The Oak Interior, Oxford, Tuesday 21 and Wednesday 22 January 2014

21727 The Oak Interior Bonhams Banbury Road Shipton on Cherwell including the Danny Robinson Kidlington Oxford OX5 1JH Collection +44 (0) 1865 853 640 Tuesday 21 January 2014 at 11am +44 (0) 1865 372 722 fax Wednesday 22 January 2014 at 11am International Auctioneers and Valuers - bonhams.com Oxford

The Oak Interior including the Danny Robinson Collection, the Ian Robinson Pewter Collection (Part I), and Textiles Tuesday 21 January 2014 at 11am Wednesday 22 January 2014 at 11am Oxford

Bonhams Enquiries Important notice to all buyers Illustrations Banbury Road Front cover: Lot 196 Shipton on Cherwell Day I Please note in this catalogue there (detail showing the crest of The Kidlington Pewter is no reference in the catalogue City of Oxford) Oxford OX5 1JH Danny Robinson Collection of description of any presence of Back cover: Lot 301 (detail) www.bonhams.com Furniture damage, repair or restoration. Inside front cover: Lot 160 (detail) David Houlston Condition reports are available Inside back cover: Lot 170 (detail) Viewing +44 (0)1865 853 667 on all lots. In providing condition Friday 17 January 9am to 5pm [email protected] reports we do not guarantee or Images of every lot can be Saturday 18 January 10am to 4pm imply that there are no other found at Sunday 19 January 11am to 3pm Day I defects present, which have not www.bonhams.com/21727 Monday 20 January 9am to 5pm Danny Robinson Collection been mentioned. Please see the Tuesday 21 January 9am to Works of Art, Metalware & full conditions of sale printed in 10.45pm (Day I Pewter, Danny this catalogue. Robinson and Textiles) Treen Tuesday 21 January 9am to 5pm Megan Wheeler (Day II Oak and Works of Art) +44 (0)1865 853 668 [email protected] Customer Services Bids Monday to Friday 8.30am to 6pm +44 (0) 20 7447 7448 Day I +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax Textiles To bid via the internet Claire Browne Sale Number: 21727 please visit www.bonhams.com +44 (0) 1564 732 969 [email protected] Catalogue: Please provide details of the lots £20 (£25 by post) on which you wish to place bids Day II at least 24 hours prior to the sale. Furniture Please see page 2 for bidder David Houlston information including after-sale New bidders must also provide proof of identity when submitting +44 (0)1865 853 667 collection and shipment bids. Failure to do this may result [email protected] in your bids not being processed. Please see back of catalogue Day II for important notice to bidders Live online bidding is Works of Art, Metalware & available for this sale Treen Please Note Please email [email protected] Megan Wheeler We reserve the right to refuse entry with “Live bidding” in the subject +44 (0)1865 853 668 into the saleroom. No coats or bags line 48 hours before the auction [email protected] will be allowed into the saleroom to register for this service. and are left at owners’ risk.

Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt, Montpelier Street, London SW7 1HH Malcolm Barber Group Managing Director, Harvey Cammell, Simon Cottle, Andrew Currie, Peter Rees, Julian Roup, Iain Rushbrook, Matthew Girling CEO UK and Europe, David Dallas, Paul Davidson, Jean Ghika, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Geoffrey Davies, Jonathan Horwich, James Charles Graham-Campbell, Miranda Grant, Veronique Scorer, James Stratton, +44 (0) 20 7393 3905 fax Knight, Patrick Meade, Caroline Oliphant, Robin Hereford, Asaph Hyman, Roger Tappin, Shahin Virani, David Williams, Hugh Watchorn. Charles Lanning, Camilla Lombardi, Michael Wynell-Mayow. Fergus Lyons, Paul Maudsley, Gordon McFarlan, Sale Information

A4095 Bicester

Shipton on Cherwell

Shipton Rd

Banbury Rd A4095 Woodstock

Oxford Rd A4260

Upper Campsfield Rd

Oxford and A40 A44 Airfield

Oxford Kidlington By Rail: Oxford train station

Bids Shipping Offices Furniture, Works of Art, +44 (0) 20 7447 7448 Shipping Information (Excluding Clocks, Barometers & +44 (0) 20 7447 7401 fax Book Sales) Winchester Carpets To bid via the internet please visit Unless you wish to use your own The Red House Michael Wynell-Mayow www.bonhams.com shipping company, please contact Hyde Street Michael Welch either of the below: Winchester Toby Messenger Payments Hants Simon Davies Buyers Mailboxes Etc. (Small Items Only) SO23 7DX +44 (0) 20 7447 7447 266 Banbury Road, +44 (0) 1962 862 515 Pictures +44 (0) 20 7447 7401 fax Oxford, OX2 7DL +44 (0) 1962 865 166 fax Alicia Rogers +44 (0) 1865 514 655. Lizzie Hill Sellers [email protected] Regional Director Payment of sale proceeds Michael Wynell-Mayow Books +44 (0) 20 7447 7447 Pack & Send John Walwyn-Jones +44 (0) 20 7447 7401 fax 3 Botley Road, Valuation Enquiries Oxford, OX2 0AA Anna Pelly-Fry Jewellery Frances Noble +44 (0) 1865 260 610 Carol Knight Valuations, taxation and Louise Dennis [email protected] heritage Hannah Ibison +44 (0)20 7468 8340 Oak and Vernacular Lucy Clarke +44 (0)20 7468 5860 fax Furniture & Related [email protected] Saleroom Works of Art Banbury Road David Houlston Silver Shipton on Cherwell Megan Wheeler Michael Welch Catalogue subscriptions Kidlington To obtain other catalogues or Oxford take out an annual subscription: OX5 1JH Fine Art & Antiques Subscriptions Department Toby Messenger +44 (0) 1666 502200 Frances Robinson +44 (0) 1865 853 640 +44 (0) 1666 505107 fax +44 (0) 1865 372 722 fax [email protected] The Ian Robinson Pewter Collection (Part I) Lots 1 - 20

Ian Douglas Robinson was born in Glasgow in January 1931 and emigrated to the United States when aged four. Even though he lived most of his life in America he remained proud of his Scottish heritage and never became a U.S. citizen. He earned a first degree in chemistry from Columbia and two masters degrees and a PhD in physical chemistry from Yale. This equipped him for a career in the photographic industry and he established himself as a leading authority on photographic markets worldwide. From 1986 onwards he worked with his son Douglas to produce annual Robinson Reports on various aspects of photographic imaging across the world which continue to be well received by the industry. Ian was recorded in the October 1974 Journal as having joined the Pewter Society as a Corresponding member and so his membership spanned nearly forty years by the time he died, aged eighty two in April this year. He became a Full member in April 1978 and was made an Honorary member in 1998 in recognition of the vast amount of research he had carried out into many different types of pewter. By September 1976 he contributed towards a discussion in the Journal on inhalers which was followed in 1977 by an article ‘Where have all the big chargers gone?’. This reflected Ian’s comprehensive noting of the whereabouts of numerous different categories of pewter which has been such a help to fellow researchers over the years and formed the basis of many of the articles Ian wrote. Ian was involved with the authorities and divers in Florida and he reported many of their finds of early English pewter including from the Henrietta Marie. His first major study was into the doyen of late 17th/early 18th century pewterers William Eddon published in the Autumn 1979 Journal as one of sixteen articles he wrote over the years including what is still the best reference article on flat lidded tankards in the Spring 1992 Journal. He also recorded and photographed hundreds of makers’ marks and provided many of these for inclusion in the Society’s Database. Another passion of Ian’s was for English porringers from around 1670 to 1730 and he was always keen to point out that these are actually rarer than flat lidded tankards! He managed to amass a study collection of over thirty examples which again has been of great help to those studying this subject. Ian was a dealer for many years with a good reputation and had many fine pieces through his hands but it will be for his scholarship, helpfulness, enthusiasm and friendship that he will be greatly missed by those fortunate enough to have known him.

David Moulson 1* A William & Mary pewter porringer, circa 1695 Having a ‘Michaelis type VIIb’ bowl, with hammered booge and shallow boss, an Old-English handle, ‘Michaelis type 21a’, with triangular strut, 1 touchmark of TS, (working 1690-?), (PS9179, MPM5955c) to the centre of the bowl, ownership initials MB struck to ear, 12.7cm diameter £400 - 600

Ian Robinson suggested that the maker’s mark may be that of Thomas Salmon, Bristol, (working 1674-1713), (PS8192).

2* A pewter porringer, English, circa 1710-20 Having a ‘Michaelis type VIIb’ booged bowl with shallow boss, single ‘Michaelis type 16’ ear, maker’s mark of James Hitchman, London, (working 1701-1735), (PS4671, OP2340) to rear of ear, and ownership triad TCA to front, 14cm bowl diameter £600 - 800

3* A pewter porringer, English, circa 1700 Having a ‘Michaelis type VIIb’ booged bowl with shallow bossed well, single coronet ear, ‘Michaelis type 19’, dated maker’s marks of IB, (working 1698-?), (PS1296) on rear of base, 13cm bowl diameter £500 - 800

Ian Robinson thought the maker’s mark may belong to a member of the Bankes family, Wigan. 2

A capstan salt, formerly in the R.F.Michaelis Collection, exhibited Exhibition of Pewter in the Usher Gallery Lincoln, 29 September to 27 October, 1962, with the same maker’s mark as found on this lot.

Lot 16 of this sale, an early 18th century funnel, is by the same maker.

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4* 6* A Queen Anne single-reeded pewter plate, Cambridge, circa 1710 A rare Charles II flat-lid pewter tankard, circa 1670 Having the hallmarks to the front rim and touchmarks to the rear of Having a squat plain body, the flat-lid with front denticulations, Elizabeth Boyden, Cambridge, (working 1700-20), (PS55,OP4054), 9in. scroll-type thumbpiece, S-curved handle with boot-heel terminal, four diameter crowned-rose hallmarks to lid and touchmark of IP within a heart, £80 - 120 (working 1650-80), (PS7613, OP5835), to the inside of the base, ownership initials ED stamped to lip of lid, 13.8cm high 5* £3,000 - 4,000 A Queen Anne single-reeded pewter plate, Bristol, circa 1705 With hallmarks to the front rim and touchmark to the rear of John Provenance: Purchased in 1976 from Win Carter. Previously with Peter Batchelor, Bristol, (working 1676-1708), (PS39,OP295), shield enclosed Hempson, London, acquired from The Young Collection. ownership initials ED to rim along with two pairs of stamped initials PI and TF, 9¼in. diameter Exhibited: The Currier Gallery of Art, Manchester, New Hampshire, British £80 - 120 Pewter 1600-1850, April 1-28, 1974, No.14.

A magnificent wriggle-work tankard by the same maker, sold Bonhams Chester, The Stanley Shemmell Collection, October 2006, lot 228, (£15,600).

Ian Robinson suggested the maker ‘IP’ originated from the West Country. John Pennington I, Tavistock, (working 1655-1709) was thought a possibility. He also noted the same thumbpiece, as found here, on a pair of flagons, by John Webber I, Barnstable, (working 1662-1703). The scroll thumpiece cast with leaves rising from the base, is indeed unusual; a beefeater flagon (circa 1660-1700) with an identical thumbpiece is recorded in a Hertfordshire church, (PS17062).

Mr Robinson’s notes also refer to the pewter Daily Telegraph Exhibition, held in 1928. It may be possible this lot formed part of this exhibition.

Plain flat-lid tankards are rarer than wriggle-work examples.

The Oak Interior | 5 7* A George II O.E.W.S. gill bud baluster pewter measure, Southampton, circa 1730-40 The body having a mid-band of multiple incised-lines, the lid also with incised lines and struck with three housemarks, each of a sailing vessel beneath the initials SSS, touchmark to collar of Anne Carter, Southampton, (working 1730-1754), (PS90), 10.6cm high £700 - 1,000

Provenance: Formerly the Cooper Collection

A housemark is an ownership mark, it probably represents the sign of the relevant inn, for example ‘The Ship Inn’!

8* 7 A George I O.E.W.S. pint bud baluster pewter measure, circa 1725 The body with typical twin incised-lines to the middle, the flat lid also with incised-lines and centred by the ownership triad WMM, simple- curved handle with cylindrical strut attachment, touchmark to collar of John Langford, London, (working 1719-1758), (PS5662, OP2823), 16.4cm high £800 - 1,200

Literature: Illustrated and discussed, Journal of the Pewter Society, Vol. 22, Autumn 2004, p.24.

9* A rare Charles II O.E.W.S. half-pint hammerhead baluster pewter measure, circa 1680 Having a plain body and two incised rings to the flat lid, touchmark to collar of RB, (working 1670-?), possibly West Country, (PS1354), capacity 246ml, 8.8 fl.oz., 12.5cm high £1,500 - 2,000

Provenance: Formerly Christopher Peal Collection, (no.72); sold Sotheby’s, 13 November, 1980, lot 69, (£450), purchased by Peter Hornsby. Formerly David Little Collection; Sold Christie’s, 1 May 2007, lot 100, (£2,160).

Literature: This lot is illustrated, Peter Hornsby, Pewter of the Western World, p.241, pl.812.

A Charles II Beefeater flagon, with the same touchmark exhibited 8 Exhibition of Pewter in the Usher Gallery Lincoln, 29 September to 27 October 1962. The design of the flagon’s thumbpiece may possibly attribute the maker RB to the West Country.

10* A Queen Anne single-reeded pewter plate, circa 1705 With hallmarks to the front rim and touchmark to the rear of Sir John Fryer, London (working 1692-1726), (PS62,OP1791), also with crowned rose mark and London label to rear, engraved ownership initials AC to rim, 9¾in. diameter £80 - 120

John Fryer was created a baronet on 21 December 1714; a Sheriff of the City of London for 1715–16; and Lord Mayor for 1720–21. He was also a director of the East India Company and the South Sea Company.

A slightly smaller triple-reeded plate, also by Sir John Fryer sold, Christie’s, The Little Collection, May 2007, lot 71, (£720). At the time it was noted that only four pieces by this maker thought to be recorded.

11* A mid-18th century reeded wavy-edge pewter plate, English, circa 1750-70 9 Having a five-lobed reeded rim, with touchmark of John Townsend, London, (working 1748-1801), (PS21,OP4795), to rear, 9¾in. diameter £100 - 150

6 | Bonhams 12* A George I single-reeded wriggle-work pewter plate, circa 1715-20 The well decorated with a stag striding amongst unusual stylized flora, the rim with broken S-curves and linear geometric decoration, touchmark of Francis Kingston, London, (working 1714-1720), to rear, 8½in. diameter £1,500 - 1,800

A highly similar plate, of the same size, maker and decoration, formerly in the Margaret Hand Collection, sold Sotheby’s, Billinghurst, November 1991, lot 767. Ian Robinson’s notes also refer to an auction at Neale & Son, Nottingham, October 22, 1965, lot 116, with regard to a ‘matching’ plate.

By the same maker and almost certainly decorated by the same hand as the proceeding lot. 12

13* A George I single-reeded wriggle-work pewter plate, circa 1715-20 Decorated with a single dove, holding an olive branch, resting amongst unusual stylized flowers, the rim with broken S-curved and linear decoration, touchmark of Francis Kingston, London, (working 1714- 1720), to rear, together with ownership initials HK, 8½in. diameter £1,500 - 2,000

Provenance: R.F.Michaelis Collection, numbered 101 and 112; sold Sotheby’s, November 1973, lot 36, (£210).

Exhibited: Exhibition of Pewter in the Usher Gallery Lincoln, 29 September to 27 October, 1962, (No.234); where it is described as engraved with bird and artichokes - it would be charming if the floral design to the well did indeed represent artichokes.

Ian Robinson refers to an article in Apollo Magazine, May, 1949, with reference to a wriggle-work plate, also by Francis Kingston, in the collection of Christopher Peal.

By the same maker and almost certainly decorated by the same hand as the previous lot.

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The Oak Interior | 7 14* A George II O.E.W.S. quart dome-lidded pewter tankard, Bristol, circa 1730-50 Of slightly-squat form, the straight-sided body with low single-fillet, scroll thumbpiece and S-curve handle with fish-tail terminal, touchmark inside base of Richard Going II, Bristol, (working 1715-1764), (PS32, OP1909), capacity, 35.3 fl.oz., 16.4cm high £500 - 800

An almost identical dome-lidded tankard illustrated R.F.Michaelis, British Pewter, p.60. Ian Robinson suggested that this lot may be the illustrated example, from the Cyril Minchin Collection. However, the annotated size does not match and there appears to be very slight differences in design and general wear.

15* A George II O.E.W.S. quart dome-lidded pewter tankard, Penrith, circa 1730-40 Having a straight-sided body with low single-fillet, solid chair-back thumbpiece, hollow S-shaped handle with hooded-ball terminal, touchmark inside base of Abraham Crawley, Penrith, (working 1720- 1760), (PS2054, OP1205), 18.5cm high £400 - 600 14 A similar tankard, by the same maker, sold Bonhams Chester, The Ken Gordon Collection, May 2008, lot 311.

16* An early 18th century pewter funnel, English, circa 1710 The conical shaped body with two bands of double incised lines, typical tapering spout, dated maker’s mark to rim of IB, (working 1698-?), (PS1296), 14.2cm diameter x 17cm high £200 - 300

Literature: Illustrated, Journal of the Pewter Society, Vol.22, Autumn 2204, p.25. The article suggests Wigan as a possible area of manufacture.

Lot 3 of this sale, an English porringer, bears the same maker’s mark.

17* An early 18th century pewter spire flagon, English, circa 1710-20 Having a tapering drum with single high-fillet and incised-lines, on a spreading base, knopped domed-lid, swan-neck curved handle with shield terminal and scroll thumbpiece, small traces of a touchmark inside base, almost certainly that of John Newham, London, (working 1699- 1733), (PS6728, OP3371), 34.2cm high £600 - 800

A spire flagon by John Newham, with the maker’s characteristic swan- neck handle, sold Bonhams Chester, The Ken Gordon Collection, May 2008, lot 355.

