Glebe House, Mont Pellier and Woodbury House: Three Country House Collections

GLEBE HOUSE, MONT PELLIER
AND WOODBURY HOUSE

THREE COUNTRY HOUSE COLLECTIONS
South Kensington
17 June 2015
Glebe House, Mont Pellier

and Woodbury House
Three Country House Collections
Wednesday 17 June 2015
GLEBE HOUSE
LOTS 1-125
The Property of the late Mr Anthony Hobson
MONT PELLIER
LOTS 126-297
The Property of the late Mrs Barbara Overland
WOODBURY HOUSE
LOTS 298-368
The Property of the late Hon. Mr & Mrs Anthony Samuel
AUCTION
Wednesday 17 June 2015 at 10.00 am

85 Old Brompton Road,
South Kensington,
London SW7 3LD
VIEWING
Friday
Saturday
Sunday
Monday
Tuesday
12 June
13 June
14 June
15 June
16 June
9.ooam - 5.00pm
11.ooam - 5.00pm
11.ooam - 5.00pm
9.ooam - 7.30pm
9.ooam - 5.00pm
AUCTIONEERS
Anna Evans, Philip Belcher & Hugh Edmeades

Front cover: Lot 42 (detail)
Inside front cover: Lot 350 (detail)
Back cover:
Interior with Lots 293 and 294 in situ
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CONDITIONS OF SALE
In sending absentee bids or making

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to reserves.
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COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2015)
GLEBE HOUSE, HAMPSHIRE

The Property of the late
Mr Anthony Hobson
lots 1-125
A youthful prodigy in his feld (appointed Head of Sothebys Book

Department when he was only 27) Anthony Hobson, who died in
2014 at the age of 92, was the greatest expert in the world on
Renaissance bookbinding. Academic honours were showered upon
him throughout his career, but his preeminence in the book world
was sealed by his presidency of the Internationale de Bibliophilie
(1985-1999), where his patrician elegance, considerable charm,
command of languages and profound scholarship made him a
magisterial fgure.
An all-round bibliophile of great distinction, he was also an ardent
and lifelong collector of art and furniture. While the Renaissance
values of order and beauty were cornerstones of his aesthetic,
his Old Master drawings, for instance, stand as a shorthand for
the whole notion of the Grand Tour, the question of which art
one could best live with was of almost equal interest: never the
crushing centrepiece that drains the soul out of a room, always

the brilliant pieces that set the stage, faring into life or receding
into the background as needs be.
Greatly informed by the taste of his wife, Tanya Vinogradoff,
granddaughter of the painter Algernon Newton, R.A., his
collection ranged with confdence and delight across periods and
registers, endlessly curious and endlessly increasing. Medieval
Persian, Neoclassical, 18th Century Indian, Regency, Pre-Raphaelite
individual delights became part of a much larger whole in the
beautiful Queen Anne house he lived in for the last 55 years of his
life. This sale is testament to an exceptional life of the mind and
senses (except for the digital remarkably enough he lived his life
without letting a television, radio or computer darken his door)
led by the man singled out by Cyril Connolly as among the most
impressive scholar aesthetes of our day.
5
n1
A GEORGE III BRASS HEXAGONAL HALL LANTERN
LATE 18TH CENTURY
The openwork corona above later glass panes headed by

palmettes, wired for electricity
27 in. (70 cm.) high; 15 in. (40 cm.) diameter
2,000-3,000
$3,200-4,700
2,800-4,200
2
A PAIR OF ITALIAN GILTWOOD MODELS OF
RECUMBENT LIONS
19TH CENTURY
Each mounted on a modern ebonised plinth

8 in. (20.5 cm.) high; 11 in. (28 cm.) wide;
5 in. (13.5 cm.) deep, overall
600-1,000
(2)
$940-1,600
840-1,400
3
A LARGE PAIR OF TALAVERA MAIOLICA VASES
CIRCA 1700-25
Each painted in blue with an upturned palm revealing an

open eye, possible emblematic of the Hand of God, within an
acanthus scroll cartouche, bands of scrolling acanthus to the
neck and lower part
16 in. (42.5 cm.) high
(2)
4,000-6,000
$6,300-9,300
5,600-8,300
4
JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)
Herdsmen on a riverbank in a hilly landscape
signed and dated Jean Pillement 1794. V.S.
black, blue and red chalk, watercolour, brown ink and

graphite framing lines
8 x 12 in. (20.5 x 31 cm.)
1,500-2,000
$2,400-3,100
2,100-2,800
5
JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)
Fisherman on a riverbank with an arched bridge
signed and dated Jean Pillement 1794. V.S
black, blue and red chalk, watercolour, brown ink and

8 x 12 in. (20.4 x 30.7 cm.)
1,500-2,000
$2,400-3,100
2,100-2,800
6
FRANCESCO PANINI (ROME 1745-1812)
Santa Maria Maggiore, Rome
bodycolour, over the engraving made to Paninis design
by Francesco Barbazzo (1765-1790)
18 x 27 in. (45.8 x 69.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
Lord Arundell, Wardour Castle; Sothebys, London, 26 October 1964,
possibly lot 229.
7
GIOVANNI BATTISTA PIRANESI (1720-1778)
Veduta del Tempio della Fortuna virile
etching, 1758, on laid paper, without watermark, Hinds
third state (of seven), from a contemporary Roman
Edition, with margins, the usual central vertical fold
showing mostly in the margins, pinpoint foxing in the
upper margin, otherwise in good condition, framed
Plate: 380 x 588 mm.

800-1,200
$1,300-1,900
1,200-1,700
LITERATURE:
Hind 46
8
LAURENS SCHERM (ACTIVE 1689-1701) AFTER
JACOB VAN CAMPEN (1596-1657)
Views of the Town Hall of Amsterdam
(Uytstekend Raadhuys tot Amsteldam)
the set of three etchings by Laurens Scherm, 1689-1701,
on laid paper, each impressions of the frst state (of two),
published by Nicolaes Visscher II, presumably the full
sheets, each with central vertical folds with associated
splitting at the lower sheet edge, time and backboard
staining, framed
Plate: 520 x 620 mm., Sheet: 560 x 670 mm. (each) (3)
1,000-1,500
$1,600-2,300
1,400-2,100
LITERATURE:
Hollstein 19-21
8 (a set of three)
9
n9
AN ENGLISH GILTWOOD OVERMANTEL MIRROR
19TH CENTURY, OF GEORGE II STYLE
The rectangular plate with a bead-and-reel frame surmounted by

palm leaves, with Vitruvian scroll base, inscribed Ripon in blue chalk
to reverse
77 in. (197.5 cm.) high; 42 in. (106.5 cm.) wide
1,500-2,500
$2,400-3,900
2,100-3,500
n10
A SET OF FOUR ITALIAN GILTWOOD CHAIRS
FLORENCE, LATE 19TH/EARLY 20TH CENTURY
Comprising two armchairs and two side chairs, each a pierced shaped
back, incised with foliate decoration to the reverse, the padded back,
arms and seat covered in striped green silk, on tapering square legs and
block feet, restorations
36 in. (92 cm.) high; 28 in. (71.5 cm.) wide;
19 in. (49 cm.) deep
(4)
2,000-3,000
PROVENANCE:
Anonymous sale, Christies, London, 9 June 1988, lot 101.
Anonymous sale, Sothebys, London, 2 December 2008, lot 203.
10
$3,200-4,700
2,800-4,200
11
A LARGE BLUE AND WHITE AND UNDERGLAZE RED
BALUSTER JAR
KANGXI PERIOD (1662-1722)
Boldly decorated with scrolling peony on a blue ground covering the

necks and shoulders and descending in large and small shaped lappets
within blue surrounds, the fowers depicted in underglaze red, with
smaller foliage picked out in white, all reserved on white grounds with
small lozenge-shaped foral panels and stylised lotus on tall stems rising
from the foot
24 in. (62 cm.) high
4,000-6,000
$6,300-9,300
5,600-8,300
n12
A DUTCH GILTWOOD CONSOLE TABLE
19TH CENTURY, AFTER THE 17TH CENTURY MODEL
The serpentine Rouge de Maine marble top above a foliate and rocaille
frieze, on bearded and helmeted soldier headed legs joined by a
X-stretcher, on bun feet, lacking frieze carving
33 in. (85 cm.) high; 55 in. (140.5 cm.) wide; 24 in. (61 cm.) deep
4,000-6,000
$6,300-9,300
5,600-8,300
This console table in the Dutch William and Mary style of around 1700 was almost
certainly made in the 19th century as a pair to an original console. Inspired by French
prototypes introduced to the Netherlands by the celebrated architect and designer
Daniel Marot (1661-1752), such tables furnished the most important palaces. Examples
of which can be found in the collection of H.M. Queen Beatrix of the Netherlands at
Palace Huis ten Bosch near The Hague as well as in the gallery of Het Loo Palace near
Apeldoorn; a similar console table with frieze carving was sold at Christies, London,
11 September 2008, lot 31.
11
Carlton House Terrace, the East Terrace soon after completion
William Lowther, 2nd Earl of Lonsdale
13
A PAIR OF LOUIS XVI ORMOLU TWIN-BRANCH WALL-LIGHTS
CIRCA 1775-80
Each tapering futed backplate surmounted by a faming and garlanded urn fnial above a lions mask,
issuing two acanthus clasped branches, with black inked stencil 1287 CHT to side of the backplate,
drilled for electricity
(2)
7,000-10,000
$11,000-16,000
9,800-14,000
PROVENANCE:
Probably acquired through the dealer Edward Holmes Baldock by William, 2nd Earl of Lonsdale, for 14-15 Carlton House
Terrace and by descent at Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co. house sale, 15-17
April 1947.
COMPARATIVE LITERATURE:
S. Eriksen, Early Neo-Classicism in France, London, 1974, p. 354, pl. 212.
H. Ottomeyer & P. Prschel, Vergoldete Bronzen, Munich, 1986, vol. 1, p. 186, fg. 3.9.2.
13 (Detail of the inventory stamp)

The stencilled inscriptions 1287 C.H.T. and 302 C.H.T. are most probably an
inventory mark for William Lowther, 2nd Earl of Lonsdale a politican, whose
father, the 1st Earl of Lonsdale, acquired 14-15 Carlton House Terrace in 1837.
Furniture from this residence was stencilled C.H.T., generally with a three
digit inventory number. Property from 14-15 Carlton House Terrace was later
absorbed into Lowther Castle, near Penrith, Cumberland. The contents of
Lowther Castle were sold by the 5th Earl of Lonsdale in 1947. The collection
of French furniture at Carlton House Terrace was probably formed by both
14 (Detail of the inventory stamp)
the 1st and 2nd Earls, and probably included items from their previous London
residence as well. The 1st Earl was a noted Francophile and intimate of George, Prince of Wales, and like the future King
George IV, extensively patronised the celebrated purveyor of French works of art Edward Holmes Baldock, who may possibly
have acquired these wall-lights and mantel clock on the Earls behalf at one of the many spectacular sales of the period. Whilst
the 1st Earl initiated the move into Carlton House Terrace, his son joined the two houses together, decorating them in the
French manner and evidently making further important purchases of French furniture and works of art.
Carlton House Terrace that we see today, with its magnifcent white stucco-faced houses and Corinthian columned faade,
surmounted by an elaborate frieze pediment overlooking St. Jamess Park was built on crown land between 1827 and
1832, primarily on the designs of the architect to the Prince Regent, John Nash (1752-1835). The terrace replaced Carlton
House that was substantially rebuilt by the architect Henry Holland between 1783 and 1796 as the residence for the Prince
Regent. Holland introduced aspects of French neoclassical style of architecture into his plans as he was more in favour of the
contemporary French taste.
When the Prince Regent became George IV in 1820, he gave consideration to enlarging Carlton House further, but instead
rebuilt Buckingham House, now Buckingham Palace. Subsequently, Carlton House was demolished and transformed into
Carlton House terrace, with the portico donated to the National Gallery and the proceeds of the leases put towards the cost
of Buckingham Palace.
These superb twin-branch wall-lights were probably made during the fashionable got grec period of the third quarter of the
18th Century. The form of these wall-lights with rams masks or ttes de belier and acanthus clasped branches are similar to
several models that were supplied by Quentin-Claude Pitoin (circa 1725-1777) and Jean-Charles Delafosse (1734-1791),
well-known bronziers of the time. A similar pair with husk-draped candle branches was sold anonymously, Christies, London,
14 December 2000, lot 66.
12
14
A LOUIS XVI ORMOLU STRIKING MANTEL CLOCK
LEPAUTE, LATE 18TH CENTURY
The arched case surmounted by an urn, the rear door

inscribed A.W. 302 C.H.T, the white enamel dial with Roman
hours and Arabic fve minutes, signed LEPAUTE/H. DU. ROI,
with recoil anchor escapement and count wheel strike to bell;
with pendulum
4 in. (11.5 cm.) deep
4,000-6,000
$6,300-9,300
5,600-8,300
PROVENANCE:
Probably acquired through the dealer Edward Holmes Baldock by William,
2nd Earl of Lonsdale, for 14-15 Carlton House Terrace and by descent at
Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co.
house sale, 15-17 April 1947, lot 1239.
13
15
A NAPLES MAIOLICA ALBARELLO
DATED 1723, PAINTED MARK G.B.C.
Painted in blue with a scene from the life of Saint Francis of Paola,
with inscription below, adapted as a lamp
18 in. (45.7 cm.) high, including ftments
1,500-2,000
$2,400-3,100
2,100-2,800
16
A SET OF FIVE DANISH PAINTED TERRACOTTA
RELIEF PANELS
BY P. IPSEN, 19TH CENTURY
Four stamped to the reverse P.IPSEN KIOBENHAVN ENERET and

numbered 386, 388, 390 and 391
The largest: 7 in. (19 cm.) high; 18 in. (47 cm.) wide
700-1,000
(5)
$1,100-1,600
980-1,400
17
AN ITALIAN PAINTED TERRACOTTA FIGURE OF A
RIVER GOD
FLORENTINE, 18TH CENTURY
On an integrally modelled rocky base, repairs and restorations, with blue

bordered paper label inscribed 1432
3,000-5,000
14
$4,700-7,800
4,200-7,000
18
ATTRIBUTED TO VINCENZO
BRENNA (FLORENCE 1745-1820
SAINT PETERSBURG)
Design for a ceiling with grotesque decoration
and a central panel of Venus and Psyche (?)
graphite, pen and brown ink, bodycolour
and watercolour
22 x 24 in. (56.5 x 60.8 cm.)
2,000-4,000
$3,200-6,200
2,800-5,600
19
ATTRIBUTED TO VINCENZO
BRENNA (FLORENCE 1745-1820
SAINT PETERSBURG)
Design for a ceiling with grotesque decoration
and a central panel of Minerva
graphite, pen and brown ink, bodycolour
and watercolour, watermark Strasburg lily
with letters C & I Hon[ig]
20 x 20 in. (51 x 51 cm.)
3,000-4,000
$4,700-6,200
4,200-5,600
15
20
NEAPOLITAN SCHOOL, CIRCA 1820
Twelve fgures in Neapolitan costume
pencil and watercolour, brown ink framing lines, watermark
J WHATMAN
8 x 14 in. (21.3 x 36.2 cm.)
3,000-5,000
(12)
$4,700-7,800
4,200-7,000
PROVENANCE:
Sir Thomas Philipps, Bt.
21
ATTRIBUTED TO ELISABETH SOPHIE CHRON
(PARIS 1648-1711)
A Classical sacrifce, after an engraving
black and red chalk, watercolour and bodycolour
9 x 7 in. (24.2 x 19.4 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
An attribution to Nicolas Vleughels (1668-1737) has also been suggested.
22
CARLO INNOCENZO CARLONE (SCARIA 1686-1775 COMO)
Mars
oil on paper, oval
4 x 6 in. (10.5 x 16.6 cm.)
1,500-2,000
PROVENANCE:
with T.P. Grange, London, 1955.
16
$2,400-3,100
2,100-2,800
23
VIVIANO CODAZZI (BERGAMO C.1604-1670 ROME) AND
DOMENICO GARGIULO, CALLED MICCO SPADARO
(NAPLES 1609/10-1675)
An courtyard with fgures and a mule by a well, a mountainous
landscape beyond
oil on canvas
33 x 44 in.
6,000-8,000
$9,400-12,000
8,400-11,000
LITERATURE:
G Briganti, L Laureati, L. Trezzani, I Pittori Bergamaschi Dal XIII al XIX Secolo, Il Seicento I,
Bergamo, 1983, p. 692, no. 38, illustrated p. 715.
D.R.Marshall, Vivian and Niccol Codazzi and the Baroque Architectural Fantasy, Milan, 1993,
p. 90, no. 17, illustrated.
G. Sestieri and G. Dapr, Domenico Gargiulo detto Micco Spadaro, Paesaggista e cronista
napoletano, Milan, 1994, p. 106, illustrated.
24
DANIEL GARDNER (1750-1805)
Portrait of a gentleman, traditionally identifed as Mr. Smyth, of New
Bond Street, bust-length, in a brown coat and waistcoat with a white
stock; and Portrait of a lady traditionally identifed as his wife, Mrs.
Smyth, bust-length, in a blue dress and a lace shawl
the male fgure with inscription on the backboard Mr Smyth of Bond
Street, and the female fgure with Mrs Smyth/ Lady F. Edens/ mother
pastel, oval
9 x 7 in. (22.8 x 17.7 cm.)
a pair
(2)
4,000-6,000
$6,300-9,300
5,600-8,300
The present pair of pastels probably dates from the late 1770s, and the sitters are John
Paul Smyth (17351797), perfumer of Bond Street, and his wife, ne Mary Higford
(17371800). Their daughter Anne (c.17741808), married Sir Frederick Morton Eden,
2nd Bt (17641809).
We are grateful to Neil Jeffares for his help in preparing this catalogue entry.
17
25
WILHELM SCHUBERT VAN EHRENBERG
(ANTWERP C.1630-C.1676)
The interior of St. Peters, Rome
signed and dated WS van Ehrenberg fe: 1665 (lower centre) and
inscribed with scale (lower centre)
oil on canvas
65 x 54 in. (166.4 x 137.2 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Pope Pius VII, by whom gifted to,
Colonel Rottiers.
Lord Charles Townshend, by 1854.
Dr. Anderson.
H.L. Bischoffsheim; his sale, Christies, London, 7 May, 1926, lot 32 (65 gns. to
Goldschmidt).
Anonymous sale [Ralph Vicars]; Christies, London, 25 February 1949, lot 111 (30 gns. to
Arcade Galleries).
Anonymous sale [Miss D.E. Brahmall]; Christies, London, 15 June 1956, lot 147 (190 gns.
to Drey).
Anonymous sale; Sothebys, London, 18 November, 1959, lot 77 (300 to Vaughan).
LITERATURE:
Dr. A. Wurzbach, Niederlandisches Kunstler - Lexicon, 1906, vol I, p. 486.
This large painting of the interior of St. Peters in Rome, dated to 1665, is a particularly
early documentation of Gian Lorenzo Berninis outstanding contribution to the decoration
of the church. Looking from the central nave, at the height of the Chapels of the
Sacrament and of the Choir towards the high altar, the viewpoint adopted here shows
the vast scale and the splendour of Berninis Baldachin. Commissioned by Pope Urban VIII,
the bronze Baldachin stands 29 metres high, towering over the papal altar, an exuberant
masterpiece of the Baroque. An early work in Berninis career, executed between 1624
and 1632, it was inaugurated on the feast of Saints Peter and Paul, 29 June 1633.
Through the four colossal twisted columns which are adorned with spiral channelling,
branches of olive and bay trees and topped with composit capitols, we can see the
Throne of Saint Peters in Glory or Cattedra: a complex construction projected by
Bernini which contains the relic of the seat of the Apostle Peter. The monument, later
completed in 1666, by the date of this painting was still missing the gilded glory of sunrays
and sculpted clouds that soon surround the central window. Faint rays, few angels and
a dove give a hint of the Gloria, however the central window is still easily recognizable
and has not yet been overwhelmed by the baroque clouds and putti. Roberto Battaglia
(R. Battaglia, La Cattedra Berniniana di San Pietro, Rome 1943) describing the long and
complex construction of the Cattedra, confrms that the four doctors and throne were
placed on the apse at the beginning of 1665, while the Gloria was still to be completed.
According to Battaglia, scaffoldings were still present around the monument on the 29th
of November and were demolished soon afterwards: this would suggest that the present
picture was created on December 1665. After work was completed on the Gloria and
window, the Cattedra was inaugurated on the 17th January 1666.
The gilded stucco decoration on the ceiling of the apse above the Cattedra is yet to be
18
applied, and what is visible here is only the design. To the sides of the Cattedra are the
Monument to Paolo III (on the left we look), sculpted by Giacomo della Porta under
Michelangelos direction, and the Monument to Urban VIII (on the right) by Bernini.
The four piers looking towards the papal altar were decorated to compliment the
Baldacchino. Four niches were opened, each with a colossal statue of a saint, and four
loggias directly above would hold the corresponding relic of the sacred fgure. In the
north-west pier we see Andrea Bolgis statue of Saint Helen carrying the Cross, completed
in 1640, above which stucco angels carry the Cross. Over the loggias, the pendentives
of the dome are decorated with circular mosaics of the four Evangelists. Saint John the
Evangelist, with the Eagle, was executed by Giovanni de Vecchi, while Saint Mark, only
partly visible in the present painting, by both Cesare Nebbia and Paolo Rossetti.
In the 18th century various altarpieces were removed from the basilica, and replaced with
copies in mosaic of more famous paintings. This was the case with the altarpiece on the
altar of Saint Jerome, of which we get a glimpse to the right. Originally, the altar contained
a painting of Saint Jerome by Girolamo Muziano (now in S. Maria degli Angeli, Rome), and
was replaced in the 1730s by Pietro Paolo Cristofaris mosaic after Domenichinos Last
Communion of Saint Jerome (now in the Pinacoteca Vaticana). It might be due to artistic
licence, however the painting depicted in this picture does not seem to correspond to
Muzianos altarpiece.
Along with the signature and date, the artist has inscribed the base of the painting with
a scale measured in roman feet (1 roman foot = circa 29.6 cm.). The scale is meant to
underline the grandeur of the building, the largest of all churches. The numerous fgures
are possibly painted by Charles Emmanuel Biset (Mechelen 1633-1710 Breda), known to
have collaborated with van Ehrenberg.
n26
AN ITALIAN SCAGLIOLA TABLE TOP
20TH CENTURY
The rectangular top depicting parrots perching on

branches, butterfies, snails and scrolled foliage, on
tapering square futed legs and block feet
600-1,000
$940-1,600
840-1,400
PROVENANCE:
Anonymous sale; Christies, London, 9 June 1988, lot 134.
n~27
A PAIR OF LACQUERED BRASS AND
ROSEWOOD THREE-TIER ETAGERES
LATE 19TH/EARLY 20TH CENTURY
Each on brass castors; together with a brass-mounted

mahogany and rosewood crossbanded two-tier etagere,
20th Century, with remnants of a paper inventory label
to the underside
The pair: 28 in. (72 cm.) high; 14 in. (37 cm.) square
(3)
1,000-1,500
$1,600-2,300
1,400-2,100
n28
A NORTH EUROPEAN RED AND GILT
JAPANNED CHEST-ON-STAND
19TH CENTURY
Decorated overall with chinoiserie buildings, landscapes,

fgures and foliage, with an arrangement of short and
long drawers, the stand with cabriole legs
1,500-2,500
20
$2,400-3,900
2,100-3,500
29
31
A WIENER WERKSTATTE GLAZED TERRACOTTA HEAD

BY LOTTE CALM
A CHARLES VYSE (1882-1971) EARTHENWARE FIGURE
CIRCA 1930
Modelled and cast as a street vendor, hand painted in colours beneath

a transparent glaze, signed with artists CV monogram, Chelsea 1922
(restored)
8 in. (21.3 cm.) high
LAVENDER SELLER, 1922
Her hair dressed with ribbons and fowers, painted and glazed, impressed
marks, overlapping WW in a rectangle, Made in Austria, 960; with later
wooden display stand
9 in. (23 cm.) high
2,000-3,000
$3,200-4,700
2,800-4,200
500-700
$780-1,100
700-970
COMPARATIVE LITERATURE:
Gabriele Fahr-Becker, Wiener Werkstatte 1903-1932, Germany, 1994, p. 151 (similar head
illustrated)
32
A LARGE BOW WHITE PORCELAIN FIGURE OF
KITTY CLIVE
CIRCA 1750
30
A PAIR OF MEISSEN FIGURES OF NEPTUNE AND JUPITER
EARLY 19TH CENTURY, BLUE PAINTED MARKS,
PRESSNUMMERN 163 AND 164
2,000-3,000
Neptune emerging from a shell, Jupiter holding a thunderbolt and

standing astride an eagle, each on a stepped pedestal base
4 in. (12.1 cm.) and 5 in. (14 cm.) high
1,000-1,500
22
In the character of The Fine Lady from David Garricks farce Lethe,
holding a spaniel under her right arm, standing on a pedestal base
applied with musical and theatrical trophies
13 in. (33.6 cm.) high
(2)
$1,600-2,300
1,400-2,100
$3,200-4,700
2,800-4,200
This fgure is more commonly found on a low base such as the example illustrated by
Rosalie Wise Sharp, Ceramics, Ethics and Scandal (2002), p 126. For another example
of a fgure on the more unusual high base, see the fgure sold at Bonhams, London,
8 September 2010, lot 75.
Lethe was a one act play reworked in 1749 to include the roles of Mrs Riot and the Fine
Gentleman, famously played by Henry Woodward and forming the companion fgure to
the present lot.
33
~36
36 (detail)
A RUSSIAN PARCEL-GILT SILVER AND

NIELLO SNUFF BOX
A GOLD-MOUNTED MOTHER-OFPEARL OVAL SNUFF BOX
APPARENTLY UNMARKED EXCEPT FOR A

LATER DUTCH CONTROL MARK, PROBABLY
PROVINCIAL, CIRCA 1795
UNMARKED, PROBABLY ENGLISH OR DUTCH,

CIRCA 1720
The cover carved in the baroque manner with

a shell, acanthus leaves and foliate scrolls on
a large scallop, stand-away hinge, interior of
cover painted with a cupid holding a musical
score in one hand
2 in. wide (7.1 cm.)
Circular with pull-off cover and bead borders,

cover and base set with niello oval reserves
depicting respectively a bay with buildings
around it, and a huntsman and his hound
shooting at a deer in a woodland setting, gilt
interior
3 in. (8.9 cm.) diameter
7.25 oz. (225 gm.)
1,000-1,500
1,000-1,500
$1,600-2,300
1,400-2,100
$1,600-2,300
1,400-2,100
33 (detail)
34
~35
~37
A GOLD-MOUNTED AGATE
SNUFF BOX
A GEORGE III GOLD-MOUNTED

IVORY TOOTHPICK BOX
UNMARKED, PROBABLY ENGLISH OR GERMAN,

CIRCA 1740
UNMARKED, CIRCA 1790
A GEORGE III GOLD-MOUNTED

BLONDE TORTOISESHELL OVAL
SNUFF BOX
Of rounded oblong form

3 in. wide (7.6 cm.)
600-800
$940-1,200
840-1,100
Navette-shaped with rounded ends, cover

applied with gold-bordered miniature painted
en grisaille with a Classical female musician
playing a lyre beside a female fgurine atop a
column, the gold mounts engraved with bands
of chainwork and chevron motifs, interior of
cover set with mirror and lined in cherry-red
velvet
4 in. wide (10 cm.)
The cover set with gold oval engraved with

initial B; together with a Continental silvermounted ivory snuff box, circa 1770, the cover,
base and sides all carved in relief with scenes
of youths within a rococo scroll frame, musical
and gardening trophies and birds and hounds
The frst box 3 in. (9.2 cm.) long; the second
2 in. (6.7 cm.) long
600-800
600-800
$940-1,200
840-1,100
APPARENTLY UNMARKED, CIRCA 1790
$940-1,200
840-1,100
23
38
NORTHERN ARTIST ACTIVE IN ITALY
CIRCA 1640
An architectural capriccio of Roman ruins,
with drovers and cattle
oil on canvas
28 x 36 in. (72.7 x 91.8 cm.)
8,000-12,000
$13,000-19,000
12,000-17,000
PROVENANCE:
Sir Robert Gregg, K.C.M.G, Cairo.
with Thos. Agnew & Sons, London, by 1930.
LITERATURE:
N. Coural, Les Patel: Pierre Patel (1605-1676) et ses fls: le
paysage de ruines Paris au XVIIe sicle, Paris, 2001, p. 322,
pp. r34, (r=rejected), illustrated..
39
NORTH ITALIAN SCHOOL, CIRCA 1700
A wooded river landscape with a town beyond
oil on canvas
32 x 34 in. (83.3 x 86.4 cm.)
4,000-6,000
24
$6,300-9,300
5,600-8,300
40
ITALIAN SCHOOL, 18TH CENTURY
A Turkish encampment with fgures, soldiers, camels and cows
oil on canvas
46 x 64 in. (117.5 x 164.5 cm.)
10,000-15,000
$16,000-23,000
14,000-21,000
25
ALGERNON CECIL NEWTON, R.A. (1880-1968)

l41
Born in 1880 Algernon Newton, grandson to the founder of Windsor & Newton, the
celebrated artists materials frm, was the third generation of Newtons to paint. Such
was his passion for art that he left Clare College, Cambridge without a degree in 1900
to study at Frank Calderons School of Animal Painting and the London School of Art,
Kensington. In 1916, having been invalided out of the army during the First World War
with pneumonia, Newton returned briefy to the artistic colony in Cornwall, where his
paternal grandparents lived, and met Alfred Munnings, who appears to have had some
infuence on his oeuvre at this time.
In 1918 he left Cornwall to explore his artist direction; unsure of his technique and
style, he looked to the Old Masters at the National Gallery for inspiration and it was
the works by Canaletto that particularly drew his attention. From his observations of,
and experiments with, Canalettos technique of monochrome underpainting, his oeuvre
evolved in the 1920s to depict what a recent exhibition catalogue states as an almost
ethereal flm noir lighting which gives an edge to an otherwise everyday scene. He became
fascinated with the faded grandeur of inner city suburbs, deserted waterways and derelict
industrial buildings around Paddington, Camden Town and Regents canal.
His frst one-man show was at the Leicester Galleries in 1931 and in 1936 he was elected
as an Associate member to the Royal Academy of Arts. During this time he embarked on
a new kind of subject matter: the country house portrait, capturing the magnifcent Stowe,
Buckinghamshire, amongst others. Between 1941 and 1947 he and his second wife lived
in the remote hamlet of Beck Hole in North Yorkshire, before returning to London, and
his work during this period was dominated by countryside landscapes.
Despite regularly selling all of his permitted quota of six paintings at the annual Royal
Academy Summer Exhibition on Private View day, sadly and unjustly his name quickly
faded after his death in 1968. Only two known solo exhibitions have been held since, both
emphasised how underappreciated he has been: one curated by Sheffeld City Art Gallery
which travelled to the Royal Academy in November 1980 and another more recently at
Danny Katz Fine Art, London in December 2012.
26

