road, London SW7 3LD
CODE NAME: GARONS
SALE NUMBER: 5027
(Dealers billing name and address must agree with tax
exemption certificate. Invoices cannot be changed after
they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
09/08/13
182
Furniture and Decorative Arts
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Catalogue Subscriptions
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Code Subscription Title Location Issues UKPrice US$Price EURPrice
American Furniture and Decorative Arts
N24 American Furniture, Folk Art and Decorative Arts New York 2 48 76 72
Ceramics and Glass
N93 Chinese Export Ceramics New York 1 26 43 39
European Furniture, Tapestries, Sculpture and Works of Art
K132 Interiors: Style and Spirit Edition (included in K96) South Kensington 6 57 91 86
A22 Furniture and Decorative Arts Amsterdam 4 53 87 80
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House Sales
K127 Interiors: Masters & Makers (included in K96) South Kensington 4 38 61 57
K132 Interiors: Style and Spirit Edition (included in K96) South Kensington 6 57 91 86
K296 The Sunday Sales (included in K96) South Kensington 6 57 91 86
N96 Interiors New York 9 103 171 154
P96 Interiors Paris 2 19 30 29
L99 Private Collections and House Sales London 6 171 285 262
Rugs and Carpets
L49 Oriental Rugs and Carpets King Street 2 48 76 72
Arms and Armour
K50 Fine Antique Arms, Armour, and Collectors Firearms South Kensington 2 38 61 57
Christies
CHRI STI E S I NTERNATI ONAL PLC
Patricia Barbizet, Chairman
Steven P. Murphy, Chief Executive Officer
Stephen Brooks, Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault
Nicholas Eldred, Company Secretary
CHRI STI E S EXECUTI VE
Steven P. Murphy,
Stephen Brooks, Franois Curiel, Nicholas Eldred,
Karen Parker, Marc Porter, Jussi Pylkknen,
Doug Woodham
Charles Cator, Deputy Chairman,
Christies International
CHRI STI E S EUROPE
CHAI RMAN S OFFI CE
Jussi Pylkknen, President
Orlando Rock, Deputy Chairman
SENI OR DI RECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Olivier Camu, Philippe Garner, Richard Knight,
Francis Outred, Andreas Rumbler,
Franois de Ricqles
DI RECTORS
Prof. Dr. Dirk Boll, Roland de Lathuy,
Eveline de Proyart, Roni Gilat-Baharaff,
Paul Hewitt, Clarice Pecori Giraldi,
Christiane Rantzau, Jop Ubbens, Juan Varez
CHRI STI E S EUROPEAN
ADVI SORY BOARD
Pedro Girao, Chairman,
Christopher Balfour, Patricia Barbizet,
Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg,
H.R.H. Prince Pavlos of Greece, Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Dimitri Mavrommatis, Usha Mittal,
Leopoldo Rods, igdem Simavi
10/01/14
CHRI STI E S UK
Jane Hay, Managing Director
CHAI RMAN S OFFI CE
Viscount Linley, 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, Orlando Rock,
Nicholas White, Mark Wrey
SENI OR DI RECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Giovanna Bertazzoni, Prof. Dr. Dirk Boll,
Peter Brown, James Bruce-Gardyne,
Olivier Camu, Sophie Carter, Benjamin Clark,
Christopher Clayton-Jones, Karen Cole,
Eric de Cavaignac Isabelle de La Bruyere,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Adam Duncan,
Julie Edelson, David Elswood, David Findlay,
Margaret Ford, Daniel Gallen, Philippe Garner,
Aino-Leena Grapin, Karen Harkness,
Philip Harley, Nicola Harvey, James Hastie,
Paul Hewitt, Rachel Hidderley, Mark Hinton,
Howell James, Michael Jeha, Hugues Joffre,
Donald Johnston, Erem Kassim-Lakha,
Frank Lasry, Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Francis Outred, Karen Parker,
Clarice Pecori-Giraldi, Benjamin Peronnet,
Henry Pettifer, Will Porter, Paul Raison,
Tara Rastrick, William Robinson,
John Stainton, Kirsten Tedder,
Alexis de Tiesenhausen, Lynne Turner,
Jay Vincze, Andrew Ward, David Warren,
Andrew Waters, Harry Williams-Bulkeley,
Martin Wilson, Andr Zlattinger