Another, with a similar knop as found here, in the Worshipful Company of Pewterers of London Collection, (No.144), illustrated, A short history of The Worshipful Company of Pewterers of London and a catalogue of pewterware in its Possession, p.40, pl.18. 15

8 | Bonhams 18* A George III O.E.W.S. quart double-volute baluster pewter measure, circa 1785 Having a plain body, the flat lid with incised rings, stamped with the initial triad WCS and date 1785, the S-shaped handle with ball terminal and diamond-shaped strut attachment, matching ownership triad to handle, touchmark of William Fasson, London, (working 1758-1800) to collar, 20.5cm high £600 - 800

Literature: Illustrated and discussed, Journal of the Pewter Society, Vol.22, Autumn 2004, p.28, pl.37, (left).

19* A Queen Anne O.E.W.S. half-gill ball-and-bar baluster pewter measure, York, circa 1710 With two bands of incised-lines to lower body, single-curve handle with cylindrical strut attachment, the flat lid with two incised-rings, centred by the touchmark IH, (suggested working date 1690-1750), (PS5040) possibly one of the ‘John Harrisons of York’, 8.3cm high £200 - 300

Provenance: Ian Robinson’s notes make reference to the pieces as being formerly in the Christopher Peal Collection.

Literature: Journal of the Pewter Society, Vol.22, Autumn 2004, p.25. Illustrated and discussed in an article written by Ian Robinson.

It has also been suggested that the maker’s mark may be that of a Wigan pewterer, possibly John Harvey, (working 1668-1723), or John 17 Hardman, (working 1693-1743).

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The Oak Interior | 9 20

20* A rare Charles II wriggle-work flat-lid pewter tankard, circa 1675 Having a straight-sided body decorated with two birds amongst foliage, the top of the lid decorated with a single stylized tulip and the front with pierced denticulations, bombe or palm-leaf thumbpiece and curved- handle with boot-heel terminal, touchmark inside base of John Felton I, Shrewsbury, (working 1670-1708), (PS3363, OP 1649A), ownership triad RVM to handle, 15.3cm high £5,000 - 8,000

Provenance: Formerly in the Rollason Collection.

A beefeater flagon, with the same maker’s mark, sold Bonhams Chester, The Shemmell Collection, October 2006, lot 192; illustrated in The Journal of the Pewter Society, Vol.2, No.1, p.1, Spring 1979. A large English Octagonal base pewter candlestick, also by John Felton I, sold Christie’s, The Little Collection, May 2007, lot 131, (£13,200).

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20 (detail) 25 A Charles II pewter triple-reeded charger, Derbyshire, circa 1670 Having hallmarks to the front rim and touchmarks to the rear of George Smith, Derby, (working 1651-1698), (PS96, OP4347), 18in. diameter £300 - 400

26 An early 19th century pewter laver, Scottish, circa 1810-30 The spouted tapering drum with typical broad central fillet, the flat lid with locating flange and urn-shaped knop, twin-lobed thumbpiece, single-curved handle with cylindrical strut and diamond-shaped attachment, touchmark inside base of James Wylie, Glasgow, (working 1786-1840), (PS10386, OP5323), 26cm high £300 - 400

27 A George III pewter tappit-hen of chopin capacity, Scottish, circa 1800 With a later spout, the body of typical shouldered form, domed-lid with 26 erect thumbpiece, 22cm high; together with two Imperial half-pint lidded bulbous measures, Glasgow, circa 1840, both with Imperial standard seal to domed-lid, shell-thumbpiece, various verification marks to collar, 13.5cm high, (3) 21 £150 - 200 Three pewter haystack measures, Irish Pint, half-pint and noggin capacity; the pint and half-pint both bearing 28 the touchmark for Joseph Austen & Son, (PS10), the noggin example the Three pewter haystack measures, Irish mark for Joseph Austen (PS9), numerous verification marks to each rim, Quart, pint and half-pint capacity, all bearing the mark for Joseph Austen (3) and Sone, (PS10) to the underside of the base, various verification marks £200 - 300 to collars, (3) £200 - 300 22 A pair of mid-18th century pewter gadrooned-edge dishes, English, circa 1750 Each with a five lobed rim, with gadrooned and leaf-cast edge and engraved with a lion crest, touchmark to rear of Robert Patience, London, (working 1734-1776), (PS19, OP3549), 9½in. diameter, (2) £100 - 150

23 A set of four George III pewter warming plates, Worcestershire, circa 1780-90 Each with a pair of ring-handles, touchmark and hallmarks of John Ingram, Bewdley, (working 1755-1799), (PS5083), to the underside, 9½in. diameter, (4) £80 - 120

24 A pewter plain rim charger, English, circa 1700 With engraved armorial to rim and stamped ownership initials, touchmarks to rear of Thomas Templeman, London, (working 1667- 1713), (PS9297,OP4693), 20½in. diameter; together with a pewter Welsh hat, probably early 19th century, with reeded cast flat-rim and 25 tapering sides with incised-line decoration, 21.5cm wide x 31.5cm high; and an 18th century plain rim pewter plate, 9¾in. diameter, (3) £200 - 300

The Oak Interior | 11 30

29 31 A Victorian pewter cigar holder, Yorkshire, circa 1885 An exceptionally large Charles II pewter broad-rim charger, circa With three joined octagonal compartments, each with six apertures for 1675 different grades of cigar, numbered respectively 2,3,4, with geometric The incised-reeded rim with an engraved mantled arms, part hallmark decoration throughout, lacking handle, maker’s mark of Jackson Petfield, to rim front and faint touchmark to rear of Stephen Lawrance I, London, Yorkshire, (working 1879-1896), (PS10786), to the underside, 18.5cm (working 1661-1708), (PS5729, OP2864), 23¾in. diameter, rim 3¾in wide x 13cm deep x 6cm high wide, (31%) £60 - 80 £1,000 - 1,500

30 The arms are those of Musters impaled with Mundy; representing the Six pewter haystack measures, Irish marriage of John Musters (b.1648, d.1685), eldest son of Sir John Half-gallon, quart, pint, half-pint, noggin and half-noggin capacity; Musters of Hornsey and Colwick, to Millicent Mundy (b.1655, d.1739), most with the touchmark for Joseph Austen and Sons (PS10), or Joseph daughter of Adryan Munday of Quarndon, Derbyshire. They were Austen (PS9), to the underside of the base, each with various verification married 24 June 1675. The Chaworth-Musters of Annesley Park and marks to collar, (6) Colwick Hall, Nottingham, were descendants through their son Mundy £400 - 600 Musters of Colwick, (b.1676, d.1750).

Literature: Journal of the British Pewter Society, Vol.28, Autumn 2008, in an article co-written by Ian Robinson, entitled Where have all the big chargers gone?, lists twenty-seven reeded-rim chargers with a diameter greater than 23in. Two are recorded as being by Stephen Lawrance. The article notes that only a large successful business would have been able to afford large charger moulds, with fewer still able to afford different sized moulds. Stephen Lawrance was one of only four makers listed as possessing various sized moulds; namely 28½in., 25¾in., 23½in. and 23in.

12 | Bonhams 31 thus opened on a Saturday morning and, to their amazement, got off to a flying start. Six months later, Danny exchanged concrete for the weird and wonderful world of antiques and, by advertising and exhibiting at fairs, soon became well-known. In 1976, the Robinsons bought a shop with living accommodation above it in Chipping Norton and, thinking it would be nice for their address to be ‘At the Sign of the Key’, Horsefair, Chipping Norton, named the shop Key Antiques. Thanks to the foundation of The Cotswold Antique Dealers Association in 1978, and to the forward-thinking and hard work of its committee, the Cotswolds soon became an internationally-renowned destination for buyers of quality antiques. Yearly exhibitions in dealers’ shops were very successful and Danny recalls covering up the shop windows with sheets to prevent the customers getting a ‘sneak’ preview of what was on offer. Buyers, fortified by Mary’s home-made Danish pastries and coffee, started queuing at 7.30am. One year, between fifty and sixty buyers, both private and trade, were vying for the items that Danny had on offer. Victor Chinnery, the author of Oak Furniture: The British Tradition was invited by Danny to attend the first of the exhibitions, where he sold and signed copies of his book, chatting to customers and assisting with sales. In 1991, Danny was one of the first members of the newly-formed Antique Lots 32 - 307: Metalware Society [AMS], contributing to talks and articles on The Danny Robinson Collection of Metalware, Treen, fire marks, lighting, keys and candlesticks. Several of the items Textiles and Furniture in this catalogue feature in past AMS journals. In the mid-1990s, as a member of the British Antiques Dealers Associaton [BADA], It is a strange coincidence that Kidlington, Oxford is the place Danny, with his friend and colleague, Keith Hockin, shared a where the collection of Danny & Mary Robinson is to be sold. large stand at the prestigious BADA Antiques Fair at Duke of York Always interested in art and design, Danny had bought and sold Square. Danny was diagnosed with Parkinson’s Disease in 1999, antiques in a small way since the 1960s. Having worked as an air and so the Robinsons sold their shop in Chipping Norton and frame fitter in the RAF, a job which he continued after National moved to Midhurst, West Sussex, where they dealt from home in a Service ended, a complete change of career was made by joining more leisurely way. Victor Chinnery would bring groups from The the Ready Mixed Concrete Company, at first in a technical role Weald & Downland Trust and groups of students from West Dean and soon after as Area Production Manager. Part of this position College to view the collection as part of their course. In 2013, The was the finding of sites and the feasibility of producing and selling Regional Furniture Society spent a day at their home studying the concrete. One of these sites was Kidlington, Oxford. A colleague collection. They have now decided to move to Dorset to be near of Danny’s there, hearing of his interest in art and antiques, their daughter and her family. On hearing that the Oak Interior informed him that one of his relations was selling the contents sales were re-locating to Oxford, they decided that it would be of a large house in Oxford. Danny put in a bid for it and, having an ideal venue to sell the bulk of their collection, as their new bid marginally more than Mallams, bought the contents. A few property will be smaller than their past home. And so, what days later, when driving from Witney to Banbury, he stopped at began in Kidlington with the purchase of the contents of a house Charlbury to get a sandwich and saw a vacant shop to let, made in Oxford in 1972, returns to Oxford with the sale of the Danny enquiries and, that evening, asked Mary if she would like to run Robinson Collection at Bonhams, Kidlington in 2014, and the circle an antique shop while he carried on working. Charlbury Antiques is complete.

Quotes taken from the ‘Inventory of Thomas Taylor, the Elder, yeoman of Witney, taken 24th October 1583’

301 (detail)

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‘In the Butterye within the Hawle...three ollde platters brode brymmed and Three with narrow brymmes and one olde Charger...foure Peowter Dryncking pottes...’

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Lots 32 - 65: 34 The Danny Robinson Collection – Pewter A George III oblong pewter plate, circa 1800 With eagle crest to applied triple-reeded rim, maker’s mark of John 32 Hudson I, London, (working 1770-1829), (PS99), to rear, 13¾in. An early 18th century triple-reeded pewter dish, English, circa diameter 1705 £150 - 200 Hallmarks to rim and touchmarks to the rear of RB, (working 1702-?), (PS1358), ownership initials M H also stamped to rim, 14¾in. diameter 35 £200 - 300 A George II pewter plate with all-over hammered decoration, circa 1730-40 33 Having a single-reeded rim, 9in. diameter Two 19th century London chophouse pewter plates £150 - 200 Both having a plain rim, one engraved Thomas’s Chop House Cornhill, the other Simpson’s Cornhill both bearing maker’s mark of Compton to 36 the rear; this mark was used by at least four successive pewterers from A mid-Tudor pewter saucer, circa 1550 1814 to 1891, 9½in. diameter, the Thomas’s example also bearing the Having a narrow plain rim, gentle booge and shallow boss, a triangular- touchmark of Brown & Englefield, (working 1885-1935), presumably bead to the underside of the rim edge, together with the touchmark of added when re-sold, (2) HB, (PS1311, OP5429), 16.1cm diameter £150 - 200 £400 - 600

A chophouse was traditionally where people dined on ‘hearty’ English food. The ‘menu’ centred around meat, with mutton chops being an obvious choice. They may tentatively be viewed as a forerunner to the modern restaurant, but perhaps only in the same way the coffeehouse, first introduced to England in 1652, resembles a contemporary ‘espresso- bar’. Simpson’s of Cornhill was established in 1757.

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37 39 A pint barrel-shaped pewter mug, English, circa 1820-30 A Victorian half-pint barrel-shaped pewter mug, circa 1855 The body with four multiple-reeded fillets and engraved monogram, Having a single mid-fillet and single-curved handle with flush-terminal, double-curved handle with fish-tail terminal, hallmarks possibly of the inside of the base bearing the touchmark probably of James Warne, Samuel Turner, London, (working 1790-?), (PS9521, OP5982), to collar (working 1853-58), (PS9873), reading WARNE & Co./ PATENTEES / NEW with crowned mark below, crowned ‘X’ mark inside base, 13cm high KENT Rd / TO PREVENT POT STEALING, 9.5cm high £300 - 400 £300 - 400

38 40 A quart barrel-shaped pewter mug, English, circa 1830 A rare George II octagonal gadrooned-edged pewter plate, circa Of unusual slightly squat-form, having four plain fillets to body, a 1750 double-curved handle and fish-tail terminal, stamped W T below collar, The rim engraved with a torse heron crest, touchmarks to the rear 14cm high of Thomas Scattergood II, London, (working 1736-1778), (PS8278, £300 - 400 OP4139), 9¼in. diameter £400 - 600

Provenance: Private purchase from Kenneth Barkin, whose pewter collection was sold Bonhams Chester, May 2009.

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The Oak Interior | 17 41 A George II gadrooned wavy-edged pewter plate, circa 1745 Having a five lobed rim engraved with a wyvern crest, touchmark to rear of John Carpenter, London, (working 1711-1747), (PS25, OP810), 9½in. diameter £200 - 300

42 A George II plain rim wavy-edged pewter plate, circa 1740 Having a five-lobed plain rim engraved with a marriage armorial, touchmark to rear of John Carpenter, London, (working 1711-1747), (PS25, OP810), 9½in. diameter £200 - 300

43 Of Royal interest; a pair of 19th century plain rim pewter plates Each engraved to the rim Sandringham beneath a crown, indistinct 41 touchmark and superfine hardmetal label to the rear, 9¾in. diameter, (2) £300 - 400

The engraving to the rim presumably relates to the Sandringham estate, the Norfolk private home of the British monarchy since 1862. The maker’s mark may tentatively be that of John Lee Benham, London, (working 1817-1864), (OP375A, PS627).

44 An 18th century pewter porringer, French With a pair of solid cast-decorated ears and plain booged bowl, 26cm wide; together with a Strasbourg spouted flagon, the plain tapering drum with flared base engraved F Besnecker, the flat-top domed-lid with heart-shaped spout cover, erect thumbpiece and S-curved handle, 14.7cm high (2) £80 - 120

45 A pewter wall cistern, circa 1800, French Of serpentine form, the cover mounted by a pair of finials, with brass tap, 17cm wide x 15cm deep x 40.5cm high £150 - 200

Literature: Peter Hornsby, Pewter of the Western World, illustrates two similar wall mounted water cisterns, attributed as from the Rhone Valley 42 and South West France, circa 1740-1850, p.346, pl.1198 & pl.1200.

46 An interesting pewter pounce pot The construction incorporating a bulbous gill measure, 8.2cm high; together with a large early 19th century cup salt, of typical circular bulbous form, on a spreading foot, 8.7cm diameter, (2) £150 - 200

47 An early 18th century pewter plate with wriggle-work decoration, Dutch Having a single-reeded rim with running V-shaped decoration, the well decorated with a twin-handled vessel issuing angular stylized flowers, crowned touchmark to rim and stamped initials T G, 8½in. diameter £150 - 200

Provenance: The Kenneth Barkin Collection, sold Bonhams Chester, May 2009, lot 644, (£760).

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18 | Bonhams 48 A George I O.E.W.S.dome-lidded pewter tankard with wriggle- work decoration, circa 1715 Having a straight-sided body with low single-fillet and splayed foot, S-curved handle with boot-heel terminal, triangular beading to thumbrest, unusual stepped domed-lid and rams-horn thumbpiece, the top of the lid decorated with a bird, the drum decorated with a striding cockrell amongst scrolling flora, with a band of conforming meandering flora below the fillet, touchmark inside base of I I, (working 1714-?), (PS5413, MPM5713a), 18cm high £3,000 - 5,000

It is fairly rare to find wriggle-work decoration on a dome-lidded tankard. Traditionally this ‘art-form’ is reserved for Stuart flat-lidded tankards and plates. The skill of this particular ‘art-worker’ should also be noted.

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49 50 A 17th century latten apostle-knop spoon, English A Royal-portrait relief-cast trifid-end pewter spoon The tapering hexagonal flattened stem with a knop probably depicting The end of the stem cast with a profile bust of Queen Anne, a crown St. John, maker’s touchmark to the round bowl, 17.6cm long held aloft by a pair putti, with delicate scrolling foliage below, the rear of £100 - 150 the rat-tail bowl cast with similar foliage, a pair of initials cast to the rear end of the stem, 17.6cm long £100 - 150

Literature: Ronald Homer, Five Centuries of Base Metal Spoons, p.43, illustrates a spoon, dated to circa 1700, with virtually the same decoration to the back of the bowl (referred to as lace-work) and the same initials to the rear end of the stem. A spoon with a similar decorated front is illustrated on the following page, referred to as a Queen Anne coronation spoon.

Literature: C.A.Peal, British Pewter illustrates a Queen Anne Royal portrait spoon together, with one recently cast by and given to me by Mr R.F. Michaelis - both cast from the identical mould. The spoons are apparently the same as this lot and it can be concluded that this spoon is one of the later castings.