Portrait of the artists mother
signed and inscribed a portrait in brown/a.newton (on the stretcher)
oil on canvas
24 x 20 in. (61 x 51.5 cm.)
Painted in 1916.
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.
EXHIBITED:
Sheffeld, Graves Art Gallery, Algernon Newton R.A. 1880-1968, July - August 1980, no. 4.,
this exhibition travelled to Plymouth, City Art Gallery and Museum, September - October
1980 and London, Royal Academy of Arts, November - December 1980.
As the youngest of four boys, Newton was particularly close to his mother, Georgiana
(nee Nicholls), who until her death in 1918 proved to be one of his favourite models.
This portrait painted in 1916 is considered to be one of the most attractive of his early
period. It is a sensitive and serene study dressed waiting for her carriage which art critic
Nicholas Usherwood noted in his introductory essay to the exhibition catalogue of 1980
demonstrates a frmness of handling and confdence in composition that gives some frst
hints of those qualities of stillness and strong sentiment that were later to become the most
characteristic qualities of his work.
l42
A river landscape with a country house and a farm
signed and dated A. Newton 24 (lower right)
oil on canvas
24 x 30 in. (61 x 76.2 cm.)
7,000-10,000
$11,000-16,000
9,800-14,000
PROVENANCE:
By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.
Painted in 1924, this sweeping estuary scene depicting a white rendered Georgian manor house is as yet unidentifed.
It does however bear some similarities to the landscape of the River Erme, Devon, which Newton was commissioned
to paint a few years later in 1928 for Lord Mildmay, whose family estates were close by at Mothercombe. Although
best-known for capturing the everyday urban landscape of London, Newton was also captivated by the light of rural
landscapes, and his melancholic tone and the common sense of foreboding seen is also evident in the stormy skies in
the present work.
43 No Lot
27
44
ADOLPHE FORESTIER
(FRENCH, 1801-1885)
Queen Victoria in the drawing room at Cinier;
Queen Victoria arriving in Nice; King Edward
VII, Queen Alexandra and the Duke of
Clarence on the deck of a ship; Statue of Lord
Roberts, unveiled at Calcutta by the Viceroy
Lord Elgin; and King Edward VII, seated in a
carriage beside President Loubet
the frst signed, inscribed and dated
AFORESTIER/Cinier 21 March 97(lower
left); the second signed, inscribed and dated
AFORESTIER/ NICE 99 (lower left); the
third signed AFORESTIER (lower left); the
ffth signed with monogram (lower left) and
indistinctly inscribed (lower right)
pencil, watercolour and bodycolour

on paper
19 x 15 in. (49.5 x 40 cm.); and smaller
(5)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
(3) Anonymous sale; Sothebys, London, 22 May 1997,
part lot 535.
LITERATURE:
(1)The Illustrated London News, 18 March 1899, not traced.
45
ADOLPHE CHARLEMAGNE (1826-1901)
A group traditionally identifed as Czar
Alexander II, Prince Alfred, afterwards Duke
of Edinburgh and John Savile 1st Baron Savile
of Pontefract riding in a carriage
signed and dated Adolphe
CHARLEMAGNE.1864 (lower right)
pencil, pen and black ink and watercolour

heightened with white
9 x 13 in. (24 x 34 cm.)
1,000-1,500
28
$1,600-2,300
1,400-2,100
46
46
47
47
ABRAHAM-LOUIS-RODOLPHE DUCROS (YVERDON-LESBAINS 1748-1810 LAUSANNE) AND GIOVANNI VOLPATO

(BASSANO 1733-1803 ROME)
ABRAHAM-LOUIS-RODOLPHE DUCROS (YVERDON-LESBAINS 1748-1810 LAUSANNE) AND GIOVANNI VOLPATO

(BASSANO 1733-1803 ROME)
The Colosseum in Rome, seen from afar, with Pope Pius VI viewing
antiquities
The Temple of Minerva Medica in Rome, with Grand Tourists admiring

the ruins and goatherds in the foreground
inscribed Du Cros et Volpato f. Rome and Vu du Colise Rome

(on the mount)
inscribed Du Cros et Volpato f. Rome and Vu du Temple de Minerva

Medica Rome (on the mount)
watercolour, over an etching by Giovanni Volpato

19 x 29 in. (50 x 74.4 cm.)
watercolour, over an etching by Giovanni Volpato

19 x 28 in. (50.3 x 73.2 cm.)
1,500-2,000
$2,400-3,100
2,100-2,800
1,500-2,000
$2,400-3,100
2,100-2,800
29
48
~49
A NORTH EUROPEAN MARBLE PORTRAIT RELIEF

OF A NOBLEWOMAN
A LOUIS XIV ORMOLU-MOUNTED BRASS, PEWTER

AND TORTOISESHELL-INLAID BOULLE STRIKING
TABLE CLOCK
PROBABLY LATE 17TH CENTURY OR EARLY 18TH CENTURY
In a later giltwood frame

17 in. (44 cm.) high; 14 in. (36 cm.) wide
1,500-2,500
JAQUES (III) THURET, PARIS, EARLY 18TH CENTURY
$2,400-3,900
2,100-3,500
The case of architectural form with faming urn fnials and a

lambrequin to base, the dial with brass Roman chapter ring and
signed to cartouche beneath J. Thuret/ AParis, the twin barrel
movement with later half dead beat escapement and count
wheel strike to bell, the back plate conformingly signed; with
pendulum, case key and winding key
20 in. (52 cm.) high; 11 in. (30.5 cm) wide;
5 in. (14 cm.) deep
2,000-3,000
$3,200-4,700
2,800-4,200
n50
A DANISH GILT-LEAD-MOUNTED, PARCEL-GILT,
WALNUT AND CROSSBANDED BOMBE COMMODE
MID-18TH CENTURY AND LATER,
IN THE MANNER OF MATHIAS ORTMANN
The later white marble top above three drawers on carved

scrolled rocaille feet, the giltwood base replaced
32 in. (81.5 cm.) high; 31 in. (79.5 cm.) wide;
3,000-5,000
PROVENANCE:
Anonymous sale; Sothebys, London, 6 July 1956, lot 164.
30
$4,700-7,800
4,200-7,000
~51
A GROUP OF THREE GEORGE III
TEA CADDIES
LATE 18TH CENTURY
The green-stained tortoiseshell octagonal

example inset with a pale green jasparware
roundel and ivory banding; the ivory decagonal
example with a gold oval medallion engraved
with the monogram WAB; the tortoiseshell
octagonal example inlaid with ivory banding,
losses
The largest: 6 in. (15 cm.) high
2,000-3,000
$3,200-4,700
2,800-4,200
n52
A NORTH ITALIAN POLYCHROME
DECORATED OCCASIONAL TABLE
LATE 19TH CENTURY, PROBABLY TYROL
The shaped top depicting two scrolling

acanthus leaves framing a chessboard on an
acanthus leaf X-frame base
28 in. (73 cm.) high; 35 in. (89 cm.) wide;
700-1,000
$1,100-1,600
980-1,400
n53
A REGENCY PARCEL-GILT AND
GREEN-PAINTED WINDOW SEAT
CIRCA 1820
With padded back, scrolled ends and squab

cushion, on ring-turned legs and brass hairylions-paw feet and castors
1,000-1,500
32
$1,600-2,300
1,400-2,100
54
LOUIS LAGUERRE (PARIS 1663-1721 LONDON)
Cupid and Psyche before Jupiter - a bozzetto for a ceiling
oil on canvas
36 x 48 in. (91.4 x 122.3 cm.)
10,000-15,000
$16,000-23,000
14,000-21,000
PROVENANCE:
with Hazlitt Gallery, London.
It is unknown to which ceiling the present bozzetto relates, but the story of Cupid and Psyche was a
subject Laguerre painted on several occasions. In 170 a contract was drawn up between the Duke
of Leeds and Laguerre to paint four panels in the great hall, and the walls and ceiling of the staircase
at Kiveton Hall, Yorkshire (demolished in 1811). Laguerre painted scenes from the story of Cupid and
Psyche for the walls of the staircase and he depicted the marriage of Cupid and Psyche on the ceiling.
There is a sketch on paper for the ceiling in the collection of the Duke of Leeds, which is presumably
one and the same as the sketch mentioned in the contract. The sketch however does not correspond
with the bozzetto for the ceiling at the Victoria & Albert Museum, London, of Psyche being robed by
the Gods for her marriage with Cupid.
33
55
55
CHARLES GEORGE NICHOLLS (FL. 1792-1818)
Bridge at Saumpoor near Dacca; Guptar Ghaut near Fyzabad on the
Goggra; Burrumdeo near where the Gaggra starts; View of an ancient
gateway at Dacca; View of Peer Pointy, name of the Saint who is buried
there; and A mosque on the north bank of the Gagra near Debowly
fve signed C.G.Nicholls delt (lower left and lower right) and inscribed
as title
pencil and watercolour, some heightened with touches of white and

with scratching out, within the artists black-lined border, on paper
7 x 9 in. (18.5 x 23.5 cm.); and slightly smaller
(6)
6,000-8,000
$9,400-12,000
8,400-11,000
PROVENANCE:
Visions of India; Christies, London, 17 June 1998, lots 62, 65, 69, 70 and 76.
56
56
WILLIAM ALEXANDER (MAIDSTONE 1767-1816)

A Chinese soldier with his matchlock, with a faint subsidiary sketch of his
head
indistinctly inscribed (upper right) and numbered 13 (upper centre)
pencil and watercolour

8 x 5 in. (20.4 x 14.5 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
William Beckford; Hamilton Palace; Christies house sale, 30 June 1882, lot 146.
The Earl of Derby.
This work is a study for the illustration in W. Alexander, Picturesque Representations of the
Dress and Manners of the Chinese, London, 1814.
34
57
57
n58
THOMAS JOHNSON (1714-1778)
A GEORGE II PARCEL-GILT MAHOGANY RUSTICATED

ARCHITECTURAL CABINET
Design for a table support illustrating Aesops fable of The Fox and the
Stork
pencil, pen and grey ink, grey and pink wash on paper
5 x 4 in. (13.3 x 10.1 cm. )
1,000-2,000
$1,600-3,100
1,400-2,800
PROVENANCE:
T.E. Lowinsky (L. 2420a).
Johnson was a furniture carver, who adapted Francis Barlows (circa.1626-1704)
illustrations to Aesops Fables into furniture designs. In the 1750s he published several
popular design books, largely rococo in style.
This drawing was previously in the collection of Thomas Edmond Lowinsky (1892-1947),
a collector of drawings and a distinguished artist in his own right, most of his collection
was sold en bloc to the Yale Center for British Art.
MID-18TH CENTURY
The broken pediment with egg-and-dart frieze, above a pair of doors

with arched mirror plates enclosing three adjustable shelves, fanked
by futed pilasters, the lower section with three long drawers and ogee
bracket feet on wooden castors
91 in. (233 cm.) high; 51 in. (129 cm.) wide; 24 in. (61 cm.) wide
4,000-6,000
$6,300-9,300
5,600-8,300
The geometric design of this unusual cabinet with futed pilasters and rusticated
drawer fronts demonstrates the infuence of the architectural Palladian style on British
cabinetmakers in the second quarter of the 18th century. Architect and furniture designer
William Kent (1648-1748) is the celebrated exponent of the style, designing masterpieces
such as Houghton Hall circa 1726.
For a similar rusticated bookcase see The Collection of Robert Hatfeld Ellsworth Part V,
Christies, New York, 21 March 2015, lot 1029.
35
59
61
A PAIR OF CHINESE AGATE TWO-HANDLED BOWLS
A SOUTH GERMAN POLYCHROME-PAINTED WAX RELIEF

OF A MONK IN A LIBRARY
19TH/20TH CENTURY
Each bowl with a slightly everted rim and two mythological-head

handles, one bowl with loose rings, and of a pale grey-beige tone;
together with two further agate bowls, one with branch-form handles
The largest 4 in. (10 cm.) diameter
(4)
SECOND HALF 19TH CENTURY
800-1,200
500-700
$1,300-1,900
1,200-1,700
Depicting a monk writing, signed Joanes Elvenick, in a walnut cushion

moulded frame
10 x 10 in. (27.5 x 25.5 cm), including frame
$780-1,100
700-970
PROVENANCE:
Anonymous sale; Sothebys, London, 17 September 1997, lot 245.
n60
A REGENCY BRASS-MOUNTED, PARCEL-GILT AND
EBONISED OCCASIONAL TABLE
CIRCA 1815
n62
A MAHOGANY AND ROSEWOOD CROSSBANDED
CENTRE TABLE
The glazed top inset with a handcoloured panel and a mezzotint

depicting Psyche holing a lamp, above scroll supports on a X-shaped
plinth base with brass hairy-paw-feet
27 in. (68.5 cm.) high; 18 in. (47.5 cm.) wide; 14 in. (36 cm.) deep
FIRST HALF 19TH CENTURY AND LATER
800-1,200
700-1,000
36
$1,300-1,900
1,200-1,700
The circular top on a parcel-gilt and ebonised futed column, the

concave-sided base with scroll feet and castors, top and base associated
29 in. (75.5 cm.) high; 48 in. (122 cm.) diameter
$1,100-1,600
980-1,400
63
JOHN FREDERICK LEWIS, R.A., P.O.W.S.
(LONDON 1804-1876 WALTON-ON-THAMES)
A soldier in Albanian costume, full-length, his left arm on his hip
pencil, watercolour and bodycolour, on buff paper
14 x 9 in. (37.1 x 25.1 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
Anonymous sale; Christies, London, 8 February 1902, lot 47.
Mrs R.H.C. Duncan; Sothebys, London, 4 April 1968, lot 75.
LITERATURE:
Major General M. Lewis C.B.E., John Frederick Lewis, R.A., London, 1978, no. 337.
64
JOHN FREDERICK LEWIS, R.A., P.O.W.S.
(LONDON 1804-1876 WALTON-ON-THAMES)
Study of a Spanish lady, full-length, wearing a black mantilla over a
red dress
black and red chalk and watercolour heightened with white on buff
paper
14 x 9 in. (36.2 x 24.8 cm.)
2,000-3,000
$3,200-4,700
2,800-4,200
The present drawing is for the right-hand fgure of the lithograph Las Dos Hermamas,
which was executed for Lewis Sketches of Spain, 1836, a copy of which is sold with this
drawing.
65
GEORGE RICHMOND, R.A.
(BROMPTON 1809-1896 LONDON)
Double portrait of Inglis and Henrietta Synott, as children, full-length,
seated on a terrace
signed, inscribed and dated George Richmond delin. 1844 (lower left)
pencil, pen and black ink and watercolour heightened with white,
framed with an arched top
27 x 19 in. (68.5 x 48.2 cm.)
1,000-1,500
PROVENANCE:
Anonymous sale; Sothebys, London, 8 April 1988, lot 96.
$1,600-2,300
1,400-2,100
n66
A REGENCY EBONY-INLAID,
EBONISED AND BURR-OAK
SOFA TABLE
EARLY 19TH CENTURY, IN THE MANNER
OF GEORGE OAKLEY
The rounded moulded rectangular twinfap top inlaid with oak leaves, above
two drawers and two opposing false
drawers, on end supports joined by a
stretcher, on C-scroll feet and brass
castors
27 in. (70.5 cm.) high;
58 in. (147.5 cm.) wide;
2,000-4,000
$3,200-6,200
2,800-5,600
67
A GERMAN PORCELAIN
TWO-HANDLED SOUP TUREEN
AND COVER
THE COVER PROBABLY MEISSEN,
CIRCA 1740, THE TUREEN THURINGIAN,
BLUE CROSSED SWORDS MARKS AND
THREE DOTS TO INTERIOR
Of silver form, painted with the Onion

pattern, applied with scroll handles
terminating in goat masks
13 in. (33 cm.) across handles
1,000-1,500
$1,600-2,300
1,400-2,100
n68
A SET OF TEN GEORGE IV
MAHOGANY DINING-CHAIRS
CIRCA 1825, POSSIBLY SCOTTISH
Including two armchairs, each splat

centred by a scallop-shell-carved
medallion, the drop-in seats re-covered
in horsehair, some seatrails replaced
33 in. (85 cm.) high;
22 in. (56 cm.) wide;
8 in. (46 cm.) deep
(10)
2,000-3,000
38
$3,200-4,700
2,800-4,200
69
71
THOMAS ROWLANDSON (LONDON 1756-1827)
ATTRIBUTED TO SIR JAMES THORNHILL
The Judgement of Paris
Allegory of Plenty enthroned in the clouds with putti
signed Rowlandson (lower left)
black chalk, pen and brown ink, brown wash

7 x 6 in. (18 x 17 cm.)
pen and brown ink and watercolour

7 x 6 in. (18.4 x 17.2 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
600-1,000
70
72
ATTRIBUTED TO THOMAS DANIELL, R.A. (1749-1840)
ROBERT HILLS, O.W.S.

(LONDON 1769-1844)
A pointer in an extensive landscape
Stags on Richmond Hill, the Thames beyond
pencil and brown and grey wash, on paper

6 x 8 in. (15.3 x 20.9 cm.)
600-800
40
$940-1,600
840-1,400
$940-1,200
840-1,100
pencil and watercolour with scratching out

19 x 24 in. (49.5 x 61 cm.)
1,500-2,000
$2,400-3,100
2,100-2,800
73
ENGLISH SCHOOL, 19TH CENTURY
The chapel at Blenheim Palace with a
memorial to the 1st Duke of Marlborough,
by Rysbrack
signed and dated David Roberts R.A 1854.
(lower left)
pencil and watercolour heightened with
bodycolour on buff paper
10 x 9 in. (25.7 x 23.5 cm.)
400-600
$630-930
560-830
PROVENANCE:
with Appleby Brothers, London.
EXHIBITED:
London, Appleby Brothers, Autumn 1966 Exhibition,
no. 162.
74
JAMES DUNTHORNE, JR.,
18TH CENTURY
A book auction (probably at Sothebys)
pencil, pen and black ink and watercolour
14 x 21 in. (36.2 x 54 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
75
ENGLISH SCHOOL,
AFTER DAVID ROBERTS
View of of Puente Nuevo, Ronda with fgures
signed and dated D.Roberts . 1834 (lower right)
watercolour with scratching out on paper

12 x 8 in. (31.8 x 22.3 cm.)
400-600
$630-930
560-830
41
76
A COMPOSITE ENGLISH AND
FRENCH PORCELAIN
COFFEE-SERVICE
CIRCA 1810, UNDERGLAZE BLUE, GILT R AND
INCISED MARKS
Painted en grisaille with fgures and buildings

in landscapes below gilt guilloche bands,
comprising: a coffee-pot and cover, a milk jug,
a sugar bowl, a slop bowl, eight coffee cans
and saucers; together with two Worcester
(Barr) porcelain bough pots and stands, circa
1800, and a similar pair of English porcelain
bough pots and stands
(24)
1,000-1,500
77
A MEISSEN TWO-HANDLED
SOUP-TUREEN AND COVER
CIRCA 1745-50, BLUE CROSSED SWORDS MARK
AND PRESSNUMMER 21 TO TUREEN
Painted with deutsche Blumen and scattered

sprays, applied with twin branch handles
terminating in fowerheads, the cover with
caulifower fnial
11 in. (29.3 cm.) wide across handles
1,000-1,500
$1,600-2,300
1,400-2,100
n78
A SOUTH EUROPEAN WALNUT,
SATIN-BIRCH AND FRUITWOOD
MARQUETRY SIDE TABLE
SECOND QUARTER 19TH CENTURY
With a short frieze drawer on a shaped plinth

base
700-1,000
42
$1,100-1,600
980-1,400
$1,600-2,300
1,400-2,100
79
A PAIR OF ENGLISH BLACK BASALT
BUSTS OF ARISTOTLE AND CICERO
19TH CENTURY
One inscribed aristotle to the socle, the

other cicero
15 in. (39.5 cm.) high
3,000-5,000
(2)
$4,700-7,800
4,200-7,000
80
A PAIR OF FRENCH BRONZE FIGURES
OF RECLINING RIVER GODS
18TH CENTURY
Each on a porphyry plinth

4 in. (10 cm.) deep, overall
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
81
A PAIR OF FRENCH PATINATED
BRONZE BUSTS OF ROUSSEAU
AND VOLTAIRE
EARLY 19TH CENTURY
Each on a bronze socle and integral plinth

6 in. (17 cm.) high, and slightly smaller
1,000-1,500
(2)
$1,600-2,300
1,400-2,100
43
82
84
ISIDORE-ALEXANDRE-AUGUSTIN PILS
(PARIS 1813-1875 DOUARNENEZ)
CIRCLE OF JOHAN-LAURENTS JENSEN (DANISH, 1800-1856)

Roses, iris, narcissi and convolvulus on a bank
Study for a classical scene with fgures and horses

signed I. PILS (lower right)
oil on canvas
11 x 14 in. (27.8 x 36.8 cm.)
oil on canvas
21 x 25 in. (54.6 x 63.5 cm.)
1,500-2,500
1,000-1,500
$1,600-2,300
1,400-2,100
$2,400-3,900
2,100-3,500
PROVENANCE:
Anonymous sale; Sothebys, London, 24 September 1997, lot 42.
Visit www.christies.com for additional information on this lot.
83
85
WILLIAM HENRY HUNT, O.W.S. (LONDON, 1789-1864)
THOMAS FOWKE (1827- C.1887)
Birds nest, primroses, violets and an orchid on a mossy bank
An earthenware jug, glass bowl, a basket of eggs and a wooden case a

table, with an iron pan, kitchen utensils and a wicker basket, sandals
and a bust relief in an interior
signed W.HUNT. (lower right)
watercolour heightened with white on paper

10 x 14 in. (27.4 x 36.8 cm.)
1,000-1,500
signed and dated T.Fowke. 1868 (lower left)

$1,600-2,300
1,400-2,100
oil on board
13 x 11 in. (35 x 29.8 cm.)
1,500-2,500
PROVENANCE:
with Browse and Darby, London.
44
$2,400-3,900
2,100-3,500
n86
A FRENCH PATINATED BRONZE BUST OF A BOY
19TH CENTURY
On a white marble spreading socle

1,500-2,000
$2,400-3,100
2,100-2,800
n87
A VICTORIAN ORMOLU AND BRASS-MOUNTED
SATINWOOD, AMARANTH AND MAHOGANY BOOKCASE
The breakfront grey-veined white marble top with pierced threequarter pierced gallery, above a ftted secretaire drawer, and two open
adjustable shelves between columns
37 in. (96 cm.) high; 22 in. (57 cm.) wide; 10 in. (26.5 cm.) deep
1,000-1,500
$1,600-2,300
1,400-2,100
n88
A FRENCH GILT-METAL MOUNTED
MAHOGANY AND PATINATED BRONZE
CONSOLE
20TH CENTURY, INCORPORATING LATE 19TH CENTURY
CARYATIDS
With a rectangular green variegated marble top

supported by two caryatids on plinths mounted with
laurel garlands
800-1,200
$1,300-1,900
1,200-1,700
45
92
89
89
91
GIUSEPPE VALERIANI
(ROME 1708-1762 SAINT PETERSBURG)
FRENCH/ITALIAN SCHOOL,
LATE 18TH CENTURY
A design for a ceiling decoration
Design for the corners of a ceiling decoration
point of the brush and grey ink, grey wash,

9 x 9 in. (24 x 22.5 cm.)
pencil, pen and brown ink, grey wash

and watercolour, grey ink framing lines,
countermark IV
5 x 14 in. (13.7 x 37.7 cm.)
1,000-1,500
90
$1,600-2,300
1,400-2,100
PROVENANCE:
The Duke of Leuchtenberg.
E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959,
part of lot 241 (an album of 143 drawings of various sizes
by Valeriani and his Studio.)
300-500
$470-780
420-700
PROVENANCE:
E. Fatio (L. 3472).
EXHIBITED:
Saint Petersburg, Lomonosoff et lpoque dElisabeth, 1912
(the whole album of which this drawing was a part).
LITERATURE:
A. Benois, Review of St. Petersburg exhibition, Stary Gody,
May 1912, pp. 3-28 (article on the whole album).
90
92
ITALIAN (?) SCHOOL,

MID-18TH CENTURY
GIUSEPPE BERNARDINO BISON

(PALMANOVA 1762-1844 MILANO)
Design for the grill of a mausoleum
Design for the wall of a chamber with grotesque

decoration
pencil, pen and black ink, black wash, black

ink framing lines, watermark Strasburg lily
with letters LVG
16 x 18 in. (40.5 x 47.5 cm.)
800-1,200
91
46
$1,300-1,900
1,200-1,700
black chalk, pen and brown ink, bodycolour

and watercolour, watermark C & I Honig
and fragmentary watermark with letter WR
11 x 6 in. (28.9 x 16.8 cm.)
500-800
$780-1,200
700-1,100
93
93
94
95
FRENCH SCHOOL, 19TH CENTURY
THOMAS SANDBY, R.A. (1721-1798)
Two alternatives section of a domed pavilion

with vaulted ceiling with Ionic pilasters and
recessed alcove with vase and console table, one
with foor plan (verso)
Design for a neo-classical entrance and

doorway with subsidiary plans of the
supporting Ionic columns
pencil, pen and black ink and grey, green and

pink wash on paper
10 x 15 in. (26.7 x 39.4 cm.);
9 x 13 in. (24 x 34.3 cm.);
two in one mount
1,000-1,500
94
$1,600-2,300
1,400-2,100
pencil, pen and grey ink, grey and yellow

wash on paper
6 x 4 in. (15.9 x 10.1 cm. )
2,000-4,000
$3,200-6,200
2,800-5,600
PROVENANCE:
Collection of Drawings of Thomas and Paul Sandby
formed by William Sandby, Part I; Christies, London, 24
March 1959, possibly part of lot 13.
A. TOD (FL. 1801-1805)

An elevation of Mr. Tassies house, 20 Leicester
Square, London
signed and dated, A. Tod, Architect. 1806
(lower right), and inscribed Elevation/
of Mrr. Tassies house/ &..., Liecester [sic]
Square (upper centre, with a cartouche) and
annotated with scale (lower centre)
pencil, pen and ink, ochre, blue and grey

wash, within the artists black-line border,
on paper
14 x 9 in. (36.2 x 24.8 cm.)
1,500-2,500
PROVENANCE:
with Wightman & Co., London (S1349)
$2,400-3,900
2,100-3,500
95
96
THOMAS HOSMER SHEPHERD
(LONDON 1793-1864)
St. Georges Church, Bloomsbury, with fgures
signed Thos. H. Shepherd (lower centre)
pen and ink and brown wash
4 x 3 in. (11.5 x 9.5 cm. )
500-800
$780-1,200
700-1,100
LITERATURE:
H. Colvin, A Dictionary of British Architects, London, 1995,
p. 982.
Visit www.christies.com for additional information on
this lot.
96
47
97
OFFICE OF ROBERT ADAM (1728-1792)
Two designs for the elevation and pavilions of
the east and west fronts at Gosford House, East
Lothian, seat of the Earl of Wemyss
pencil, pen and grey ink, grey wash on paper
16 x 25 in. (40.6 x 64.9 cm.); two in one
frame
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
W.H. Playfair, Edinburgh.
It has been suggested that this drawing is in the hand of
one of Adams two lead draughtsmen from the period
1790-1792, John Robertson or Robert Morison. he
drawings do not show the house exactly as executed, as
it was not fnished until 1800, eight years after Adams
death.
William Henry Playfair (1790-1857) was one of the
greatest Scottish architects of the 19th Century and the
designer of many of Edinburghs neo-classical landmarks
Edinburghs New Town.
98
CIRCLE OF WILLIAM KENT (1685-1748)
Alternative designs for the main elevation and
pavilions of an English Country House; and a
foor plan of the ground foor
all annotated with scale
pencil, pen and grey ink, and grey wash on

paper, the plan with pale pink wash, two
watermark Strasburg lily, one I.VILLEDARY
10 x 15 in. (26 x 38.8 cm.); 8 x 18
(22.3 x 48 cm.); 12 x 18 (31.8 x 48 cm.)
(2)
3,000-5,000
PROVENANCE:
The Earl of Powis
with Wightman & Co., London (S1349).
48
$4,700-7,800
4,200-7,000
99
FOLLOWER OF ROBERT ADAM
(1728-1792)
Design for a neo-classical entrance and
doorway with subsidiary plans for the
supporting Ionic columns
pencil, pen and grey ink, grey wash on
paper, lightly squared
18 x 12 in. (47.6 x 30.5 cm.)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
100
FRENCH SCHOOL,
LATE 18TH CENTURY
section of an entrance hall with Ionic Column,
painted dome and coiffered vaulted ceiling
annotated with scale (lower centre)
pencil, pen and black ink,grey, blue and pink

wash on two joined sheets of paper
14 x 26 in. (37.1 x 66 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
49
101
FRENCH SCHOOL, LATE 18TH CENTURY
Design for a Palladian villa set above a fountain and
colonnade
pencil, pen and black ink, grey wash, watercolour, on
two joined sheets, watermark D & C Blauw
11 x 28 in. (30.2 x 71.6 cm.)
1,500-2,000
PROVENANCE:
$2,400-3,100
2,100-2,800
102
ITALIAN SCHOOL, LATE 18TH CENTURY
Design for a room with a coffered vault and arched
doorway
pencil, pen and black ink, grey wash, watermark
D & C Blauw
17 x 29 in. (43.5 x 75 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
103
ITALIAN (?) SCHOOL, 18TH CENTURY
Design for a fortifed palazzo: Elevation and section
pencil, pen and black ink, grey, green and ochre
wash on three joined sheets
15 x 28 in. (38.9 x 71.8 cm.)
1,000-1,500
PROVENANCE:
$1,600-2,300
1,400-2,100
104
FRENCH SCHOOL, MID-18TH CENTURY
A design of a column in a piazza
with number 63 (verso)
pen and black ink, grey wash, on two joined

sheets, watermark Strasburg lily with letters H & V,
countermark Hessels & Vorster
19 x 28 in. (50.2 x 71.8 cm.)
1,500-2,000
50
$2,400-3,100
2,100-2,800
105
A cross-section of a church showing the dome, crossing
and crypt
pencil, pen and black ink, grey wash, traces of
watercolour, on two joined sheets
21 x 26 in. (52.8 x 68.1 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh
The Signet Library, Edinburgh.
106
107
ATTRIBUTED TO GIUSEPPE GALLI DA