DI RECTORS
Richard Addington, Claire hman,
Georgiana Aitken, Marco Almeida,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Grace Campbell, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Maddie Crampton,
Sigrun Danielsson, Adrian Denton, Sophie DuCret,
Hugh Edmeades, Arne Everwijn, Adele Falconer,
Nick Finch, Peter Flory, Elizabeth Floyd,
Christopher Forrest, Patricia Frost, Sarah Ghinn,
Alexandra Gill, Sebastian Goetz, John Green,
Simon Green, David Gregory, Mathilde Heaton,
Annabel Hesketh, Sydney Hornsby,
Peter Horwood, Simon James, Robert Jenrick,
Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr,
Tjabel Klok, Lock Kresler, Quincy Kresler,
Robert Lagneau, Nicholas Lambourn,
Joanna Langston, Tina Law, Brandon Lindberg,
Laura Lindsay, David Llewellyn, William Lorimer,
Murray Macaulay, Sarah Mansfield,
Nicolas Martineau, Roger Massey, Joy McCall,
Neil McCutcheon, Daniel McPherson,
Neil Millen, Edward Monagle, Jeremy Morgan,
Giles Mountain, Chris Munro, Rupert Neelands,
Mark Newstead, Liberte Nuti, Rosalind Patient,
Matthew Paton, Keith Penton, Caroline Porter,
Michael Prevezer, Anne Qaimmaqami,
Elizabeth Rabineau, Marcus Rdecke,
Pedram Rasti, Amjad Rauf, Sandra Romito,
Tom Rooth, Alice de Roquemaurel,
Francois Rothlisberger, Tim Schmelcher,
Rosemary Scott, Tom Scott, Nigel Shorthouse,
Dominic Simpson, Katie Siveyer, Nicola Steel,
Robin Stephenson, Kay Sutton, Rakhi Talwar,
Laura Tayler, Nicolette Tomkinson, Jane Turner,
Thomas Venning, Sophie Wiles, Mark Wilkinson,
Bernard Williams, Georgina Wilsenach,
Toby Woolley, Geoff Young
ASSOCI ATE DI RECTORS
Zoe Ainscough, Max Andrews, Ksenia Apukhtina,
Guy Agazarian, Alexandra Baker,
Fiona Baker, Ed Behrens, Nina Bowden,
Mark Bowis, Clare Bramwell, John Caudle,
Sophie Churcher, Armelle de Laubier-Rhally,
Cristiano De Lorenzo, Grant Deudney,
Claudia Dilley, Eva-Maria Dimitriadis,
Howard Dixon, Virginie Dulucq, Joe Dunning,
Antonia Essex, Anna Evans, Jorge Ferreira,
Kate Flitcroft, Giles Forster, Eva French,
Pat Galligan, Zita Gibson, Keith Gill,
Andrew Grainger, Pippa Green, Angus Granlund,
Ciaran Grealish, Christine Haines, Coral Hall,
Charlotte Hart, Carolyn Holmes, Amy Huitson,
Adrian Hume-Sayer, James Hyslop,
Helena Ingham, Pippa Jacomb, Rosie Jarvie,
Clementine Kerr, Hala Khayat,
Alexandra Kindermann, Mark Henry Lamp,
Darren Leak, Adriana Leese, Tom Legh,
Timothy Lloyd, Scott Macdonald,
Graeme Maddison, Stephanie Manstein,
Michelle McMullan, Susanne Meyer-Abich,
Toby Monk, Sarah OBrien, Beatriz Ordovs,
William Paton, Anthea Peers, Suzanne Pennings,
Louise Phelps, Romain Pingannaud,
Sara Plumbly, Sarah Rancans, Lisa Redpath,
David Rees, Simon Reynolds, Sumiko Roberts,
Sangeeta Sachidanantham, Catherine Scantlebury,
Julie Schutz, Nick Sims, Mark Silver, James Smith,
David Stead, Mark Stephen, Annelies Stevens,
Charlotte Stewart, Gemma Sudlow,
Cornelia Svedman, Nicola Swain, Iain Tarling,
Sarah Tennant, Timothy Triptree, Flora Turnbull,
Lisa Varsani, Julie Vial, Anastasia von Seibold,
Amelia Walker, Tony Walshe, Ben Wiggins,
Annette Wilson, Julian Wilson, Neal Young
The Paper used in this catalogue
has been manufactured at a mill
which has been awarded the
ISO 14001 for Environment
Management and is a registered
mill within EMAS (the EU Eco-
Management and Audit Scheme)
Catalogue Photo Credits:
Julio Leipnitz Jnr, Bill Henderson &
Mark Farrington
Printed in England
Christie, Manson & Woods Ltd. (2014)
85 Old Brompton Road London SW7 3LD +44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile

3 Garcoins - Catalogue

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3 Garcoins - Catalogue

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WEDNESDAY 5 MARCH 2014

LONDON, SOUTH KENSINGTON

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