51 A late Tudor slip-top spoon, circa 1550-80 Having a tapering flattened hexagonal stem, maker’s mark of WS, (working 1550-?), (PS9151, OP5963) and initial I to fig-shaped bowl, 15.4cm long; together with a 17th century round-end spoon, post 1668, with dated touchmark of II to oval bowl, hallmarks to rear of stem together with stamped ownership initials M W, each letter within a shield, 18.3cm long; and an 18th century European example, again with a round-end stem bearing an unidentified touchmark, elongated oval bowl, 20.1cm long, (3) £250 - 300

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52 53 A William & Mary unusual trifid-end pewter spoon, circa 1690 A late 17th century latten trifid-end spoon, English, circa 1680- The stem with an incised boarder and spread trefoil-end stamped with 1700 the ownership initials R C, the oval bowl with indistinct maker’s mark, Having a maker’s mark RP, DOUBLE WHITED to oval bowl, 16cm long; 19.7cm long; together with a 17th century tinned-latten Puritan together with a 17th century seal-top pewter spoon, maker’s mark spoon, with two tooth-cuts to the Puritan-end, above an ownership possibly of GA to oval bowl, 16.8cm long; and an 18th century relief- triad ISA, the oval bowl with maker’s mark of IM, 17.5cm long; together cast pewter spoon, with stylized Tudor rose decorated to the end of the with a pewter transitional trifid/Puritan-end spoon, 18.1cm long, (3) stem, and initials TP to rear, elongated bowl, 18.9cm long, (3) £250 - 300 £200 - 300

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54 56 Three handleless pewter measures, Irish An 18th century pewter spice pot, English Half-pint, gill and half-gill capacity, each baluster-shaped body with Having a plain baluster-shaped body with gently flared foot, push-on pairs of twin incised-lines, stamped ‘X’ to the base underside and with dome knopped-lid, 10.5cm high verification marks to each collar; respectively 12.2cm, 8.7cm, 6.7cm £200 - 300 high, (3) £80 - 120 57 A George III lidded half-gallon pewter ale flagon, circa 1790 55 The tapering drum with single mid-fillet, flared base and spout, single- A Bristol third-quart straight-sided pewter mug, circa 1850 curved handle with escutcheon re-enforcement, dome-lid and solid chair- The plain drum engraved Long Salutation Clifton, two City of Bristol back thumbpiece, maker’s marks probably of Henry & Richard Joseph, verification marks to collar, together with a stamped crown over 1/3 London, (working 1785-1792), (PS5291), rather than simply just Henry QUART, single-curved handle, 8.6cm high Joseph, (PS5290), inside base, crowned WR mark below collar, 26.2cm £250 - 300 high £500 - 700

A lidless spouted ale flagon, by the same maker, with virtually identical drum and handle sold, Bonhams Chester, The Kenneth Barkin Collection, May 2009, lot 633, (£800).

22 | Bonhams 58

58 A set of six George I plain rim pewter plates, circa 1720 Each rim with an engraved coat of arms, touchmark to rear of Thomas Wheeler, London, (working 1692-1738), (PS18, OP5079), 9¾in. diameter, (6) £600 - 800

59 A William & Mary multiple-reeded pewter plate, English, circa 1690 Hallmarks to rim and touchmarks to rear of John Tubb, London, (working 1686 - ?), (PS9502, OP4821), also with ownership triad GWK to front of rim, 9¼in diameter £300 - 400

John Tubb’s father worked as a brewer in Oxfordshire. 59

A similar plate in the Collection of The Worshipful Company of Pewterers of London; illustrated The Worshipful Company of Pewterers of London Supplementary Catalogue of Pewterware, 1979, S1/118, p.25.

60 A William & Mary narrow-rim pewter plate, circa 1690-1700 Ownership initials RP stamped to well edge, touchmarks to rear of John Tubb, London, (working 1686 - ?), (PS9502, OP4821), 8½in. diameter £200 - 300

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61 Provenance: Church of St John the Evangelist and All Saints, Kingstone, A rare Charles I pewter flagon, dated 1633 Somerset. Purchased Lawrences Auctioneers, Crewkerne, Somerset. Having a tapering drum with high and low single-fillet, on ovolo- moulded foot and hollow base, the knopped bun-lid with a pierced heart A James I flagon with the same touchmark, sold Bonhams Chester, The and bar thumpiece, S-curved handle bearing the touchmark probably of Kenneth Barkin Collection, May 2009 lot 633, (£4,400). The catalogue R A, (working 1615-1640), (PS1408, MPM5387A), the maker’s initials notes that the touchmark has appeared on flagons recorded at are possibly those of Randall Andrew, (PS2413), the drum engraved Symonsbury, Dorset and Bitterley, Shropshire. A Charles I flagon, similar Kingstone 1633, 33.8cm high in design, and with a highly similar, if not identical, touchmark to the £4,000 - 6,000 handle, sold Bonhams Chester, The Shemmell Collection, October 2006, lot 292, (£5,990).

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62 64 A George III gill O.E.W.S. double-volute baluster pewter measure, A George III pewter tappit-hen, Scottish, circa 1800 circa 1780 Of Scots pint capacity, the body of typical shouldered form, with gently Having a plain body with flat ring-incised lid, double-volute thumbpiece, domed-lid and single-curved handle with erect thumbpiece, engraved S-shaped handle with ball terminal and diamond-shaped attachment, initials to the flat centre of lid, the collar engraved Thomas Crawford verification stamp to collar, 10cm high; together with a pewter double- Kingsburns, 27.5cm high ended measure, stamped 1 HALF NOGGIN and with various verification £300 - 500 marks to both collars; and a pewter pepper pot or sugar sifter, (3) £150 - 200 65 A rare and fine punched-decorated triple-reeded pewter charger, 63 possibly South West England, circa 1690 Two George II plain rim pewter plates, circa 1750 Decorated to the rim with two rows of arcading hung with triple acorns, Each with the town mark of Great Yarmouth, Norfolk, stamped to the also bearing two sets of punched initials, touchmarks to rear of W P, rim, one with the touchmark of Richard Collier, London, (working 1706 - (PS7631), 18¼in. diameter 1752), (OP1040, PS1825), the other with indistinct maker’s marks to the £3,000 - 5,000 rear, both 9½in. diameter; together with a plain rim pewter plate, with the mark of the Borough of Newbury to rim, hallmarks and touchmark A similarly punched-decorated charger, by James Butcher, (working of Hellier Perchard, London, (working 1709 - 1759), (PS7240, OP3611) 1689-1698), Bridgewater, Somerset, sold Bonhams Chester, The Michael to rear, 9¾in. diameter; and an early 18th century single-reeded plate, Boorer Collection, 22 November 2012, lot 199, (£4,160). The two set of with hallmarks to the rim and touchmark to the rear of Thomas Cave, initials, stamped one above the other to the rim may refer to a marriage. Bristol, (working 1684-1738), (PS1580, OP859), 9in. diameter, (4) £100 - 150

The maker of the single-reeded plate, Thomas Cave, was born in Chipping Norton, Oxfordshire. Danny Robinson purchased this plate from the landlord of the Fox Inn, which is situated to the rear of Chipping Norton Town Hall.

The Oak Interior | 25 Lots 66 - 106: The Danny Robinson Collection – The Kitchen and the Hearth ‘in the Milke Howsse...a Brasen Spyce morter with an Iron pestell...’ ‘in the kitchyn...a garlycke Morter and a greense Sawce morter with a pestell...’

66 A 17th century leaded bronze mortar, English, probably London Cast where the body begins to flare into the rim with a band of decorative moulding, the body cast twice with a crowned Tudor Rose, with moulded spreading foot, 13.5cm diameter x 11cm high (5in diameter x 4in high), together with an associated leaded bronze pestle, of flattened double-ended form, with central discoid knop, 20cm long (7.5in long), (2) £300 - 500

A similar mortar is in the collections of the Victoria & Albert Museum, see E. Launert, Der Mörser: Geschichte und Erscheinungsbild eines Apothekengerätes (1990), p. 111, Figure 68.

67 A Charles II leaded bronze mortar, dated 1664, by Thomas Sturton II (c. 1629 - 1683) of South Petherton, Somerset 66 With moulded rim and moulded foot, the body cast with the initials ‘IP’ and the date ‘1664’, 14cm diameter x 10.5cm high (5.5in diameter x 4in high), together with an associated leaded bronze pestle, of double- ended form with central knop, 19cm long (7in long), (2) £500 - 800

Illustrated: M. Finlay, English Decorated Bronze Mortars & Their Makers (2010), p. 119, Figure 226.

68 A late 16th/early 17th century leaded bronze twin-handled mortar, possibly Suffolk The body cast with two bands of wire decoration, between which the body cast to one side with a vesica-shaped bishop’s seal of a saint, between the initials ‘M’ and ‘A’, a foundry mark of an eight-pointed asterix-type star beside the M, , the other side cast with the same seal between a cross and the initials ‘M.A’, the body with two open angular lug handles, 15.5cm diameter x 12cm high (6in diameter x 4.5in high), together with an associated leaded bronze pestle, with line decoration, central discoid knop and flattened ends, 22.5cm long (8.5in long), (2) £800 - 1,200 67 This mortar is illustrated three times in M. Finlay, English Decorated Bronze Mortars & Their Makers (2010), once on the front cover, again in Colour Plate 1, and lastly on p. 132, Figure 256.

Finlay attributes it to Suffolk, and possibly to the Suffolk maker Thomas Cheese (fl. 1603 - 1635) on the basis of its similarity to other mortars known to have been part of his output.

The four crossed lines, forming an eight-pointed asterix-like mark, are possibly that of a founder. A 17th century bronze cauldron with the same mark was found near Grantham in Lincolnshire.

69 A collection of ten 17th, 18th and 19th century leaded bronze and brass pestles To include three double-ended examples, and seven single-ended examples, two of the latter with ‘T’-form terminals, the largest 23.5cm long (9in long), (10) £100 - 150

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70 71 A late 17th century leaded bronze skillet, probably South-East A small 17th century leaded bronze skillet, English England The body flaring outwards slightly at the rim, the handle unbraced and With slightly flared rim, the handle braced by a small wedge and decorated with crossed lines forming lozenges within a pair of grooves, decorated with a pair of grooves, cast with the ownership initials ‘T’ and raised on three splayed ribbed supports terminating in hoof feet, 11cm ‘C’ either side of the handle attachment, raised on splayed legs with diameter (4in diameter) pronounced central ribs and collars, the leg beneath the handle with a £600 - 800 hoof foot, the other feet worn, 16cm diameter (6in diameter) £400 - 600

The Handbook to the 2003 Exhibition of English Bronze Cooking Vessels & Their Founders 1350 - 1830, by Roderick Butler and Christopher Green, attributes a group of five unmarked vessels to the Southeastern Counties of England on the basis of features which they share with skillets known to be by founders from that region [see pp. 176 - 177].

The skillet offered has a number of features which are reminiscent of some of the attributes of this group. Thus, for instance, the pronounced rib joining the leg underneath the handle to the handle brace is a feature shared by No. 189. No. 191 is also cast to either side of the handle with ownership initials. It is noted that ‘all five skillets have legs with a central prominent rib, raised collar and hoof-like foot...The body sides curve outward towards the rim and four of the handles are decorated with three or four simple grooves running lengthwise.’

See also ibid., p. 90, where it is noted that several skillets known to have been made by founders in Kent or Sussex in the 17th century - notably John Kemp and John Diamond - were cast with ownership initials either side of the handle.

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71 (detail) ‘In the kitchyn...three chaferns & two posnettes...’

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72 73 A late 17th century leaded bronze skillet, by Thomas Palmar of A 17th century leaded bronze skillet, probably South-East England Canterbury The handle supported on an open brace and decorated with a pair of The body of almost straight-sided form, the handle cast ‘THO PALMAR’, grooves, raised on three ribbed splayed supports, the feet worn, 14.5cm the words spaced by a lozenge, all within a decorative border, supported diameter (5.5in diameter) by an open brace, raised on three ribbed legs with collars and hoof feet, £100 - 150 18cm diameter (7in diameter) £500 - 700

R. Butler & C. Green, English Bronze Cooking Vessels & Their Founders 1350 - 1830 (2003), p. 84, notes that skillets by this maker ‘are mostly small with rim diameters of less than 127mm’, making this an unusually large survival of Palmar’s output.

On the same page it is noted that ‘casting skillets with open braces seems to have been a problem for him as the junction of the brace with the underside of the handle is often defective’. This is not the case here, but this skillet does have two sprues - one to the underside and one to the middle of the bowl edge opposite the handle - the result of a system he developed during production to counteract the defective casting of the brace.

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30 | Bonhams 74 80 A leaded bronze twin-handled cooking pot or vessel An 18th century copper and iron cooking pan Possibly 16th/17th century Of heavy guage, the circular shallow pan with rolled rim and copper- Having a flared rim, the ovoid body fitted with a pair of loop handles riveted wrought iron handle with hooked terminal, 29.5cm diameter with scroll terminals, cast in two parts, the flash-line running down the (11.5in diameter) sides and across the bottom, 8.5cm rim diameter x 9cm high (3in rim £80 - 120 diameter x 3.5in high) £200 - 300 81 A Victorian sheet iron and brass lidded pint-capacity milk canister A similar vessel, with a more flared rim and loop handles without scroll By W. Mears of Wembley terminals, is illustrated P. Hornsby, Collecting Antique Copper & Brass Of tapering cylindrical form, topped by a lid with brass hinge and with (1989), Plate 17. brass wire loop handle for hanging, the cylindrical body with articulated brass wire carrying handle, and brass plaque reading ‘LEETE’S DAIRY / 75 13. NEW ST.’, and with two impressed marks below, the first oval and A small 17th century leaded bronze cauldron, probably reading ‘E. MEARS / MAKER / WEMBLEY MSX’, the second reading Continental ‘PATENT 1562’, 16.5cm high (6in high) The body of globluar form, the flared rim with scratched founder’s mark, £70 - 100 the body applied with angular open lug handles, raised on three slightly inset splayed supports, with rib decoration to both inside and outside 82 faces, 13cm rim diameter x 13cm high (5in rim diameter x 5in high) A late Victorian bent oak dry measure of pint capacity, for the City £300 - 500 of Bristol Of typical cylindrical form, mounted to upper and lower rims with an 76 iron strap, and mounted with four vertical riveted iron straps, extending A 17th century leaded bronze cauldron, probably Continental to cover the underside of the measure to prevent tampering, branded The flared rim with upright top edge and cast with a scratch-marked ‘CITY BRISTOL’ beneath a crowned ‘CCB’ and above the word ‘PINT’, founder’s mark of a double saltire, the body with a pair of open angular also stamped ‘575’ beneath the crowned initials ‘VR’, stamped four lug handles, fitted with a wrought iron articulated handle, raised on times ‘SOMT DIS No’ one of these stamped followed by an ‘8’, 11.5cm three ribbed outswept supports, 20.5cm rim diameter x 19.5cm high diameter x 7.5cm high (4.5in diameter x 2.5in high), together with a (8in rim diameter x 7.5in high) Victorian beech measuring stick, of slightly tapering round-section £400 - 600 form, branded with the initials ‘VR’ beneath a crown and above a quartered shield, 61cm long (24in long), (2) 77 £80 - 120 A late 17th/early 18th century leaded bronze cauldron, attributed to John Fathers II (c. 1670 - 1749) of the Fathers Foundry of The County of Somerset adopted Uniform Verification Numbers 575 - Montacute, Somerset 577 in 1891, so this measure must fall into the last decade of the 19th With flared rim, cast with a single wire line to the body beneath a century. scratch-marked three arc mark, and John Fathers II’s personal ‘B’-shaped mark, on three splayed and ribbed supports, repair to base, 23cm rim In the 20th century, regulations required that measures were stamped diameter (9in rim diameter) both to the exterior and to the interior at the angle of the sides and the £150 - 250 base, to prevent the insertion of a false bottom. This measure employs extended iron straps instead. See R. Butler & C. Green, English Bronze Cooking Vessels & Their Founders 1350 - 1830 (2003), pp. 53 - 54 for other examples by this The stamps reading ‘SOMT DIS’, once followed by an 8, are marks founder. denoting the division or district of the county.

78 See C. Ricketts & J. Douglas, Marks and Marking of Weights and A large 19th century copper cooking or stew pan Measures of the British Isles, pp. 230 - 231. Of oblong form with rounded ends, topped by a lid with moulded edge and strap handle, the body with rolled rim and two brazed dovetailed The branded shield to the measuring stick, which has something seams, fitted with an articulated iron handle, 51cm wide x 33cm deep x branded in its first quarter, is possibly for the City of London, whose 21cm high, (20in wide x 12 1/2in deep x 8in high) marks included a quartered shield with a sword in the first quarter. £150 - 200 See ibid., p. 214. 79 A 19th century copper lidded sauce pan Having a dished lid with a copper-riveted iron handle, a conforming handle to the brass-seamed cylindrical pan, 25.5cm diameter x 18.5cm high (10in diameter x 7in high), (2) £80 - 120

The Oak Interior | 31 86 A late 17th/early 18th century iron two-pronged cooking or meat fork Of two curving tines, the square-section stem centred by a moulded knop, broadening at both top and bottom and decorated with lines and notches to its edges, the handle topped by a disc terminal which is folded back and tapers to form a loop, an iron hanging loop attached, 49.5cm long (19in long) £200 - 300

A fork with a comparable stem, but a heart instead of a disc terminal, is illustrated J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 177.

It is possible that this fork is from Pennsylvania, USA. See a similar 83 example, with the same broadening of the stem at top and bottom, sold Christie’s, 21st January 2006, Lot 622.