BIBIENA (PARMA 1696-1757 BERLIN)
GIUSEPPE BERNARDINO BISON

(PALMANOVA 1762-1844 MILANO)
Design for an altar with alternative styles for the walls,

niche and vault
Design for a grotesque decoration with a heron
traces of pencil, pen and brown ink, watercolour

12 x 9 in. (32.3 x 24 cm.)
black chalk, watercolour, bodycolour, partial

watermark Strasburg lily with letters WR
9 x 10 in. (22.7 x 26.8 cm.)
400-600
$630-930
560-830
PROVENANCE:
E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959, lot 34.
with number 28 (?) (verso)
500-800
$780-1,200
700-1,100
EXHIBITED:
Zurich, Technische Hochschule, Graphische Sammlung, Architekturund Dekorations-Zeichnungen der Barockzeit aus der Sammlung
Edmond Fatio, 1946, no. 68.
51
109
108
108
A PAIR OF FRENCH GILT-BRONZE THREE-BRANCH
CANDELABRA LAMPS
LATE 19TH/EARLY 20TH CENTURY, OF LOUIS XVI STYLE
Later ftted for electricity, with cream fabric shades

800-1,200
(2)
$1,300-1,900
1,200-1,700
109
A PAIR OF FRENCH ORMOLU TWIN-LIGHT
CANDELABRA LAMPS
LATE 19TH CENTURY, OF LOUIS XVI STYLE
Each central shaft issuing scrolling acanthus branches terminating in

nozzles, with shades and later ftted for electricity
21 in. (54.5 cm.) high
600-1,000
(2)
$940-1,600
840-1,400
n110
A FRENCH GILT-BRONZE, BLUED-STEEL AND
MAHOGANY GUERIDON
SECOND HALF 19TH CENTURY, OF LOUIS XVI STYLE
With a circular white marble top supported on three pairs of foliate

entwined columns with tripartite stretchers and hoof feet
2,000-3,000
$3,200-4,700
2,800-4,200
53
111
A PAIR OF EMPIRE PATINATED BRONZE CANDLESTICKS
EARLY 19TH CENTURY
Depicting Apollo and Diana; together with a pair of North European

patinated bronze ormolu-mounted candlesticks, early 19th century; and
a French ormolu encrier, 19th Century
The encrier: 5 in. (14 cm.) high; 10 in. (26.5 cm.) wide;
6 in. (15 cm.) deep
The candlesticks: 10 in. (26.5 cm.) high
(5)
1,500-2,500
$2,400-3,900
2,100-3,500
n112
A REGENCY MAHOGANY CANED BERGERE
CIRCA 1815
The reeded frame with padded arms and two squab cushions
upholstered with green horsehair, on sabre legs
34 in. (87.5 cm.) high; 27 in. (70.5 cm.); 30 in. (77.5 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n113
A GEORGE III MAHOGANY AND SATINWOOD PARTNERS
PEDESTAL DESK
LATE 18TH CENTURY
The tooled green leather writing-surface above three frieze drawers and
six pedestal drawers to each side, on bracket feet and recessed castors
2,500-4,000
PROVENANCE:
Samuel Leigh Sotheby (1805-1861), New Bond
Street, London.
Edward Grose Hodge.
Thomas Hodge.
G. D. Hobson, and by descent.
According to a signed note from Mr. Hobson:
This desk belonged to Samuel Leigh Sotheby (d. 1861)
and was bequeathed by his widow, Julia Emma Sotheby,
to her husbands partner in Sothebys, Edward Frose
Hodge. It was inherited by his son, Tom Hodge, who sold
it to my father, Geoffrey Dudley Hobson. I used it in my
offce in Sothebys until I left the frm in 1977.
54
$3,900-6,200
3,500-5,600
n114
A GEORGE III MAHOGANY TUB BERGERE
LATE 18TH CENTURY
The rounded back and serpentine seat covered in studded brown

leather, on tapering channelled legs headed by paterae, with brass caps
and castors
36 in. (93 cm.) high; 30 in. (77.5 cm.) wide; 31 in. (80.5 cm.) deep
2,000-4,000
$3,200-6,200
2,800-5,600
n115
A GEORGE III MAHOGANY BREAKFRONT
LIBRARY BOOKCASE
LATE 18TH CENTURY
The cornice above four astragal-glazed doors and four cupboard doors,
on a plinth base
102 in. (259 cm.) high; 110 in. (279.5 cm.); 22 in. (56 cm.) deep
2,000-3,000
$3,200-4,700
2,800-4,200
55
116
WILLIAM HENRY DAVIS (FL. 1803-1849)
A prize roan bull in a landscape, a country house beyond
signed and dated W.H Davis / 1853. (lower left)
oil on canvas
22 x 30 in. (57.2 x 76.2 cm.)
2,500-3,500
$3,900-5,400
3,500-4,900
n117
A SOUTH GERMAN BRASS-MOUNTED WALNUT,
BURR-WALNUT, BIRDS-EYE MAPLE AND
EBONY BANDED BUREAU-CABINET
MID-18TH CENTURY
The upper section with a pair of mirrored doors enclosing an

arrangement of shelves centred by a small cupboard with three small
drawers, the base with a slope enclosing a ftted interior with drawers
and pigeon-holes over two short and three long drawers on bun feet
3,000-5,000
$4,700-7,800
4,200-7,000
n118
A GEORGE II MAHOGANY CARD TABLE
MID-18TH CENTURY
The eared hinged top enclosing a baize-lined surface and counter wells,
above a frieze drawer, on club legs and pad feet
800-1,200
56
$1,300-1,900
1,200-1,700
119
ADOLPHE FORESTIER (FRENCH, 1801-1885)
121
An interior view of The Duke of Wellingtons room, Walmer Castle,

Kent
La lecture
signed AFORESTIER(AF linked, lower left)
pencil, pen and black ink and grey wash, heightened with white
6 x 9 in. (17.2 x 22.8 cm.)
600-800
$940-1,200
840-1,100
AFTER PAUL CSAR HELLEU (1859-1927)

Lithograph in colours, circa 1900s, on thin wove paper, signed in
the plate (as issued), published in an edition of unknown size by
lImprimerie de la Socit des Artistes Lithographes, Paris, the full
sheet
Sheet: 823 x 675 mm.
500-700
$780-1,100
700-970
The location of the original drawing of this work is currently unknown.
120
122
WILLIAM POWELL FRITH, R.A. (1819-1909)
T. GREENWOOD HUNT (FL.1873-1878)
Intercepted letter
signed and dated W.P. Frith/1901 (lower left), inscribed Intercepted
letter (on the reverse)
signed and indistinctly dated T. Greenwood Hunt 187[?] (lower right)
oil on canvas
16 x 12 in. (40.6 x 30.5 cm.)
oil on canvas
17 x 13 in. (44.7 x 34.3 cm.)
800-1,200
A tempting treat
$1,300-1,900
1,200-1,700
700-1,000
$1,100-1,600
980-1,400
57
n123
A SET OF GEORGE III MAHOGANY METAMORPHIC STEPS
EARLY 19TH CENTURY
With four green baize-lined treads, hinging to form a rectangular gilttooled green leather lined low table/luggage rack
As steps: 28 in. (71 cm.) high; 17 in. (44.5 cm.) wide;
28 in. (72.5 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n124
A LOUIS XVI ORMOLU-MOUNTED MAHOGANY
BUREAU PLAT
LATE 18TH CENTURY
The eared top inset with gilt-tooled brown leather over three frieze
drawers opposing false drawers, each side with a leather-lined slide, on
turned tapering futed legs and castors, heavy wear to the leather and
fading to the reverse
1,000-2,000
$1,600-3,100
1,400-2,800
n125
A GEORGE III MAHOGANY AND CHEQUER-BANDED
SERPENTINE CHEST-ON-CHEST
LATE 18TH CENTURY
The upper section with a moulded cornice above two short and three
long drawers, the base with three graduated long drawers, on canted
bracket feet, losses
1,000-1,500
58
$1,600-2,300
1,400-2,100
MONT PELLIER, JERSEY

Mrs Barbara Overland

lots 126-297
The Overland family lived in Jersey for over 40 years, where they enjoyed the amenities of
rural life and the privacy that the Channel Islands have to offer. They created a very special
home at Mont Pellier, Trinity, which can be seen in the dedication and pride the late Mrs
Barbara Overland took in furnishing the house with English furniture, Old Master Paintings
and decorative objects. Many of the pieces were acquired with great care and thought to
enhance the serene interiors, a characteristic of Mont Pellier, such as the perfectly formed
George II mahogany chest, acquired from Norman Adams Ltd, London (lot 230) and the
captivating trompe loeil painting of a letter rack by Edward Collier, acquired from Rafael
Valls, London (lot 182).
Christies is honoured to have been entrusted with the sale of the contents of Mont
Pellier, the proceeds of which will go to beneft the ongoing work of the charitable trust
set up in the memory of the Overlands for generations to come.
*126
A PAIR OF CHINESE BLUE AND WHITE BOTTLE
VASE LAMPS
19TH CENTURY
Decorated with continuous scrolling foliage interspersed with lilies and

lotus blooms, with removable lamp fttings
The porcelain 15 in. (39.4 cm.) high, wood bases and shades
(2)
2,000-3,000
$3,200-4,700
2,800-4,200
n*127
A CHARLES II OAK COFFER
The hinged panelled top enclosing a candle-box, above a scroll and

paterae carved frieze fanked by symbolic strapwork
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
With Avon Antiques.
n*128
A PAIR OF ENGLISH MAHOGANY HALL CHAIRS
19TH CENTURY
Each with a moulded shield back, carved with ribbon tied drapery swags,
centred by a crest, on tapering channelled legs, each with fragmented
depository label, Cowley & Co Ltd
35 in. (90 cm.) high; 19 in. (49 cm.) wide; 19 in. (48 cm.) deep
(2)
800-1,200
$1,300-1,900
1,200-1,700
*129
A DERUTA MAIOLICA DISH
CIRCA 1530
Painted with St. Barbara holding a martyrs palm and a castle within a
wide imbricated and foliate border
3,000-5,000
PROVENANCE:
With Jonathan Horne Antiques Ltd.
n*130
A PAIR OF GEORGE III POLYCHROME-PAINTED
DUMMY-BOARDS
LATE 18TH CENTURY
Depicting a girl wearing a black dress with lace jabot and cuffs and a
feathered headdress, and a girl wearing a brown dress with white trim
and red shawl, with later supports
45 in. (115 cm.) high and smaller
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
With Avon Antiques.
n*131
A GEORGE III OAK DRESSER
LATE 18TH CENTURY, PROBABLY SOUTH WALES
The moulded top above three drawers, above an arched apron on

turned supports, joined by an undertier and block feet
31 in. (79.5 cm.) high; 54 in. (137 in.) wide; 14 in. (37 in.) deep
2,000-3,000
$3,200-4,700
2,800-4,200
$4,700-7,800
4,200-7,000
*132
FOLLOWER OF JAN BRUEGHEL I
Allegory of Sight
oil on canvas
29 x 45 (75.5 x 116.5 cm.)
10,000-15,000
$16,000-23,000
14,000-21,000
PROVENANCE:
Anonymous sale; Phillips, Son & Neale, London, 5 December 1995, lot 46, as Frans
Francken III.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
65
*133
A SET OF FOUR ENGLISH REVERSEPAINTED GLASS PICTURES OF SHIP
SILHOUETTES
LATE 19TH CENTURY
Each painted in black and gold, depicting

H.M.S. VICTORY, THE CAROLINE, H.M.S.
EASTERN MONARCH and H.M.S. ROYAL
ALBERT, in birds-eye maple frames
9 x 12 in. (23.5 x 31.3 cm.) approx.
(4)
800-1,200
$1,300-1,900
1,200-1,700
n*134
A PAIR OF FRENCH WALNUT
THRONE ARMCHAIRS
MID-19TH CENTURY
The top rail centred by a grotesque satyr mask,

on X-frame supports and lions-pawfeet joined
by a ring-turned stretcher
(2)
1,500-2,500
$2,400-3,900
2,100-3,500
n*135
AN EARLY GEORGE II OAK
SIDE TABLE
CIRCA 1730
The moulded rectangular top above four

drawers, one with ftted compartment, on club
legs and pad feet
1,000-1,500
$1,600-2,300
1,400-2,100
*136
EBENEZER COLLS (1812-1887)
A three-decker calling for a pilot at the entrance to Portsmouth Harbour,
with a paddle steamer and other shipping beyond; and Fishermen on
a blustery day with prison hulks and a three-decker lying at anchor in
Portsmouth Harbour
both signed E. Colls (lower left)
oil on canvas
20 x 30 in. (50.8 x 76.3 cm.)
4,000-6,000
a pair (2)
$6,300-9,300
5,600-8,300
*137
HUGH MUNRO (1873-1928)
The foot of the Garden
signed Hugh Munro (lower left)
oil on canvasboard
10 x 14 in. (25.4 x 35.5 cm.)
1,500-2,500
$2,400-3,900
2,100-3,500
PROVENANCE:
Given by the artist to the Scottish Artists Benevolent Association, in aid of a special fund
raised by the Association for the relief of artists in distress owing to the War, March 1915.
with T & R Annan & Sons, Ltd., Glasgow.
EXHIBITED:
Glasgow, Scottish Artists Benevolent Association, March 1915, no. 159.
l*138
CECIL KENNEDY (LONDON 1905-1997 ST ALBANS)
Roses, hydrangeas and other fowers in a glass vase on a marble ledge with
a ladybird
signed Cecil Kennedy (lower right)
oil on canvas
20 x 16 in. (50.8 x 41.2 cm.)
2,000-3,000
$3,200-4,700
2,800-4,200
PROVENANCE:
with Polak Mandells Gallery, St Helier, where acquired by the present owner.
67
nl*139
nl*141
GUY TAPLIN (B. 1938)
GUY TAPLIN (B. 1938)
Curlew
Curlew
signed and inscribed CURLEW GUY TAPLIN (to the underside)
signed and inscribed CURLEW/GUY TAPLIN (on the underside)
painted gesso on wood, restorations

26 x 18 x 5 in. (68 x 45.7 x 12.7 cm.)
painted gesso on wood, restorations

22 x 17 x 7 in. (57.1 x 44.4 x 17.8 cm.)
1,500-2,000
$2,400-3,100
2,100-2,800
1,200-1,800
$1,900-2,800
1,700-2,500
n*140
n*142
A PAIR OF VICTORIAN INDIAN-ROSEWOOD

X-FRAME ARMCHAIRS
AN ENGLISH BRASS-MOUNTED MAHOGANY BOOKSTAND
MID-19TH CENTURY
With four slots and side carrying-handles

19TH CENTURY
Each with an embroidered cream fabric bowed seat

34 in. (87.5 cm.) high; 21 in. (54 cm.) wide; 16 in. (42.5 cm.) deep
(2)
500-800
68
$780-1,200
700-1,100
500-800
$780-1,200
700-1,100
n*143
AN ENGLISH WALNUT STRIKING MINIATURE
LONGCASE CLOCK
19TH CENTURY AND LATER, ASSEMBLED IN THE 20TH CENTURY
The brass dial with silvered Roman chapter ring with Arabic fve minutes,
the arch with a circular plaque with spurious signature Richard Ganthony/
London, the twin train movement with anchor escapement and rack
striking to bell, with pendulum, two weights and winding key
1,000-1,500
$1,600-2,300
1,400-2,100
n*144
A SET OF THREE VICTORIAN WALNUT X-FRAME
ARMCHAIRS
MID-19TH CENTURY
Each with upholstered bowed seat restorations

500-800
(3)
$780-1,200
700-1,100
LITERATURE:
For a similar pair of chairs see Stokesay Court, Shropshire, Sothebys, London, 28-30
September 1994, vol. IV, lot 409.
n*145
A GEORGE III MAHOGANY SERPENTINE CHEST
CIRCA 1760
With four graduated drawers, fanked by futed stiles, on shaped

bracket feet, with label to the reverse ANTIQUE FURNTURE/from/
NORMANS ADAMS LTD./8-10 HANS ROAD, LONDON. S.W.3.
3,000-5,000
PROVENANCE:
With Norman Adams Ltd, London, November 1999.
70
$4,700-7,800
4,200-7,000
l*146
GABRIEL DESCHAMPS (FRENCH, B. 1919)
Lt, Grasse
signed G. Deschamps (lower left)
oil on canvas
21 x 25 in. (54.5 x 63.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
with Galerie Robin, Cannes, where acquired by the present owner.
146
l*147
GABRIEL DESCHAMPS (FRENCH, B.1919)
Un paysage avec un moulin eau; Le mas de Santon, Grasse; et
Un chateau, Grasse (one illustrated)
the frst signed G Deschamps (lower right) and indistinctly
inscribed (on the stretcher); the second signed G Deschamps
(lower left) and inscribed Le mas du SANTON, pur de
Grasse. A.M. (on the stretcher); the third signed
G. Deschamps (lower left)
oil on canvas
21 x 25 in. (54 x 64.7 cm. ); and smaller
1,500-2,500
(3)
$2,400-3,900
2,100-3,500
PROVENANCE:
147 (part)
l*148
GABRIEL DESCHAMPS (FRENCH, B. 1919)
Mas dans les coquelicots, Grasse; Un vue Speracdes, Grasse;
et Un vue a Grasse avec une blanchisseuse
two signed G.Deschamps (lower right); one signed
G.Deschamps (lower left); and each inscribed indistinctly on
the stretcher
oil on canvas
each 10 x 13 in. (27.2 x 33 cm.)
1,200-1,800
(3)
$1,900-2,800
1,700-2,500
PROVENANCE:
148 (part)
71
*149
n*151
A PAIR OF POLYCHROME-PAINTED PIGEON DECOYS
TWO ENGLISH DUMMYBOARDS OF A SPANIEL AND A CAT
EARLY 20TH CENTURY
THE SPANIEL 19TH CENTURY, THE CAT LATER
Each fxed to a metal stand; together with a painted duck decoy model
of a duck, possibly Spanish
The pigeons: 11 in. (29 cm.) high
The duck: 16 in. (42.5 cm.) high
(3)
500-800
PROVENANCE:
With Robert Young Antiques, London, where acquired by the late Mrs Barbara Overland.
$780-1,200
700-1,100
600-1,000
$940-1,600
840-1,400
PROVENANCE:
The pigeons: with Robert Young Antiques, London, where acquired by the late
Mrs Barbara Overland.
n*150
n*152
A FRENCH WALNUT CENTRE TABLE
AN ENGLISH WALNUT AND FEATHER-BANDED CHEST
18TH CENTURY AND LATER
The twin-fap top above a drawer to each side, on turned legs joined by
stretchers
The quarter-veneered top above two short and three long drawers, the
lower drawer with indented front inlaid with a sunburst, restorations to
the veneers, on later bun feet, probably adapted from a tallboy
700-1,000
72
$1,100-1,600
980-1,400
1,200-1,800
$1,900-2,800
1,700-2,500
lW153
A GROUP OF ANNE GORDON CERAMIC
ANIMALS AND BIRDS
LATE 20TH CENTURY, BLACK PAINTED MONOGRAMS
AND DATES
Comprising: a pair of blue and pink parrots, signed with

initials and dated AG 86, a pair of orange and yellow
parrots, signed with initials, inscribed and dated AG/86/
OVERLAND a pair of ducks, signed with initials and dated
AG 85; together with a pair of ceramic cheetahs
12 in. (30.8 cm.) high and smaller
(8)
600-1,000
$940-1,600
840-1,400
lW154
A GROUP OF ANNE GORDON CERAMIC FRUIT
LATE 20TH CENTURY
Comprising: a pair of pears, a pair of lemons, two half

lemons, two strawberries and two pomegranates
(10)
1,000-2,000
lW155
A GROUP OF ANNE GORDON CERAMIC
VEGETABLES
LATE 20TH CENTURY
Comprising: a bunch of asparagus, a cabbage, a caulifower,

an artichoke, an aubergine, a bunch of carrots, an onion,
three groups of radishes, a turnip, two pea pods, two oak
branches and acorns
Asparagus: 6 in. (17 cm.) high
(15)
2,000-3,000
$3,200-4,700
2,800-4,200
$1,600-3,100
1,400-2,800
*156
A PAIR OF STAFFORDSHIRE POTTERY
MODELS OF RABBITS
MID-19TH CENTURY
Modelled recumbent and eating lettuce

5 in. (12.8 cm.) high
2,000-3,000
(2)
$3,200-4,700
2,800-4,200
*157
A COLLECTION OF
STAFFORDSHIRE POTTERY
CIRCA 1800 - LATE 19TH CENTURY
Comprising: a Pratt ware model of a cradle, a

group with camel and fgures at a well, a pair
of camels, a goat, a tulip vase modelled as a
castle with an elephant and another tulip vase
modelled as a castle
Largest: 10 in. (25.5 cm.) high
(7)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
With Oliver Sutton Antiques, London.
*158
ELEVEN STAFFORDSHIRE
POTTERY DOGS
A GROUP OF LATE 19TH CENTURY
Comprising: three pairs of seated spaniels, a

pair of recumbent spaniels, two spaniel and
pups groups and a poodle and pup group;
together with a dogs head stirrup cup
(12)
500-800
PROVENANCE:
74
$780-1,200
700-1,100
*159
A GROUP OF FOUR STAFFORDSHIRE
POTTERY COW CREAMERS
EARLY 19TH CENTURY
Comprising: a pair modelled with milk maids,

another painted with ochre, brown and green
and further example painted in brown and
green
(4)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
With Jonathan Horne Ltd., London.
*160
A STAFFORDSHIRE PEARLWARE
MODEL OF A SQUIRREL
CIRCA 1800
Of Wood family type, with brown and green

glaze
7 in. (17.5 cm.) high
700-1,000
$1,100-1,600
980-1,400
PROVENANCE:
*161
TWO STAFFORDSHIRE CREAMWARE
MODELS OF CATS AND A PEARLWARE
MODEL OF A HORSE
CIRCA 1780
The cats modelled seated, the horse standing

5 in. (15 cm.) high and smaller
(3)
700-1,000
$1,100-1,600
980-1,400
75
*162
A STAFFORDSHIRE POTTERY
INCENSE BURNER
CIRCA 1800
Formed as an elephant with a castle on its back

7 in. (19.8 cm.) high
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
With Jonathan Horne Ltd, London.
*163
A PAIR OF STAFFORDSHIRE POTTERY
MODELS OF A COCKEREL AND HEN
EARLY 19TH CENTURY
On circular bases
Cockerel: 8 in. (21.6 cm.) high
1,000-1,500
(2)
$1,600-2,300
1,400-2,100
PROVENANCE:
*164
TWO PAIRS OF STAFFORDSHIRE
POTTERY ZEBRAS AND A PAIR
OF DEER
LATE 19TH CENTURY
Each naturalistically modelled on mossy bases

(6)
700-1,000
PROVENANCE:
With Oliver Sutton Antiques.
76
$1,100-1,600
980-1,400
*165
A GROUP OF
STAFFORDSHIRE POTTERY
LATE 19TH CENTURY
Comprising: a spill vase group of two lovers, a

group of the begging sailor, a group of a British
and French offcer, a fgure of a highlander,
a spill vase group of two soldiers, a group of
fgures with a dog and another group of fgures
with a dog and a parrot
Largest: 16 in. (43 cm.) high
(7)
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
*166
A PAIR OF PRATT WARE GROUPS OF A
SHEPHERD AND SHEPHERDESS
CIRCA 1790
Each on a slightly stepped sponged base

6 in. (16 cm.) high
600-1,000
(2)
$940-1,600
840-1,400
PROVENANCE:
*167
A LONGTON HALL LEAF SAUCE BOAT
AND STAND
MID-18TH CENTURY
Naturalistically moulded with trailing stem

handle
3 in. (8.8 cm.) high
2,000-3,000
$3,200-4,700
2,800-4,200
~*168
n*170
A REGENCY BRASS-INLAID ROSEWOOD SMALL STRIKING

MANTEL CLOCK
AN ENGLISH WALNUT STOOL
JAMES TUPMAN, LONDON, EARLY 19TH CENTURY
The padded seat covered in a woven-cotton coral fabric, on baluster

and block legs, with scrolled feet joined by X-stretchers
18 in. (45.5 cm.) high; 36 in. (91.5 cm.) wide ;17 in. (44.5 cm.) deep
The arched silvered dial with Roman hours and signed Ja.s Tupman/ G.t
Russell Street/ BLOOMSBURY, strike/silent to top of dial, the twin fusee
movement with dead beat escapement and rack striking to bell, with
trip repeat, repeat signature to back plate, with pendulum lock; with
pendulum
1,000-1,500
20TH CENTURY, OF WILLIAM AND MARY STYLE
700-1,000
$1,100-1,600
980-1,400
$1,600-2,300
1,400-2,100
n*169
n*171
A WILLIAM AND MARY WALNUT AND

FEATHERBANDED BUREAU
A GEORGE III MAHOGANY AND SATINWOOD

CROSSBANDED PEMBROKE TABLE
LATE 17TH CENTURY
The slope enclosing a ftted interior above two short and two long
graduated drawers, on later bun feet
The single frieze drawer with bone-inlaid escutcheon and opposing false
drawer, on slender tapering reeded legs with brass caps and castors
3,000-5,000
700-1,000
80
$4,700-7,800
4,200-7,000
$1,100-1,600
980-1,400
n*172
A MATCHED PAIR OF GEORGE II PARCEL-GILT
WALNUT MIRRORS
MID-18TH CENTURY
Each fret-carved crest centred by a shell, above a shaped

bevelled rectangular plate within a moulded frame, lacking
candle branches
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
n*173
A PAIR OF ENGLISH MAHOGANY
BOW FRONT CABINETS
EARLY 19TH CENTURY, ADAPTED
Each breakfront top above a futed frieze, a drawer and

a pair of doors enclosing an adjustable shelf, fanked
by bowed sides, on turned futed feet, with trade label
ANTIQUE FURNITURE/from/NORMAN ADAMS
LTD/8-10, HANS ROAD, LONDON, S.W.3., restorations
18 in. (46.5 cm.) deep
(2)
4,000-6,000
$6,300-9,300
5,600-8,300
PROVENANCE:
With Norman Adams Ltd., London.
81
174 (a pair)
n*174
JACOB DE WIT (AMSTERDAM 1695-1754)
Allegory of Autumn, en grisaille; and Allegory of Summer, en grisaille
signed and dated J.d.Wit/.f./1745 (lower left); and signed and dated
JdWit/1741 (lower right)
oil on panel, shaped top;

35 x 28 in.(91 x 71.6 in.); 33 x 27 in. (83.8 x 69.6 cm.) a pair (2)
12,000-18,000
$19,000-28,000
17,000-25,000
PROVENANCE:
Anonymous sale; Christies, London, 20 February 1981, lot 52. (Allegory of Autumn)
Anonymous sale; Sothebys London, 30 May 1997, lot 205. (Allegory of Summer)
175
n*175
n*176
JACOB DE WIT (AMSTERDAM 1695-1754)
CIRCLE OF JACOB DE WIT (1695-1754)
Allegory of Autumn, en grisaille
Allegory of the Arts, en grisaille
signed JD Wit/F (JD linked, lower right)
signed in monogram PVR (linked, lower left)
oil on canvas
32 x 33 in. (82.5 x 85 cm.)
oil on canvas
69 x 38 in. (175.3 x 97.2 cm.)
in a rococo-style carved and gilded frame
5,000-7,000
PROVENANCE:
Anonymous sale; Bonhams, London, 22 October 1992, lot 157.
82
$7,800-11,000
7,000-9,700
6,000-8,000
PROVENANCE:
Lord Middleton.
with Leggatt, London, 1955.
$9,400-12,000
8,400-11,000
176
*177
DAVID DE HEEM (ANTWERP 1663-1714 THE HAGUE)
Hydrangeas, morning glories, a parrot tulip and other fowers with grapes, oranges, cherries,
blackberries, ears of corn, loquats, and chestnuts, with two snails, hanging from a blue bow in a
feigned arched stone niche
oil on canvas
22 x 18 in. (58.1 x 48 cm.)
15,000-20,000
$24,000-31,000
21,000-28,000
PROVENANCE:
Anonymous sale [Mrs. D.E. Bramhall]; Christies, London, 16 March 1956 lot 135, as C. DE HEEM (180 gns. to Rivett)
E.R.G. Billmeir, Westbrook House, Elstead, Surrey; Sothebys, London, 19-20 September 1995, lot 468, as Cornelis de
Heem.
We are grateful to Fred Meijer, of the RKD, The Hague, for confrming the attribution on the basis of photographs,
although he does not exclude a collaboration between David and his father Cornelis de Heem. They shared a studio
in The Hague from the late 1670s to 1690.
84
*178
ATTRIBUTED TO JAN BREUGHEL II (ANTWERP 1601-1678)
AND ATTRIBUTED TO HENDRIK VAN BALEN I (ANTWERP 1575-1632)
The Virgin and Child surrounded by a garland of fowers
oil on copper
18 x 14 in. (45.9 x 36.6 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
E.R. Rolph, Toronto, by 1929 (according to an inscription to the reverse).
Anonymous sale; Sothebys, New York, 24 April 1995, lot 5 as attributed to Jan Breughel and Pieter van
Avont.
Private Collection, USA, 1995-1996.
We are grateful to Fred Meijer, of the RKD, The Hague, for proposing the attribution on the basis of
photographs.
85
*179
*180
STUDIO OF MARIA VAN OOSTERWIJCK

(NOOTDORP, NEAR DELFT 1630-1693 UITDAM)
Roses and carnations hanging from a green ribbon with a moth and a
butterfy
oil on panel
11 x 10 in. (30 x 25.5 cm.)
8,000-12,000
$13,000-19,000
12,000-17,000
Peonies, carnations, hydrangeas, daisies and other fowers with fruit in

an urn with a pineapple, a melon and peaches in a garden; and morning
glories and other fowers with grapes, peaches, prunes, a pear and a
caterpillar in a garden
oil on canvas
31 x 50 in. (79.5 x 129 cm.)
in 18th century rococo carved and gilded frames
20,000-30,000
a pair (2)
$32,000-47,000
28,000-42,000
PROVENANCE:
Anonymous sale [The Earl of Middleton, M.C.];Christies, London, 16 November 1973, lot
131 as Jean-Baptist Pillement.
86
*181
MARTIN VAN DORNE (FLEMISH, 1736-1808)
A trompe loeil of swags of fruit and fowers pinned to a white wall with moths and other insects
signed and dated M. Van Dorne / Lovaniensis F. / 1770. (lower left)
oil on canvas
26 x 33 in. (68 x 85.6 cm.)
25,000-35,000
PROVENANCE:
Sir Henry Webb Bart., by 1857 (according to a label on the reverse).
88
$39,000-54,000
35,000-49,000
*182
EDWARD COLLIER (BREDA C.1640-?1710 ?LEIDEN)
A trompe loeil of a letter rack with documents, pamphlets, a miniature of King William III
(1650-1702), a medallion, a quill, a stick of red wax, a magnifying-glass, combs, scissors,
and other objects
signed and inscribed Mr. Edward Collier / Painter in / London (lower right)
oil on canvas
24 x 29 in. (61 x 73.5 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
PROVENANCE:
Anonymous sale; Sothebys, London, 11 July 1990, lot 104.
LITERATURE:
D. Wahrman, Mr. Colliers Letter Racks: A Tale of Art and Illusion at the Threshold of the Modern Information Age, Oxford,
2012, detail illustrated p. 89.
89
*183
A PAIR OF POLYCHROME-PAINTED TOLE
CHESTNUT VASES
Each with an oval lid and fanked by lion-head handles

500-800
(2)
$780-1,200
700-1,100
n*184
A GEORGE I WALNUT AND FEATHERBANDED HANGING
CORNER CUPBOARD
EARLY 18TH CENTURY
The moulded cornice above a door enclosing three shaped shelves,

on a plinth base
700-1,000
$1,100-1,600
980-1,400
n*185
A PAIR OF GEORGE III MAHOGANY OPEN ARMCHAIRS
CIRCA 1760, POSSIBLY SCOTTISH
Each with arched padded back and scrolled arms on reeded supports,
the serpentine seat on foliate-carved cabriole legs and scrolled feet,
covered in brown velvet
(2)
5,000-8,000
90
$7,800-12,000
7,000-11,000
n*186
A PAIR OF NORTH ITALIAN WALNUT, FRUITWOOD AND
MARQUETRY COMMODES
LATE 18TH CENTURY
Each with rounded rectangular top, the centre inlaid with a foliate
medallion, above a frieze drawer inlaid with scrolls, one ftted with
green baize compartments, and two drawers inlaid sans traverse with
musical instruments, on later tapering square futed legs and spade feet,
restorations
(2)
10,000-15,000
$16,000-23,000
14,000-21,000
*187
A NEAR PAIR OF CHINESE FAMILLE
ROSE OVOID JAR LAMPS
CIRCA 1900
One decorated with two magpies seated on

a fowering branch above chrysanthemum;
the other similarly decorated with a fowering
magnolia tree above peony and other fowers,
adapted as lamps and ftted for electricity
10 in. (27.7 cm.) high, excluding ftments,
and slightly smaller
(2)
800-1,200
$1,300-1,900
1,200-1,700
*188
A PAIR OF AUSTRIAN POLYCHROMEDECORATED PLASTER MODELS OF
RECUMBENT STAGS
19TH CENTURY
Each with lead antlers and a chain, the plaster

bodies on a marbleised alabaster plinth base;
8 in. (20 cm.) high
(2)
400-600
$630-930
560-830
*189
A COLLECTION OF CONTINENTAL
MILLEFIORI SCENT-BOTTLES
MID-19TH CENTURY AND LATER
Comprising: eight scent bottles and stoppers,

one dated 1848, together with two small
tumblers
(10)
1,500-2,000
$2,400-3,100
2,100-2,800
*190
ATTRIBUTED TO REVEREND JAMES WILLS
(ACTIVE 1740-1777)
Portrait of a lady, traditionally identifed as Ann Burney, half-length, in
pink dress with lace bonnet and sleeves with pearl earrings and choker, in
a feigned oval
30 x 25 in. (76.5 x 63.5 cm.)
oil on canvas
20,000-30,000
94
$32,000-47,000
28,000-42,000
PROVENANCE:
(Probably) the Burney family, London.
(Probably) the Mountbatten family, London.
with Newhouse Galleries, Inc., New York, by 1948, when acquired by
Mr. and Mrs. Kay Kimbell, Fort Worth, bequeathed to
Kimbell Art Foundation, Fort Worth, Texas; Sothebys, New York, 2 June 1989, lot 98, as
George Beare, Portrait of a lady said to be Mrs Ann Burney.
with Thomas Agnews, London, as Rev. James Wills, from whom acquired by the late Mrs.
Barbara Overland.
LITERATURE:
Famed Collection Await Museum in The Victoria Advocate, 20 January 1966, as Mrs. Ann
Burney by William Hogarth.
Kimbell Art Museum: Catalogue of the Collection, Fort Worth, 1972, pp. 119-120, as
attributed to George Beare.
Kimbell Art Museum: Handbook of the Collection, Fort Worth, 1981, p. 30, as attributed to
George Beare.
F. Trapp, British art, Amherst, 1986, p. 17, as by George Beare.
*191
THOMAS GAINSBOROUGH, R.A.
(SUDBURY, SUFFOLK 1727-1788 LONDON)
Portrait of Lady Anne Furye, ne Greenly (b. 1738), half-length, in a
white satin sack-back dress with blue echelles, wearing a blue ribbon and
lace choker, with crystal earrings and pompom fowers in her hair
oil on canvas
30 x 25 in. (76.3 x 63.5 cm.)
30,000-50,000
$47,000-78,000
42,000-70,000
PROVENANCE:
By descent from the sitter to
J.O.H. Greenly, Titely Court, Herefordshire; sold Christies, 6 November 1959, lot 75 (to
the following)
with Newhouse Galleries, Inc., New York, by 1948, when acquired by
Mr. and Mrs. Kay Kimbell, Fort Worth, by 1960, until 1965., when bequeathed to
The Kimbell Art Museum, Fort Worth, Texas; sold Sothebys, New York, 17 June 1976,
lot 147.
Property of a Main Line Philadelphia Estate; sold Sothebys, New York, 11 October 1990,
lot 169A (to the following)
With Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
This portrait will be included in the forthcoming catalogue raisonn of the artists paintings
being prepared by Dr. Hugh Belsey, to whom we are grateful for his assistance in the
cataloguing of the picture.
Dr. Hugh Belsey dates the present lot to circa 1762.
95
*192
PHILIP MERCIER (BERLIN 1689/91-1760 LONDON)
A young boy holding a kitten, in a rose garden
signed and dated Ph. Mercier. / fecit.anno. 1744[?] (lower right)
oil on canvas
33 x 25 in. (84.5 x 63.5 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
PROVENANCE:
Anonymous sale; Christies, New York, 25 May 1999, lot 92.
*193
CIRCLE OF DANIEL MYTENS
(DELFT C.1590-1647 THE HAGUE)
Portrait of a gentleman, thought to be Henry de Vere, 18th Earl of
Oxford KB (1593-1625), small full-length, in a silver embroidered black
slashed doublet and hose, holding his black hat in his right hand, his
wand of offce against a draped table at his side
oil on canvas
24 x 15 in. (62.2 x 38.8 cm.)
with inventory number 279 (lower left)
5,000-7,000
$7,800-11,000
7,000-9,700
PROVENANCE:
Anonymous sale [The Trustees of the late Most Honorable Marquess of Lothian,
P.C, K.T., C.H.]; Christies, London, 19 October 1951, lot 47 (13 gns to Jurrnic).
96
*194
JAN MIJTENS (THE HAGUE C. 1614-1670)
Portrait of Henriette Catherina van Oranje-Nassau (1637-1708), small
three-quarter-length, in a yellow dress at a fountain with a spaniel
signed JANMijtens F: (JAN in monogram, lower left)
oil on panel
16 x 12 in. (43 x 32.5 cm.)
6,000-8,000
$9,400-12,000
8,400-11,000
PROVENANCE:
Mrs. van der Steen van Ommeren-van Beek, Amsterdam.
Anonymous sale; Paul Brandt, Amsterdam, 11 May 1971, lot 31.
with A.H. Bies, Eindhoven, 1973.
Anonymous sale; Christies, Amsterdam, 7 May 1996, lot 58.
The sitter was the youngest daughter of Prince Frederik Hendrik (1584-1647) and
Amalia van Solms (1602-1675). She married Johan George II von Anhalt-Dessau
(1627-1693) in 1659. The present lot formed part of a series, portraying the children
of Frederik Hendrik, which were separated at the sale in 1971.
*195
CAREL DE MOOR II (LEIDEN 1656-1738 WARMOND)
Portrait of a lady, small three-quarter-length, in a white satin dress
and blue wrap, standing by a crimson curtain, a mansion and estended
landscape beyond
signed Moor (lower left)
oil on panel
7 x 5 in. (18.3 x 14.5 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
PROVENANCE:
The coat of arms on the frame could be that of the van Zanen family in Haarlem and
Leiden, and the lady in the portrait therefore a member of the family.
97
*196
CIRCLE OF PIETER COECKE VAN AELST I
(AELST 1502-1550 BRUSSELS)
King Balthazar - a fragment
oil on panel
12 x 8 in. (32 x 21.5 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
196
*197
MANNER OF FRANOIS CLOUET
Portrait of a lady, traditionally identifed as Elizabeth of Valois
(1545-1568), bust-length, in a gold embroidered white dress and
ermine-lined coat
oil on panel
12 x 9 in. (30.6 x 22.8 cm.)
600-800
$940-1,200
840-1,100
197
*198
MANNER OF FRANOIS CLOUET
Portrait of a lady, possibly Mary, Queen of Scots (1542-1587),
half-length, in a black dress with white cap
oil on panel
11 x 8 in. (29.5 x 22.5 cm.)
600-800
198
98
$940-1,200
840-1,100
n*199
A FLEMISH GAMEPARK PERGOLA TAPESTRY
FIRST HALF 17TH CENTURY
Woven in wools and silks, depicting a hunting scene and various wild animals in formal gardens
within an architectural pergola surround, reduced in size and lacking borders
91 x 65 in. (233 x 166.5 cm.)
6,000-10,000
$9,400-16,000
8,400-14,000
99
n*200
A DUTCH MOTHER-OF-PEARL-INLAID WALNUT AND
MARQUETRY SIDE TABLE
The marquetry depicting a club trophy with birds, cherubs and foliate
decoration, with one long and two short drawers on club legs and pad
feet, restorations
800-1,200
$1,300-1,900
1,200-1,700
n*201
A GEORGE III GILT-BRASS MOUNTED MAHOGANY AND
SATINWOOD CROSSBANDED TRAY
THE TRAY LATE 18TH CENTURY, THE STAND LATER
With carrying-handles, with trade label to the underneath, ANTIQUE

FURNITURE/from/NORMAN ADAMS LTD/8-10 HANS ROAD,
LONDON, S.W.3.
700-1,000
$1,100-1,600
980-1,400
PROVENANCE:
n*202
A VICTORIAN ORMOLU-MOUNTED KINGWOOD,
TULIPWOOD AND MARQUETRY WRITING-TABLE
CIRCA 1870
The canted rectangular top inset with green leather, above a frieze
drawer, on trestle-end supports, the later ivorine plaque inscribed: this
table was used by her late majesty queen victoria during her visit to sir
1889
28 in. (72.5 cm.) high; 35 in. (91 cm.) wide; 21 in. (55 cm.) deep
theodore martin bryntysilio llangollen
2,000-3,000
100
$3,200-4,700
2,800-4,200
*203
AN ALABASTER FIGURE OF A GIRL
CIRCA 1900
Signed on the reverse Lothar/G.R , on a metal bound-onyx platform and

a circular verde antico base
1,000-1,500
$1,600-2,300
1,400-2,100
n*204
AN ITALIAN ALABASTER BUST OF A GIRL
CIRCA 1900
On a stepped circular socle

25 in. (64.8 cm.) high
1,500-2,000
$2,400-3,100
2,100-2,800
n*205
AN ITALIAN ALABASTER FIGURE OF A FISHER BOY
LATE 19TH CENTURY
Wearing a straw hat and rolled up breeches, with a wooden fshing rod
and looking at his catch, on a naturalistically-carved base, restorations
1,000-1,500
$1,600-2,300
1,400-2,100
n*206
A PAIR OF ENGLISH PINE AND OAK WALL
CARVINGS
19TH CENTURY AND LATER ELEMENTS
Each bowed ribbon crest suspending a trail of fowers,

fruit and vegetables, previously decorated, restorations
60 in. (152.5 cm.) high
(2)
600-800
$940-1,200
840-1,100
*207
A CHINESE BLUE AND WHITE PRUNUS JAR
AND COVER
19TH CENTURY
The vase and cover decorated with blossoming prunus

braches against a crushed ice ground, adapted as a
lamp and ftted with a metal collar
The porcelain 18 in. (47 cm.) high, wood base and
shade
600-1,000
*208
A GROUP OF ENGLISH DELFT BLUE AND
WHITE FLOWER BRICKS
CIRCA 1760
Comprising: one pair decorated with foral sprays,

another pair decorated with a chinoserie scene and a
ffth with fowers
The largest: 3 in. (9.3 cm.) high; 6 in. (15.8 cm.)
wide; 2 in. (6.8 cm.) deep
(5)
3,000-5,000
102
$4,700-7,800
4,200-7,000
$940-1,600
840-1,400
n*209
AN AUBUSSON CARPET
FRANCE, SECOND HALF 19TH CENTURY
16 ft. 8 in. x 13 ft. 2 in. (507 x 401 cm.),

approx.
2,000-4,000
$3,200-6,200
2,800-5,600
n*210
A GEORGE IV GRAINED STOOL
CIRCA 1830
The drop-in seat covered in Fortuny fabric, on

X-frame legs, joined by a turned stretcher
600-1,000
n*211
A GEORGE III MAHOGANY AND
INDIAN ROSEWOOD-CROSSBANDED
SERPENTINE BACHELORS CHEST
CIRCA 1770
The top drawer with brushing slide above

three further graduated drawers on shaped
bracket feet, with label inscribed Ellen
Robinson for Jane Lacon March 1899
32 in. (82.5 cm.) high;
41 in. (105.5 cm.) wide;
3,000-5,000
PROVENANCE:
Ellen Robinson.
Jane Lacon, by March 1899.
$4,700-7,800
4,200-7,000
$940-1,600
840-1,400
n*212
n*214
AN EDWARDIAN POLYCHROME-PAINTED SATINWOOD

CANED OPEN ARMCHAIR
A LATE VICTORIAN POLYCHROME-PAINTED SATINWOOD

WINDOW SEAT
CIRCA 1900
LATE 19TH CENTURY
Decorated overall with garlands of fowers and a trophy of musical

instruments, the back centred by an oval portrait of a lady in a white
dress; together with a similar side chair, 20th century
37 in. (94.5 cm.) high; 22 in. (56 cm.) wide; 22 in. (58 cm.) deep (2)
Decorated with garlands of fowers, scrolls and stylised ribbon swagging,

the scrolled arms and seat covered in white and yellow striped chintz
26 in. (67.5 cm.) high; 34 in. (86.5 cm.) wide; 16 in. (41.5 cm.) deep
300-500
$470-780
420-700
600-1,000
$940-1,600
840-1,400
n*213
n*215
AN ITALIAN PIETRA DURA CIRCULAR TABLE TOP
A PAIR OF GILT-METAL MOUNTED POLYCHROMEPAINTED DEMI-LUNE SIDE TABLES
LATE 19TH CENTURY, THE TABLE BASE MODERN
with hardstones depicting fowers and a butterfy, on a marbleised green

base
600-1,000
$940-1,600
840-1,400
20TH CENTURY, OF GEORGE III STYLE
Each grey-veined white marble top inlaid with bows and ribbon swags,
the green marbleised base with tapering square legs, one table with
depository label to base harrods limited/furniture depository, barnes,
s.w.1./mrs h hadow/d/No.5231/10/1/68 and numbered 39
(2)
1,200-1,800
104
$1,900-2,800
1,700-2,500
n*216
A VICTORIAN POLYCHROME-PAINTED SATINWOOD,
ROSEWOOD-CROSSBANDED AND EBONY-STRUNG
BREAKFRONT BOOKCASE
CIRCA 1900
The upper section with astragal-glazed doors, enclosing adjustable

shelves, the lower section with three frieze drawers, above cupboard
doors on splayed feet
15 in. (39.5 cm.) deep
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
Mrs Jilly Williams, deposited with Langlois storage depositories, Jersey, 22 March 1955.
105
*217
JAMES SALT, 19TH CENTURY
Set of four Venetian capriccios
signed JSalt (two lower left; and two lower right)
oil on canvas
14 x 24 in. (35.5 x 61 cm.)
2,000-3,000
106
four in the lot (4)

$3,200-4,700
2,800-4,200
*218
GEORGE EDWARDS HERING (1805-1879)
The Colosseum from the Palace of the Caesars, Rome
indistinctly signed and inscribed G.E. He.../The Colise...[sic.] /from the
P... (on a fragment of a label attached to the reverse)
oil on card laid down on board

13 x 20 in. (34.9 x 51.1 cm.)
2,500-3,500
$3,900-5,400
3,500-4,900
PROVENANCE:
with Thos. Agnew & Sons, Manchester.
with The Maclean Gallery, London.
l*219
JEAN EUGNE JULIEN MASS
(FRENCH, 1856-1950)
Moulin aube
signed J. Mass (lower left)
oil on canvas
13 x 18 in. (33 x 45.6 cm.)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
with Richmond Gallery, London.
*220
EVELYN CHESTON
(RANMOOR 1875-1929 MUSBURY, AXMINSTER)
A summers day on the west country coast
signed E Cheston (lower left)
oil on canvas
22 x 30 in. (55.8 x 76.2 cm.)
1,200-1,800
$1,900-2,800
1,700-2,500
PROVENANCE:
with the Maclean Gallery, London.
*221
FRENCH SCHOOL, 19TH CENTURY
A fgure before a river with a chateau beyond
oil on canvas
21 x 38 in. (53.9 x 97.8 cm.)
700-1,000
$1,100-1,600
980-1,400
107
n~*222
W224
A PAIR OF VICTORIAN BRAZILIAN ROSEWOOD HANGINGSHELVES
A PAIR OF GREEN AND WHITE PAINTED TOLE TABLE

LAMPS
MID-19TH CENTURY
MID-20TH CENTURY
Each with three tiers and mirrored backs, with turned supports
1,500-2,500
(2)
$2,400-3,900
2,100-3,500
Each in the form of a palm tree, ftted for electricity

25 in. (65 cm.) high, excluding ftments
500-800
(2)
$780-1,200
700-1,100
n~*223
n*225
A REGENCY BRASS-MOUNTED ROSEWOOD SOFA TABLE
A NORTH EUROPEAN FRUITWOOD AND CROSSBANDED

GATELEG PEMBROKE TABLE
CIRCA 1815
The shaped rectangular twin-fap top above two drawers opposing false
drawers, on downswept reeded legs joined by a stretcher, with brass
caps and castors
MID-18TH CENTURY, POSSIBLY DUTCH
1,000-1,500
500-800
108
$1,600-2,300
1,400-2,100
Later decorated with foliate garlands, the strung twin-fap top above a
frieze drawer to both sides, on tapering square legs, restorations
$780-1,200
700-1,100
*226
A SET OF FOUR ENGLISH CUT PAPER PICTURES
19TH CENTURY
Each depicting a stylised cottage and trees, later laid down on black
board
19 x 20 in. (48.9 x 51.8 cm.)
2,000-3,000
(4)
$3,200-4,700
2,800-4,200
PROVENANCE:
With Asprey, London, where acquired by the late Mrs Barbara Overland.
227 No Lot
109
n*228
A GEORGE III POLYCHROME-PAINTED DUMMY-BOARD
LATE 18TH CENTURY
Depicting a maid seated, wearing a lace bonnet in period dress, peeling a

quince, refreshments to the decoration
2,000-3,000
$3,200-4,700
2,800-4,200
n*229
A PAIR OF ENGLISH WALNUT SIDE CHAIRS
19TH CENTURY, OF GEORGE II STYLE
Each with shell cresting above a shaped splat, drop-in seat and on shellcarved cabriole legs and claw-and-ball feet, one chair stamped VIII,
restorations
40 in. (103 cm.) high; 23 in. (58.5 cm.) wide; 22 in. (57 cm.) deep (2)
1,000-1,500
$1,600-2,300
1,400-2,100
n*230
A GEORGE II MAHOGANY CHEST
MID-18TH CENTURY
With a slide and an arrangement of seven drawers, on bracket feet, with

trade labels ANTIQUE FURNITURE/from/NORMAN ADAMS LTD./810,HANS ROAD, LONDON, S.W.3.
4,000-6,000
PROVENANCE:
$6,300-9,300
5,600-8,300
*231
*233
A SET OF FOUR GEORGE II CAST SILVER CANDLESTICKS
A MEISSEN PART DINNER AND TEA SERVICE
MARK OF WILLIAM GOULD, LONDON, 1751
LATE 19TH/EARLY 20TH CENTURY, BLUE CROSSED SWORDS MARKS
On stepped shaped square bases with shell corners, engraved to one

corner with a dragon sejant crest, all with later Victorian detachable
nozzles en suite by John James Keith, circa 1840, the bases each engraved
with scratch weight respectively 19=13, 19=13, 20=8 and 19=0
8 in. (22.5 cm.) high
81.75 oz. (2542 gm.)
(4)
Painted in puce with foral sprays, comprising: a shaped square vegetable

dish, two oval serving-platters and incisors, two oval sauce tureens,
covers and ladles on fxed stands, two two-handled sauce boats on fxed
stands and one ladle, a circular serving-bowl, two small oval servingdishes, two serving-dishes, two footed compotes, two candlesticks, eight
double pickle dishes, thirteen dessert plates with pierced borders, fortyfve dinner plates, fourteen soup plates, ffteen further dessert plates, a
circular butter dish, circular slot bowl, ten tea cups and saucers, ffteen
coffee cups and saucers
(164)
4,000-6,000
$6,300-9,300
5,600-8,300
3,000-5,000
$4,700-7,800
4,200-7,000
n*232
A GEORGE II WALNUT, FEATHERBANDED AND
CROSSBANDED KNEE-HOLE DESK
n*234
AN ENGLISH MAHOGANY BUTLERS TRAY-ON-STAND
CIRCA 1730
The quarter-veneered moulded top above a frieze drawer and three

small drawers to each pedestal around a cupboard enclosing a fxed
shelf, on later bracket feet, alterations
19TH CENTURY
2,000-3,000
600-1,000
112
$3,200-4,700
2,800-4,200
The hinged sides with pierced carrying-handles, on a folding X-frame

stand
$940-1,600
840-1,400
W235
*237
A COMPOSITE KINGS PATTERN SILVER TABLE SERVICE
THREE FOUR-PIECE SILVER-GILT CONDIMENT SETS OF

GEORGE III STYLE
VARIOUS DATES AND MAKERS, LONDON AND SHEFFIELD
Comprising: twelve tablespoons, 1819/1895; thirteen dessert spoons,

(eleven are by Messrs. Lias, 1825), twelve table forks, twelve dessert
forks, (fve by Messrs. Lias 1825 and seven by George Adams, 1864),
a pair of sauce ladles, 1845, a sifter spoon by George Adams, 1848, six
pairs of modern fsh knives and forks, Sheffeld, 1958, ten teaspoons by
Walker & Hall, Sheffeld, 1911, fve modern egg spoons, three modern
mustard spoons, six modern table knives with stainless steel blades,
twelve modern cheese knives with stainless steel blades, two Queens
pattern silver-gilt salt spoons, six further table knives with plated handles
and twelve plated fsh knives of Albert pattern
193 oz. (6002 gm.)
(92)
1,500-2,000
MARK OF D. & J. WELLBY, LONDON, 1912, OF GEORGE III STYLE
Comprising: four squat circular mustard pots with gadroon borders, the
sides alternately futed and chased with vertical foliate bands, on lion
mask ball-and-claw feet, blue glass liners, a set of four large oval salts en
suite, also with blue glass liners, and a set of four pepper casters en suite,
the upper bodies chased with shells and scrolls on a textured ground, all
engraved with a small crest of a crowned demi-lion rampant
Salts 4 in. (10 cm.) long
89.75 oz. (2791 gm.)
(12)
1,500-2,500
$2,400-3,100
2,100-2,800
$2,400-3,900
2,100-3,500
*238
A MATCHED PAIR OF GEORGE III SILVER COVERED SAUCE
TUREENS
*236
A PAIR OF EDWARDIAN SILVER CORINTHIAN COLUMN
CANDLESTICKS
MARK OF WALTER PHILLIPS, SHEFFIELD, 1909
With stepped square bases and bead borders, detachable nozzles, one
engraved to foot rim with a viscounts coronet and a crest of a cockerel
standing on a brass musical instrument
9 in. (24 cm.) high
(2)
500-800
$780-1,200
700-1,100
LONDON, 1782/1795, BEARING THE MARK OF DIGBY SCOTT &

BENJAMIN SMITH (II) PRESUMABLY ACTING AS A RETAILER AT A LATER DATE
Plain oval on pedestal bases with bead borders and ribbed loop handles,
domed covers with urn fnials
8 in. (22.5 cm.) long
36 oz. (1119 gm.)
(2)
800-1,200
$1,300-1,900
1,200-1,700
Since the mark of Digby Scott & Benjamin Smith (II), (Grimwade 505), was introduced in
1803, the only explanation for the presence of this mark is that these were retailed at a
later date by these gentlemen.
*239
n*241
A PAIR OF GEORGE III MAHOGANY BOTTLE HOLDERS
A GEORGE III BRASS-BOUND MAHOGANY WINE COOLER
EARLY 19TH CENTURY
Each with removable later brass liner

6 in. (16 cm.) high; 9 in. (23.5 cm.) diameter
1,500-2,500
(2)
$2,400-3,900
2,100-3,500
With two carrying-handles and a removable metal liner, restorations;

together with a pair of late George III brass-bound fruitwood jars
Wine cooler: 9 in. (23.5 cm.) high; 19 in. (48 cm.) wide;
Jars: 5 in. (13.5 cm.) high; 4 in. (11.5 cm.) diameter
(3)
400-600
$630-930
560-830
n*240
n*242
A GEORGE III BRASS-BOUND AND MAHOGANY

PLATE BUCKET
A GEORGE I WALNUT, CROSSBANDED AND

FEATHERBANDED CHEST
LATE 18TH CENTURY
EARLY 18TH CENTURY
Together with another similar

12 in. (30.5 cm.) high, excluding handle; 11 in. (29 cm.) diameter
13 in. (34 cm.) high, excluding handle; 15 in. (38 cm.) diameter
With two short and three long drawers, on bracket feet