83 87 A 19th century wrought iron wall rack for kitchen utensils, in the An 18th century steel three-pronged toasting fork American/Scottish manner Of three staggered tines, the slender stem with a decorative ring-turned Formed from uprights issuing an abundance of scrolls imitating foliage, central knop, broadening into the elongated lozenge-shaped handle the central upright topped by four scroll-ended branches, flanked by two topped by a disc terminal pierced for hanging, the handle and terminal bird-form sheet iron finials, the crossbar fitted with five hooks and with with notched edges, 60.5cm long (23.5in long) pendant scrolls, 56cm wide x 43cm high (22in wide x 16.5in high) £300 - 400 £200 - 250 This fork is very similar to another sold these rooms, The Ernest Hopwell 84 Collection of Metalware & Treen, 24th April 2013, Lot 310. A rare late 17th/early 18th century iron long-handled meat cleaver The single-edged flat-backed blade with integral tapering rectangular- It is interesting to note that the handle of this fork - unlike others - section handle terminating in a ram’s horn, or heart-shaped, finial, is decorated on the same side as the right-angled tine, so that the 56.5cm wide x 13cm high (22in wide x 5in high) decoration would be visible when it was hung flat on the wall. £150 - 200 88 85 An early 19th century iron and fruitwood three-pronged cooking Three brass and iron kitchen utensils fork, circa 1820 To include a late 17th/early 18th century all-brass ladle, the shallow Of three tines with slightly flattened ends, the silhouette stem cut as an bowl with now indistinct maker’s mark and with integral tapering handle urn issuing foliage, terminating in a turned fruitwood balustroid handle pierced to the terminal for hanging, 42cm long (16.5in long), together with hanging loop, 67cm long (26in long) with two 18th century iron and brass straining ladles, having a £300 - 400 brass bowl with extended perforated side rim, the copper-riveted the broadening iron handle with lozenge-shaped terminal and pierced with a 89 hook for hanging, 67cm long (26in long) and 56cm long (22in long), (3) An early 19th century wrought iron toasting fork £150 - 200 Of three tines, the stem broadening to form four pierced roundels, between sections with decorative edge notches, the slender chamfered The bowl has very faint traces of what could have been a circular maker’s handle terminating in a loop, 61cm long (24in long) mark. See R. Butler, A Study Collection of Marked Domestic Brass and £250 - 350 Other Base Metalware c. 1600 - c. 1900 (September 2001), pp. 100 and 104 for two other similar ladles with circular maker’s marks. 90 An 18th century steel cooking or meat fork Of two tines, the stem decorated to each end with a knop between ring turnings, broadening and flattening into a rectangular terminal, pierced with slots and circles, and with notched and chamfered edges, 56cm long (22in long) £250 - 350

For an example with a comparable handle see J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 174.

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92 A Regency brass-inlaid steel toasting fork, dated 1810 Of three staggered tines, their joint with the shaft formed as a heart, the stem with alternating square, wrythen and knopped sections, the elongated lozenge-shaped handle inlaid in brass with the date ‘1810’, the three-part terminal with shaped central stem centred by a heart, encircled by a loop, 71.5cm long (28in long) £300 - 400

An early 19th century toasting or flesh fork with the name ‘A. COOPER’ and the date ‘1816’ inlaid in brass, is illustrated R. Butler, A Study Collection of Marked Domestic Brass and Other Base Metalware c. 1600 - c. 1900, p. 25, No. 36. It is noted that ‘the art of inlaying blacksmith’s work with brass deserves research. It is uncommon and may be regional.’

Many examples appear to have been made in Pennsylvania, USA.

93 A rare Regency brass-inlaid wrought iron or steel skewer holder, dated 1817, with ten skewers Having a flat balustroid stem inlaid in brass with a sun rendered with features including a frown, above the initials ‘EF’, and the date ‘1817’, with four scattered six-pointed stars, topped by an integral disc finial pierced for hanging, and issuing at its base a pair of curved prongs, 17.5cm wide x 16cm high (6.5in wide x 6in high), together with twelve iron skewers, probably associated, of tapering flat-form, all pierced to their disc tops, the longest 23.5cm high (9in high); the shortest 13cm 93 (detail) 93 high (5in high), (13) £400 - 600

See J. Seymour Lindsay, Iron & Brass Implements of the English House 91 (1970), Figures 185 - 187. An American example with a similarly-shaped An unusual early 19th century brass-inlaid steel four-pronged stem, from Salem, is illustrated ibid., Figure 440. cooking fork Having four tines, on a decorative stem of alternating balusters and See also H. P. & N. Schiffer, Antique Iron (1979), p. 225. lozenges, and with chamfered edges, flattening and broadening to form a handle inlaid with the brass initials ‘C.E.R.’, topped by a lobed or Many brass-inlaid skewer holders are also found in America, and attributed to Pennsylvania. See, for instance, Christie’s, 10th - 11th June flowerhead terminal pierced for hanging, 54.5cm long (21in long) 1994, Lot 244 [£4,830], which was a skewer holder inlaid ‘E.R.’ and £200 - 300 ‘1806’.

34 | Bonhams ‘In the kitchyn...Twoo pot hanggelles...two payre of pott hookes...’

94 A late 17th century wrought iron cauldron hook or hangol Topped by a hook with heart-shaped terminal forming a crude ‘hinge’ for the pair of curving hooks below, 54cm high (21in high) £150 - 200

A very similar utensil, ‘a paire of hanging pot hookes’, was illustrated in Randle Holme’s Acadamy of Armoury, published in 1688. See R. Gentle & R. Feild, Domestic Metalwork 1640 - 1820 (1998), pp. 110 - 111.

A similar pair of hooks, described as being designed to support the lug handles of a cauldron, are illustrated R. Deeley, The Cauldron, The Spit & The Fire (2011), p. 11.

95 An 18th century wrought iron miniature trivet, or baking iron 95 Of triangular form, the openwork top filled with tightly furled scrolls, and with three downswept supports terminating in feet in the form of boots, 16.5cm wide x 7cm high (6in wide x 2.5in high) £400 - 600

For similar low, triangular stands - called ‘baking irons’ - see J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figures 68 & 69.

94 98 (detail)

96 An 18th century wrought iron kettle tilter The curving lever arm with loop terminal, and hinged at the bottom with a hook for hanging, over a curving branch terminating in a pair of hooks, 46cm wide x 41cm high (18in wide x 16in high) £80 - 120

See J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figures 43 - 45, for comparable examples.

97 A Victorian cast iron kettle Topped by a domed lid with finial and fitted with a fixed iron strap handle, the body tapering and with scrolling spout, 23cm high (9in high) 98 to top of handle £40 - 60

‘In the olde parlour...foure Lyttle Tryvettes...’

The Oak Interior | 35 98 99 A highly unusual 17th/18th century iron domestic utensil, probably A pair of cresset-top wrought iron spit dogs a tilter 17th/18th century Topped by a monkey or ape, its arms forming a suspension loop, its The upright stem wrought to its rear edge with notches to form a legs terminating in spiral loop feet through which is fitted an associated ratchet, and topped by an open cresset-type basket, on divergent rod and backplate for wall-hanging, around which the tilter pivots, the curving front supports, and an ‘L’-shaped rear support, 19.5cm wide monkey’s long tail forming the curving handle and terminating in a x 32.5cm deep x 47cm high, (7 1/2in wide x 12 1/2in deep x 18 1/2in spike, 57cm long (22in long) high) (2) £150 - 200 £100 - 150

This remarkable piece of metalware is perfectly weighted so that, when 100 hung on a wall-mounted rod, and suspending a kettle or vessel via A pair of late 17th/early 18th century steel tongs, English a hook from its loop arms, the whole pivots to mimic the action of a Topped by a gadrooned knop and a handle with tapering wrythen monkey in a tree, whilst its tail forms a handle by which the suspended section above a rectangular-section hinge, the jaws each beginning vessel can be poured. in a scroll above a spiral-turning and a gadrooned knop, the jaws of flat rectangular section decorated with grooves and with discoid grips, If this is a tilter, it is unclear why the tail or handle terminates in a spike, 54.5cm high (21in high) as the handles of most tilters are finished or fitted with a knop or finial, £150 - 200 presumably to prevent accidents!

100

‘In the Hawle...a payre of Bellowes a payre of Tongues...and a payre of iron Doggs...’

101 A pair of 18th century wrought iron fire dogs The tapering upright with hooked terminal and knop finial descending to divergent front supports terminating in ‘penny’ feet, on an ‘L’-shaped rear support, 43cm wide x 58cm deep x 46.5cm high, (16 1/2in wide x 22 1/2in deep x 18in high) (2) £150 - 200

101

36 | Bonhams 102 An 18th century wrought iron chimney crane with one movement The cross bar mounted to the top with three decorative arrowhead finials or stops, and terminating in a hook, decorated with a wrythen scroll-ended brace and a pair of decorative wrythen scrolls, 69cm wide x 51cm high (27in wide x 20in high) £200 - 300

103 Two pairs of early to mid-18th century fire tongs The first of polished steel, the rectangular-section hinged handle topped by a wrythen tapering shaft and a knop, the jaws wrythen and terminating in flat jaws with diagonal groove decoration and disc grips, 57cm high (22in long), the second pair of brass, the rectangular- section hinged handle topped by a tapering baluster and a ball and 102 pointed knop, the jaws each with three decorative clusters of lines and terminating in disc grips, 59cm high (23in long), (2) £100 - 150 104 A pair of brass and iron firedogs, Dutch/Flemish Topped by a ball finial above a balustroid stem, on a pair of divergent iron front supports and an ‘L’-shaped rear support, 21cm wide x 53cm deep x 48cm high, (8in wide x 20 1/2in deep x 18 1/2in high) (2) £300 - 400

105 A large pair of late 17th/early 18th century pair of elm, steel and leather bellows, English Of typical form, with spade-shaped upper and lower boards, both with an integral broadening flat handle, one plate pierced with three circular vents, joined by a nailed leather gusset, with decorative straps around the tapering steel nozzle, 30cm wide x 67cm high (11.5in wide x 26in high) £500 - 700

This pair of bellows is similar in shape and form to a pair illustrated England at the Time of William & Mary, BADA, 1989, Item 42. This pair is carved ‘The Ward of Aldersgate / Given by the Inquest / Mr Jacob Sutton Foreman / 1701 / Repaired 1781 / Edw Kirby Foreman’. 104

105

The Oak Interior | 37 106

106 One of these, with identical geometric decoration, is inscribed ‘DO YOU A rare and fine pair of late 17th century ash, fruitwood, brass and YOUR PART AS WELL AS I AND YOUL HAVE FIER BY AND BY 1692’, leather bellows, English, circa 1690 and is in the collection of the The Geffrye Museum of the Home [Object The upper board of fruitwood or alder and of good colour, carved to Number 13/2008]. the centre with geometric shapes and stylised leaves, and tulip heads, all within a border inscribed ‘WITH MEE MY FREND MAY STILL BE FREE YET Another pair, inscribed ‘BELLOWS LIKE A QUIETE WIFE SENDs OUT USE MEE NOT TILL COLD YOU BEE’, the rear board of ash and pierced BREATH AND MAKE NO STRIFE’, were formerly in the collection of Roger with a trefoil-shaped air inlet, both boards united by a studded later Warner, sold Brightwell’s, Leominster, 8th April 2009. leather gusset, and each with an integral projecting handle, with cast brass nozzle, the leather replaced, 28.5cm wide x 56.5cm high (11in A pair formerly at Goodrich Court, Herefordshire, read ‘NOW MAN TO wide x 22in high) MAN IS SO VNIVST [UNJUST] THAT ONE CANNOT ANOTHER TRUST’. £2,000 - 3,000 A pair sold Sotheby’s, November 1978, carved with a lion set in a shield This fine and rare pair of early bellows although uncommon is related surrounded by flowers, also bore the inscription ‘IF YOU WOULD HAVE A to a series of five other examples, all of which bear mottoes rendered FIRE WITH SPEED I AM READY TO HELP YOU AT YOUR NEED’. in similar lettering, suggesting that all were made in the same late 17th century workshop. They are all attributed to the late 17th century because the first example cited here is dated 1692.

38 | Bonhams Lots 107 - 132 The Danny Robinson Collection – The Table 107

107 An 18th century steel and fruitwood sugar hammer, English, circa 1760 The steel blade with curving bit opposed by a projecting rectangular poll forming a mallet, topped by an acorn finial and on a finely baluster- turned stem, with broadening turned and socketed fruitwood handle, 41cm high (16in high) £150 - 200

See J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 208.

108 A late 18th century brass caster or sugar sifter, English, circa 1770 The domed finial-topped cover with three rows of circular piercings and engraved decorative lines, the body of baluster form with decorative waist moulding, raised on a spreading and moulded circular foot, 14cm high (5.5in high) £100 - 150

An almost identical example illustrated P. N. & H. Schiffer, The Brass Book (1978), p. 232, Figure A.

111

111 A Delft plate, Liverpool, circa 1760 Of plain circular shape and painted in blue with peonies and foliage amid rocks and bamboo, decorated to the rim with three sprays of flowers, 23cm diameter £120 - 180

112 A Delft plate, English, dated 1717 Probably Lambeth, of plain circular shape and painted in blue with stylised flowers and foliage in bands around a central medallion painted with a triad of the initials ‘FIM’ and the date ‘1717’, painted to the underside with a stylised symbol, possibly a ‘P’, 22.5cm diameter, (a/f) £100 - 150

109

109 A Delft plate, Bristol, circa 1760 Of plain circular form and painted in blue with flowering plants and a willow tree beside a fenced garden within a scroll verge border, the rim with three flower sprays, 22.5cm diameter £120 - 180

110 A Delft dish, Bristol, circa 1760 - 70 Of plain circular shape and painted in blue with a flowering peony and other plants on rockwork with an Oriental vase beside, the verge and rim with diaper and trellis panel borders, 27cm diameter £200 - 300 112

40 | Bonhams 118 113

113 117 A rare Delft plate, possibly Lambeth or Bristol, circa 1760 A polychrome Delft dish, English, circa 1725 Of lobed circular shape, the rim with bianco-sopra-bianco stylised sprigs, Of plain circular shape and painted in blue, green and iron red with the centre painted in blue with flowering peonies, ferns and bamboo shaped panels of stylised flowers and ferns around a central floral branches, 22cm diameter medallion, 33cm diameter, (a/f). £250 - 350 £80 - 120

114 A similar plate, attributed to Lambeth, and dated 1734, is illustrated F. H. A pair of Delft plates, English, circa 1760 Garner & M. Archer, English Delftware (1972), Plate 56B. Of plain circular shape and painted in blue with a Chinese figure with a basket on his back approaching a garden within a fence, a rocky 118 landscape and a house beyond, 22.5cm diameter, (2) A pair of Delft polychrome plates, English, circa 1770 £300 - 400 Possibly Liverpool, of plain circular shape and painted in blue, green, yellow and iron red with pine cones, flowers and foliage, 23.5cm 115 diameter, (2) A Delft plate, Bristol, circa 1770 £200 - 300 Of plain circular shape and painted in blue with Asiatic pheasants in a rocky garden with flowering plants, the rim with a series of flower sprays 119 within narrow diaper panel borders, 22cm diameter A Delft plate, Bristol, circa 1760 £120 - 180 Of plain circular shape and painted in blue with a pagoda amid rocks and flowering peonies with an insect in flight, 23cm diameter A similar plate, attributed to Liverpool, is illustrated F. H. Garner & M. £100 - 150 Archer, English Delftware (1972), Plate 81B. 120 116 A 19th century slipware baking or pie dish and cover, English, circa A Delft plate, possibly Bristol, circa 1760 1850 - 70 Of plain circular shape and painted in blue with a Chinese gardener amid Probably Halifax, of drum shape with twin ribbed strap handles, the flowering plants and a trellis, the rim with four flower sprays on a dark flat-top domed cover with similar handle, the red body decorated with powder-blue ground, 22cm diameter loose geometric bands formed from dots and dashes with occasional £150 - 200 flowerheads under a pale honey coloured glaze, 25cm diameter £80 - 120 Provenance: Purchased Chorley’s Auctioneers & Valuers, 3rd March 2011, Lot 179 [£230].

A lobed plate with the same decoration to both well and rim and attributed to Lambeth, circa 1748, is illustrated, F. H. Garner & M. Archer, English Delftware (1972), Plate 92A.

119 114

The Oak Interior | 41 121

‘In the Butterye within the Hawle...one stone Jugge...’

121 A good late 18th century slipware baking dish, Staffordshire Of rounded rectangular form with ‘pie crust’ rim, a bold meandering line dribbled horizontally and vertically in cream slip on a dark brown ground, beneath a pale amber glaze, 32.5cm wide x 37cm deep £2,500 - 3,500

122 A 17th century salt-glazed stoneware Bellarmine jug, Rhenish Of typical bulbous form, with moulded rim and strap handle, the neck decorated with the face of a bearded man, the body with a medallion of an eight-petalled flower, 22.5cm high (8.5in high) £300 - 500

123 A 16th century leaded bronze jug or ewer The rim with lipped edge and small spout, the baluster-shaped body mounted with a flat loop handle, with footrim, 15.5cm high (6in high) £500 - 800

128

42 | Bonhams 123

124 An early to mid-19th century copper ale or cider jug, circa 1830 124 Of baluster form, fitted with an applied spout and a hollow ‘S’-scroll handle, raised on a flared foot, 30.5cm high (12in high) £150 - 200

125 An early 19th century copper ale or cider jug, circa 1830 Of baluster form with a brazed seam of small dovetails, and having an everted spout and rolled rim, the hollow ‘S’ scroll handle with pointed terminal, on a flared footrim, 23.5cm high (9in high) £100 - 150

126 A rare early to mid-19th century copper costrel, English, circa 1840 Of typical barrel form, with slightly everted spout, and iron bale handle, 18cm wide x 12.5cm end diameter (7in wide x 4.5in end diameter) £100 - 150

Costrels are more commonly found in timber with copper or brass bands.

127 An early 19th century copper cider or ale jug, engraved with a faint inscription, probably Scottish Of baluster form with brazed seam of small dovetails, rolled rim and small spout, the hollow ‘S’ scroll handle with a bifurcated or primitive fishtail terminal, on a flared foot, engraved with the now faint inscription reading ‘Orig?. B????. Society / John ???lke / Benj. Blake / Stewds / Ed???d Blake Secry.’, 22.5cm high (58.5in high) 122 £100 - 150

The bifurcated terminal is found on Scottish pewter of the mid-19th century.