800-1,000
114
(2)
$1,300-1,600
1,200-1,400
3,500-5,000
$5,500-7,800
4,900-7,000
n*243
A GEORGE III MAHOGANY DUMB
WAITER
CIRCA 1780, LATER EMBELLISHED
The graduated revolving tiers with gadrooned

edges, joined by a turned beaded and futed shaft,
with a foliate carved tripod base on downswept
legs and pad feet with brass castors
1,500-2,500
$2,400-3,900
2,100-3,500
n*244
A MAHOGANY THREE PEDESTAL
DINING-TABLE
20TH CENTURY, OF GEORGE III STYLE
The top with reeded edge, on downswept legs and

brass hairy-paw-feet and castors
29 in. (74 cm.) high; 108 in. (275.5 cm.) long;
48 in. (122.5 cm.) deep
1,500-2,500
$2,400-3,900
2,100-3,500
n*245
A SET OF FOURTEEN MAHOGANY
DINING-CHAIRS
LATE 19TH/EARLY 20TH CENTURY, OF GEORGE III
STYLE
Including two armchairs, each with a shieldshaped back and pierced splat, the serpentine seat
upholstered in foral pattern and cream woven
cotton fabric, on channelled legs and spade feet
(14)
3,000-5,000
$4,700-7,800
4,200-7,000
115
*246
GABRIEL GERMAIN JONCHERIE
(FRENCH ACTIVE 1830-1844)
A trompe loeil bank interior with coins and inkwell
signed and dated Joncherie 1829 (lower right)
oil on canvas
18 x 14 in. (45.8 x 37.5 cm.)
2,000-4,000
$3,200-6,200
2,800-5,600
PROVENANCE:
*247
FLEMISH SCHOOL, LATE 17TH CENTURY
Diana and her nymphs disarming cupids, in a wooded landscape
oil on canvas
25 x 30 in. (63.5 x 76.2 cm.)
700-1,000
116
$1,100-1,600
980-1,400
*248
ATTRIBUTED TO LOUIS DE CAULLERY (CAMBRAI 1555-1622 ANTWERP)
Elegant company dancing, conversing and making music in an interior
dated 1615 (centre left, on the centre window)
oil on panel
26 x 36 in (66.4 x 93.3 cm.)
15,000-20,000
$24,000-31,000
21,000-28,000
PROVENANCE:
The Gaia Foundation; sold Sothebys, London, 4 July 1990, lot 101.
with Rafael Valls, London.
117
n*249
n*251
A CHARLES II WALNUT BACK-STOOL
A GEORGE III MAHOGANY KETTLE-STAND
CIRCA 1660
THIRD QUARTER 18TH CENTURY
Covered in famestitch point de hongrie, on baluster legs joined by a

waved stretcher, on bun feet, with label to the underneath ANTIQUE
FURNITURE/from/NORMAN ADAMS LTD/8-10, HANS ROAD, LONDON
S.W.3.
26 in. (66 cm.) high; 16 in. (40.5 cm.) wide; 14 in. (37 cm.) wide
The wavy gallery top above a slide, on chamfered legs and spade feet,
with fragment of trade label to the underneath
25 in. (64 cm.) high; 12 in. (30.5 cm.) square
700-1,000
800-1,200
$1,100-1,600
980-1,400
$1,300-1,900
1,200-1,700
PROVENANCE:
With Norman Adams, January 2002.
n*250
n*252
A GEORGE III BRASS-INLAID MAHOGANY SERPENTINE

TRAY
A GEORGE III MAHOGANY CELLARET
CIRCA 1760-70, THE STAND 20TH CENTURY
With pierced baluster gallery and carrying-handles, on moulded legs

joined by a X-stretcher
19 in. (49.5 cm.) high; 23 in. (59 cm.) wide; 18 in. (47 cm.) wide
Strung overall, the hinged lid enclosing a red stained interior with nine
divisions, with carrying-handles, the base with tapering square legs and
castors
29 in. (75 cm.) high; 15 in. (39.5 cm.) square
1,200-1,800
800-1,200
118
$1,900-2,800
1,700-2,500
LATE 18TH CENTURY
$1,300-1,900
1,200-1,700
n*253
n*254
A GEORGE II WALNUT AND ASH SMALL SOFA
A QUEEN ANNE WALNUT AND

FEATHERBANDED KNEE-HOLE DESK
MID-18TH CENTURY, PROBABLY ADAPTED
The shaped rectangular padded back, arms, seat and squab

cushion upholstered in blue and cream cotton, on cabriole
legs and claw-and-ball feet, restorations
32 in. (81.5 cm.) deep
1,000-1,500
$1,600-2,300
1,400-2,100
EARLY 18TH CENTURY
The shaped moulded rectangular top above a ftted hinged

secretaire drawer and a recessed cupboard, fanked to
either side by two banks of drawers, on later bracket feet
1,200-1,800
$1,900-2,800
1,700-2,500
n*255
A QUEEN ANNE WALNUT, BURR-WALNUT AND
FEATHERBANDED BUREAU
EARLY 18TH CENTURY
The slope enclosing a central cupboard fanked by

pigeon-holes and drawers above a well, above three
short and two long graduated drawers, on later bun feet,
restorations
2,500-4,000
120
$3,900-6,200
3,500-5,600
*256
n*257
FRANCESCO PASCUCCI
(ITALIAN, ACTIVE AT THE END OF THE 18TH CENTURY)
A VICTORIAN GILT-METAL MOUNTED, LINE-INLAID

MAHOGANY KIDNEY-SHAPED PEDESTAL DESK
A family portrait in an interior
BY GILLOWS, LATE 19TH CENTURY
signed and dated fPASCVCCI1790 (left)
oil on canvas
26 x 31 in. (66.8 x 79 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
The inset gilt-tooled black leather writing-surface above a frieze

drawer stamped gillow, fanked to either side by fve small graduated
drawers, with hinged locking stiles, the reverse with two adjustable open
bookshelves, on a plinth base and castors, the lock stamped langebear/
birmingham
5,000-8,000
$7,800-12,000
7,000-11,000
121
258
259
260
261
262
l*258
l*259
l*260
MARCEL DYF (FRENCH, 1899-1985)
Rgates au Logo, Golfe du Morbihan
Rivire en Touraine
Rade de Port Navalo, Golfe du Morbihan
signed Dyf (lower left)
signed Dyf (lower right)
oil on canvas
18 x 21 in. (45.7 x 55 cm)
oil on canvas
15 x 18 in. (38.1 x 46.4 cm.)
oil on canvas
18 x 21 in. (35.7 x 54.6 cm.)
2,500-3,500
$3,900-5,400
3,500-4,900
PROVENANCE:
with Frost & Reed Ltd., London.
with Polak Mandells Gallery, St Helier, where acquired by
the present owner.
This work has been authenticated by Claudine Dyf and is
registered in the Dyf archives under no. 2907.
2,000-3,000
2,500-3,500
$3,900-5,400
3,500-4,900
PROVENANCE:
with Mandells Gallery, Norwich.
PROVENANCE:


l*261
l*262
La Seine Confans Sainte Honorine
Rivire aux amoureux, le serein Chablis
oil on canvas
23 x 28 in. (59.6 x 73.1 cm.)
oil on canvas
24 x 29 in. (60.9 x 73.8 cm.)
3,000-5,000
3,500-5,500
$4,700-7,800
4,200-7,000
PROVENANCE:
with Galerie Robin, Cannes.
122
$3,200-4,700
2,800-4,200
$5,500-8,600
4,900-7,700
PROVENANCE:
*263
265
A FRENCH BRONZE BUST ENTITLED LENFANT

BOUDEUR
A FRENCH BRONZE BUST ENTITLED LE RIEUR

NAPOLITAIN
LATE 19TH CENTURY, CAST AFTER THE MODEL BY JEAN-BAPTISTE

CARPEAUX (1827-1875)
LATE 19TH CENTURY, CAST AFTER THE MODEL BY JEAN-BAPTISTE

CARPEAUX (1827-1875)
On a stepped moulded base, inscribed to the front BOUDEUR and

signed Carpeaux to the reverse, with Proprit Capreaux cachet
11 in. (28.5 cm.) high
On a moulded square socle, signed J.B. Carpeaux, with Proprit

Carpeaux cachet
10 in. (26.5 cm.) high
1,000-1,500
1,500-2,000
$1,600-2,300
1,400-2,100
$2,400-3,100
2,100-2,800
n*266
A GEORGE I WALNUT CLOSE STOOL
n*264
EARLY 18TH CENTURY, ADAPTED
A REGENCY MAHOGANY WRITING-TABLE

CIRCA 1815, IN THE MANNER OF GILLOWS, ADAPTED FROM A
WORK TABLE
The hinged top enclosing leather, above a frieze drawer and simulated
drawers to each side, with bone handles and escutcheons, on slender
tapering reeded legs and brass caps and castors
700-1,000
$1,100-1,600
980-1,400
The later hinged top with leather-bound books entitled english/

furniture/illustrated enclosing a brown leather-lined compartment,
with trade label antique furniture/from/norman adams ltd/8-10, hans
road, london, S.W.3.
1,000-1,500
$1,600-2,300
1,400-2,100
PROVENANCE:
With Norman Adams Ltd, London, where acquired by the late Mrs Barbara Overland.
123
n*267
A MATCHED PAIR OF ENGLISH WALNUT OVAL STOOLS
ONE EARLY 18TH CENTURY, THE OTHER 20TH CENTURY
Covered in strawberry pattern chintz with tassels, on turned baluster

and block legs joined by a wavy X-stetcher, restorations and later feet to
the earlier example
18 in. (47 cm.) high; 24 in. (61 cm.) wide; 17 in. (44.5 cm.) deep (2)
1,000-1,500
$1,600-2,300
1,400-2,100
n*268
A GEORGE I WALNUT ARMCHAIR
LATE 17TH CENTURY
The rounded rectangular back, outscrolled arms and seat covered in

studded blue velvet, on club legs joined by stretchers
1,500-2,500
$2,400-3,900
2,100-3,500
n*269
A GEORGE I WALNUT, BURR-WALNUT AND
FEATHERBANDED SMALL BUREAU-CABINET
EARLY 18TH CENTURY
The arched caretto cornice above a mirrored door enclosing three

adjustable shelves, above a candle-slide, the slope enclosing pigeonholes and small drawers, above a frieze drawer, slide and four graduated
drawers on bracket feet, restorations, the plate and metalwork replaced,
part reveneered
2,500-4,000
124
$3,900-6,200
3,500-5,600
n*270
A GEORGE I WALNUT AND CROSSBANDED CHEST
EARLY 18TH CENTURY
The moulded top above two short and three graduated long drawers on
bracket feet
1,200-1,800
$1,900-2,800
1,700-2,500
n~*271
A REGENCY MAHOGANY AND ROSEWOOD
CROSSBANDED SOFA-TABLE
CIRCA 1815-20
The twin-fap top above two frieze drawers opposing false drawers, on a
central scroll support, downswept legs, lions-paw feet and castors
1,200-1,800
$1,900-2,800
1,700-2,500
n*272
A LATE GEORGE III MAHOGANY WING ARMCHAIR
CIRCA 1800
With a squab cushion, reupholstered in geometric foral fabric, on

tapering square legs with brass caps and castors
1,500-2,500
$2,400-3,900
2,100-3,500
125
273
273
*273
AN EMBROIDERED SILK COLIFICHET PICTURE
EARLY 19TH CENTURY
Worked in silks on paper with a brightly coloured parrot; together with

a silkwork picture of a young falconer, probably Italian, late 18th century
10 x 7 in. (27.3 x 19 cm.)
12 x 10 in. (30.5 x 25.4 cm.), including frame
(2)
800-1,200
$1,300-1,900
1,200-1,700
PROVENANCE:
The frst: with Queens Parade Antiques Ltd., Stow-on-the-Wold.
*274
AN ENGLISH WALNUT, SILK AND NEEDLEWORK MIRROR
EARLY 20TH CENTURY, IN THE MANNER OF LEONORA JENNER
The rectangular mirror within an arched shaped frame, embroidered

with two ladies embodying Justice and Fame, animals and birds in a
woodland setting with a castle, on a satin ground
1,000-1,500
274
$1,600-2,300
1,400-2,100
This embroidered mirror closely relates to the work of Leonora Jenner. Not much is
known about Mrs Jenner, but together with her husband Colonel Jenner, they lived at
Avebury Manor, Wiltshire and set about bringing the house and gardens back to their
former glory. There is a similar mirror at Avebury Manor that is now in the possession
of the National Trust.
*275
A CHARLES II EMBROIDERED SILKWORK PICTURE
CIRCA 1660
Depicting the three wise men and their camels speaking to a shepherd, a
church, tent, birds and insects in the background, in a moulded frame
12 in. x 16 in. (30.3 x 42.5 cm.)
1,000-1,500
275
$1,600-2,300
1,400-2,100
*276
A PAIR OF EARLY VICTORIAN CUT-FELT PICTURES
BY GEORGE SMART, FRANT, CIRCA 1840
One depicting Old Bright The Postman leading a donkey with Frant
church in the distance, on a painted background; the other depicting
The Goose Woman before a milestone with a castle and windmill in
the distance, on a painted background with makers paper label on the
reverse g. smart,/frant. neartunbridge wells, artist/in cloth and velvet
figures,/To his Royal highness/ The DUKE of SUSSEX
10 x 7 in. (26.1 x 19.7 cm.)
(2)
1,500-2,500
$2,400-3,900
2,100-3,500
LITERATURE:
R. Kenny, J. Mc Millan, M. Myrone, British Folk Art: The House that Jack Built, Tate, London,
2014, pp. 42-47.
George Smart (c.1775-1845) was, by trade a tailor in the village of Frant, near Tunbridge
Wells, Kent. Alongside his business, he made and sold pictures out of scraps of leftover
textiles. He referred to himself as Artist in Cloth and Velvet Figures to His Royal Highness
the Duke of Sussex. Often depicting portraits of local fgures, The Goosewoman is
known to have been Elisabeth Horne of Tunbridge Wells, and Old Bright the Postman
was the postman in the area at this time.
*277
A PAIR OF REGENCY SILKWORK COLIFICHET PICTURES
CIRCA 1800
Embroidered on paper with fower-flled urns, in later frames; together

with a Regency needlework picture depicting a basket of fruit
10 x 6 in. (26.4 x 17.4 cm.) and 11 in. x 13 in. (29.8 x 35 cm.) (3)
600-1,000
$940-1,600
840-1,400
*278
n*280
A FRENCH SILKWORK PICTURE
A VICTORIAN SHIPS WOOLWORK PICTURE
EARLY 19TH CENTURY
MID-19TH CENTURY
Entitled Lautruche pres de sa cabanne au jardin des plantes, by Adele

Denis, border with Mlle Hersant, 6 March 1816 and embroidered in
chenille with an ostrich in his enclosure; together with a black chalk
drawing of the same, possibly a tracing template
11 x 15 in. (29.2 x 37 cm.)
(2)
Depicting a Man-O-War fying a red ensign

28 x 32 in. (73 x 82 cm.)
1,200-1,800
800-1,200
$1,300-1,900
1,200-1,700
$1,900-2,800
1,700-2,500
PROVENANCE:
With Mallet, August 2001.
n*279
n*281
A GEORGE III MAHOGANY OPEN ARMCHAIR
A MATCHED PAIR OF ENGLISH MAHOGANY

BEDSIDE TABLES
LATE 18TH CENTURY, POSSIBLY NORTH COUNTRY
The back and arms with spindles, above a studded light-green velvet
upholstered seat, on moulded square legs and brass castors, with trade
label ANTIQUE FURNITURE/from/NORMAN ADAMS LTD/8-10
HANS ROAD, LONDON, S.W.3.
600-1,000
PROVENANCE:
128
$940-1,600
840-1,400
ONE LATE 18TH CENTURY, THE OTHER 20TH CENTURY
Each with three-quarter gallery and pierced handles, above a door

31 in. (79.5 cm.) high; 16 in. (40.5 cm.) wide; 13 in. (34.5 cm.) deep
(2)
700-1,000
$1,100-1,600
980-1,400
*282
W284
A GROUP OF ENGLISH AND CONTINENTAL

TWIST-STEM GLASSES
A HEREND ROTHSCHILD BIRD PATTERN PART DINNER

AND TEA SERVICE
MID-18TH CENTURY AND LATER
LATE 20TH CENTURY, BLUE PAINTED, PRINTED AND IMPRESSED MARKS
With ogee, cup, funnel, bell and bucket bowls, comprising: a pair with
airtwist stems, eight with opaque-twist stems, six with colour-twist
stems, and one with incised-twist stem
6 in. (17.4 cm.)
(17)
Comprising: eight larger plates, eight smaller plates, a teapot and cover,
a large milk jug, a small milk jug, a circular sugar bowl, four tea cups and
saucers and eight coffee cups and saucers
The larger plates 8 in. (22.8 cm.) diameter
(45)
1,000-1,500
1,000-1,500
$1,600-2,300
1,400-2,100
$1,600-2,300
1,400-2,100
n*283
n*285
A GEORGE II MAHOGANY BEDSIDE CUPBOARD
A GEORGE III MAHOGANY AND CROSSBANDED

SERPENTINE BEDSIDE CUPBOARD
MID-18TH CENTURY
The shaped gallery with pierced handles, above a slide, drawer and a pair
of doors, the commode drawer adapted with maroon leather writing
surface
LATE 18TH CENTURY
700-1,000
500-800
$1,100-1,600
980-1,400
The galleried top with pierced handles above a pair of doors, the
commode drawer adapted with leather, on tapering square legs
$780-1,200
700-1,100
PROVENANCE:
129
286
287
l*286
l*287
CHRISTOPHER JOHN HARRISON (B.1945)
A trompe loeil of a 12th century Persian ewer in a niche with 9th

century Persian plates on a wall; and A trompe loeil of a 15th century
Chinese fask in a niche with two 19th century plates on a wall
Dancing Masters: Trompe loeil of a violin, a key, sheet of music, a

pencil and a violin bridge
the frst signed with initials CJH (lower right) and inscribed as titled
(lower left); the second signed with initials CJH (lower left) and
inscribed as titled (lower right)
oil on board
19 x 36 in. (50.2 x 91.5 cm); and similar
2,000-3,000
a pair (2)
$3,200-4,700
2,800-4,200
PROVENANCE:
the second with Polack Mandells Gallery, St Helier, where acquired by the present owner.
signed with initials CJH (lower left) and inscribed C.3REF6740./Dancing

Masters/kit violin on/ Pochette. 18th Century Sometimes called a/violino
Piccolo. Italy/ Ref.D.M.1692/V.A (upper left)
oil on board
26 x 18 in. (67.4 x 45.7 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
l*288
Trompe loeil of Spanish maiolica pottery and a key
signed with initials CJH (lower right)
oil on board
20 x 36 in. (50.7 x 91.5 cm.)
1,000-1,500
$1,600-2,300
1,400-2,100
l*289
288

Trompe loeil of Italian 15th century salt glazed pottery on a shelf
signed with initials CJH (lower centre), and inscribed as titled
(upper left)
oil on board
19 x 40 in. (48.3 x 101.5 cm.)
1,000-1,500
PROVENANCE:
with John Birch Fine Art, London.
289
$1,600-2,300
1,400-2,100
l*290
EDWARD HENRY WINDRED (BRITISH, 1875-1953)
Prize racing pigeons: Brownie and Fifty Two
both signed E. H. Windred (lower right); the frst inscribed Mr J.
Dunsters. R.C.C Brownie NURP25VP. 118. & P.P. 25J. 1st Perth
363 miles Vel-942. 2nd Abbotts/Ripton.Victoria Park H.S.1st Dalston
& Dist. H.S.1st Nom L.N.R.Fed-100race & 2nd Fed.1073 birds/as
Young bird Flown.all Stages. to Broughty Ferry. Winner of Best Average
O.B.s.1927 (lower centre); the second inscribed Mr J.Dunsters B.C.C.
Fifty Two NURP26VP 52.PP52.1st Victoria Park HS.2nd Dalston Dist.
HS.6th London/North Rd Combine.Thurso 507 miles.also Best Old Bird
Average.all Races.Victoria Park H.S.1928 (lower centre)
oil on canvas
13 x 17 in. (34.9 x 43.8 cm.); and similar
a pair
1,000-1,500
(2)
$1,600-2,300
1,400-2,100
PROVENANCE:
with Robert Young, London, where acquired by the present owner.
*291
HENRY KOEHLER (AMERICAN, B. 1927)
Household Cavalry on parade
signed Henry KOEHLER (lower right)
oil on canvas laid down on board

7 x 13 in. (17.8 x 33.1 cm.)
1,200-1,800
$1,900-2,800
1,700-2,500
*292
HENRY KOEHLER (AMERICAN, B. 1927)
The stick stand
signed Henry KOEHLER (lower right)
oil on canvas laid down on board

9 x 11 in. (22.8 x 27.9 cm.)
800-1,200
$1,300-1,900
1,200-1,700
131
n*293
A GEORGE III POLYCHROME-PAINTED DUMMY-BOARD
LAST QUARTER 18TH CENTURY
Depicting a maid with a broom, wearing a lace bonnet and a pearl

necklace, with later strut supports
3,000-5,000
$4,700-7,800
4,200-7,000
PROVENANCE:
Christopher Gibbs, The Manor House at Clifton Hampden; Christies house sale, 25-26
September 2000, lot 44.
The Housewife with her Broom was, according to Ned Ward in The London Spy, 1700,
very usually set up in Great Families as good Examples to Servant Wenches, to make
em mindful of their Cleanliness. One such sweeper featured amongst the cut out pieces
to stand upon the stairs that were listed in the inventory at Cobham Hall, Kent (1672),
and noted by John Abdy Repton in the Gentlemans Magazine, November 1845 (p. 590)
as a painting...cut out of a board. Such wooden templates large as life have also been
known since the 19th Century as picture board dummies. Dummy-boards had a variety
of purposes, but primarily they were used as whimsical decoration in private houses,
where they depicted maid servants or butlers who welcomed the guests. They were also
used to disguise empty freplaces in the summer. A pair of dummy-boards symbolising
Vanity and Industry (Industry shown holding a broom) in the costume of the mid-17th
Century were formerly at Sutton Park, Kent (C. Graham Dummy Boards and Chimney
Boards, Aylesbury, 1988, p. 13). A dummy-board of similar subject was sold Christies
London, 8 February 1996, lot 9.
n*294
A GEORGE III OAK AND CROSSBANDED WING ARMCHAIR
LATE 18TH CENTURY, PROBABLY LANCASHIRE
The shaped top rail and panelled back with fattened arms, the rope seat
with needlework squab cushion depicting vine leaves and grapes
1,000-1,500
PROVENANCE:
With Avon Antiques.
132
$1,600-2,300
1,400-2,100
295
nW295
nW296
A CREAM AND BLUE-PAINTED GARDEN BENCH
A GREY-PAINTED LARGE GARDEN BENCH
20TH CENTURY
LATE 20TH CENTURY, AFTER A DESIGN BY SIR EDWIN LUTYENS
The scrolled trellis back with central foliate motif, the slatted seat on
square legs
The slatted arched back and seat above slightly splayed legs joined by
stretchers
500-800
600-900
$780-1,200
700-1,100
296
$940-1,400
840-1,300
nW297
A SET OF FOUR GREY-PAINTED GARDEN CHAIRS
BY ANDREW CRACE, LATE 20TH CENTURY
Each with a trellis back and slatted seat; together with a circular table, one large bench and two
similar smaller benches, two chairs labelled, ANDREW CRACE/MUCH HADHAM and two labelled,
CRACE/MUCH HADHAM
Four chairs: 39 in. (99 cm.) high; 27 in. (69 cm.) wide; 24 in. (61 cm.) deep
Table: 28 in. (71 cm.) high; 42 in. (107 cm.) diameter
Larger bench: 38 in. (98.5 cm.) high; 78 in. (199.5 cm.) wide; 24 in. (61 cm.) deep
Two chairs: 36 in. (93.5 cm.) high; 33 in. (84 cm.) wide; 21 in. (53 cm.) deep
(8)
1,500-2,000
$2,400-3,100
2,100-2,800
Woodbury House, Hampshire
The David Hicks interior of St Leonards Terrace, London, showing lots 327 and 328 (part) in situ, D. Hicks, David Hicks on Decoration, p. 57
136
WOODBURY HOUSE, HAMPSHIRE

Hon. Mr & Mrs Anthony Samuel

lots 298-368
Arndilly was sold and so a house was required that was both close
to London and yet still offered the serenity and escape which had
been so enjoyed on the Spey. Woodbury House, a former rectory in
Hampshire, perfectly ftted the bill. The house, at the heart of the
village and adjacent to the charming church, yet secluded in its own
very private, leafy grounds became their new country retreat.
Here a softer, more genteel decorative scheme was required,
one which not only suited the houses rural location, but also its
architecture. It was decorated by Simon Playle under the keen
eye of the ever stylish Mrs Samuel. Block colours were adopted
for the principal reception rooms, green for the library, yellow for
the drawing room and red for the dining room, whilst a soft grey
wallpaper, with printed Regency gothic pattern, echoing the lancet
form of the windows, was chosen for the central hall.
The Hon. Mr Anthony Samuel
Mercy Haystead, the Hon. Mrs Anthony Samuel
Woodbury House, an elegant Regency gothic villa in Hampshire,

was the last home of the Hon. Mr and Mrs Anthony Samuel.
Anthony Samuel (1917-2001) was the younger son of Colonel
Walter Samuel, 2nd Viscount Bearsted (1882-1948), and was a
grandson of Marcus Samuel, 1st Viscount Bearsted (1853-1927),
the founder of The Shell Transport and Trading Company, which
in 1907 merged with its rival to form Royal Dutch Shell. Anthony
Samuel served in the SOE during the Second World War. After the
War he joined the family Bank, Hill Samuel, as well as having other
interests in publishing, representing prominent authors such as
P.G. Wodehouse. He also ventured into the world of horse racing
owning several winners. In 1966 he married his third wife, the
actress Mercy Haystead (1930-2015). Mercy had risen to fame as
a model and actress after being discovered whilst holidaying in
Positano in 1949. She was well known in the 1950s for her flm roles
in What the Butler Saw and The Admirable Crichton.
The Samuels had long been keen collectors and their possessions
had been inherited, collected and assembled over many decades
and displayed all the characteristics of a discerning collectors eye.
Their collection of paintings ranged from Old Masters to the works
of the Impressionist Edouard Vuillard, the Victorian painter Atkinson
Grimshaw and the 20th-century artist Nicolas de Stal. Following
the death of Anthony Samuel in 2001 their London house was
sold. The de Stals and selected works of art, which could not be
accommodated at Woodbury House, were sold at Christies and the
collection from Woodbury House is now offered here following the
death of Mercy Samuel earlier this year.
AHS
The Samuels were renowned as generous hosts. They had houses

in London and Scotland as well as frequently travelling to their suite
in the Algonquin Hotel, New York. Their house on St. Leonards
Terrace, Chelsea, with rich interiors designed by David Hicks, was their
sophisticated London home. Hicks green velvet drawing room provided
a backdrop for George III giltwood seat furniture and a collection of
pre-Columbian gold artefacts displayed in an ultramodern pyramidal
perspex case, whilst their country house provided a more restrained
setting, acting as a retreat from London and as a base from which
country sports could be pursued and enjoyed.
Arndilly House, on the banks of the Spey, was famed amongst their
friends not only as a place for superb entertaining but also for good
sport and from February to October salmon fshing would have been
the order of the day. In later years, when a quieter life was sought,
The David Hicks interior of St Leonards Terrace,

London, showing lot 325 in situ, D. Hicks, David
Hicks on Decoration, p. 58
137
298
A CHINESE WUCAI BALUSTER JAR
17TH CENTURY
Decorated with three cranes amongst cloud scrolls, below

two ruyi-head lappet bands
10 in. (27.2 cm.) high, with wood stand and rim cover
600-1,000
$940-1,600
840-1,400
299
A PAIR OF FRENCH ORMOLU-MOUNTED BLEU
DU ROI PORCELAIN CANDELABRA
19TH CENTURY, OF LOUIS XVI STYLE
Each of oviform shape on a stepped square slate base,

drilled for electricity
12 in. (30.5 cm.) high
(2)
800-1,200
$1,300-1,900
1,200-1,700
300
A PAIR OF PARIS PORCELAIN BASKETS AND A
PAIR OF VASES
FIRST HALF 19TH CENTURY
The baskets with pierced upper section above painted

foral garlands and green-ground lower part, the vases
painted with tavern scenes; together with a pair of Svresstyle yellow-ground bough pots and stands painted with
birds and foral garlands
The baskets 8 in. (21.9 cm.) high
(6)
800-1,200
138
$1,300-1,900
1,200-1,700
301
n302
A FRENCH ORMOLU-MOUNTED WHITE MARBLE

STRIKING MANTEL CLOCK
A PAIR OF ENGLISH GILTWOOD, SATINWOOD,

HAREWOOD AND MARQUETRY DEMI-LUNE
CONSOLE TABLES
LATE 19TH CENTURY
The drum case surmounted by a putto playing cymbals and fanked by

two further putti playing horns, with classical trophies beneath dial, the
white enamel dial with Arabic hours, the twin barrel movement with
Brocot escapement and rack striking to bell, the back plate with Vincenti
trade stamp; with pendulum and two later winding keys, the feet lacking
FIRST HALF 20TH CENTURY, OF GEORGE III STYLE
2,000-3,000
10,000-15,000
140
$3,200-4,700
2,800-4,200
Each top inlaid with a radiating fan and a central ribbon medallion
fanked by scrolling foliage, above a futed frieze, on turned tapering
futed legs
(2)
$16,000-23,000
14,000-21,000
303
ENGLISH FOLLOWER OF GIOVANNI ANTONIO CANAL, IL CANALETTO,
18TH CENTURY
The Strand front of Northumberland House, London, with the equestrian statue of Charles
I and fgures conversing
oil on canvas
30 x 49 in. (76.8 x 126.3 cm.)
20,000-30,000
$32,000-47,000
28,000-42,000
After the picture of 1753 in the Collection of the Duke of Northumberland at Alnwick Castle.
141
n304
A GEORGE IV GILTWOOD AND GILTCOMPOSITION CONVEX MIIRROR
CIRCA 1830
The plate within a moulded slip, with displayed eagle

cresting
800-1,200
$1,300-1,900
1,200-1,700
305
A PAIR OF ITALIAN STRIATED MARBLE URNS
AND COVERS
MID-19TH CENTURY
Each with square angled handles, on a circular socle base,

restorations, one socle later
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
n306
A FINE KIRMAN LAVER CARPET, SOUTH PERSIA
CIRCA 1900
approx: 14 ft. 1 in. x 11 ft. 4 in. (429 x 344 cm.)

1,200-1,800
$1,900-2,800
1,700-2,500
PLEASE REFER TO THE IMPORTANT NOTICES AT THE FRONT & BACK OF

THE CATALOGUE REGARDING LOTS OF IRANIAN/PERSIAN ORIGIN
307
A GEORGE III SILVER OVAL TEA CADDY
MARK OF HENRY CHAWNER, LONDON, 1790
Engraved with two bands of foliate motifs and diagonal bars, domed
cover with urn fnial and engraved futed border, the front with
octagonal cartouche with incurved corners, engraved with twin crests,
vis. a blackamoors head couped and a hand holding aloft a sword, the
back with a conforming vacant cartouche
5 in. (14 cm.) high
11 oz. (342 gm.)
1,000-1,500
$1,600-2,300
1,400-2,100
n308
A SET OF TEN VICTORIAN WALNUT DINING-CHAIRS
309
A SET OF FOUR GEORGE III SILVER CANDLESTICKS AND A
PAIR OF TWIN-BRANCH CANDELABRA EN SUITE
MARK OF JOHN GREEN & CO., SHEFFIELD, 1799
Plain tapering columns with part-futed capitals and part-futed domed

circular bases, gadroon borders, the flled bases and the nozzles
engraved with a crest of a winged horse rampant, in its mouth a foliate
spray, standing on a cap of maintenance
Candlesticks 13 in. (33 cm.) high; candelabra 20 in. (51 cm.) high
Weight of branches 57 oz. (1772 gm.)
(6)
Each with an elaborately carved shell top rail above a solid vase splat
with the crest and motto TIENS A LA VERITE, on a shaped drop-in
seat covered in grey and black with horse hair, on cabriole legs and clawand-ball feet
47 in. (119.5 cm.) high; 23 in. (58.5 cm.) wide; 22 in. (56 cm.) deep (10)
6,000-8,000
3,000-5,000
A MAHOGANY AND CROSSBANDED CIRCULAR

DINING-TABLE
$4,700-7,800
4,200-7,000
$9,400-12,000
8,400-11,000
n310
SECOND HALF 20TH CENTURY, OF REGENCY STYLE
The tilt-top on a ring-turned pedestal and four downswept reeded legs

with brass caps and castors
800-1,200
$1,300-1,900
1,200-1,700
311
CIRCLE OF JAN FRANS VAN BLOEMEN,
LORIZZONTE
(ANTWERP 1662-1749 ROME)
A wooded landscape with fgures and goats by a
lake, a town and mountainous landscape beyond
oil on canvas
29 x 38 in. (73.7 x 98.4 cm.)
5,000-8,000
$7,800-12,000
7,000-11,000
PROVENANCE:
John Sargent of Halstead House and by descent to his
great great grand daughter,
Constance Rosamund Hankey
(according to a label on the reverse)
Colonel J.B. Hankey, Melrose
(according to a label on the reverse)
312
CIRCLE OF JOOS DE MOMPER
(ANTWERP 1564-1635)
A mountainous wooded river landscape with
a waterfall and buildings, fgures, horsemen, a
goatherd and goats on a path
oil on panel
22 x 36 in. (55.8 x 93.4 cm.)
5,000-10,000
$7,800-16,000
7,000-14,000
313
CIRCLE OF JAN JOSEPHS VAN GOYEN
(LEIDEN 1596-1656 THE HAGUE)
A river landscape with boats on the water, a village
with a windmill and a church on the shore beyond
oil on panel
15 x 23 in. (39.4 x 60.6 cm.)
3,000-5,000
$4,700-7,800
4,200-7,000
145
314
A GEORGE III ONSLOW PATTERN
SILVER SOUP LADLE
PROBABLY MARK OF JOHN LAMPFERT,
LONDON, 1771
With scalloped bowl; together with a George

III Irish fddle pattern soup ladle, mark of
Samuel Neville, Dublin, 1809, crested with an
armoured arm embowed holding aloft a cross
above an initial M; and a George IV Old English
pattern soup ladle, mark of William Eaton,
London, 1825, with scalloped bowl, crested
First ladle 12 in. (31.4 cm.) long
17.5 oz. (544 gm.)
(3)
500-700
$780-1,100
700-970
316
315
314
A WILLIAM AND MARY SILVER

CANNON-HANDLED HASH SPOON
MARK OF ROBERT COOPER, LONDON, 1691
The deep oval bowl with rat-tail, the handle

engraved with initials C over EA
15 in. (38.5 cm.) long
4 oz. (124 gm.)
600-800
315
$940-1,200
840-1,100
316
AN EARLY GEORGE II SILVER SPIRITS

FLASK
MARK OF PETER TABART, LONDON, 1727
Rectangular with rounded shoulders, engraved

to front with a gentleman and his hound out
hunting in a country setting and decorated
with a narrow guilloche band, detachable
screw-on cap, the reverse engraved with a
crest of a lions head erased
6 in. (15 cm.) high
8 oz. (248 gm.)
600-800
~317
$940-1,200
840-1,100
A SILVER COFFEE POT

MARK OF D. AND J. WELLBY, LONDON, 1924
317
Of heavy gauge, with futed sides and ivory

insulators to the leaf-capped handle; together
with another coffee pot of plain tapering
form with leaf-capped spout, Sheffeld, 1938;
a christening mug in the William III style,
London, 1913, with ribbed bands and handle
and inscription dated 1917 to the front; a
sugar caster of early George II style by Richard
Comyns, London, 1959; a pair of salts of
Georgian style by S.J. Phillips, London, 1958;
a Georgian-style oval mustard pot by the
Goldsmiths & Silversmiths Ltd., London, 1913;
a shaped circular salver on three leaf-capped
scroll feet, Chester, 1929; a modern cylindrical
pillbox, the pull-off cover applied with two
fint-lock pistols; a set of six small threehandled tygs, Birmingham, 1903; a set of six
modern plain matchbox holders, by S.J. Phillips,
London, 1962, and a smaller pair by a different
maker, London, 1964
Salver: 12 in. (30.5 cm.) diameter
114 oz. (3545 gm.)
(23)
1,000-1,500
$1,600-2,300
1,400-2,100
318
320
A GROUP OF SIX ENGLISH AND GERMAN SILVER ANIMALS
A GEORGE III SILVER MUG
VARIOUS DATES AND MAKERS, 20TH CENTURY
MARK OF SAMUEL WHITFORD (I) OR SAMUEL WHITE, LONDON, 1762
Comprising: a German silver pepper in the form of a fox, with English

import marks and sponsors mark for Berthold Mller, London, 1903,
with detachable head; a German model of a hound with hinged
head, with English import mark and sponsors mark for John George
Piddington, London, 1902; an elephant pin cushion, by Adie & Lovekin
Ltd., Birmingham, 1906; a German model of a seated dog with English
import marks and sponsors mark of Samuel Boyce Landeck, Chester,
1903; and two modern cast silver models, one of a goat, the other a
dachshund
Fox: 4 in. (10 cm.) high
Weight of silver excluding pin cushion 23 oz. (715 gm.)
(6)
Of plain baluster form; together with a George III silver pepper, mark of
George Gray overstriking Peter and Ann Bateman, London, 1791, with
bead borders and trumpet foot; a George III oval mustard pot, mark of
John Mewburn, London, 1798, pierced with a band of stiff-leaves and a
band of slats and beads, domed cover with urn fnial, reeded borders
and crested cartouche, blue glass liner; a pair of George III oval salts
by Robert Hennell, London, 1777, with bead borders and conforming
pedestal bases, blue glass liners; and a pair of Old Sheffeld Plate sauce
tureens, circa 1820, oval on acanthus leaf and paw feet, with gadroon
and foral border and engraved coat-of-arms
The mug: 5 in. (12.7 cm.) high
Weighable silver 26 oz. (808 gm.)
(7)
1,200-1,800
$1,900-2,800
1,700-2,500
319
TWO FRENCH SILVER SPRUNG
SANDWICH SERVERS
ONE MARK OF A. DEBAIN, THE OTHER MARK
OF E. PUIFORCAT, BOTH PARIS, CIRCA 1900
Together with a Dutch silver crumb tray by

Lieshout & Co., Amsterdam, 1885; a French
silver niello snuff box, makers mark LB,
circa 1860, gilt interior; a German oval silver
snuff box, Hanau, with English import marks
for Sheffeld, 1899; and an oblong engineturned snuff box, mark of William Base &
Sons, Birmingham, 1921, initialled S to central
reserve, gilt interior
Crumb tray: 9 in. (24.5 cm.) long
32 oz. (995 gm.)
(6)
600-800
800-1,200
$1,300-1,900
1,200-1,700
321
322
A PAIR OF ARTS AND CRAFTS SILVER

FOOTED DISHES
AN ITALIAN SILVER BASIN
MARK OF THE ARTIFICERS GUILD LTD., LONDON,

1912
The shallow dish on tall trumpet foot,

decorated with ropework bands above an
applied undulating cord with bell fowers
dependent, all on a hammered ground
4 in. (10.2 cm.) high; 5 in. (14.5 cm.)
diameter;
16 oz. (497 gm.)
(2)
700-1,000
PROBABLY 18TH CENTURY, BEARING THE

EARLIER MARKS OF RAFFAELE GALLESTRUZZI,
ROME, CIRCA 1640, APPARENTLY LET-IN AT A
LATER DATE
Shaped circular with ribbed rim and futed

sides, gilt interior
34 oz. (1057 gm.)
700-800
$1,100-1,200
980-1,100
$1,100-1,600
980-1,400
$940-1,200
840-1,100
147
n323
A PAIR OF NORTH EUROPEAN GILTWOOD
PIER MIRRORS
INCORPORATING 18TH CENTURY CREST ELEMENTS,
ADAPTED
The rectangular plate within a bead-and-reel frame,

surmounted by a pierced foliate and S-scroll crest centred
by a vase of fowers, fanked to either side by a conforming
garland, restorations
(2)
5,000-8,000
$7,800-12,000
7,000-11,000
PROVENANCE:
With John Bell, Aberdeen.
n324
A PAIR OF CHINESE EXPORT BLACK AND GILTLACQUER CABINET STANDS
EARLY 19TH CENTURY
Each with a later rectangular grey-veined white marble

top, above a pierced key-pattern frieze, on hipped legs and
claw-and-ball feet, one with lacquer decoration beneath
marble, minor variations and decorations
Largest: 30 in. (77 cm.) high; 36 in. (92 cm.) wide;
22 in. (56 cm.) wide
(2)
2,500-4,000
148
$3,900-6,200
3,500-5,600
n325
A PAIR OF GERMAN GILTWOOD PIER MIRRORS
MID-18TH CENTURY
Each later rectangular plate within a rocaille and foliatecarved frame, probably originally with sconces
(2)
3,000-5,000
$4,700-7,800
4,200-7,000
LITERATURE:
D. Hicks, David Hicks on Decoration, London, 1966, p. 58.
n326
A LOUIS XV ORMOLU-MOUNTED BOIS SATINE,
ROSEWOOD, AMARANTH AND MARQUETRY
COIFFEUSE
BY GERARD PERIDIEZ, MID-18TH CENTURY
The top inlaid with a musical trophy and central hinged

section enclosing a ftted mirror, fanked by compartments,
above a slide inset with a gilt-tooled red leather writingsurface and four drawers and a false drawer, stamped to
the underneath G. PERIDIEZ and spuriously stamped
N.PETI..., partially re-mounted
22 in. (56.5 cm.) deep
2,000-3,000
$3,200-4,700
2,800-4,200
LITERATURE:
Grard Pridiez, matre in 1761.
Grard Pridiez originally worked as an independent supplier for
merchants such a Lonard Boudin, Louis Nol Malle and probably Pierre
Migeon. Pridiez did open his own shop, but due to a fre in 1770 was
forced to close it, however he continued his production in the years
preceding the revolution. A coiffeuse of identical form, but lacking similar
mounts was sold anonymously at Drouot on 8 December, 1975, lot 11.
The bathroom at St Leonards Terrace, London
150
n327
n328
A LOUIS XVI CREAM AND GREEN-PAINTED CANAPE EN

CORBEILLE
A SET OF SIX LOUIS XVI CREAM AND GREEN-PAINTED

FAUTEUILS
BY JEAN-ETIENNE SAINT-GEORGES, LATE 18TH CENTURY
BY JEAN-ETIENNE SAINT-GEORGES, LATE 18TH CENTURY
Covered in green velvet with carved ribbon-tied detail to the centre of

the top and seat rail, stamped J.E ST GEORGES, decoration refreshed
All covered in green velvet with carved ribbon-tied detail to the centre
of the top and seat rail, each stamped J.E ST GEORGES, decoration
refreshed
(6)
2,000-3,000
5,000-8,000
$3,200-4,700
2,800-4,200
LITERATURE:
$7,800-12,000
7,000-11,000
LITERATURE:
Jean tienne Saint-Georges (1723-1790) matre 10 April 1747, worked initially with his
father tienne Saint-Georges, before sharing a workshop with his brother-in-law Claude I
Sen. He is best known for his Transitional and Louis XVI seat furniture, with their strong
lines and good portions as demonstrated in this canap en corbeille and the six fauteuils
en suite (lot 328). A set of six Transitional fauteuils are in the collection of Muse des
Arts Dcoratifs, Strasbourg.
151
n~329
A LOUIS XVI ORMOLU-MOUNTED, IVORY, MOTHER-OFPEARL AND PEWTER-INLAID KINGWOOD. AMARANTH
AND PARQUETRY SECRETAIRE A ABATTANT
BY CLAUDE MATHIEU MAGNIEN, CIRCA 1780
Inlaid overall with architectural capricci, the later shaped rectangular

white marble top above a frieze drawer, the fall-front revealing a ftted
interior with four pigeon-holes, six drawers and a gilt-tooled green
leather writing-surface, above a pair of doors enclosing a ftted shelf, on
bracket feet, stamped C.M.MAGNIEN and JME, possibly remounted
15,000-25,000
Claude Mathieu Magnien, matre in 1771.
$24,000-39,000
21,000-35,000
This striking secrtaire motifs darchitecture forms part of a group of furniture decorated
with marquetry panels depicting classical capricci and views of Rome. These marquetry
panels were admired for their painterly effect and evoked memories of sights seen and
sensations experienced while on the Grand Tour. Architectural marquetry panels were
often inspired by the works of Giovanni Battista Piranesi (1720-1778) and Hubert Robert
(1733-1808), while other pictorial marquetry panels featuring arcaded ruins were often
based on engraved sources, for instance a series of eight engravings by P.-F. Basan, derived
from a painting by P.-A. de Machy (1723-1807), who was acknowledged as an expert
painter of architecture and ruins: in LAvant-Coureur, 23 January 1764, he was described
as lunique en ce genre (G. de Bellaigue, Ruins in Marquetry, Apollo, January 1968, p. 20).
These pictorial marquetry panels are frequently very closely related while being stamped
by various bnistes, rendering a frm attribution to the marquetry diffcult. It has been
convincingly suggested that specialist marqueteurs, such as Christophe Wolff (matre
in 1755), Charles Topino (matre in 1773) and Andr-Louis Gilbert (matre in 1774),
supplied marquetry panels to other bnistes to construct their own furniture around
(G. de Bellaigue, Engravings and the French Eighteenth-Century Marqueteur, Burlington
Magazine, May 1965, pp. 240-250 and July 1965, pp. 356-363). This is almost certainly
the case for the present secrtaire stamped by Claude Mathieu Magnien, who, in addition
to his own atelier, also ran a magasin de toutes sortes de meubles where it is possible he
stamped furniture by other craftsmen (P. Kjellberg, Le Mobilier Franais du XVIIIme sicle,
Paris, 1989, p. 542).
n330
AN EARLY LOUIS XV ORMOLU-MOUNTED KINGWOOD
COMMODE
CIRCA 1730-40
The moulded serpentine shaped brche dAlep marble top above two
short and one long drawer, mounted with rocaille, scallop-shell and
foliate handles and c-scroll and shell escutcheons, above a confronting
C-scroll, foliate and rocaille apron mount, on cabriole legs and sabots,
with spurious ink stamp 1012, partially re-mounted
20,000-30,000
$32,000-47,000
28,000-42,000
The overall shape and ormolu mounts of this commode echo the elegant designs of the
bnistes Jacques-Philippe Carel (matre in 1723), Jean Desforges (matre before 1730)
and Bernard II van Risen Burgh, BVRB (matre in 1730). A strong similarity in form can
be seen in a drawing of a commode by BVRB in the State Archives, Munich (illustrated).
BVRB supplied the majority of the commodes ordered circa 1733 for the refurnishing of
the Munich Residenz by Elector Charles-Albert of Bavaria (G. Hojer & H. Ottomeyer, Die
Mbel der Residenz Mnchen, Munich, 1995, vol. I, p. 89).
The distinctive apron mount of confronting C-scrolls, though, was employed on
commodes by Jean Desforges and Jacques-Philippe Carel. Carel - at the same time as
BVRB also supplied a commode to the Residenz in Munich via the marchand-mercier
Charles Darnault, which was veneered with trellis parquetry and mounted with very
closely-related chutes, as well as the distinctive apron mount seen on this commode.
The commode supplied by Desforges to the duchesse de Richelieu circa 1745-9; the
commode attributed to Desforges from the property of a Swiss collector, sold Christies,
London, 4 July 2013, lot 14 and the magnifcent matched pair of commodes veneered
in Chinese and Japanese lacquer in the Riahi Collection, sold Christies, London, 6
December 2012, lot 40, attributable to either BVRB or Desforges, all feature this same
apron mount (A. Pradre, Les Ebnistes Franais, Paris, 1989, p. 176). Moreover, another
comparable example stamped by Carel, with similar parquetry decoration, was sold from
the collection of Viscount Abercorn, Christies, London, 26 June 1929, lot 118.
153
331
333
A SEVRES (LATER DECORATED) BLUE-GROUND PART

DEJEUNER
A LOUIS XV ORMOLU-MOUNTED MEISSEN PORCELAIN

AND CHINESE BLACK AND GILT LACQUER ENCRIER
THE PORCELAIN WITH BLUE INTERLACED LS ENCLOSING DATE LETTER L

FOR 1764, THE DECORATION MID-19TH CENTURY
SECOND QUARTER 18TH CENTURY
Painted with fgures comprising: a pierced lozenge-shaped two-handled

tray (plateau losange), a milk-jug (pot lait trois pieds), a sugar-bowl
and cover (pot sucre Bouret) and two cups and saucers
(gobelets Boiullard et soucoupes)
The tray: 14 in. (37.5 cm.) wide
(7)
1,000-1,500
The shaped panel decorated with buildings and foliage, surmounted

by two inkwells and a dish, and a fgure of a peasant farmer fanked by
fower-heads and a candle branch to either side
1,200-1,800
$1,600-2,300
1,400-2,100
$1,900-2,800
1,700-2,500
n332
n334
TWO VICTORIAN PAPIER-MACHE TRAYS
A SET OF LATE VICTORIAN WALNUT, SATINWOOD,

FEATHERBANDED AND EBONISED QUARTETTO TABLES
19TH CENTURY, THE STANDS LATER
Each decorated with fowers and gilt foliate garlands, on a simulated

bamboo stand
19 in. (49.5 cm.) high; 30 in. (78 cm.) wide; 23 in. (59 cm.) deep,
and similar
(2)
LATE 19TH CENTURY
1,000-1,500
700-1,000
154
$1,600-2,300
1,400-2,100
On ring-turned legs and sledge feet

27 in. (70.5 cm.) high; 19 in. (49.5 cm.) wide; 13 in. (35 cm.) deep,
and smaller
$1,100-1,600
980-1,400
335
CIRCLE OF ALESSANDRO
MAGNASCO, IL LISSANDRINO
(GENOA 1667-1749)
A Quaker sermon
inscribed XIINXTCIXI / VIVIXI VCX / OVVI
IX / TVI (centre, on the pedestal)
oil on canvas
32 x 27 in. (82.3 x 70.2 cm.)
4,000-6,000
$6,300-9,300
5,600-8,300
There are two larger known versions of the present

composition, in a private collection, Genoa and with an
antiques dealer in Milan.
336 No Lot
337
FOLLOWER OF DAVID TENIERS II
A winter landscape with fgures slaughtering a
pig in a village, and others skating on the ice
oil on canvas
28 x 36 in. (71.1 x 92.1 cm.)
2,000-3,000
$3,200-4,700
2,800-4,200
155
338
A MATCHED PAIR OF LOUIS XV STYLE
ORMOLU-MOUNTED CHINESE TURQUOISEGLAZED JARDINIRES
THE PORCELAIN BOTH WITH YONGZHENG SEAL MARKS
AND POSSIBLY OF THE PERIOD (1723-1735),
THE MOUNTS 19TH CENTURY
Each jardinire applied with a cast rope-twist rim and

foliate C-scroll handles and base, one with an impressed
Yongzheng six-character seal mark to the base, and the
other with an impressed Yongzheng four-character seal
mark to the base
10 in. (27 cm.) diameter
(2)
4,000-6,000
$6,300-9,300
5,600-8,300
n339
A FRANCO-FLEMISH VERDURE TAPESTRY
FRAGMENT
Woven in silks and wools, depicting two wild leopards in a

wooded landscape, restored patches, lacking borders
82 in. (208 cm.) high; 73 in. (186.5 cm.) wide
3,000-5,000
156
$4,700-7,800
4,200-7,000
340
A PAIR OF JAPANESE KUTANI VASE LAMPS
MEIJI PERIOD (1868-1912)
Each vase decorated in the usual palette of iron-red and

gilt, depicting a long-tailed bird and a pair of sparrows in
fight, amongst blossoming prunus branches and peony
bushes, below a foliate scrolling border interspersed with
geometric roundels, the base signed Kutani Setsuzan sei,
both adapted as lamps
The porcelain 14 in. (35.9 cm.) high, with shades and
ftted for electricity
(2)
700-1,000
$1,100-1,600
980-1,400
n341
A PAIR OF FRENCH GILTWOOD FAUTEUILS
SECOND HALF 19TH CENTURY, OF LOUIS XVI STYLE
Re-covered in pink foliate fabric, the frames with stiff-leaf

and beaded moulding, on tapering futed legs, each with
a blue border inventory label inscribed and numbered
5692-FAUTEUILS
(2)
1,500-2,500
$2,400-3,900
2,100-3,500
n342
A PAIR OF BUTTONED-BACK
KIDNEY-SHAPED SOFAS
LATE 20TH CENTURY
Covered in a striped chintz cotton with a loose seat

cushion, on beech legs and castors
600-1,000
(2)
$940-1,600
840-1,400
343
345
ENGLISH SCHOOL, EARLY 19TH CENTURY
MARTIN DEL DAZ, 19TH CENTURY
The Pyramid of Cestius from the English burial ground, Rome
St. Peters cathedral, Rome with fgures conversing in the foreground
inscribed and dated Monument of C. Cestius from the English Burying

Ground - Rome Dec.28.1816 (upper left)
signed and inscribed Martin del Daz/Rome (lower right)
pen and brown ink and watercolour on paper

12 x 21 in. (32.4 x 53.3 cm.)
700-1,000
$1,100-1,600
980-1,400
watercolour heightened with white

13 x 18 in. (34.8 x 47.7 cm.)
500-800
$780-1,200
700-1,100
344
346
FOLLOWER OF ALEXANDRE-FRANOIS DESPORTES
MORTIMER LUDDINGTON MENPES, R.I., R.B.A., R.E.

(PORT ADELAIDE 1855-1938 PANGBOURNE)
A heron, a copper pan and a bugle
Japanese musicians in an interior with a shamisen
oil on canvas
26 x 36 in. (67.3 x 91.6 cm.)
2,000-4,000
158
signed Mortimer Menpes. (lower left)

$3,200-6,200
2,800-5,600
oil on board
12 x 10 in. (31.6 x 26 cm.)
1,500-2,500
$2,400-3,900
2,100-3,500
347
A PAIR OF CHINESE SANG-DE-BOEUF
VASE LAMPS
Each baluster vase covered in an even deep red glaze with
a mushroom rim and base, adapted as lamps
The porcelain 15 in. (39 cm) high, with shades and ftted
for electricity
(2)
700-1,000
$1,100-1,600
980-1,400
348
A FRENCH ORMOLU-MOUNTED WHITE
MARBLE MANTEL TIMEPIECE
19TH CENTURY, OF LOUIS XVI STYLE, THE MOVEMENT
ASSOCIATED
Of Athenienne vase shape, fanked by putti, the white

enamel dial with Roman hours and Arabic fve minutes
and dummy winding hole, the later modern timepiece
movement with balance wheel escapement; together with
a pair of French ormolu-mounted white marble cassolettes
and covers, late 19th century, damages
The frst: 13 in. (34.3 cm.) high
The second: 10 in. (26.7 cm.) high
(3)
1,000-2,000
$1,600-3,100
1,400-2,800
349
A CHARLES X ORMOLU AND BRONZE ENCRIER
The chased oval lid surmounted with a standing hound,

enclosing a ftted interior; together with a pair of ormolu
and bronze candlesticks, modelled as Mercury
Encrier: 6 in. (15 cm.) high; 8 in. (20 cm.) wide;
4 in. (12 cm.) deep
Candlesticks: 10 in. (26.5 cm.) high
(3)
600-1,000
160
$940-1,600
840-1,400
350
CIRCLE OF JOHN WOOTTON
(SNITTERFIELD C. 1682-1764 LONDON)
Two greyhounds in a wooded landscape with Parham House and a
temple beyond
oil on canvas
58 x 59 in. (149.5 x 150.2 cm.)
10,000-15,000
Parham Park situated in West Sussex, was originally owned by the Abbey of Westminster.
The house was granted to Robert Palmer by King Henry VIII in 1540. The foundation
stone of the Elizabethan house was laid in 1577 by the two year old Thomas Palmer
and was subsequently bought in 1597 by Thomas Byshopp (later Sir Thomas Byhopp,
1st Baronet). The house and its estate remained within the descendents of the Byshopp
family until acquired in 1922 by the Hon. Clive Pearson, younger son of the 1st Viscount
Cowdray and together with his wife opened the house and gardens to the public in 1948.
$16,000-23,000
14,000-21,000
161
351
A PAIR OF CHINESE MANDARIN PATTERN FAMILLE ROSE
VASES AND COVERS
QIANLONG PERIOD 1736-1795
Each cover applied with a Buddhist lion fnial, the body applied with
stylised dragon handles, brightly enamelled with panels of fgures at
leisure in pavilions and courtyards with river landscapes beyond, all
reserved on a gilt and iron-red geometric ground
13 in. (34.2 cm.) high
(2)
500-800
$780-1,200
700-1,100
n352
AN ITALIAN WHITE MARBLE BUST OF DANTE
19TH CENTURY
Wearing a cap, on a waisted socle

21 in. (54.5 cm.) high
1,500-2,500
$2,400-3,900
2,100-3,500
n353
A LOUIS XV ORMOLU-MOUNTED KINGWOOD,
TULIPWOOD AND MARQUETRY BOMBE COMMODE
MID-18TH CENTURY
The serpentine shaped Rouge de Maine marble top above two long
drawers inlaid sans traverse with a musical trophy and foliage, on splayed
legs and sabots, partially re-mounted
5,000-8,000
$7,800-12,000
7,000-11,000
163
n354
A PAIR OF ITALIAN MARBLE BUSTS OF
GETA AND PLAUTILLA
CIRCLE OF BARTOLOMEO CAVACEPPI (17161799), LATE 18TH CENTURY
Each on a later marbleised waisted socle

The busts: 26 in. (66 cm.) high
The columns: 44 in. (112 cm.) high
4,000-6,000
(2)
$6,300-9,300
5,600-8,300
This pair of busts depict the tragic young fgures Publius

Septimus Geta son of emperor Septimus Severus, and
his sister-in-law Plautilla who were vehemently murdered
by Getas older brother Caracalla in 211 AD. The Grand
Duke, Cosimo III deMedici (1642-1723) had two Antique
marble examples on display at Uffzi, Florence which were
the source of Grand Tour copies, commissioned in both
marble and bronze, to meet the British appetite for all
things Antique in the 18th century.
A pair of exquisite bronze examples cast by Pietro Cipriani
(c. 1679-1745) were sold from the Grand Tour collection
of Thomas Parker, 1st Earl of Macclesfeld (1666-1732),
Christies, London, 1 December 2005, lot 81.
n355
A PAIR OF ONYX AND WHITEMARBLE CYLINDRICAL COLUMN
PEDESTALS
19TH CENTURY
On square bases
44 in. (112 cm.) high
4,000-6,000
164
(2)
$6,300-9,300
5,600-8,300
n356
AN ENGLISH WHITE-PAINTED MIRROR
20TH CENTURY, OF CHIPPENDALE STYLE
The shaped rectangular plate within a pierced

frame surmounted by a carved ho-ho bird and
foliate C-scrolls
51 in. (129.5 cm.) high; 24 in. (63 cm.) wide
800-1,200
$1,300-1,900
1,200-1,700
n357
A GEORGE I WALNUT AND
FEATHERBANDED BUREAU-CABINET
CIRCA 1710
The domed top above a pair of bevelled

glazed doors, enclosing three ftted shelves,
the slope enclosing a ftted interior on two
short and two graduated long drawers and
bracket feet
84 in. (213.5 cm.) high;
39 in. (99.5 cm.) wide;
21 in. (53.5 cm.) deep
4,000-6,000
$6,300-9,300
5,600-8,300
165
358
A PAIR OF CONTINENTAL PORCELAIN VASES
AS LAMPS
20TH CENTURY
Decorated in the Chinese Export style with a coat-ofarms, adapted as lamps

15 in. (38.8 cm.) high including mounts and ftments (2)
600-800
$940-1,200
840-1,100
n359
A LOUIS XVI CREAM-PAINTED BANQUETTE
LATE 18TH CENTURY
Re-covered in cornfower blue brushed cotton, on stopfuted legs headed by patera, later decorated
16 in. (40.5 cm.) deep
800-1,200
$1,300-1,900
1,200-1,700
n360
A GEORGE II WALNUT AND CROSSBANDED
CHEST-ON-STAND
CIRCA 1730
The moulded top above two short and three long

drawers, on a conforming stand with a single drawer and
replaced cabriole legs and pad feet
21 in. (53.5 cm.) deep
1,000-1,500
$1,600-2,300
1,400-2,100
n361
A GILTWOOD RECTANGULAR
MIRROR
EARLY 20TH CENTURY
The central oval plate surrounded by a carved

frame, fanked by foliate scroll brackets and
marginal plates
38 in. (96.5 cm.) high;
60 in. (153.5 cm.) wide
700-1,000
$1,100-1,600
980-1,400
n362
n~363
A LOUIS XVI MAHOGANY AND CROSSBANDED