128 A rare late 17th/early 18th century wrought iron standing brazier, North European Topped by an iron ring inset with a pierced brazier pan, the ring fitted with three swivelling pointed plate catches, and a further pair of iron ring handles, raised on three divergent branches topped by pad-shaped plate rests, issuing from a knopped stem, on a base of three downswept and incurved support terminating in flat penny feet, the stem’s threaded end secured at top and bottom by a scroll-ended nut, 75cm high (29.5in high) £700 - 1,000

A comparable brazier, with brass ball feet and decorative brass ball knops to its stem, attributed to England c. 1680 - 1700, is illustrated R. Gentle & R. Feild, Domestic Metalware 1640 - 1820 (1998), p. 351, Figure 1. 126

The Oak Interior | 43 ‘In the yeling Howsse...Treene platters...’

129

130

131

44 | Bonhams 129 A late 18th/early 19th century turned fruitwood lidded spice bowl, circa 1800 The turned and moulded cover fitted with a turned finial knop, the body raised on a waisted stem and a spreading circular foot, 17.5cm high (6.5in high), together with a mid-18th century turned fruitwood mortar, of baluster form and decorated with incised lines, 9cm high (3.5in high), a 19th century turned fruitwood egg cup, the base of the cup with flared collar, on a short stem and a line-decorated spreading foot, 6.5cm high (2.5in high), and a 19th century turned walnut lidded container, of barrel form with a screw-threaded top, 6.5cm high (2.5in high), (4) £300 - 400

For comparable lidded spice containers, see J. Levi, Treen for the Table (1998), p. 107, Plate 7/25.

A very similar fruitwood mortar illustrated ibid., p. 115, Plate 8/9, 3. 132

130 A pair of 18th century beech plates or platters Each with moulded rim, now of oval form, one bearing an indistinct Lots 133 - 155: inked label (probably a lot label), both ink-stamped to underside The Danny Robinson Collection – The Household ‘BATEMAN COLLECTION’ and painted in red ‘LOT 259 SOTHEBY. JU. [18]93. BATEMAN COLL: P. 958’, 23cm wide x 21cm deep (9in wide x 133 8in deep), (2) A group of four 18th century Delft tiles £200 - 300 To include two blue and white English examples, one painted with houses in a landscape, the other with the Nativity, the first 12.7cm Provenance: Once part of the Bateman Collection, sold Sotheby’s wide x 12.7cm high; the second 12.5cm wide x 12.5cm high, and two in 1893. William Bateman was a 19th century antiquarian and manganese Dutch examples, one painted with a lady carrying a rake archaeologist whose collections are now in the Weston Park Museum, and with her breasts exposed, in a landscape with windmill beyond, the Sheffield. other with the Thieves of Canaan, Joshua and Caleb, carrying a large bunch of grapes, the first 12.5cm wide x 12.5cm high; the second 13cm 131 wide x 13cm high, (4) A small collection of five pieces of treen £80 - 120 To include an 18th century turned sycamore goblet, with flared straight-sided cup with a turned base on a slender stem and a domed 134 line-turned foot, 11cm high (4in high), together with an 18th century A 17th century erotic Delft tile, Dutch turned oak goblet, with tapering straight-side cup on a flaring stem Painted in blue with a lady reclining in pleasure astride a merman’s tail, and a turned and moulded base, 12.5cm high (4.5in high), a 19th with stylised flowers to the four corners, 13cm wide x 13cm high century turned beech salt, having a broad shallow bowl, on a short £100 - 150 stem and a line-decorated spreading circular foot, 5.5cm high (2in high) and two similar small bowls, one of ash and of slightly oval form, 9.5cm wide x 10cm deep (3in wide x 3.5in deep), the other of sycamore, 10.5cm diameter (4in diameter), (5) £300 - 500

132 An early 18th century leather and silver-mounted blackjack or mug, circa 1700 Of cylindrical form mounted with a silver rim with pendant foliate lappets and maker’s mark ‘EW’ [the E a Sigma], with stitched footrim and stitched handle with basal ‘kick’, 14.5cm high (5.5in high) £500 - 800

The maker’s mark ‘E [sigma] W’ has not been identified.

134

The Oak Interior | 45 135 138

135 137 An early 18th century brass and beech warming pan, English, circa A late 17th century brass and iron warming pan, English 1710, by Charles Appleby The domed brass cover engraved with three birds, probably pigeons, Stamped ‘CAP’ within a rectangular lozenge twice arranged around the central three-petalled flower, within a pierced The domed cover with nurled edge engraved with a large central flower border, the flat tapering iron handle with wrapped socket terminal, within a border of foliate scrolls and scallop shells, and with decorative 27.5cm diameter x 97.5cm long (10.5in diameter x 38in long) piercings, inset into an iron pan with nurled brass rim, the turned and £300 - 400 tapering beech handle terminating in an acorn knop, 29.5cm diameter x 114cm long (11.5in diameter x 44.5in long) 138 £250 - 350 A late 16th/early 17th century brass warming pan lid, English Embossed to the centre with St. George slaying the dragon, within a This warming pan is illustrated P. Hornsby, Collecting Antique Copper & border of embossed Tudor Roses, all-over decorated with engraved Brass (1989), p. 112, Figure 237. foliage and with punched holes, 35.5cm diameter (13.5in diameter), together with a late 17th century brass and turned beech warming Charles Appleby appears to have come from a family of which three pan, Dutch, the domed lid embossed to the centre ‘IHS’ beneath a cross generations made warming pans. The first such member appears to have and above a heart, within a boss and line-decorated surround and a been John Appleby, to whom his son Charles was apprenticed in 1683. stylised foliate border, the heart-shaped handle lip with embossed edge, His son Charles, in turn, was apprenticed to him in 1733. A trade card the vestigial iron handle socketed into a turned beech handle, 35cm of Charles Appleby gives his address as ‘at the Wheatsheaf, Ludgate diameter x 118cm long (13.5in diameter x 46in long), (2) Hill’. The style and form of this pan, with an inset lid and turned wooden £300 - 500 handle, suggests that it was made by Charles, son of John, sometime in the early 18th century. See R. Butler, A Study Collection of Marked 139 Domestic Brass and Other Base Metalware c. 1600 - c. 1900 (September An unusual mid-17th century upright boarded oak box, English, 2001), p. 9. circa 1650 Having a hinged, sloping lid enclosing a vacant interior, the front and 136 sides with decorative lines, the front also with chip-carved ends, 65cm An 18th century copper and beech warming pan wide x 33cm deep x 50.5cm high, (25 1/2in wide x 12 1/2in deep x 19 The moulded domed cover engraved with tendrils of fern within a floral 1/2in high) border, inset into a copper pan and fitted with a turned and tapering £400 - 600 beech handle, 28cm diameter x 107cm long (11in diameter x 42in long) £150 - 200

46 | Bonhams 139

140 141

140 141 A late 17th century joined oak box, North European, possibly A small first half of the 17th century carved boarded oak box, Dutch English The hinged lid with moulded edge and raised central fielded panel fitted Having a boarded lid above a front carved with a row of nulling above with an iron carry handle, the underside of the lid with large engraved three rosettes or flowerheads within a line-carved arcade, the end and shaped iron strap hinges, the interior with six divisions, the sides and boards each with a conforming larger flowerhead, the base-board with front decorated with sunken panels and with stepped base moulding, chamfered edge, (replacements), 36cm wide x 19cm deep x 15cm high, 32cm wide x 23cm deep x 15cm high, (12 1/2in wide x 9in deep x 5 (14in wide x 7in deep x 5 1/2in high) 1/2in high) £500 - 800 £500 - 800

The Oak Interior | 47 143

142 144 A mid-19th century carved oak mural box, for candles or salt, Three Medieval keys, 14th/15th century English To include a copper alloy or bronze key, having a stepped bit, a The arched backplate carved with three pierced hearts beneath a floral hollow shank and a decorative lozenge-shaped bow pierced with a motif, flanked to either side by a perching bird, the box below topped quatrefoil, 7cm long (2.5in long), together with another bronze or by a hinged, chamfered lid, 27cm wide x 11cm deep x 28.5cm high, (10 copper alloy key, with pointed pin, solid blade and shank, and a 1/2in wide x 4in deep x 11in high) lozenge-shaped bow with a circular piercing, 9.5cm long (3.5in long), £300 - 500 and an iron key, with pointed pin, notched bit, slightly broadening shank and pierced oval bow, 9cm long (3.5in long), (3) Provenance: Purchased A. & E. Foster, nr. High Wycombe. £80 - 120

143 145 A James I boarded oak desk box, circa 1620 Four iron keys Having a hinged slope with beaded front edge forming a book rest or To include a 16th/17th century key, Venice, having a bit with two stop, and enclosing three small drawers, the front, sides and rear of clefts, the shank hollow and topped by a chamfered knop, the bow the box carved with a row of nulling, one projecting side fitted with a circular and filled with a lozenge and a quatrefoil, topped by a hanging drawer, with base moulding, 73.5cm wide x 65cm deep x 31cm high, loop, 11cm long (4in long), together with a large 18th century key, (28 1/2in wide x 25 1/2in deep x 12in high) German, having a clefted bit, a solid shank with decorative pin, the bow £600 - 800 of shaped outline and pierced with roundels and lozenges, 18.5cm long (7in long), and two 18th century keys, French, one with hollow shank, A similar example sold Sotheby’s, 29th October 2008, Lot 310. the other with a two-part bit, both with oval-shaped bows, 13cm long and 13.5cm long (5in long and 5.5in long), (4) Literature: R. Bebb, Welsh Furniture: 1250 - 1950, Vol. I, p. 276, pl. 451 £100 - 150 illustrates another example dated 1623. A key with a similarly-decorated bow and hanging loop in the Museo Artistico Industriale in Rome is illustrated V. J. M. Eras, Locks and Keys Throughout the Ages (1974), p. 71, Figure 106.

146 Two large 17th century iron keys, English The first with hollow shank decorated with knops near the bow, and with notched solid bit, the bow a shaped oval, with traces of a brazed repair to shank and bit, 20.5cm long (8in long), the second with hollow shank, simple two-part bit and oval bow, 17.5cm long (6.5in long), (2) £150 - 200

The traces of copper and brass to the first key in this lot are unusual.

142

48 | Bonhams 149 145

147 151 Five keys, English A fine George III carved and pierced oak spoon rack with cutlery To include a 17th century iron key, the bit in two notched parts, the box, English, circa 1770 pin with collar, and having a balustroid shank, with pierced oval bow, Topped by an arched and scroll-pierced cresting above a moulded 14cm long (5.5in long), together with an 18th century iron key, having ‘cornice’ with pendant scallop decoration, the backboard edged with a notched bit, hollow shank with decorative collar, the small circular bit pierced scrolls and mounted with a pair of slats each with conforming fitted with an iron loop, 13cm long (5in long), another 18th century pendants and notched to carry six spoons, the box base covered by a iron key, having a two-part bit, solid shank and simple oval bow, 10cm hinged lid with chamfered front edge, between scroll-pierced brackets, long (3.5in long), and two 19th century keys, the first of steel with and with further scalloped decoration and base moulding, 43cm wide x two-part bit, solid shank with decorative lines, and an oval bow, the 13.5cm deep x 75cm high, (16 1/2in wide x 5in deep x 29 1/2in high) second of iron with a knopped stem and articulated loop bow, 15cm £800 - 1,200 long and 9.5cm long (5.5in long and 3.5in long), (5) £60 - 80 Provenance: From the collection of Christopher Peal.

148 Illustrated: C. Peal, British Pewter & Britannia Metal (1971), p. 64, Colour Two large 18th/19th century iron keys, French Plate 5. The first with two-part bit, collared pin with knop, and a shaped oval bow, 23cm long (9in long), the second with two part bit, solid shank with knop terminal, and a shaped oval bow, 26.5cm long (10in long), (2) £200 - 300

149 A fine late 17th century steel key, English, circa 1690 Having a two-part notched bit, the pin with turned finial and decorative collar, the shank with a fluted balustroid section above a series of blade knops, terminating in an engraved foliate scroll-pierced oval bow, 13.5cm long (5in long), together with a late 17th/early 18th century steel key, English, with hollow shank, knopped stem and lozenge and cartouche-pierced shaped bow, 8cm long (3in long), an 18th century steel key, English, with a balustroid stem and a plain oval bow, 10cm long (3.5in long), and an 18th century spade-shaped key, probably Scottish, with pierced spade-shaped bit, short knopped shank, and oval bow, 6cm long (2in long), (4) £200 - 300

A key with a similar fluted shank, for a lock made by Philip Harris in late 17th century London, is illustrated P. N. & H. Schiffer, The Brass Book (1978), p. 285, Figure A, and also R. Gentle & R. Feild, Domestic Metalwork 1640 - 1820 (1998), p.387, Figure 9. A number of similar examples are in the Victoria & Albert Museum.

150 A George III green-painted pine wall-hanging spoon rack, English, circa 1790 The ogee-topped backboard with ogee-cut sides, and mounted with a pair of rails each pierced with six spoon slots, above an open till or cutlery compartment with downswept sides, with original green paint, 34.5cm wide x 13cm deep x 67cm high, (13 1/2in wide x 5in deep x 151 26in high) £400 - 600

The Oak Interior | 49 152 An 18th century parcel-gilt and lacca povera toilet mirror, Venice The plate set within a cartouche-shaped ‘C’ and ‘S’-scroll surround with foliate-carved cresting and decorated shoulders, on two scroll-ended feet, decorated all over with floral sprays and gilt scrolls against a green ground, 48.5cm wide x 52.5cm high (19in wide x 20.5in high) £300 - 400

153 Two Victorian nailed leather fire buckets The larger of tapering form, with nailed copper band to the rim, leather strap handle and recessed base, very faint traces of a painted crest, 28.5cm diameter x 30cm high (11in diameter x 11.5in high), the smaller with traces of the word ‘FIRE’ remaining in gilt, the copper rim stamped ‘W’, 26cm diameter x 28.5cm high (10in diameter x 11.5in high), (2) £100 - 150

152 154 A mid- to late-18th century oak-framed sandglass, English To measure the passage of an hour, the single-piece waisted blown glass vessel with bentwood straps to top and bottom, in a frame comprising a pair of discs joined by five ring-turned and tapering spindles, the upper disc with line decoration, the spindles with traces of black paint, 10cm diameter of upper plate x 18cm high (3.5in diameter of upper plate x 7in high) £200 - 300

For a slightly earlier example see E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 300, and described pp. 279 - 280.

The vessels in early sandglasses were made from two pieces of glass, blown into bulb shapes, their join reinforced by string, fabric, metal or a wooden collar. Later examples were made from a single piece of glass blown into two bulbs.

A very similar example, but with only four spindles or struts, sold Christie’s, 5th November 2003, Lot 158.

This sandglass actually measures 1 hour and 10 minutes.

154 ‘In ye Utter Courte...an olde Buckett...’

153

50 | Bonhams 155 A mid-18th century brass dial, elm-cased thirty-hour longcase clock, by John Gilkes of Shipston (1707 - 1789/90), one of the Quaker clockmakers of North Oxfordshire The 10in square brass dial with Roman hours and Arabic minutes to the chapter ring, the centre engraved with foliate scrolls, signed ‘John Gilkes’ and ‘SHIPSTON’ above a curved calendar aperture, the spandrels with conch shell pattern pierced mounts, with typical iron hoop and spike movement, in an elm case topped by a moulded and dentilled cornice above a glazed door with integral flanking columns, the case with long moulded door, on a box base, the movement secured to the backboard with an iron hook, 204cm high (80in high) £2,200 - 2,800

John Gilkes of Shipston (1707 - 1789/1790) was the son of Thomas Gilkes Snr. (1675 - 1757) of Sibford, the man said to be the founder of clockmaking, and particularly Quaker clockmaking, in Oxfordshire. Both men, particularly Thomas Gilkes Snr., were notable Quakers.

John Gilkes settled in Shipston in 1736 with his new wife, Rebecca, to set up as the town’s clockmaker.

Quaker clocks - often produced by men who were originally trained as blacksmiths - share many peculiarities that are not found on clocks from other regions. Many are decorated to the dial with zig-zags, have movements - often constructed from iron - with a hoop and spikes, and iron collets and plates. Many Quaker clocks were made to hang on the wall, and were not cased. The hook in the backboard of this elm case, however, onto which hooks the movement, suggests that this might be the original.

For a full account of Quaker clocks, see T. Marshall, The Quaker Clockmakers of North Oxfordshire (2013).

155 (detail)

155

The Oak Interior | 51 Lots 156 - 176: The Danny Robinson Collection – Domestic Carving & Church Carvings and Metalware 156

156 An early 16th century carved oak door head, English, circa 1500 - 1530 Formed as a four-pointed arch, the left-hand spandrel carved with a shield bearing a cross, the right-hand spandrel carved with a Tudor rose, against a ground carved with stylised stiff leaves, 136cm wide x 31.5cm high (53.5in wide x 12in high) £400 - 600

See H. Cescinsky & E. R. Gribble, Early English Furniture & Woodwork (1922), Volume I, pp. 176 - 181 for numerous examples of this type of door head.

157 An early 16th century carved oak board, English, circa 1500, from a food cupboard or hutch Of rectangular form, the left-hand edge with moulded groove, with a pair of tracery piercings formed as two arched lights beneath a spade- shaped oculus, 25cm wide x 63cm high (9.5in wide x 24.4in high) £200 - 300

Provenance: Alan Gow, The Old Plough, Upper Oddington, Gloucestershire.

Each of the tracery piercings is surrounded to the reverse with a series of small iron nails, which would have fixed fabric to prevent vermin and insects gaining access to the cupboard’s contents.