TABLE EN BOUILLOTTE
A NORTH ITALIAN ENGRAVED IVORY AND

MOTHER-OF-PEARL-INLAID WALNUT AND
ROSEWOOD COMMODINO
LATE 18TH CENTURY
The circular top with a pierced ormolu gallery surrounding

a breccia marble top, with two candle slides, opposing
frieze drawers, on tapering square legs
800-1,200
$1,300-1,900
1,200-1,700
PROBABLY LOMBARDY, 19TH CENTURY
With grey-veined white marble top over a door enclosing

a shelf on cabriole legs
800-1,000
$1,300-1,600
1,200-1,400
167
n364
A LATE LOUIS XV ORMOLU-MOUNTED BOIS SATINE AND
TRELLIS PARQUETRY OCCASIONAL TABLE
CIRCA 1770
With an oval pierced gallery surrounding a Gris Saint Anne marble

detachable top, the frieze with simulated drawer to each end, probably
originally with jardinire liner
1,500-2,500
$2,400-3,900
2,100-3,500
n365
A COLONIAL BRASS-MOUNTED HARDWOOD
FOUR-POSTER BED
With turned supports, the head and footboards centred by a shell and
fanked by reeded S-scrolls
500-800
168
$780-1,200
700-1,100
n366
A LOUIS XVI PROVINCIAL BEECH CANED FAUTEUIL DE BUREAU
LATE 18TH CENTURY
With a later red cushion, on tapering futed legs, restorations; together with a beech caned
bergere, 19th century, of Louis XVI style
500-1,000
(2)
$780-1,600
700-1,400
n367
A LOUIS XV ORMOLU-MOUNTED TULIPWOOD, BOIS SATINE AND
FLORAL MARQUETRY SEMAINIER
THIRD QUARTER 18TH CENTURY
The serpentine grey-veined white marble top above seven drawers inlaid with foliage, later
re-mounted
2,000-3,000
n368
$3,200-4,700
2,800-4,200
A GEORGE IV BRASS-MOUNTED BEECH DAYBED

EARLY 19TH CENTURY
The padded back, scroll ends and squab cushion covered in printed foliate cotton, on splayed
reeded legs, two legs repaired
32 in. (82 cm.) high; 70 in. (178 cm.) long; 26 in. (66 cm.) deep
700-1,000
$1,100-1,600
980-1,400
END OF SALE
169
Conditions of Sale Buying at Christies

CONDITIONS OF SALE
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out
the terms on which we offer the lots listed in this
catalogue for sale. By registering to bid and/or by
bidding at auction you agree to these terms, so
you should read them carefully before doing so.
You will find a glossary at the end explaining the
meaning of the words and expressions coloured
in bold.
Unless we own a lot ( symbol, Christies acts as
agent for the seller.
A BEFORE THE SALE
1 DESCRIPTION OF LOTS
(a) Certain words used in the catalogue description
have special meanings. You can find details of
these on the page headed Important Notices and
Explanation of Cataloguing Practice which forms
part of these terms. You can find a key to the
Symbols found next to certain catalogue entries
under the section of the catalogue called Symbols
Used in this Catalogue.
(b) Our description of any lot in the catalogue,
any condition report and any other statement
made by us (whether orally or in writing) about
any lot, including about its nature or condition,
artist, period, materials, approximate dimensions
or provenance are our opinion and not to be
relied upon as a statement of fact. We do not carry
out in-depth research of the sort carried out by
professional historians and scholars. All dimensions
and weights are approximate only.
2 OUR RESPONSIBILITY FOR OUR
DESCRIPTION OF LOTS
We do not provide any guarantee in relation to
the nature of a lot apart from our authenticity
warranty contained in paragraph E2 and to the
extent provided in paragraph I below.
3 CONDITION
(a) The condition of lots sold in our auctions
can vary widely due to factors such as age, previous
damage, restoration, repair and wear and tear. Their
nature means that they will rarely be in perfect
condition. Lots are sold as is, in the condition
they are in at the time of the sale, without any
representation or warranty or assumption of liability
of any kind as to condition by Christies or by the
seller.
(b) Any reference to condition in a catalogue
entry or in a condition report will not amount to a
full description of condition, and images may not
show a lot clearly. Colours and shades may look
different in print or on screen to how they look
on physical inspection. Condition reports may be
available to help you evaluate the condition of a
lot. Condition reports are provided free of charge
as a convenience to our buyers and are for guidance
only. They offer our opinion but they may not refer
to all faults, inherent defects, restoration, alteration
or adaptation because our staff are not professional
restorers or conservators. For that reason they are
not an alternative to examining a lot in person
or taking your own professional advice. It is your
responsibility to ensure that you have requested,
received and considered any condition report.
4 VIEWING LOTS PRE-AUCTION
(a) If you are planning to bid on a lot, you should
inspect it personally or through a knowledgeable
representative before you make a bid to make sure
that you accept the description and its condition.
We recommend you get your own advice from a
restorer or other professional adviser.
(b) Pre-auction viewings are open to the public
free of charge. Our specialists may be available to
answer questions at pre-auction viewings or by
appointment.
5 ESTIMATES
Estimates are based on the condition, rarity,
quality and provenance of the lots and on
prices recently paid at auction for similar property.
Estimates can change. Neither you, nor anyone
else, may rely on any estimates as a prediction
or guarantee of the actual selling price of a lot or
its value for any other purpose. Estimates do not
include the buyers premium or any applicable
taxes.
6 WITHDRAWAL
Christies may, at its option, withdraw any lot at any
time prior to or during the sale of the lot. Christies
has no liability to you for any decision to withdraw.
2 RETURNING BIDDERS
We may at our option ask you for current identification as described in paragraph B1(a) above,
a financial reference or a deposit as a condition
of allowing you to bid. If you have not bought
anything from any of our salerooms in the last two
7 JEWELLERY
(a) Coloured gemstones (such as rubies, sapphires years or if you want to spend more than on previous
and emeralds) may have been treated to improve occasions, please contact our Credit Department on
their look, through methods such as heating and +44 (0)20 7839 9060.
oiling. These methods are accepted by the international jewellery trade but may make the gemstone 3 IF YOU FAIL TO PROVIDE THE
RIGHT DOCUMENTS
less strong and/or require special care over time.
(b) All types of gemstones may have been improved If in our opinion you do not satisfy our bidder
by some method. You may request a gemmological identification and registration procedures including,
report for any item which does not have a report if the but not limited to completing any anti-money
request is made to us at least three weeks before the laundering and/or anti-terrorism financing checks
date of the auction and you pay the fee for the report. we may require to our satisfaction, we may refuse
(c) We do not obtain a gemmological report for to register you to bid, and if you make a successful
every gemstone sold in our auctions. Where we bid, we may cancel the contract for sale between
do get gemmological reports from internationally you and the seller.
accepted gemmological laboratories, such reports
will be described in the catalogue. Reports from 4 BIDDING ON BEHALF OF
American gemmological laboratories will describe
ANOTHER PERSON
any improvement or treatment to the gemstone. If you are bidding on behalf of another person,
Reports from European gemmological laboratories that person will need to complete the registration
will describe any improvement or treatment only requirements above before you can bid, and supply
if we request that they do so, but will confirm a signed letter authorising you to bid for him/
when no improvement or treatment has been her. A bidder accepts personal liability to pay the
made. Because of differences in approach and purchase price and all other sums due unless it
technology, laboratories may not agree whether a has been agreed in writing with Christies before
particular gemstone has been treated, the amount commencement of the auction that the bidder is
of treatment or whether treatment is permanent. acting as an agent on behalf of a named third party
The gemmological laboratories will only report acceptable to Christies and that Christies will only
on the improvements or treatments known to the seek payment from the named third party.
laboratories at the date of the report.
(d) For jewellery sales, estimates are based on the 5 BIDDING IN PERSON
information in any gemmological report or, if no If you wish to bid in the saleroom you must
report is available, assume that the gemstones may register for a numbered bidding paddle at least
have been treated or enhanced.
30 minutes before the auction. You may register
online at www.christies.com or in person. For
8 WATCHES & CLOCKS
help, please contact the Credit Department on +44
(a) Almost all clocks and watches are repaired in (0)20 7839 9060.
their lifetime and may include parts which are
not original. We do not give a warranty that 6 BIDDING SERVICES
any individual component part of any watch is The bidding services described below are a free
authentic. Watchbands described as associated service offered as a convenience to our clients and
are not part of the original watch and may not be Christies is not responsible for any error (human
authentic. Clocks may be sold without pendulums, or otherwise), omission or breakdown in providing
weights or keys.
these services.
(b) As collectors watches often have very fine and
complex mechanisms, a general service, change of (a) Phone Bids
battery or further repair work may be necessary,
Your request for this service must be made no
for which you are responsible. We do not give a
later than 24 hours prior to the auction. We
warranty that any watch is in good working order.
will accept bids by telephone for lots only if our
Certificates are not available unless described in
staff are available to take the bids. If you need
the catalogue.
to bid in a language other than in English, you
(c) Most wristwatches have been opened to find out must arrange this well before the auction. We
the type and quality of movement. For that reason, may record telephone bids. By bidding on the
wristwatches with water resistant cases may not be telephone, you are agreeing to us recording your
waterproof and we recommend you have them conversations. You also agree that your telephone
checked by a competent watchmaker before use.
bids are governed by these Conditions of Sale.
Important information about the sale, transport and
shipping of watches and watchbands can be found
(b) Internet Bids on Christies Live
in paragraph H2(h).
For certain auctions we will accept bids over
the Internet. Please visit www.christies.com/
B
REGISTERING TO BID
livebidding and click on the Bid Live icon to see
1 NEW BIDDERS
details of how to watch, hear and bid at the auction
(a) If this is your first time bidding at Christies or from your computer. As well as these Conditions
you are a returning bidder who has not bought of Sale, internet bids are governed by the Christies
anything from any of our salerooms within the last LIVE terms of use which are available on www.
two years you must register at least 48 hours before christies.com.
an auction to give us enough time to process and
approve your registration. We may, at our option, (c) Written Bids
decline to permit you to register as a bidder. You You can find a Written Bid Form at the back of our
will be asked for the following:
catalogues, at any Christies office or by choosing
(i) for individuals: Photo identification (driving the sale and viewing the lots online at www.
licence, national identity card or passport) and, if christies.com. We must receive your completed
not shown on the ID document, proof of your Written Bid Form at least 24 hours before the
current address (for example, a current utility bill auction. Bids must be placed in the currency of the
or bank statement).
saleroom. The auctioneer will take reasonable steps
(ii) for corporate clients: Your Certificate of to carry out written bids at the lowest possible price,
Incorporation or equivalent document(s) showing taking into account the reserve. If you make a
your name and registered address together with written bid on a lot which does not have a reserve
documentary proof of directors and beneficial and there is no higher bid than yours, we will bid
owners; and
on your behalf at around 50% of the low estimate
(iii) for trusts, partnerships, offshore companies or, if lower, the amount of your bid. If we receive
and other business structures, please contact us in written bids on a lot for identical amounts, and at
advance to discuss our requirements.
the auction these are the highest bids on the lot,
(b) We may also ask you to give us a financial we will sell the lot to the bidder whose written bid
reference and/or a deposit as a condition of we received first.
allowing you to bid. For help, please contact our
Credit Department on +44 (0)20 7839 9060.
C
AT THE SALE
1 WHO CAN ENTER THE AUCTION
We may, at our option, refuse admission to our
premises or decline to permit participation in any
auction or to reject any bid.
2 RESERVES
Unless otherwise indicated, all lots are subject to a
reserve. We identify lots that are offered without
reserve with the symbol next to the lot number.
The reserve cannot be more than the lots low
estimate.
3 AUCTIONEERS DISCRETION
The auctioneer can at his sole option:
(a) refuse any bid;
(b) move the bidding backwards or forwards in any
way he or she may decide, or change the order of
the lots;
(c) withdraw any lot;
(d) divide any lot or combine any two or more
lots;
(e) reopen or continue the bidding even after the
hammer has fallen; and
(f) in the case of error or dispute and whether
during or after the auction, to continue the bidding,
determine the successful bidder, cancel the sale of
the lot, or reoffer and resell any lot. If any dispute
relating to bidding arises during or after the auction,
the auctioneers decision in exercise of this option is
final.
4 BIDDING
The auctioneer accepts bids from:
(a) bidders in the saleroom;
(b) telephone bidders, and internet bidders through
Christies LIVE (as shown above in Section B6);
and
(c) written bids (also known as absentee bids or
commission bids) left with us by a bidder before the
auction.
5 BIDDING ON BEHALF OF THE SELLER
The auctioneer may, at his or her sole option, bid
on behalf of the seller up to but not including
the amount of the reserve either by making
consecutive bids or by making bids in response
to other bidders. The auctioneer will not identify
these as bids made on behalf of the seller and will
not make any bid on behalf of the seller at or above
the reserve. If lots are offered without reserve, the
auctioneer will generally decide to open the bidding
at 50% of the low estimate for the lot. If no bid
is made at that level, the auctioneer may decide to
go backwards at his or her sole option until a bid
is made, and then continue up from that amount.
In the event that there are no bids on a lot, the
auctioneer may deem such lot unsold.
6 BID INCREMENTS
Bidding generally starts below the low estimate and
increases in steps (bid increments). The auctioneer
will decide at his or her sole option where the
bidding should start and the bid increments. The
usual bid increments are shown for guidance only on
the Written Bid Form at the back of this catalogue.
7 CURRENCY CONVERTER
The saleroom video screens (and Christies LIVETM)
may show bids in some other major currencies as
well as sterling. Any conversion is for guidance only
and we cannot be bound by any rate of exchange
used. Christies is not responsible for any error
(human or otherwise), omission or breakdown in
providing these services.
8 SUCCESSFUL BIDS
Unless the auctioneer decides to use his or her
discretion as set out in paragraph C3 above, when
the auctioneers hammer strikes, we have accepted
the last bid. This means a contract for sale has been
formed between the seller and the successful bidder.
We will issue an invoice only to the registered
bidder who made the successful bid. While we
send out invoices by post and/or email after the
auction, we do not accept responsibility for telling
you whether or not your bid was successful. If you
have bid by written bid, you should contact us by
telephone or in person as soon as possible after the
auction to get details of the outcome of your bid
to avoid having to pay unnecessary storage charges.
9 LOCAL BIDDING LAWS

You agree that when bidding in any of our sales
that you will strictly comply with all local laws and
regulations in force at the time of the sale for the
relevant sale site.
D
THE BUYERS PREMIUM, TAXES

AND ARTISTS RESALE ROYALTY
1 THE BUYERS PREMIUM
In addition to the hammer price, the successful
bidder agrees to pay us a buyers premium
on the hammer price of each lot sold. On all
lots we charge 25% of the hammer price up
to and including 50,000, 20% on that part of
the hammer price over 50,000 and up to and
including 1,000,000, and 12% of that part of the
hammer price above 1,000,000.
2 TAXES
The successful bidder is responsible for any applicable
tax including any VAT, sales or compensating use
tax or equivalent tax wherever they arise on the
hammer price and the buyers premium. It is
the buyers responsibility to ascertain and pay all
taxes due. You can find details of how VAT and
VAT reclaims are dealt with in the section of the
catalogue headed VAT Symbols and Explanation.
VAT charges and refunds depend on the particular
circumstances of the buyer so this section, which
is not exhaustive, should be used only as a general
guide. In all circumstances EU and UK law takes
precedence. If you have any questions about VAT,
please contact Christies VAT Department on +44
(0)20 7839 9060 (email: VAT_london@christies.
com, fax: +44 (0)20 3219 6076).
3 ARTISTS RESALE ROYALTY
In certain countries, local laws entitle the artist or
the artists estate to a royalty known as artists resale
right when any lot created by the artist is sold. We
identify these lots with the symbol next to the
lot number. If these laws apply to a lot, you must
pay us an extra amount equal to the royalty. We
will pay the royalty to the appropriate authority on
the sellers behalf.
The artists resale royalty applies if the hammer
price of the lot is 1,000 euro or more. The total
royalty for any lot cannot be more than 12,500
euro. We work out the amount owed as follows:
Royalty for the portion of the hammer price
(in euros)
4% up to 50,000
3% between 50,000.01 and 200,000
1% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
over 500,000, the lower of 0.25% and 12,500 euro.
We will work out the artists resale royalty using the
euro to sterling rate of exchange of the European
Central Bank on the day of the auction.
E
WARRANTIES
1 SELLERS WARRANTIES
For each lot, the seller gives a warranty that the
seller:
(a) is the owner of the lot or a joint owner of
the lot acting with the permission of the other
co-owners or, if the seller is not the owner or a joint
owner of the lot, has the permission of the owner to
sell the lot, or the right to do so in law; and
(b) has the right to transfer ownership of the lot
to the buyer without any restrictions or claims by
anyone else.
If either of the above warranties are incorrect, the
seller shall not have to pay more than the purchase
price (as defined in paragraph F1(a) below) paid
by you to us. The seller will not be responsible to
you for any reason for loss of profits or business,
expected savings, loss of opportunity or interest,
costs, damages, other damages or expenses. The
seller gives no warranty in relation to any lot
other than as set out above and, as far as the seller
is allowed by law, all warranties from the seller
to you, and all other obligations upon the seller
which may be added to this agreement by law, are
excluded.
2 OUR AUTHENTICITY WARRANTY
We warrant, subject to the terms below, that the lots in
our sales are authentic (our authenticity warranty).
If, within five years of the date of the auction, you
satisfy us that your lot is not authentic, subject to the
terms below, we will refund the purchase price paid
by you. The meaning of authentic can be found in
the glossary at the end of these Conditions of Sale. The
terms of the authenticity warranty are as follows:

(a) It will be honoured for a period of five years
from the date of the auction. After such time, we
will not be obligated to honour the authenticity
warranty.
(b) It is given only for information shown in
UPPERCASE type in the first line of the
catalogue description (the Heading). It does
not apply to any information other than in the
Heading even if shown in UPPERCASE type.
(c) The authenticity warranty does not apply
to any Heading or part of a Heading which
is qualified. Qualified means limited by a
clarification in a lots catalogue description or
by the use in a Heading of one of the terms listed
in the section titled Qualified Headings on the
page of the catalogue headed Important Notices
and Explanation of Cataloguing Practice. For
example, use of the term ATTRIBUTED TO
in a Heading means that the lot is in Christies
opinion probably a work by the named artist but no
warranty is provided that the lot is the work of the
named artist. Please read the full list of Qualified
Headings and a lots full catalogue description
before bidding.
(d) The authenticity warranty applies to the
Heading as amended by any Saleroom Notice.
(e) The authenticity warranty does not apply
where scholarship has developed since the auction
leading to a change in generally accepted opinion.
Further, it does not apply if the Heading either
matched the generally accepted opinion of experts
at the date of the sale or drew attention to any
conflict of opinion.
(f) The authenticity warranty does not apply if
the lot can only be shown not to be authentic by
a scientific process which, on the date we published
the catalogue, was not available or generally
accepted for use, or which was unreasonably
expensive or impractical, or which was likely to
have damaged the lot.
(g) The benefit of the authenticity warranty
is only available to the original buyer shown on
the invoice for the lot issued at the time of the
sale and only if the original buyer has owned the
lot continuously between the date of the auction
and the date of claim. It may not be transferred to
anyone else.
(h) In order to claim under the authenticity
warranty you must:
(i) give us written details, including full supporting
evidence, of any claim within five years of the date
of the auction;
(ii) at Christies option, we may require you to
provide the written opinions of two recognised
experts in the field of the lot mutually agreed by
you and us in advance confirming that the lot is
not authentic. If we have any doubts, we reserve
the right to obtain additional opinions at our
expense; and
(iii) return the lot at your expense to the saleroom
from which you bought it in the condition it was
in at the time of sale.
(i) Your only right under this authenticity
warranty is to cancel the sale and receive a refund
of the purchase price paid by you to us. We
will not, in any circumstances, be required to pay
you more than the purchase price nor will we
be liable for any loss of profits or business, loss of
opportunity or value, expected savings or interest,
costs, damages, other damages or expenses.
(j) Books. Where the lot is a book, we give an
additional warranty for 14 days from the date of
the sale that if on collation any lot is defective in
text or illustration, we will refund your purchase
price, subject to the following terms:
(a) This additional warranty does not apply to:
(i) the absence of blanks, half titles, tissue guards
or advertisements, damage in respect of bindings,
stains, spotting, marginal tears or other defects not
affecting completeness of the text or illustration;
(ii) drawings, autographs, letters or manuscripts,
signed photographs, music, atlases, maps or
periodicals;
(iii) books not identified by title;
(iv) lots sold without a printed estimate;
(v) books which are described in the catalogue as
sold not subject to return; or
(vi) defects stated in any condition report or
announced at the time of sale.
(b) To make a claim under this paragraph you must
give written details of the defect and return the lot
to the sale room at which you bought it in the same
condition as at the time of sale, within 14 days of
the date of the sale.
F
PAYMENT
1 HOW TO PAY
(a) Immediately following the auction, you must
pay the purchase price being:
(i) the hammer price; and
(ii) the buyers premium; and
(iii) any amounts due under section D3 above; and
(iv) any duties, goods, sales, use, compensating or
service tax or VAT.
Payment is due no later than by the end of the
seventh calendar day following the date of the
auction (the due date).
(b) We will only accept payment from the
registered bidder. Once issued, we cannot change
the buyers name on an invoice or re-issue the
invoice in a different name. You must pay
immediately even if you want to export the lot and
you need an export licence.
(c) You must pay for lots bought at Christies in
the United Kingdom in the currency stated on the
invoice in one of the following ways:
(i) Wire transfer
You must make payments to:
Lloyds Bank Plc, City Office, PO Box 217, 72
Lombard Street, London EC3P 3BT. Account
number: 00172710, sort code: 30-00-02 Swift
code: LOYDGB2LCTY. IBAN (international bank
account number): GB81 LOYD 3000 0200 1727
10.
(ii) Credit Card.
We accept most major credit cards subject to certain
conditions. To make a cardholder not present
(CNP) payment, you must complete a CNP
authorisation form which you can get from our
Cashiers Department. You must send a completed
CNP authorisation form by fax to +44 (0)20 7389
2869 or by post to the address set out in paragraph
(d) below. If you want to make a CNP payment
over the telephone, you must call +44 (0)20 7839
9060. CNP payments cannot be accepted by all
salerooms and are subject to certain restrictions.
Details of the conditions and restrictions applicable
to credit card payments are available from our
Cashiers Department, whose details are set out in
paragraph (d) below.
(iii) Cash
We accept cash subject to a maximum of 5,000
per buyer per year at our Cashiers Department only
(subject to conditions).
(iv) Bankers draft
You must make these payable to Christies and there
may be conditions.
(v) Cheque
You must make cheques payable to Christies.
Cheques must be from accounts in pounds sterling
from a United Kingdom bank.
(d) You must quote the sale number, your
invoice number and client number when making
a payment. All payments sent by post must be sent
to: Christies, Cashiers Department, 8 King Street,
St Jamess, London SW1Y 6QT.
(e) For more information please contact our
Cashiers Department by phone on +44 (0)20 7839
9060 or fax on +44 (0)20 7389 2869.
2. TRANSFERRING OWNERSHIP TO YOU
You will not own the lot and ownership of
the lot will not pass to you until we have
received full and clear payment of the
purchase
price, even in circumstances
where we have released the lot to the buyer.
3 TRANSFERRING RISK TO YOU
The risk in and responsibility for the lot will
transfer to you from whichever is the earlier of the
following:
(a) When you collect the lot; or
(b) At the end of the seventh day following the
date of the auction or, if earlier, the date the lot is
taken into care by a third party warehouse as set out
on the page headed Storage and Collection, unless
we have agreed otherwise with you.
4 WHAT HAPPENS IF YOU DO NOT PAY
(a) If you fail to pay us the purchase price in full
by the due date, we will be entitled to do one or
more of the following (as well as enforce our rights
under paragraph F5 and any other rights or remedies
we have by law):
(i) to charge interest from the due date at a rate of
5% a year above the UK Lloyds Bank base rate from
time to time on the unpaid amount due;
(ii) we can cancel the sale of the lot. If we do this,

we may sell the lot again, publicly or privately on
such terms we shall think necessary or appropriate,
in which case you must pay us any shortfall between
the purchase price and the proceeds from the
resale. You must also pay all costs, expenses, losses,
damages and legal fees we have to pay or may suffer
and any shortfall in the sellers commission on the
resale;
(iii) we can pay the seller an amount up to the net
proceeds payable in respect of the amount bid by
your default in which case you acknowledge and
understand that Christies will have all of the rights
of the seller to pursue you for such amounts;
(iv) we can hold you legally responsible for the
purchase price and may begin legal proceedings
to recover it together with other losses, interest,
legal fees and costs as far as we are allowed by law;
(v) we can take what you owe us from any amounts
which we or any company in the Christies Group
may owe you (including any deposit or other partpayment which you have paid to us);
(vi) we can, at our option, reveal your identity and
contact details to the seller;
(vii) we can 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;
(viii) to exercise all the rights and remedies of
a person holding security over any property in
our possession owned by you, whether by way
of pledge, security interest or in any other way
as permitted by the law of the place where such
property is located. You will be deemed to have
granted such security to us and we may retain such
property as collateral security for your obligations
to us; and
(ix) we can take any other action we see necessary
or appropriate.
(b) If you owe money to us or to another
Christies Group company, we can use any
amount you do pay, including any deposit or other
part-payment you have made to us, or which we
owe you, to pay off any amount you owe to us
or another Christies Group company for any
transaction.
5 KEEPING YOUR PROPERTY
If you owe money to us or to another Christies
Group company, as well as the rights set out in F4
above, we can use or deal with any of your property
we hold or which is held by another Christies
Group company in any way we are allowed to
by law. We will only release your property to you
after you pay us or the relevant Christies Group
company in full for what you owe. However, if we
choose, we can also sell your property in any way
we think appropriate. We will use the proceeds of
the sale against any amounts you owe us and we will
pay any amount left from that sale to you. If there is
a shortfall, you must pay us any difference between
the amount we have received from the sale and the
amount you owe us.
G COLLECTION AND STORAGE
1 COLLECTION
Once you have made full and clear payment, you
must collect the lot within seven days from the date
of the auction.
(a) You may not collect the lot until you have
made full and clear payment of all amounts due to
us.
(b) If you have paid for the lot in full but you do
not collect the lot within 90 calendar days after
the sale, we may sell it, unless otherwise agreed in
writing. If we do this, we will pay you the proceeds
of the sale after taking our storage charges and any
other amounts you owe us and any Christies
Group company.
(c) Information on collecting lots is set out on
an information sheet which you can get from the
bidder registration staff or Christies Cashiers +44
(0)20 7839 9060.
2 STORAGE
(a) If you have not collected the lot within seven
days from the date of the auction, we or our
appointed agents can:
(i) charge you storage fees while the lot is still at
our saleroom; or
(ii) remove the lot at our option to a warehouse
and charge you all transport and storage costs
(b) Details of the removal of the lot to a warehouse,
fees and costs are set out at the back of the catalogue
on the page headed Storage and Collection. You
may be liable to our agent directly for these costs.
H TRANSPORT AND SHIPPING