For a complete food cupboard or hutch with similarly pierced boards of the same date, see V. Chinnery, Oak Furniture: The British Tradition (2002), p. 416, Figure 4.8, where the caption notes ‘As with all genuine cupboards of this type, there is evidence that cloth coverings were 157 originally nailed behind the traceried openings’.

158 A Henry VIII carved oak panel, circa 1520 - 1540 Carved as a portrait medallion, the bust of a man facing to sinister, wearing a cap with split brim, his hair finely carved, a shirt collar at his neck, an open-necked robe below, all in a spiral-moulded surround with foliate clasps at the cardinal points, 29cm wide x 34.5cm high (11in wide x 13.5in high) £800 - 1,200

158

The Oak Interior | 53 159 A small carved beech figure of a 14th century knight, probably from a 16th century carving depicting soldiers guarding the tomb of Christ The knight modelled sporting a moustache, and wearing a chainmail coif, pauldrons, couters, poleyns and schynbalds, a short sword held in his right hand, a kite-shaped shield in his left, 15.5cm high (6in high) £300 - 500

This figure was probably originally part of a group depicting scenes from the Life of Christ, either his Betrayal, Deposition, Entombment or Resurrection, which were immensely popular subjects in the Medieval and Early Modern periods. See, for instance, a pair of North German 16th century figures of sleeping soldiers sold Christie’s, 13th - 14th December 2011, Lot 243. Or three Nottingham alabasters in the collection of the Metropolitan Museum of Art, New York [Accession Numbers: 1980.476, 48.175.2 & 48.175.1]. 159 A similar, although larger, figure was part of the collection of Clive Sherwood, sold Sotheby’s, 22nd May 2002, Lot 285. See the same sale, Lot 291, for an Elizabethan depiction of a Roman solider, Lot 291. The former is now in the collection of the Victoria & Albert Museum [A.11- 2001].

160 An early 16th century carved oak Romayne panel, English, circa 1520 - 1540 Carved in the classical manner with a male portrait facing to sinister, carved with a curly goatee beard, and wearing a helm or sallet with raised visor and pointed upturned tail, and an open-necked gown with embroidered shirt below, all in a border of stylised leaves and berries, the garlanding issuing stylised leaves above, and a pair of flowers below, 24cm wide x 39cm high (9in wide x 15in high) £600 - 800

Illustrated: M. Stephen, ‘Early Domestic Oak Panels’, Antique Collecting, December 2013, Figure 3.

Compare the helmet worn by the subject of this panel to those worn in two Romayne panels in the collections of the Victoria & Albert Museum, which share the same up-turned visor, row of rivets, and upturned, pointed tail. The first [Accession Number: 2011 to K-1899] was removed from Abbey House, Waltham Abbey, Essex, which was the home of Sir Anthony Denny (1501 - 1549), after the Dissolution of the Monasteries in the 1530s. See also Accession Number: 222-1898.

The helmeted heads were derived from Italian Renaissance motifs, and were based on those on Roman coins.

160

161 (detail) 164

54 | Bonhams 161 Three early to mid-16th century carved oak ‘linenfold’ panels, English All vertically moulded to simulate pleats, and all with folds at both the top and bottom edges fully rendered, one carved with detail of decorative embroidery, the second with piercings to the cloth, the third with three ribbed folds, the first 27cm wide x 46cm high (10.5in wide x 18in high), the second 23.5cm wide x 47cm high (9in wide x 18.5in high), the third 26.5cm wide x 46.5cm high (10in wide x 18in high), (3) £200 - 300

For a discussion of the development of linenfold panelling, see V. Chinnery, Oak Furniture: The British Tradition (2002), pp. 418 - 421, where it is noted that earlier linenfold panelling tended to simulate curtains or hangings with folded top edges but straight bottoms, whereas later renderings were more stylised, when both edges of the panel were carved with folds. Figure 4.18b illustrates a bed panel very similar in design to the three panels in this lot.

162 A pair of late Elizabeth I carved oak figural pilasters or terms, circa 1600 Modelled as an atlantes and a caryatid, both standing beneath a large exotic flower, he carved with beard and moustache and wearing a broad 162 ruff and buttoned doublet, wearing slashed sleeves, his left hand tucked into a drape of cloth over his right shoulder, a round object tucked into the crook of his left arm, above a floral-carved skirt, she modelled with broad ruff, and wearing wide slashed and punch-decorated sleeves, above a floral-carved skirt, both standing on a tapering pedestal and within a foliate-carved border, both mounted on a later backboard, 19cm wide x 56cm high (7in wide x 22in high), (2) £1,000 - 1,500

163 A pair of Elizabeth I carved oak figural pilasters or terms, circa 1600 Modelled as a caryatid and an atlantes, both standing beneath an Ionic volute-carved capital, she carved with arms crossed over her naked breasts, descending to a tapering pedestal with guilloche-carved moulding and interlaced floral roundels, he carved with moustache and beard, his arms crossed over his muscled torso, one hand tucked into a drape of fabric over his shoulder, descending to a floral roundel-carved tapering pedestal with volute-carved waist moulding, both with traces of paint, 12cm wide x 46.5cm high (4.5in wide x 18in high), (2) £600 - 800

164 165 A Charles I carved oak panel, Wales/Gloucestershire, circa 1620 - 1640 Carved in high relief with a dragon, its head curled backwards, its open mouth with serrated teeth issuing a flame, the edges of its body carved with acanthus, its looping tail with scales and with pointed arrow terminal, 61.5cm wide x 18cm high (24in wide x 7in high) £300 - 400

Illustrated: M. Stephen, ‘Early Domestic Oak Panels’, Antique Collecting, 2013, Figure 8.

165 A large 18th century carved oak octagonal wall plaque, North European Depicting a castle with crenellated clock tower, and a butcher’s shop displaying joints of meat in the window, a tree in the background, a passing horse and cart with boy seated behind, a woman carrying a basket on her head in the foreground, all beneath a sky carved with a sun and a bird, with moulded border, 73cm wide x 74cm high (28.5in wide x 29in high) £300 - 500

163

The Oak Interior | 55 Receiver-General of the Duchy of Lancaster for life. At a very young age, Dorothy married his son Robert Bonham, and their marriage continued at least until 1546/7, when a writ of mittimus was entered in the Exchequer with a copy of cancelled letters patent relating to Dorothy and Robert [National Archives E/163/11/5]. By him she had four children, Jeremy, Charles, Mary and Elizabeth.

She then went on to marry Anthony Maxey of Great Saling Hall sometime after 1546/7, and their principal residence became Bradwell Hall (which she had inherited from her father). They also had four children William, Henry, Dorothy and Bridget.

By Anthony’s will [NA PROB 11/78/423] he bequeathed ‘to Dorothie my wife all my plate with all my household / stuff of what qualitie or kinde whatsoever’. And although he left his eldest son ‘all my bookes of all sortes and kindes whatsoever’ he qualified ‘(except my newe bible) which I leave to my / wife for the usuall service in her howse which I desire her to contynewe that God may blesse her and her household to live in his feare.’ Furthermore, he bequeathed the residue of his goods and chattels ‘unto Dorothie my wife for ever’. Other bequests - of featherbeds and sheets - to his children, were to be supervised by her. By his will we learn that she grew ‘hoppes’ in the garden ‘called my wives garden’, owned a gelding and coach horses, and that he wore ‘a signett of gold daily’, ‘a silke grograyne gowne’ and ‘a velvett jerkin’. The will appointed her an executrix.

After Anthony’s death in 1592, she married John Babington. One account of her states, ‘she proved very unkind to her first husband’s children, whom she in effect disinherited, settling her whole estate on the children of Anthony Maxey. And as for Jeremy Bonham, 166 her eldest son, who should have been her heir, she made the poor man a pensioner upon 166 his own estate, allowing him the miserable A fine late 16th/early 17th century This panel sold with a 1989 report from Norroy pittance of £10 a year for life out of her manor polychrome and gilt-decorated carved oak and Ulster King of Arms of the College of Arms of Picots, in Great Saling. [See T. Wright, The coat of arms, commemorating Anthony identifying the quartered arms. History and Topography of the County of Essex (1522 - 1592) and Dorothy Maxey (1527 - (1886), Volume I, p. 265]. 1602) of Bradwell, Essex This panel was probably once part of an The convex shield exhibiting the arms of overmantel at Bradwell Hall, Essex, where It appears that her relations with her children Anthony and Dorothy Maxey, side by side, Anthony Maxey and his wife Dorothy resided by her second husband, Anthony Maxey, were that of the former bearing three Talbot heads until his death in 1592. not wholly cordial after his death either. An quartering a griffin, that of the latter bearing indenture of 1592, records an undertaking three escallop shells on a chevron with a lion It should be noted that the colours of the between her and her eldest son by him, Henry above quartering three pomegranates, all in a arms of Dorothy Maxey are inverted, perhaps Maxey, the heir, in which because ‘whereas scroll-edged cartouche issuing from each top suggesting that this was carved some time after decease of said Anthony there were divers corner a foliate-carved cord terminating in a after her marriage to Anthony, and perhaps in questions tending to unkindness’, Dorothy tassel, a tablet below carved with the initials the 1620s, when their son, Sir Henry, erected undertakes ‘that she will not during her life pull AM and DM, in a moulded surround, 59.5cm an alabaster and marble monument in their down or ruinate any of the houses or buildings wide x 78cm high (23in wide x 30.5in high) memory in the Church at Bradwell. on the site of the Manor of Bradwell to the £6,000 - 8,000 intent to give away the same...And will not cut The Maxeys: down any timber, trees above the age of 40 Illustrated: M. Stephen, ‘Early Domestic Oak years growth...to the intent to sell or give the Panels’, Antique Collecting, 2013, Figure 10, Dorothy, the daughter of Gregory (d. 1528) same, above the value of £10 [see Collectanea where it is noted that it is related to a panel in and Margaret (d. 1587) Bassett, was sole topographica et genealogica (1835), pp. 245 - the collection of the Victoria & Albert Museum, heiress at her father’s death, and her wardship 6]. Interestingly, she signs this document only probably [no reference is given] No. 404-1872, was purchased by Thomas Bonham (c. 1482 - with her mark. which is dated 1590 - 1610. 1532) of Stanway, MP for Essex in 1529, and

56 | Bonhams 167

167 A set of three late 15th/early 16th century carved oak open tracery panel heads, English From a screen Each carved with a pair of lobed quatrefoil oculi centred by a flower above a pointed ogee-shaped arch with foliate cusps, all beneath a pair of stylised foliate spandrels, one centred by a shield, 29.5cm wide x 22.5cm high (11.5in wide x 8.5in high), (3) £350 - 450

These tracery heads could originally have been part of either a screen in either a church or domestic interior.

H. Cescinsky & E. R. Gribble, Early English Furniture & Woodwork (1922), Volume I, p. 117, Figure 109 illustrates a late 15th century screen in Bradninch, Devon, painted with saints beneath a similar tracery arrangement of foliate-cusped ogee arch and twin oculi.

A secular screen of the early 16th century, from a Great Hall in Devonshire, features the same ogee-pointed arch and pair of oculi at the head of the panels. See H. Cescinsky, English Furniture from Gothic to Sheraton (1937), p. 40.

168 A mid-15th century carved oak blind tracery panel, French, circa 1450 The decorated section raised and intricately carved with a design of alternating lozenges in roundels and quatrefoils, spaced by mouchettes 169 and daggers, within a moulded border, 26.5cm wide x 48.5 high (10in wide x 19in high) £200 - 300

169 A 17th century carved chestnut architectural mount or pilaster, Franco- Flemish The Virgin and Child standing beneath a shell and mask-carved capital and on a facetted and moulded pedestal, edged by a pair of flanking brackets formed from winged cherubs, scrolls 168 and foliage, all on a gadrooned, foliate and mask-carved plinth, 55cm wide x 83cm high (21.5in wide x 32.5in high) £700 - 1,000

The Oak Interior | 57 170

171 172

173

58 | Bonhams 174

176

170 173 A fine late 15th/early 16th century carved oak roof boss, probably A late 16th century brass basin or ‘alms dish’ depicting The Grape South-West England Carriers or The Spies of Canaan, Nuremburg Of nearly square form, and carved with an owl perched upon an With original gilt surface to reverse encircling wrythen fruiting vine, 20.5cm wide x 21.5cm high (8in wide x The central embossed motif within two bands of Gothic text, encircled 8.5in high) by a gadrooned booge, the rolled rim with two bands of punched £1,500 - 2,000 decoration, 41.5cm diameter (16in high) £600 - 800 Square carved oak bosses are also found in Congresbury in Somerset, and Sampford Courtenay in Devon. See C. J. P. Cave, Roof Bosses in 174 Medieval Churches (1948), Figures 73 - 76 [Congresbury] & Figures 182 - A cast brass relief mount 185 [Sampford Courtenay]. Possibly Medieval In the form of a woman - probably the Virgin - wearing a fillet and veil, 171 and a square-necked gown, with traces of red enamel, evidence to the A late 16th century brass basin or ‘alms dish’ depicting The Fall of reverse of the top of her head of a strap fixing, and with two pierced Man, Nuremburg holes to the folds of her veil, 18cm wide x 18.5cm high (7in wide x 7.5in The centre embossed with the figures of Adam and Even flanking the high) serpent-wrapped Tree of Life in the Garden of Eden, a banner with now £400 - 600 indistinct text to Adam’s left, a turreted city wall behind Eve, in a border of Gothic lettering, the basin’s rolled rim with arch and foliate punch 175 decoration, an extract from a sale catalogue pasted to reverse, 41cm A brass altar cross, probably Italian diameter (16in diameter) 18th century £600 - 800 Flat-backed, and mounted with the figure of Cristo Morto with perizonium tied at the waist, on a cross with trefoil ends to the arms, 172 cartouche-shaped plaque engraved ‘INRI’, the Golgotha skull and bones A late 16th century brass basin or ‘alms dish’ depicting The below, raised on a faceted and moulded base, 38cm high (14.5in high) Annunciation, Nuremburg £150 - 200 Embossed with the Virgin kneeling at a prie-dieu, the Angel Gabriel behind her, a haloed dove above, all in an encircling band of floral and 176 foliate-filled guilloche, and a gadrooned booge, the rolled rim having A late 17th/early 18th century carved limestone head, circa 1700 two bands of punch decoration, one of fleur de lys, the other of leaves, Probably either of Christ or John the Baptist, looking slightly to dexter, stamped ‘V.L.’ to rim, and struck with an ‘E’ to the underside of the rim, modelled with hooded eyes, curly hair and beard, 27cm high (10.5in 38cm diameter (14.5in diameter) high) £600 - 800 £400 - 600

The Oak Interior | 59 Lots 177 - 185: The Danny Robinson Collection – Hobbies & Pastimes

179 A mixed collection of books relating to various categories of Antiques To include, Ronald G. Copper, English Slipware Dishes 1650 - 1850 (1968); F. H. Garner & M. Archer, English Delftware (1972); J. C. Rogers, English Furniture (1967); B. D. Cotton, The English Regional Chair (1990), ink inscription to flyleaf reading ‘To Danny and Mary with thanks for all the help and kindness given freely, over the years. Bill Cotton. July 1990’; L. Synge, Antique Needlework (1989); G. H. Baillie, 180 Watchmakers and Clockmakers of the World (1972); The Pictorial Encyclopedia of Antiques (1975) and Le nouveau musee de Metz, a catalogue, (8) £60 - 80

180 A rare William & Mary turned fruitwood 177 (1981), with ink inscription to flyleaf reading adjustable bookrest, English, circa 1690 A collection of books on Pewter ‘To Danny, Many thanks for your help. Hope Of three bobbin and block-turned horizontal To include, J. Hatcher & T. C. Barker, A History you enjoy the illustrations and are not too bars, the uppermost fixed, the two lower of British Pewter (1974), with ownership label bored with the text. Peter. Oct 3rd 1981’; pivoting at their ends, the uppermost fitted to to flyleaf reading ‘J. G. Russell, 72 Holdsworth American Pewter in the Museum of Fine the reverse with a strut adjusting on the ratchet St, Woollhara, NSW 2025’ and with inked Arts Boston (1974), with ownership label to fitted to the bottom bar, between block and date ‘1976’; D. Stara, Pewter Marks of the flyleaf reading ‘J. G. Russell, 72 Holdsworth turned uprights each topped by a pointed finial World (1978), with ownership label to flyleaf St, Woollhara, NSW 2025’ and with inked and terminating in turned feet flanking the reading ‘J. G. Russell, 72 Holdsworth St, date ‘9.77’ and K. Ebert, Collecting American plain, un-turned bottom rail with projecting Woollhara, NSW 2025’ and with inked date Pewter (1973), (12) rest, 39.5cm wide x 40cm high (15.5in wide x ‘1.79’; R. F. Michaelis, Antique Pewter of the £70 - 100 16in high) British Isles (1955), with ownership label to £800 - 1,200 flyleaf reading ‘J. G. Russell, 43 Latimer Road, 178 Bellevue Hill, N.S.W’ and with inked date A collection of books on Metalware Illustrated: Barbara Pierce, ‘Delightful Oddities’, ‘July 64’; H.J.L.J. Masse & R. F. Michaelis, The To include, R. Gentle & R. Feild, English in Antique Collecting: The Journal of the Pewter Collector (Revised Edition 1971); The Domestic Brass 1680 - 1810 (1975); E. Turner, Antique Collectors’ Club, Volume 35, Number Museum of London, Pewter: A Celebration of Brass (1982); P. Hornsby, Collecting Antique 4, September 2000, p. 8, Figure 2. the Craft 1200 - 1700 (1989); A short history Copper & Brass (1989), with ink inscription of The Worshipful Company of Pewterers of to flyleaf reading ‘Danny, Many thanks for A similar bookrest, part of the collection of London and a catalogue of pewterware in its your help. Peter Hornsby. Oct 26 1989’; M. John Parry, sold Christie’s, 25th March 2010, possession (1968); K. Ullyet, Pewter Collecting Campbell, Ironwork (1985); Hanns-Ulrich Lot 32. for Amateurs (1967); D. Moulson & A. Neish, Haedeke, Metalwork (1969); E. Launert, An Introduction to British Pewter (1997); C. Der Morser (1990); Feuererzeugung und Examples of slightly later rests in oak and A. Peal, British Pewter & Britannia Metal for Beleuchtung (1989) and Catalogue du Musee mahogany, illustrated R. Edwards, The pleasure and investment (1971), signed W. B. le Secq des Tournelles, Fascicule II, Clefs et Dictionary of English Furniture (1986), p. 98, Horner 5/i/78; P. Hornsby, The Arthur Negus Serrures (1980), (8) Figures 1 & 2. Guide to British Pewter, Copper and Brass £70 - 100

60 | Bonhams 181

181

181 The Book of Common Prayer, with 43 engraved plates, London, 1685 The Book of Common Prayer, And Administration of the Sacraments, and Other Rites and Ceremonies of the Church, According to the Use of the Church of England; Together with the Psalter or Psalms of David, London, ‘Printed by the Assigns of John Bill deceas’d: And by Henry Hills, and Thomas Newcomb, Printers to the Kings most Excellent Majesty. 1685’, engraved portrait of James II, and 43 further engraved plates, including The Powder Plot Novemb 5., K. Charles I Murthered. and K. Charles II his Return, bound with The Whole Book of Psalms, Collected into English Metre by Thomas Sternhold, John Hopkins, and others., London 1682, all bound in black morocco with foliate engraved unmarked white metal mounts to corners, straps, and a cipher-engraved cartouche to front and back, 8vo £200 - 300

182 182 183 A mid-19th century miniature ash rush- seated toy chair, English, circa 1840 The back with three simple round-section rails, between curving rear uprights, the straight 184 arms with bulbous terminals flanking the rush A George III brass cribbage board seat and raised on broadening arms supports Of scroll-edged rectangular form, drilled with descending to round-section front supports, rows of holes for pegs, and centred by a united by a front stretcher with turned knop, white metal plaque engraved ‘E. W. Banyard, with plain side stretchers, 16.5cm wide x 15cm Presented By, R. Robinson’, raised on four deep x 30.5cm high, (6in wide x 5 1/2in deep spreading turned brass feet, 25cm wide x 11cm x 12in high) deep x 1.5cm high, (9.5in wide x 4in deep x £200 - 300 0.5in high) £120 - 180 183 A late George III miniature ash rush-seated Illustrated: P. Hornsby, Collecting Antique ladderback toy chair, English, circa 1800 Copper & Brass (1989), Plate 27. Having three arched and ogee-bottomed horizontal splats, between slightly splayed rear supports with line-turned tops, the flat turned and ring-turned balustroid arms flanking a rush seat, raised on ring-turned front supports terminating in turned feet and joined by a baluster-turned front stretcher, with plain side stretchers, 15.5cm wide x 14cm deep x 31cm high, (6in wide x 5 1/2in deep x 12in high) £200 - 300 184

The Oak Interior | 61 185

185

185 A rare pair of 19th century black-painted and gilt-highlighted twenty-four hour coaching time dials Each of very nearly square form, one painted with a gilt ‘P’ for ‘Passengers’, the other with a gilt ‘M’ for ‘Mail’, both with the numbers 1 to 24 painted in gilt, and with gilt acanthus painted to the spandrels, each with a shaped iron pointer, 40cm wide x 41cm high (15.5in wide x 16in high), together with a long 19th century copper and brass coaching horn, with brass mouthpiece, collar and bell, the latter with brazed dovetailed seam, 132cm long (51.5in long), (3) £800 - 1,200

This rare pair of coaching dials would have been hung in an inn, or at the ‘post’ at which mail and passenger coaches would stop, to indicate the time of departure of the next coach.

See E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 295 for a pair of 18th century mahogany examples, which are circular, and p. 295, where the explanatory notes describes them as ‘rarities’.

Lots 186 - 191: The Danny Robinson Collection – Tobacco & Smoking

186 A mid- to late 18th century chestnut or fruitwood boarded mural tinder box, circa 1750 The shaped and arched rear board pierced with three holes, the sliding front board line-carved with a pair of crossed lines, and enclosing a divided interior of two compartments, the sides grooved to take the front panel and with moulded front edges, lacking damper, 11cm wide x 5cm deep x 29cm high, (4in wide x 1 1/2in deep x 11in high) £300 - 500

Illustrated: J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 19, Figure 7.

The upper compartment in this box would have been for storing flint, 186 steel and tinder, whilst the lower compartment - as evidenced by its charred interior - would have been for lighting the flame. A damper - lacking to this example - would have then been used to put out the flame. See ibid., Figure 5, for an example with its original damper.

62 | Bonhams 185 185

187 An 18th century wrought iron clay pipe kiln Formed from three iron hoops mounted vertically between a pair of iron bars, the uppermost fitted with a loop handle, the bottom bar extending at each end into a pair of downswept supports with scroll feet, 31cm wide x 13cm deep x 16.5cm high, (12in wide x 5in deep x 6in high) £100 - 150

For similar examples see J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figures 392 - 396. It is noted on pp. 69 - 70 that ‘pipe kilns are wrought iron racks used in the process of cleaning clay pipes. They are usually made with three rings connected by a flat bar top and bottom, with a ring to form a handle; the frame standing upon four squat legs...When the pipes became foul with tobacco juice they were not thrown away, but were laid, as many as two or three dozen at a time, in a rack and then placed in a very hot oven until thoroughly baked, when they would be taken out quite clean and more agreeable to smoke than a new pipe.’

188 An early George III brass tobacco box, English, dated 1761 189 Of typical oval form, with hinged cover, the box with triple reed base moulding, fitted inside with a hide or leather liner, the underside of the base engraved ‘good VIRGINIA / WITHIN I HAVE / BUT ITS NOT MADE FOR EVERY KNAVE / MY MASTER ONLY ILL SUPPLY / LET BEGGING FELLOWS GO & BUY’, the initials ‘RK’ and the date ‘1761’, the later 189 initials ‘TS’ beneath, the lid engraved in cursive script ‘Steal / Not this Box A Charles II copper tobacco box, dated 1673 / for Fear of Shame / for hear is the oner’s Name / Thos. Scotson’, 8.5cm Of simple oval form, the underside engraved with a coat of arms wide x 5.5cm deep (3in wide x 2in deep) showing three cockerels in a shield within a wreath of laurels, ‘Mr £400 - 600 William Cock[es] 1673’ engraved below, the cover with a very faint pattern of arcs and circles, 9cm wide x 8cm deep (3.5in wide x 3in deep) This snuff-box was almost certainly made for someone with the initials £400 - 600 ‘RK’ in 1761. The later style of the engraving, and the dual set of initials to the underside of the base, indicate that it later passed into The simple form and size of this rare tobacco box bear resemblance to the ownership of Thomas Scotson, who engraved the verse beginning another Charles II example, dated 1691 and engraved with the arms of ‘Steal...’ and his name on the lid, and added his initials beneath those of Thomas Jameson, illustrated R. Gentle & R. Feild, Domestic Metalware ‘RK’. 1640 - 1820 (1994), p. 423, Figure 8.

‘Good Virginia’ refers to Virginia tobacco, the first type of tobacco introduced into Western Europe in the 16th century from North America by Sir Walter Raleigh.

This verse, warning potential ‘begging fellows’ to buy their own supply, is a common one on 18th century objects, although it appears in a number of slightly different versions. For instance, a Caughley jug in the collection of the Ironbridge Gorge Museum advises ‘Nothing good within I have Be not so free to every Knave My Master only I supply Let begging fellows go & buy. 1792’, but it most commonly appears on tobacco boxes. The Metropolitan Museum of Art holds a brass and tin tobacco box of 1747 [Accession Number: 56.181a, b] engraved ‘Tobaco good within I have / Though it’s not good for every knave / My Friends only I supply / let begging fellows go and buy / John Winslow / 1747’.

The Oak Interior | 63 190 A rare and exceptionally long 18th century steel ‘churchwarden’s’ pipe, English, circa 1750 In one section, the tapering bowl with small pointed spur, with curving, slightly tapering stem, 56cm long (22in long) £400 - 600

Very long pipes such as this one are traditionally called ‘churchwarden’s’ pipes. Some were made in three or four sections which could be unscrewed, inserted into a case and carried in the pocket.

R. Gentle & R. Feild, Domestic Metalwork 1640 - 1820 (1994), p. 347 illustrates four ‘churchwarden’s’ pipes made from steel, iron, brass and copper measuring 15in to 31.5in long.

190

191

191 193 A rare pair of early 18th century steel ‘churchwarden’s’ pipe or A collection of wooden tools ember tongs, English To include seven lead formers or dressers, of both ‘V’ and round- The upper handle of wrythen form and terminating in a whistle, the section, one with scratch-carved ‘M’, another with an ‘L’, and another lower handle with disc pipe tamper terminal, fitted to the centre with ‘GH’, the longest 36cm long (14in long), together with five mallets, a shaped pricker, the tongs with pierced circular terminals, 44cm long three with tapering heads, two with cylindrical heads, one with prick- (17in long) marked ‘P’, the largest 33.5cm long (13in long), three plumber’s chase £400 - 600 wedges or gluts, one with iron collar, one marked with an ‘H’, the largest 18cm long (7in long), five plumber’s turnpins, four of conical A comparable pair of tongs is illustrated R. Gentle & R. Feild, Domestic form, one egg-shaped, the largest 15cm high (5.5in high), and eight Metalwork 1640 - 1820 (1994), p. 330, Figure 3. With an almost bobbins, two of tapering form, and six cylindrical, four of the latter identical wrythen shaft and whistle terminal to the upper handle, it is attached to a length of rope, the largest 5cm high (1.5in high), all in a likely that the illustrated example were made by the same hand as the green-painted pine box, with iron straps to the angles, and iron carry tongs offered here. The former are fitted to the centre with a tab in the handles to the ends, 52cm wide x 37cm deep x 31cm high (20in wide x form of a ‘little man’ wearing a hat. The prongs which feature on the 14.5in deep x 12in high), (29) side of the tab on the tongs in this lot, probably served as a pricker. £120 - 180

In a discussion of ember tongs J. Seymour Lindsay notes that ‘some See E. H. Pinto, Treen & Other Wooden Bygones (1985), Figure 430, C examples have a whistle at the end of one handle, and were for use [lead formers or dressers]; H [mallets]; F [gluts]; E & G [turnpins]. in Inns; this whistle enabled a customer, who might be enjoying the seclusion of the inglenook, to call the attention of the bar attendant’ Ibid., p. 402 notes that a glut is ‘an iron collared, boxwood wedge, used (see Iron & Brass Implements of the English House (1970), p. 67. for drawing sheet lead into an angle. A similar tool was used by the woodman for opening up splits in logs.’

Lots 192 - 196: Turnpins and bobbins are described as ‘used for opening up ends of lead pipes. If they had holes through them, they would not be termed The Danny Robinson Collection – Occupations turnpins: E would then be a plumber’s taper bobbin, and G would be a bobbin. Bobbins were used to remove dents from the bore of lead 192 piping. A cord was passed through the bobbins and tied to an iron An early 20th century mahogany and engraved brass door plaque weight, known as a follower. The cord was pulled, so that the follower Having a brass tablet engraved with the name ‘Dr. Jennings.’ in cursive struck the bobbin and forced it along the pipe.’ script, mounted on a plaque of mahogany with moulded edges, 27.5cm wide x 15cm high (10.5in wide x 5.5in high) £40 - 60 ‘In the Cocklofte over the warping howsse...certayne olde tools for a plummer...’

64 | Bonhams 194

194 A 16th/17th century yew-wood and iron carpenter’s brace and bit Having a turned bun-shaped head, mounted on the stock or crank formed from a single branch of yew-wood, with sheet iron mount to the centre to form a grip, and sheet iron ferrule at either end, fitted with a fixed iron spoon bit with grooved shank, 45cm long (17.5in long) £100 - 200

Provenance: Found under the floorboards during renovations of a house in Painswick, Gloucestershire.

Randle Holme’s, The Academy of Armory (1688), Book III, Chapter IX, illustrates a similar brace and bit.

A cruder but similar brace, with the stock also formed from a single branch, was discovered in the wreck of the Mary Rose, which sank in July 1545.

Spoon bits were used by Windsor chair makers to form the holes in the seat into which the back’s spindles would fit.

195 A mid-18th century carved birch mangling board, Norwegian, dated 1758 Of typical slightly tapering form, with moulded edges around the central carving of opposing tulips, beside the date ‘1758’, mounted with a handle in the form of a horse, rendered with a long neck with mane, its open mouth showing its teeth, 68cm long (26.5in long) £100 - 150

For similar mangling boards, see E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 153, Figure F and p. 153 for an explanation of their use.

196 A rare George III black-painted and polychrome-decorated staff of office, or long tipstaff, for the City of Oxford, dated 1795 Of round-section tapering form, painted with the initials ‘G.R.’ above the crest of the City of Oxford, argent, an ox gules, armed and unguled or, passing a ford of water in base proper, above the word ‘OXON’ and the date ‘1795’ and ‘No. 34’ below, with brass and iron ferrule, 147.5cm high (58in high) £600 - 800

195 196

The Oak Interior | 65 Lots 197 - 205: The Danny Robinson Collection – Folk Art 197

200

197 A sheet copper full-bodied weather vane, probably French Modelled in three-dimensions, and in the form of a cockerel, rendered with a comb of four points, wattles, cape and tail feathers, on an iron rod inset into a sheet metal circular base, 45cm wide x 66.5cm high (17.5in wide x 26in high) £300 - 500

198 A 20th century sheet metal weathervane 198 In the form of a running fox, mounted on a cross-bar and with upright socket attachment, 91.5cm wide x 37cm high (36in wide x 14.5in high) £300 - 400

199 A 19th century sheet iron weathervane, English/American In the form of a running horse, with flowing mane and tail, fitted with a riveted iron socket attachment, 57cm wide x 35.5cm high (22in wide x 13.5in high) £400 - 600

200 An 18th century wrought iron shop sign, perhaps for a tackle shop or a fishmonger’s Having an iron backplate with foliate arrowhead terminals, issuing a horizontal bar issuing foliate scrolls both above and below, the bar terminating in the figure of a man leaning forwards, one arm raised and holding a fisherman’s gaff, the other holding a wire or line dangling a fish, the fish later, 75cm wide x 105cm high (29.5in wide x 41in high) £500 - 800

Provenance: Purchased Phillips, Contents of an Elizabethan Hunting 199 Lodge, Beckley Park, Oxfordshire.

The Oak Interior | 67 201

202 204

201 203 Two carved and polychrome-decorated decoy pigeons An early 20th century red-painted pine and iron toy horse and cart The first circa 1900, with glass eyes, pink-painted breast and black-tail The horse with leather bridle, collar and girth, raised on two axles and feathers, 30cm long (11.5in long), the second 20th century, with painted four wheels, between the tapering shafts, the cart highlighted in red eyes, white collar and black tail feathers, 24cm long (9in long), (2) and raised on an axle fitted with a pair of iron ten-spoke wheels, 28.5cm £120 - 180 long x 19cm high (11in long x 7in high) £100 - 150 202 An early 20th century painted pine decoy duck, from Cowdray 204 Park, Sussex A 19th century brown-painted and shell-decorated ‘weather Having line-carved eyes and looking to dexter, its tail carved with side cottage’ feathers, stamped to the underside COWDRAY PARK and with the The two-storied structure with pitched roof, the upper storey with a number 553 three times, 35cm long (13.5in long) pair of arched and horn-glazed windows, the arched doors to the lower £100 - 150 story open and with a pivoting male and female carved wooden and polychrome-painted figure, the front of the house with a pair of trees, Cowdray is in Easebourne, a West Sussex parish which adjoins the small the doors and windows edged with twine, 13.5cm wide x 10cm deep x town and former parliamentary borough of Midhurst, some ten miles 27.5cm high, (5in wide x 3 1/2in deep x 10 1/2in high) north of Chichester. Cowdray House - an impressive Tudor mansion - £200 - 300 burned down in 1793. The 7th Earl of Egmont (1845 - 1897) began building Cowdray Park in 1875. See E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 223, for an oak weather cottage, now in the collection of Birmingham Art Museum & Gallery. On p. 215, Pinto explains that this ‘device is really a hygrometer, with two figures serving as pointers, actuated by an arrangement of a bunch of hairs [from which they are hung], which lengthen or shorten due to changing atmospheric humidity.’

If the female figure appears, sunny weather can be expected. If the man appears, rain is on its way.

205 A late 19th/early 20th century polychrome-painted wood and sheet metal whirligig Modelled as a man with articulated arms and hips and wearing a stove-pipe hat, turning a crank-shaft fitted to the end with a four-blade propeller, on a red-painted cruciform platform, mounted to the end with a sheet metal wind direction blade and a black and white watching dog, all raised on an associated socket rod and a broadening circular base, one element lacking, 59cm wide x 53cm high (23in wide x 20.5in high), (2) £500 - 800

Provenance: Purchased from the late Carol Barron, who bought it in Wales.

205

68 | Bonhams

206 (detail)

207

208

Lots 206 - 257: The Danny Robinson Collection – Lighting

206 A rare 17th/18th century wrought iron chandelier suspension rod Formed from one piece of iron and wrought to the centre with a reef knot to simulate two joining rods, with hooked terminals at both ends, 115cm long (45in long) £400 - 600

See M. Campbell, Ironwork (1985), p. 19, Plate 5, which illustrates a much more ornate chandelier suspension rod of the 16th century, in the collection of the Victoria & Albert Museum.