1
TRANSPORT AND SHIPPING
We will enclose a transport and shipping form
with each invoice sent to you. You must make all
transport and shipping arrangements. However,
we can arrange to pack, transport and ship your
property if you ask us to and pay the costs of
doing so. We recommend that you ask us for an
estimate, especially for any large items or items
of high value that need professional packing before
you bid. We may also suggest other handlers,
packers, transporters or experts if you ask us to do
so. For more information, please contact Christies
Art Transport on +44 (0)20 7839 9060. See
the information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com. We will take reasonable care when
we are handling, packing, transporting and shipping
a lot. However, if we recommend another company
for any of these purposes, we are not responsible for
their acts, failure to act or neglect.
2 EXPORT AND IMPORT
Any lot sold at auction may be affected by laws
on exports from the country in which it is sold
and the import restrictions of other countries.
Many countries require a declaration of export
for property leaving the country and/or an import
declaration on entry of property into the country.
Local laws may prevent you from importing a lot
or may prevent you selling a lot in the country you
import it into.
(a) You alone are responsible for getting advice
about and meeting the requirements of any laws or
regulations which apply to exporting or importing
any lot prior to bidding. If you are refused a licence
or there is a delay in getting one, you must still
pay us in full for the lot. We may be able to help
you apply for the appropriate licences if you ask
us to and pay our fee for doing so. However, we
cannot guarantee that you will get one. For more
information, please contact Christies Art Transport
Department on +44 (0)20 7839 9060. See the
information set out at www.christies.com/
shipping or contact us at arttransport_london@
christies.com.
(b) Lots made of protected species
Lots made of or including (regardless of the
percentage) endangered and other protected species
of wildlife are marked with the symbol ~ in the
catalogue. This material includes, among other
things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and
Brazilian rosewood. You should check the relevant
customs laws and regulations before bidding on any
lot containing wildlife material if you plan to import
the lot into another country. Several countries
refuse to allow you to import property containing
these materials, and some other countries require
a licence from the relevant regulatory agencies in
the countries of exportation as well as importation.
In some cases, the lot can only be shipped with
an independent scientific confirmation of species
and/or age and you will need to obtain these at
your own cost. If a lot contains elephant ivory, or
any other wildlife material that could be confused
with elephant ivory (for example, mammoth ivory,
walrus ivory, helmeted hornbill ivory), please see
further important information in paragraph (c) if
you are proposing to import the lot into the USA.
We will not be obliged to cancel your purchase and
refund the purchase price if your lot may not be
exported, imported or it is seized for any reason by
a government authority. It is your responsibility
to determine and satisfy the requirements of any
applicable laws or regulations relating to the export
or import of property containing such protected or
regulated material.
(c) US import ban on African elephant ivory
The USA prohibits the import of ivory from the
African elephant. Any lot containing elephant
ivory or other wildlife material that could be
easily confused with elephant ivory (for example,
mammoth ivory, walrus ivory, helmeted hornbill
ivory) can only be imported into the US with
results of a rigorous scientific test acceptable to Fish
& Wildlife, which confirms that the material is not
African elephant ivory. Where we have conducted
such rigorous scientific testing on a lot prior to sale,
we will make this clear in the lot description. In
all other cases, we cannot confirm whether a lot
contains African elephant ivory, and you will buy
that lot at your own risk and be responsible for any
scientific test or other reports required for import
into the USA at your own cost. If such scientific test
is inconclusive or confirms the material is from the
African elephant, we will not be obliged to cancel
your purchase and refund the purchase price.
(d) Lots containing material that originates

from Burma (Myanmar)
Lots which contain rubies or jadeite originating in
Burma (Myanmar) may not generally be imported
into the United States. As a convenience to US
buyers, lots which contain rubies or jadeite of
Burmese or indeterminate origin have been marked
with the symbol in the catalogue. In relation to
items that contain any other types of gemstones
originating in Burma (e.g. sapphires) such items may
be imported into the United States provided that the
gemstones have been mounted or incorporated into
jewellery outside of Burma and provided that the
setting is not of a temporary nature (e.g. a string).
(e) Lots of Iranian origin
Some countries prohibit or restrict the purchase and/
or import of Iranian-origin works of conventional
craftsmanship (works that are not by a recognised
artist and/or that have a function, for example:
carpets, bowls, ewers, tiles, ornamental boxes). For
example, the USA prohibits the import of this
type of property and its purchase by US persons
(wherever located). Other countries, such as Canada,
only permit the import of this property in certain
circumstances. As a convenience to buyers, Christies
indicates under the title of a lot if the lot originates
from Iran (Persia). It is your responsibility to ensure
you do not bid on or import a lot in contravention
of the sanctions or trade embargoes that apply to you.
(f) Gold
Gold of less than 18ct does not qualify in all
countries as gold and may be refused import into
those countries as gold.
(g) Jewellery over 50 years old
Under current laws, jewellery over 50 years old
which is worth 34,300 or more will require an
export licence which we can apply for on your
behalf. It may take up to eight weeks to obtain the
export jewellery licence.
(h) Watches
(i) Many of the watches offered for sale in
this catalogue are pictured with straps made of
endangered or protected animal materials such as
alligator or crocodile. These lots are marked with
the symbol ~ in the catalogue. These endangered
species straps are shown for display purposes only
and are not for sale. Christies will remove and
retain the strap prior to shipment from the sale
site. At some sale sites, Christies may, at its
discretion, make the displayed endangered species
strap available to the buyer of the lot free of charge
if collected in person from the sale site within one
year of the date of the sale. Please check with the
department for details on a particular lot.
(ii) The importation of luxury watches such as
Rolex into the United States is highly restricted.
Such watches may not be shipped to the United
States and can only be imported personally.
Generally, a buyer may import only one watch into
the United States at a time. In this catalogue, these
watches have been marked with a . This will not
affect your responsibility to pay for the lot. For
further information please contact our specialists in
charge of the sale.
For all symbols and other markings referred to in
paragraph H2, please note that lots are marked as a
convenience to you, but we do not accept liability
for errors or for failing to mark lots.
I
OUR LIABILITY TO YOU
(a) We give no warranty in relation to any
statement made, or information given, by us or our
representatives or employees, about any lot other
than as set out in the authenticity warranty and,
as far as we are allowed by law, all warranties and
other terms which may be added to this agreement
by law are excluded. The sellers warranties
contained in paragraph E1 are their own and we
do not have any liability to you in relation to those
warranties.
(b) (i) We are not responsible to you for any reason
(whether for breaking this agreement or any other
matter relating to your purchase of, or bid for, any
lot) other than in the event of fraud or fraudulent
misrepresentation by us or other than as expressly set
out in these Conditions of Sale; or
(ii) give any representation, warranty or guarantee
or assume any liability of any kind in respect of
any lot with regard to merchantability, fitness
for a particular purpose, description, size, quality,
condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature, or historical relevance. Except as
required by local law, any warranty of any kind is
excluded by this paragraph.
(c) In particular, please be aware that our written
and telephone bidding services, Christies LIVE,
condition reports, currency converter and
saleroom video screens are free services and we

are not responsible to you for any error (human or
otherwise), omission or breakdown in these services.
(d) We have no responsibility to any person other
than a buyer in connection with the purchase of any
lot.
(e) If, in spite of the terms in paragraphs (a) to (d)
or E2(i) above, we are found to be liable to you for
any reason, we shall not have to pay more than the
purchase price paid by you to us. We will not be
responsible to you for any reason for loss of profits
or business, loss of opportunity or value, expected
savings or interest, costs, damages, or expenses.
J
OTHER TERMS
1
OUR ABILITY TO CANCEL
In addition to the other rights of cancellation
contained in this agreement, we can cancel a sale of
a lot if we reasonably believe that completing the
transaction is, or may be, unlawful or that the sale
places us or the seller under any liability to anyone
else or may damage our reputation.
2 RECORDINGS
We may videotape and record proceedings at any
auction. We will keep any personal information
confidential, except to the extent disclosure is
required by law. However, we may, through this
process, use or share these recordings with another
Christies Group company and marketing partners
to analyse our customers and to help us to tailor
our services for buyers. If you do not want to be
videotaped, you may make arrangements to make
a telephone or written bid or bid on Christies
LIVE instead. Unless we agree otherwise
in writing, you may not videotape or record
proceedings at any auction.
3 COPYRIGHT
We own the copyright in all images, illustrations and
written material produced by or for us relating to a
lot (including the contents of our catalogues unless
otherwise noted in the catalogue). You cannot use
them without our prior written permission. We
do not offer any guarantee that you will gain any
copyright or other reproduction rights to the lot.
4 ENFORCING THIS AGREEMENT
If a court finds that any part of this agreement is not
valid or is illegal or impossible to enforce, that part
of the agreement will be treated as being deleted
and the rest of this agreement will not be affected.
5
TRANSFERRING YOUR RIGHTS

AND RESPONSIBILITIES
You may not grant a security over or transfer your
rights or responsibilities under these terms on the
contract of sale with the buyer unless we have
given our written permission. This agreement will
be binding on your successors or estate and anyone
who takes over your rights and responsibilities.
6 TRANSLATIONS
If we have provided a translation of this agreement,
we will use this original version in deciding any
issues or disputes which arise under this agreement.
7 PERSONAL INFORMATION
We will hold and process your personal information
and may pass it to another Christies Group
company for use as described in, and in line with,
our privacy policy at www.christies.com.
8 WAIVER
No failure or delay to exercise any right or remedy
provided under these Conditions of Sale shall
constitute a waiver of that or any other right or
remedy, nor shall it prevent or restrict the further
exercise of that or any other right or remedy. No
single or partial exercise of such right or remedy
shall prevent or restrict the further exercise of that
or any other right or remedy.
9 LAW AND DISPUTES
This agreement, and any non-contractual obligations
arising out of or in connection with this agreement, or
any other rights you may have relating to the purchase
of a lot will be governed by the laws of England and
Wales. Before we or you start any court proceedings
(except in the limited circumstances where the dispute,
controversy or claim is related to proceedings brought
by someone else and this dispute could be joined
to those proceedings), we agree we will each try to
settle the dispute by mediation following the Centre
for Effective Dispute Resolution (CEDR) Model
Mediation Procedure. We will use a mediator affiliated
with CEDR who we and you agree to. If the dispute is
not settled by mediation, you agree for our benefit that

the dispute will be referred to and dealt with exclusively
in the courts of England and Wales. However, we will
have the right to bring proceedings against you in any
other court.
10 REPORTING ON
WWW.CHRISTIES.COM
Details of all lots sold by us, including catalogue
descriptions and prices, may be reported on
www.christies.com. Sales totals are hammer
price plus buyers premium and do not reflect
costs, financing fees, or application of buyers or
sellers credits. We regret that we cannot agree
to requests to remove these details from www.
christies.com.
K
GLOSSARY
authentic: a genuine example, rather than a copy
or forgery of:
(i) the work of a particular artist, author or
manufacturer, if the lot is described in the
Heading as the work of that artist, author or
manufacturer;
(ii) a work created within a particular period or
culture, if the lot is described in the Heading as a
work created during that period or culture;
(iii) a work for a particular origin source if the lot
is described in the Heading as being of that origin
or source; or
(iv) in the case of gems, a work which is made of
a particular material, if the lot is described in the
Heading as being made of that material.
authenticity warranty: the guarantee we give in
this agreement that a lot is authentic as set out in
section E2 of this agreement.
buyers premium: the charge the buyer pays us
along with the hammer price.
catalogue description: the description of a lot
in the catalogue for the auction, as amended by any
saleroom notice.
Christies Group: Christies International Plc,
its subsidiaries and other companies within its
corporate group.
condition: the physical condition of a lot.
due date: has the meaning given to it in paragraph
F1(a).
estimate: the price range included in the catalogue
or any saleroom notice within which we believe
a lot may sell. Low estimate means the lower
figure in the range and high estimate means the
higher figure. The mid estimate is the midpoint
between the two.
hammer price: the amount of the highest bid the
auctioneer accepts for the sale of a lot.
Heading: has the meaning given to it in paragraph
E2.
lot: an item to be offered at auction (or two or
more items to be offered at auction as a group).
other damages: any special, consequential,
incidental or indirect damages of any kind or any
damages which fall within the meaning of special,
incidental or consequential under local law.
purchase price: has the meaning given to it in
paragraph F1(a).
provenance: the ownership history of a lot.
qualified: has the meaning given to it in paragraph
E2 and Qualified Headings means the section
headed Qualified Headings on the page of
the catalogue headed Important Notices and
Explanation of Cataloguing Practice.
reserve: the confidential amount below which we
will not sell a lot.
saleroom notice: a written notice posted next to
the lot in the saleroom and on www.christies.
com, which is also read to prospective telephone
bidders and notified to clients who have left
commission bids, or an announcement made by the
auctioneer either at the beginning of the sale, or
before a particular lot is auctioned.
UPPER CASE type: means having all capital
letters.
warranty: a statement or representation in which
the person making it guarantees that the facts set
out in it are correct.
Vat Symbols and Explanation

You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of
the catalogue headed Conditions of Sale
VAT payable
Symbol
No
Symbol
We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyers premium
and shown separately on our invoice.
For qualifying books only, no VAT is payable on the hammer price or the buyers premium.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyers premium but will not be shown separately
on our invoice.
These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyers premium but will not be shown separately on our invoice.
The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see symbol above)
For wine offered in bond only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be
charged on the Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the
buyers premium and shown on the invoice.
VAT refunds: what can I reclaim?

If you are:
A non VAT registered
UK or EU buyer
UK VAT registered
buyer
EU VAT registered
buyer
No VAT refund is possible

No symbol and
* and
Subject to HMRCs rules, you can reclaim the Import VAT charged on the hammer price through
your own VAT return when you are in receipt of a C79 form issued by HMRC. The VAT
amount in the buyers premium is invoiced under Margin Scheme rules so cannot normally be
claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under
standard VAT rules (as if the lot had been sold with a symbol) then, subject to HMRCs rules,
you can reclaim the VAT charged through your own VAT return.
No Symbol and
The VAT amount in the buyers premium cannot be refunded. However,

on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT
rules (as if the lot had been sold with a symbol).
See below for the rules that would then apply.
If you provide us with your EU VAT number we will not charge VAT on the
buyers premium. We will also refund the VAT on the hammer price if you
ship the lot from the UK and provide us with proof of shipping, within three months
of collection.
* and
The VAT amount on the hammer and in the buyers premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol).
See above for the rules that would then apply.
If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:
Non EU buyer
No Symbol
1. We CANNOT offer refunds of VAT

amounts or Import VAT to buyers who do
not meet all applicable conditions in full. If
you are unsure whether you will be entitled
to a refund, please contact Client Services at
the address below before you bid.
2. No VAT amounts or Import VAT
will be refunded where the total refund is
under 100.
3. In order to receive a refund of VAT
amounts/Import VAT (as applicable) nonEU buyers must:
The VAT amount in the buyers premium cannot be refunded.

However, on request we can re-invoice you outside of the VAT Margin Scheme under normal
UK VAT rules (as if the lot had been sold with a symbol). Subject to HMRCs rules,
you can then reclaim the VAT charged through your own VAT return.
We will refund the VAT amount in the buyers premium.
and
We will refund the VAT charged on the hammer price. VAT on the buyers premium can
only be refunded if you are an overseas business.
The VAT amount in the buyers premium cannot be refunded to non-trade clients.
(wine only)
No Excise Duty or Clearance VAT will be charged on the hammer price providing you export
the wine while in bond directly outside the EU using an Excise authorised shipper. VAT on the
buyers premium can only be refunded if you are an overseas business. The VAT amount in
the buyers premium cannot be refunded to non-trade clients.
* and
We will refund the Import VAT charged on the hammer price and the VAT amount
in the buyers premium.
(a) have registered to bid with an address

outside of the EU; and
(b) provide immediate proof of correct
export out of the EU within the required
time frames of: 30 days via a controlled
export for * and lots. All other lots
must be exported within three months of
collection.
4. Details of the documents which you
must provide to us to show satisfactory proof
of export/shipping are available from our
VAT team at the address below.
We charge a processing fee of 35.00

per invoice to check shipping/export
documents. We will waive this processing
fee if you appoint Christies Shipping
Department to arrange your export/
shipping.
5. If you appoint Christies Art Transport
or one of our authorised shippers to arrange
your export/shipping we will issue you
with an export invoice with the applicable
VAT or duties cancelled as outlined above.
If you later cancel or change the shipment
in a manner that infringes the rules outlined

above we will issue a revised invoice
charging you all applicable taxes/charges.
6. If you ask us to re-invoice you under
normal UK VAT rules (as if the lot had
been sold with a symbol) instead of under
the Margin Scheme the lot may become
ineligible to be resold using the Margin
Schemes. You should take professional
advice if you are unsure how this may
affect you.
7. All reinvoicing requests must be

received within four years from the date
of sale.
If you have any questions about VAT
refunds please contact Christies Client
Services on info@christies.com
Tel: +44 (0)20 7389 2886.
Fax: +44 (0)20 7839 1611.
Symbols used in this catalogue

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed Conditions of Sale.
Christies has a direct financial interest in the

lot. See Important Notices and Explanation
of Cataloguing Practice.
Owned by Christies or another Christies

Group company in whole or part. See
Important Notices and Explanation of
Cataloguing Practice.
Christies has a direct financial interest in

the lot and has funded all or part of our
interest with the help of someone else.
See Important Notices and Explanation of
Cataloguing Practice.
Artists Resale Right. See Section D3 of the

Conditions of Sale.
Lot offered without reserve which will be

sold to the highest bidder regardless of the
pre-sale estimate in the catalogue.
~
Lot incorporates material from endangered
species which could result in export
restrictions. See Section H2(b) of the
Conditions of Sale.
Lot which may not be able to be shipped to

the US. See Section H2(h)of the Conditions
of Sale.
Lot containing jadeite and rubies from Burma

or of indeterminate origin. See Section H2(d)
of the Conditions of Sale.
?, *, , , #,
See VAT Symbols and Explanation.
See Storage and Collection Pages on South

Kensington sales only.
Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to,
mark a lot.
Important Notices
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified
in the catalogue with the symbol next to its lot
number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an advance
to the consignor that is secured solely by consigned
property. Where Christies holds such financial interest
on its own we identify such lots with the symbol
next to the lot number. Where Christies has financed
all or part of such interest through a third party the
lots are identified in the catalogue with the symbol
. When a third party agrees to finance all or part of
Christies interest in a lot, it takes on all or part of the
risk of the lot not being sold, and will be remunerated
in exchange for accepting this risk based on a fixed
fee if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss.
Third party guarantors are required by us to disclose
to their clients their financial interest in any lots they
are guaranteeing. However, for the avoidance of any
doubts, if you are advised by or bidding through an
agent on a lot identified as being subject to a third
party guarantee you should always ask your agent
to confirm whether or not he or she has a financial
interest in relation to the lot.
174
Please see http://www.christies.com/financialinterest/ for a more detailed explanation of

minimum price guarantees and third party financing
arrangements.
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.
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

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
restoration 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.
FOR PICTURES, DRAWINGS, PRINTS

AND MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all
statements 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
EUROPEAN CERAMICS
A piece catalogued with the name of a factory, place
or region without further qualification was, in our
opinion, made in that factory, place or region (e.g.
A Worcester plate).
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
A plate in the Worcester style
In our opinion a copy or imitation of pieces made in
the named factory, place or region.
A Svres-pattern plate
In our opinion not made in the factory, place or
region named but using decoration inspired by
pieces made therein.A Pratt-ware plate
In our opinion not made in the factory, place or
region named but near in the style or period to
pieces made therein.
A Meissen cup and saucer
In our opinion both were made at the factory named
and match.
A Meissen cup and a saucer
In our opinion both pieces were made at the factory
named but do not necessarily match.
Modelled by
In our opinion made from the original master
mould made by the modeller and under his
supervision.After the model by
In our opinion made from the original master mould
made by that modeller but from a later mould based
on the original.
Painted by
In our opinion can properly be attributed to that
decorator on stylistic grounds.
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.
175
Storage and Collection

STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( ) 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 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 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.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
All charges are subject to VAT. Very large or heavy

items may 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 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 Ltd
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.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tate Ltds 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.
SHIPPING AND DELIVERY
Christies Art Transport can organise local
deliveries or international freight. Please contact
them on +44 (0) 20 7389 2712 or arttransport_
london@christies.com.
To ensure that arrangements for the transport of
your lot can be finalised before the expiry of any
free storage period, please contact Christies Art
Transport for a quote as soon as possible after
the sale. As storage is provided by a third party,
storage fees incurred while transport arrangements
are being finalised cannot be waived.
EXTENDED LIABILITY CHARGES

All services provided by Cadogan Tate 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 New York and Singapore FreePort.
CFASS is a separate subsidiary of Christies and
clients enjoy complete confidentiality.
Visit www.cfass.com for charges and other details.
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
28/10/14
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 881214

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
+33 (0)1 40 76 85 85
GERMANY
DSSELDORF
+49 (0)21 14 91 59 352

Arno Verkade
FRANKFURT
+49 (0)173 317 3975

Anja Schaller
(Consultant)
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+31 (0)20 57 55 255

NORWAY
OSLO
+47 975 800 78

Katinka Traaseth
(Consultant)
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900

HONG KONG
+852 2760 1766

SHANGHAI
+86 86 (0)21 6355 1766

Jinqing Cai
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
SWEDEN
STOCKHOLM
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TURKEY
ISTANBUL
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
UNITED ARAB EMIRATES
DUBAI
+971 (0)4 425 5647
+44 (0)20 7839 9060
+44 (0)20 7930 6074

NORTH AND
NORTHEAST
+44 (0)20 7752 3004

Thomas Scott
NORTHWEST AND
WALES
+44 (0)20 7752 3004

Jane Blood
SOUTH
+44 (0)1730 814 300

Mark Wrey
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032

CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
(Consultant)
IRELAND
+353 (0)59 86 24996

Christine Ryall
(Consultant)
UNITED STATES
NEW YORK
+1 212 636 2000
PORTUGAL
LISBON
+351 919 317 233

Mafalda Pereira
Coutinho
(Consultant)
E NQ U I RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
14/04/15
177
Christies Specialist Departments and Services

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
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
POSTERS
PRINTS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2372

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
LATIN AMERICAN ART
AUSTRALIAN PICTURES
NY: +1 212 636 2150
KS: +44 (0)20 7389 2040
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
SWISS ART
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
MINIATURES
KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
SK: +44 (0)20 7389 2142
KS: +44 (0)20 7389 2040

SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3219
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 2035

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
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

OLD MASTER PICTURES
ORIENTAL CERAMICS
AND WORKS OF ART
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
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
EUROPEAN CERAMICS
AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
SK: +44 (0)20 7752 3215
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
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09/04/15
178
A NORTH ITALIAN GILTWOOD CONSOLE TABLE

FLORENCE, SECOND QUARTER 18TH CENTURY
30,00050,000
European Furniture and Works of Art

London, King Street 10 June 2015
Viewing
Contacts
59 June 2015
8 King Street
London SW1Y 6QT
Marcus Rdecke
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Jacques-Antoine Gannat
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+44 (0)20 7389 2217
christies.com
POWELL, ANTHONY. [A DANCE TO THE MUSIC OF TIME]. LONDON: WILLIAM HEINEMANN LTD., 1951-1975. 12 VOLUMES,
FIrsT edITIons, PresenTaTIon CoPIes To anThonY hoBson. a CoMPLeTe seT oF PoWeLLs MasTerPIeCe
5,000-8,000
Modern Literature:
The Personal Collection of Anthony Hobson
London, South Kensington 10 June 2015
Viewing
Contact
59 June 2015
85 Old Brompton Road
London SW7 3LD
Sophie Hopkins
shopkins@christies.com
+44 (0)20 7752 3144
christies.com
The Art of Collecting

New York 18 June 2015
Viewing
Contact
13-17 June
20 Rockefeller Plaza
New York, NY 10020
Katie Banser-Whittle
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+1 212 707 5991
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LAURENCE STEPHEN LOWRY, R.A. (1887-1976)

Windsor Great Park
signed and dated LS. LOWRY 1952 (lower left) oil on panel 5 x 23 in. (13 x 58.4 cm.)
50,00080,000
Modern British and Irish Art Day Sale

London, King Street 26 June 2015
Viewing
Contact
59 June & 1925 June

8 King Street
London SW1Y 6QT
Pippa Jacomb
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+44 (0)20 7389 2293
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Victorian, Pre-Raphaelite & British Impressionist Art

Maritime Art
Sporting & Wildlife Art
London, South Kensington 8 July 2015
Viewing
Contact
4 7 July
85 Old Brompton Road
London SW7 3LD
Victoria Koehn
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+44 (0) 20 7752 3055
ALBERT HENRY COLLINGS (D. 1947)

The studio mirror
signed ALBERT H COLLINGS (lower left)
oil on canvas 36 x 28 in. (91.5 x 71.1 cm.)
15,000 25,000
THE PROPERTY OF THE LATE ANTHONY HOBSON

GIOVANNI DOMENICO TIEPOLO (VENICE 1727-1804)
Two allegorical fgures and a bust of a Roman emperor
signed Dom Tiepolo (recto); with inscription F.4.C.M and no 3331. F.1 (verso)
black chalk, pen and brown ink, two shades of brown wash 10 x 15 in. (26.3 x 38.7 cm.)
15,00020,000
Old Master and British Drawings and Watercolours

London, King Street 7 July 2015
Viewing
Contact
46 July 2015
8 King Street
London SW1Y 6QT
Benjamin Peronnet
bperonnet@christies.com
+44 (0)20 7389 2272
christies.com
PICTURES FROM THE COLLECTION OF THE LATE PETER WARD-JACKSON

SEBASTIANO RICCI (Belluno 1659-1734 Venice)
Archimedes refusing to follow the soldier
oil on canvas 16 x 23 in. (40.6 x 59.4 cm.) in a Maratta frame
60,000 80,000
Old Master & British Pictures Day Sale

London, King Street 10 July 2015
Viewing
Contact
49 July 2015
8 King Street
London SW1Y 6QT
Freddie de Rougemont
frougemont@christies.com
+44 (0)20 7389 2415
christies.com
186
Glebe House, Mont Pellier

and Woodbury House
Written Bids Form
Three Country House Collections
Christies South Kensington
WEDNESDAY 17 JUNE 2015 AT 10.30 AM
85 Old Brompton Road, London SW7 3LD

CODE NAME: GLEBE
SALE NUMBER: 11567
(Dealers billing name and address must agree with tax

exemption certificate. Once issued, we cannot change the
buyers name on an invoice or re-issue the invoice in a
different name).
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11567
Client Number (if applicable)
Sale Number
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Address
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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

(eg UK32,200, 35,000,
38,000)
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by UK5,000s
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at auctioneers discretion
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30.03.15
FURNITURE, WORKS OF ART AND COLLECTIONS
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Code
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L100
L49
L99
L225
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Subscription Title
Furniture and Works of Art
Centuries of Style: Silver, European Ceramics,
Portrait Miniatures and Gold Boxes
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Location
Issues
UKPrice
US$Price
EURPrice
King Street
48
76
72
King
King
King
King
King
King
Street
Street
Street
Street
Street
Street
2
2
6
2
2
2
48
48
171
48
48
48
76
76
285
76
76
76
72
72
262
72
72
72
York
York
York
York
1
2
9
12
21
42
103
114
33
67
171
190
31
63
154
175
N18
N218
N96
N223
American Silver
European Silver
Interiors
Decorative Arts Europe
New
New
New
New
P22
P96
European Furniture, Silver and Ceramics

Interieurs
Paris
Paris
2
3
38
19
61
30
57
29
K50
K96
Antique Arms and Armour

Interiors (includes: K127 - Masters & Makers &
K132 - Style & Spirit)
Interiors: Masters & Makers (inc in K96)
Interiors: Style & Spirit Edition
(included in K96 - Interiors)
South Kensington
South Kensington
2
32
38
361
61
578
57
542
South Kensington
South Kensington
4
6
38
57
61
91
57
86
Worldwide
Worldwide
2
2
48
48
76
76
72
72
K127
K132
W39
W227
European Sculpture
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Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Catalogue photo credits: Natalie Parrish,

Mike Bascombe, Julio Leipnitz Jnr.
Christie, Manson & Woods Ltd. (2015)
Anthea Peers, Keith Penton, Romain Pingannaud,

Sara Plumbly, Caroline Porter, Michael Prevezer,
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Toby Woolley, Geoff Young
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Grant Deudney, Eva-Maria Dimitriadis,
Howard Dixon, Eugenio Donadoni,
Virginie Dulucq, Joe Dunning, David Ellis,
Antonia Essex, Kate Flitcroft, Nina Foote,
Eva French, Pat Galligan, Keith Gill,
Andrew Grainger, Leonie Grainger,
Julia Grant, Pippa Green, Angus Granlund,
Christine Haines, Coral Hall, Charlotte Hart,
Daniel Hawkins, Evelyn Heathcoat Amory,
Anke Held, Rosie Henniker-Major Valerie Hess,
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Michelle McMullan, Kateryna Merkalenko,
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Louise Phelps, Eugene Pooley, Sarah Rancans,
Lisa Redpath, David Rees, Alexandra Reid,
Sarah Reynolds, Meghan Russell,
Sangeeta Sachidanantham, Pat Savage,
Catherine Scantlebury, Julie Schutz,
Hannah Schweiger, Angus Scott, Robert Sheffield,
Ben Slinger, James Smith, Graham Smithson,
Mark Stephen, Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Nicola Swain, Keith Tabley,
Iain Tarling, Sarah Tennant, Timothy Triptree,
Flora Turnbull, Paul van den Biesen,
Ben Van Rensburg, Lisa Varsani, Shanthi Veigas,
Julie Vial, Assunta Grafin von Moy,
Anastasia von Seibold, Tony Walshe, Gillian Ward,
Chris White, Rosanna Widen, Ben Wiggins,
Annette Wilson, Julian Wilson, Elissa Wood,
Charlotte Young
23/04/15
85 OLD BROMPTON ROAD
LONDON SW7 3LD

Glebe House, Mont Pellier and Woodbury House: Three Country House Collections

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Glebe House, Mont Pellier and Woodbury House: Three Country House Collections

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GLEBE HOUSE, MONT PELLIER

AND WOODBURY HOUSE

Glebe House, Mont Pellier

The Property of the late Mr Anthony Hobson

The Property of the late Mrs Barbara Overland

The Property of the late Hon. Mr & Mrs Anthony Samuel

Wednesday 17 June 2015 at 10.00 am

Anna Evans, Philip Belcher & Hugh Edmeades

AUCTION CODE AND NUMBER

In sending absentee bids or making

This auction is subject to

UK: +44 (0)20 7839 9060

US: +1 212 703 8080

View catalogues and leave bids online

Private Collections and Country House Sales

Specialists and Services for this Auction

FURNITURE & WORKS OF ART

First initial followed by last name@

OLD MASTER DRAWINGS

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7752 3225

UK: +44 (0)20 7839 9060

IMPORTANT NOTICE REGARDING

All lots marked with a FILLED

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7389 2712

Tel: +44 (0)20 7839 9060

Bidders are advised that some

This auction is subject to

For an overview of the process,

Please see the Important Notice on

BRITISH & IRISH WORKS ON PAPER

GLEBE HOUSE, HAMPSHIRE

A youthful prodigy in his feld (appointed Head of Sothebys Book

crushing centrepiece that drains the soul out of a room, always

The openwork corona above later glass panes headed by

Each mounted on a modern ebonised plinth

Each painted in blue with an upturned palm revealing an

black, blue and red chalk, watercolour, brown ink and

black, blue and red chalk, watercolour, brown ink and

Plate: 380 x 588 mm.

The rectangular plate with a bead-and-reel frame surmounted by

Boldly decorated with scrolling peony on a blue ground covering the

Carlton House Terrace, the East Terrace soon after completion

William Lowther, 2nd Earl of Lonsdale

13 (Detail of the inventory stamp)

The arched case surmounted by an urn, the rear door

Four stamped to the reverse P.IPSEN KIOBENHAVN ENERET and

On an integrally modelled rocky base, repairs and restorations, with blue

An attribution to Nicolas Vleughels (1668-1737) has also been suggested.

The rectangular top depicting parrots perching on

Each on brass castors; together with a brass-mounted

Decorated overall with chinoiserie buildings, landscapes,

A WIENER WERKSTATTE GLAZED TERRACOTTA HEAD

A CHARLES VYSE (1882-1971) EARTHENWARE FIGURE

Modelled and cast as a street vendor, hand painted in colours beneath

LAVENDER SELLER, 1922

Neptune emerging from a shell, Jupiter holding a thunderbolt and

A RUSSIAN PARCEL-GILT SILVER AND

A GOLD-MOUNTED MOTHER-OFPEARL OVAL SNUFF BOX

APPARENTLY UNMARKED EXCEPT FOR A

UNMARKED, PROBABLY ENGLISH OR DUTCH,

The cover carved in the baroque manner with