And see H. P. & N. Schiffer, Antique Iron (1979), p. 256, Figures A & B. 209

70 | Bonhams 207 A mid- to late 19th century sheet iron candle sconce with deflector, English The plane backplate extending into a flat ‘D’-shaped deflector, the wrapped open cylindrical candlesocket set into a ‘D’-shaped drip-pan with low gallery with rolled rim, 19cm wide x 13cm deep x 38cm high, (7in wide x 5in deep x 14.5in high) £200 - 300

The deflector on this sconce is a rare feature, and would have deflected both light and smoke downwards. See R. Gentle & R. Feild, Domestic Metalwork 1640 - 1820 (1998), p. 202, Figure 15, which has a brass wall sconce with a curved backplate to form a hood.

Another, with the same ‘D’-shaped profile appears in J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 245, Figure 558.

An American example with a similar-shaped base, but lobed upright top, is illustrated, J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 470.

208 A large late 17th century brass wall sconce, Dutch, circa 1690 Of octagonal, slightly dished form, the central oval convex reflector in a border of embossed bosses berries and foliage, and with nurled rim, 63cm wide x 69cm high (24.5in wide x 27in high), fitted with an associated late 17th/early 18th century sheet brass chamberstick, Dutch, with wrapped candle socket in a slightly domed drip-pan with rolled nurled rim, the riveted handle of tapering flat form and with pierced disc terminal, 14cm diameter x 17.5cm high (5.5in diameter x 6.5in high), (2) £500 - 800 210 209 A rare late 18th century elm mural corner candlestand or shield, circa 1780 210 The pair of backplates at right angles and with shaped tops forming an A 13th century copper alloy pricket candlestick, The Netherlands arch, mounted on a bow-fronted base with chamfered front edge, 19cm Cast in one piece, topped by an 11cm pricket, in a dished drip-pan with wide x 13cm deep x 34.5cm high (7in wide x 5in deep x 13.5in high), a line-decorated rim, on a round-section stem with blade knop and a together with a rare late 18th/early 19th century brass hogscraper- domed base with decorative lines and moulded edge, on three vestigial type ejector taperstick, the nozzle flange with downswept hook for feet, the top and bottom of the stem, the two collars around the knop, hanging, above a cylindrical shaft fitted with a slide ejector with iron and one of the lines to the base embellished with pricked decoration, disc handle, on a flat circular base, the underside of the base engraved 22cm high (8.5in high) with the number ‘1’, and with later white-painted inventory mark ‘132’, £1,500 - 2,000 15cm high (5.5in high), (2) £300 - 400 A very similar candlestick, with the same pricked decoration to the lines to the base, stem and knop, sold Christie’s, Syd Levathan: The Longridge For two mahogany candle shields, see E. H. Pinto, Treen & Other Collection, 10th - 11th June 2010, Lot 1135 [£6,000]. Wooden Bygones (1985), Figure 117, and p. 117, where the author notes ‘the few extant are all 18th century, mahogany examples’. See also a near pair sold Christie’s, 6th November 2007, Lot 69.

Similar candlesticks are illustrated in O. ter Kuile, Koper en Brons (Rijksmuseum, 1986), Nos. 104 - 105.

It is probable that the candlestick offered here once had feet like those to the Longridge candlestick, which each extend into a slightly up-turned paw.

The Oak Interior | 71 211

211 For other examples, see the collections of the Victoria & Albert Museum, A rare mid-15th century copper alloy socket candlestick, English, [M.571-1911]; E. Koldeweij, The English Candlestick 1425 - 1925 (2001), circa 1400 - 1450 p. 39, Figures 1, 2 & 3; J. Caspall, Fire & Light in the Home pre-1820 Having a straight-sided candleholder decorated with faint lines beneath (2000), p. 77, Figures 127 - 132; C. Bangs, The Lear Collection (1995), its rim and to its middle, the stem centred by a blade knop, raised on Catalogue Numbers 7 - 9 and R. F. Michaelis, Old Domestic Base-Metal a (now depleted) circular and slightly dished base with domed centre, Candlesticks (1978), p. 41, Figures 25 - 26. bearing a label to underside reading ‘14/15th CENTURY C/STICK / EXCAVATED AT WAPLODE [sic] / NR SPALDING / LINCS’ 7cm base Other examples sold Christie’s, Syd Levethan: The Longridge Collection, diameter x 11.5cm high (2.5in base diameter x 4.5in high) 3rd November 2011, Lot 252 (£10,000); Christie’s, The Roger Warner £1,000 - 1,500 Collection - Part I, 20th - 21st January 2009, Lot 132 (£6,875) and Lot 10 (£6,250). Provenance: By repute Whaplode, Lincolnshire. A very rare example in pewter - one of the earliest surviving articles This rare early candlestick is part of a group recognised as the earliest made in that medium - was sold Christie’s, 1st May 2007, Lot 8 as part form of stable candlestick which can be said to have been manufactured of the Little collection, for £21,600. in England in the late 14th and 15th centuries. This example, with its fairly simple decoration and only slightly domed base, is from the first The Crossed Friars, a religious order which originated in Flanders, half of that period. Later examples are more highly decorated. established their first English house at Whaplode in the 1240s.

‘...an ollde broken candlesticke...’

72 | Bonhams ‘In the Geasten Chamber...9 Latten Candellstickes...’

212 213

212 A late 15th/early 16th century Heemskerk-type brass candlestick, North European Having a slightly flared candleholder with moulded upper and lower rims, pierced with a pair of large rectangular extraction holes, on a balustroid upper stem with an area of ribbed or corrugated decoration just above the deep line-decorated drip-pan, on a balustroid and blade- knopped lower stem and a slightly domed line-decorated base, 21cm high (8in high) £400 - 600

A candlestick of similar form, but without the ribbing to the stem, is illustrated C. Bangs, The Lear Collection (1995), No. 56.

The previous example - No. 55 - exhibits the same ribbing to the base, and other late 15th/early 16th century candlestick types attributed to Northern Europe, exhibit small sections of corrugation to other parts of their stems. See, ibid., No. 37.

213 A near pair of late 16th century and later brass pricket candlesticks, German, probably Nuremburg, circa 1600 214 Each topped by a crude 10.5cm high iron pricket, set into an iron disc and riveted to the disc below by two iron rivets, with three copper alloy rivets securing the whole inside the turned and line-decorated stepped drip pan, on a stem turned with three lenticular knops, raised on a 214 stepped and line-decorated base, (drilled as lamps and prickets/rivets/iron A late 16th century/early 17th century copper alloy pricket plates in drip-pans replaced/re-attached), 35.5cm high (13.5in high), (2) candlestick, probably Flanders or the Low Countries £1,500 - 2,000 Having a 8.5cm iron pricket in a dished line-decorated drip pan, raised on a balustroid stem with bulbous lower knop, on a large domed and line-decorated circular base, 17.5cm high (6.5in high) £300 - 500

The Oak Interior | 73 218 A 17th century brass candlestick with maker’s mark, Nuremberg, Germany The finely cast stem topped by a straight-sided candle socket with line decoration and flared flanges to the upper and lower rims, raised on a turned stem with bulbous central knop, on a dished circular drip-pan with line decoration, raised on a bell base of thin gauge also with decorative lines, stamped to the footrim with a maker’s mark, possibly ‘SS’, either side of a forked tree or candleholder, 15cm base diameter x 20.5cm high (5.5in base diameter x 8in high) £600 - 800 215 217 The stem of this candlestick is finely cast, and the base, lathe-turned to a very thin gauge, is made from brass of a superior quality. 215 217 A mid-17th century brass Heemskirk An unusual small early 17th century brass For a comparable pair, see C. Bangs, The Lear candlestick, Dutch, circa 1650 candlestick, North European, possibly Collection (1995), No. 90, which also have a Having a straight-sided candleholder with English maker’s mark - that of Melchior & Schuster - moulded upper and lower rims and with two Topped by a slightly flared candle socket with stamped to the footrim. circular pierced extraction holes, raised on a moulded rims, not pierced with an extraction turned stem with bulbous knops and slightly hole, above an inverted acorn knop and a Compare a stick attributed to Scandinavia, dished mid drip-pan, on a turned spreading slightly dished drip-pan, on an in-curved base, illustrated P. N. & H. Schiffer, The Brass Book and moulded foot, 20cm high (7.5in high) 8cm base diameter x 13cm high (3in base (1978), p. 166, Figure A, which also has a £400 - 600 diameter x 5in high) similarly configured maker’s mark of the initials £300 - 400 ‘HD’ flanking a pair of shears and a pair of 216 scissors. A mid-17th century Heemskerk-type brass candlestick, Dutch, circa 1650 It is interesting to note that as well as a set Having a slightly flared candleholder with of modern initials scratched to the underside moulded rims and pierced with a circular of the base, there are several possibly earlier extraction hole, above a bulbous knop and a scratched marks - one near the piercing to the deep drip-pan, a bulbous knop between blade base, and others inside the bulbous part of the knops below, raised on a slightly domed base, base - which are reminiscent of merchants or 19cm high (7in high) founders marks. £300 - 400 219 A 17th century and later oak and walnut standing pricket candlestick, Continental Topped by an 11cm iron pricket, set into a sheet metal fluted pan, on a baluster and ring-turned shaft with moulded circular base, 119cm high (47in high) £400 - 600

218 222

74 | Bonhams 220 A 17th century copper alloy square-based candlestick, probably French The cylindrical socket with moulded upper and lower rims pierced with a circular extraction hole, raised on a straight pillar stem with upper and lower mouldings and a slightly domes square base, 17cm high (6.5” high) £150 - 200

221 A large 17th century brass pricket candlestick, Germany, probably Nuremburg Topped by a 12.5cm iron pricket secured by four rivets to an iron plate, the whole secured to the stepped drip-pan by three copper alloy- headed rivets, on a slightly broadening stem 223 221 turned with three lenticular knops, raised on a stepped line-decorated base, 46.5cm high (18in high) £400 - 600

222 A fine and unusual late 16th century brass candlestick, Spanish, circa 1600 The square-section socket with moulded circular rim, and pierced with eight extraction holes, four circles above four rectangles, each of the rectangles flanked by a curving flange, above a blade knop, on a bell-type base, with slightly dished drip-pan formed from 224 twelve points and twelve concave arcs, with line decoration bordering a band of punch decoration, the broadening stem beneath also with floral punch decoration, a blade knop below, all raised on a domed and gadrooned base with conforming punch decoration to upper and lower rims, and with narrow flange, 12.5cm base diameter x 13.5cm high (4.5in 223 base diameter x 5in high) A turned and stained pine pricket £600 - 800 candlestick, North European Probably 17th/18th century See P. N. & H. Schiffer, The Brass Book (1978), Topped by an 8cm iron pricket, the stem with p. 154, Figure C, for a Spanish capstan-type five lenticular turnings, on a turned circular candlestick with a very similar candle holder, base with concave underside, 36cm high (14in with both round and rectangular extraction high) holes, dated to the early 16th century. £300 - 500

See also J. Caspall, Fire & Light in the Home 224 pre-1820 (2000), p. 88, Figures 159 and A mid-19th century turned olive-wood 160. Figure 159 has the same dual extraction travelling candlestick holes, but they overlap, forming ‘a tricuspid The circular base for matches fitted to the or Moorish’ arch. This example also has the underside with a recessed glass-paper striker, lobed drip-pan. Figure 160 has a very similar and with a threaded waisted candle-holder gadrooned domed base, but without the with a 7/8in candle socket, the tapering candle- punch decoration of that in the lot offered cover threaded at both ends and enclosing a here, but [see the explanatory text on p. 87] it candle, becoming the handle when screwed does have punched circles on the drip-pan. into the base, 19.5cm high (7.5in high) £200 - 300 224 Two comparable sticks, both with gadrooned bases but only one with a shaped drip-pan, are An almost identical example turned from box illustrated R. F. Michaelis, Old Domestic Base- illustrated, E. H. Pinto, Treen & Other Wooden Metal Candlesticks (1978), p. 60, Figure 68. Bygones (1985), Figure 125.

The Oak Interior | 75 225 A mid- to late 17th century trumpet-based brass candlestick, English, circa 1650 - 1680 Having a flared slightly downswept flange atop a ribbed upper stem which tapers slightly down its length, above a dished mid-drip pan with faint traces of a pair of incised lines, on a spreading circular base with flared foot, both base and foot decorated with the same pair of engraved lines, 14.5cm diameter x 17cm high (5.5in diameter x 6.5in high) £500 - 700

226 A mid- to late 17th century brass trumpet-based candlestick, with maker’s touchmark, English, circa 1650 - 1680 Having a downswept flange topping a ribbed or ‘corded’ stem with mid- drip pan stamped with a maker’s touchmark and with very faint single line decoration, raised on a trumpet base with narrow flange, 12.5cm 225 base diameter x 17cm high (4.5in base diameter x 6.5in high) £2,000 - 3,000

Illustrated: J. Caspall, Fire & Light in the Home pre-1820, p. 95, Figure 176.

Unfortunately, the maker’s mark to the drip-pan of this candlestick is too faint to decipher.

See C. Bangs, The Lear Collection, p. 317, No. 112, for another very similar example stamped to the drip-pan with a touchmark of the initials ‘CA’ within a lozenge.

The explanatory text [ibid., p. 140] notes that ‘At least eight candlesticks of this form and bearing this mark have survived. The mark has also been found on two small pairs of cast brass firedogs of the disc- terminal form known to have been popular from the middle of the 18th century, on one warming-pan of similar date and on two “porringer” chambersticks.’ 227 227 A small mid-17th century trumpet-based brass candlestick, English The socket with flared rim decorated with a pair of lines, the stem with two bands of moulded ring decoration, on a trumpet base, 9cm base diameter x 11.5cm high (3.5in base diameter x 4.5in high) £800 - 1,200

226 226 (detail)

76 | Bonhams 228

228 See, for instance, a 7in high example, whose medial band has also been A rare pair of mid-17th century brass trumpet-based candlesticks, breached by the slot for the ejector, ‘which may be a later addition’, with later slide ejectors probably inserted in the early 18th illustrated R. Gentle & R. Feild, Domestic Metalwork 1640 - 1820 (1998), century, English p. 122, Figure 10. See, for instance, a larger 12in high brass trumpet- Each having a straight-sided cast stem with flared flange and based candlestick of the same design, and with a very similar ejector, in medial band, both fitted with a later iron slide ejector with iron disc the collection of the Victoria & Albert Museum [1627-1903]. Another thumbpiece, set into a dished wide drip tray, on a broad trumpet base, pair, dated 1702, with later ejector apertures in their stems, is illustrated one with ink number 637 to underside of base, the other with later E. Koldeweij, The English Candlestick 1425 - 1925 (2001), p. 50, Cat. 12. scratched initials CB, both with a base diameter of 16cm (6in); one 21.5cm high the other 22cm high, (2) A rare example of a modified trumpet-based stick with a ribbed stem £8,000 - 12,000 is illustrated C. Bangs, The Lear Collection (1995), No. 113. In the accompanying text, pp. 140 - 141, the author notes that ‘the question This pair of candlesticks is illustrated R. F. Michaelis, Old Domestic as to whether the slide-ejector arrangements found on examples of Base-Metal Candlesticks (1978), p. 131, Figure 188, where the author, various style within this group are the originals cannot, as yet, be discussing the history of the lateral slide ejector, illustrates these answered conclusively. Certain specimens have more of an appearance candlesticks, circa 1650, as an example of its early use. of being later modifications than others. The slit does not look well on this particular form of trumpet because of its corrugations but there is However, given that one of these candlesticks has the slot for the slide no reason why, if ejectors were original fittings to any of this group, ejector punched right through its decorative band (the other stops just they should not occur on all types. Unfortunately, due to the wear below it) suggests that the ejectors were probably a later addition, from use, it is impossible to make any judgement as to whether the inserted when this method of ejection became more common in the aperture was produced in the casting or cut in afterwards. This may be early 18th century. of no significance any way since, even if they are original, the maker might well have found it easier to cast the complete shaft and file the This model of trumpet-based stick, with the single medial band to the aperture.’ upper stem, appears to have been particularly prone to modification of this kind, and a number of other examples exist. At present, the general consensus appears to be that such modifications are later additions.

The Oak Interior | 77 232 An early to mid-18th century brass chamberstick The pan and handle of one-piece of brass, the wrapped open conical socket with circular extraction hole to one side and a triangular notch to the other, riveted internally through a circular drip-pan with flared rim and integral slightly broadening handle pierced to the end with a hole for hanging, 15cm pan diameter, 4cm socket height, overall 29cm long (5.5in pan diameter, 1.5in socket height, overall 11in long) £120 - 180

233 229 A rare late 17th century cast brass chamberstick, English, circa 1690 The candleholder having a ribbed or ‘corded’ socket with flared rim, on 229 a short waisted turning, set into a circular drip-pan with flared rim and A fine pair of George II/George III brass candlesticks, with twist integral slightly tapering handle terminating in a pierced disc, the handle ejectors, English, circa 1760 and pan cast in one piece, 12.5cm pan diameter, socket 5cm high, 23cm The straight-sided moulded candleholder with central rib, topped by a long including handle (4.5in pan diameter, socket 1.5in high, 9in long flared bobeche of six line-decorated lobes, raised on an inverted baluster including handle) stem with lobed knop, raised on a square scalloped or ruffled base, the £600 - 800 stems seamed, 22.5cm high (8.5in high), (2) £500 - 800 J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 138, Figure 298, illustrates an example dated c. 1710 - 1720, which is also cast in brass A pair of candlesticks with hexagonal knops, but otherwise with the with a one-piece pan and handle, and a seamed socket which is peaned same stems, bases and twist mechanisms, are illustrated E. Koldeweij, over beneath the pan, but which has a slightly later style of moulded, The English Candlestick (2001), p. 147, Cat. 129. rather than ribbed, candle socket.

And see ibid., p. 19, where it is noted that the twist mechanism was A similar chamberstick dated to the early 18th century is illustrated P. N. first described in Paris in 1730, and ‘fully exploited in England by various & H. Schiffer, The Brass Book (1978), p. 205, Figure A, where it is noted manufacturers in the 18th century’. that ‘the turning of the candle cup suggest a date as early as any of this group. The heavy cast handle and base are pierced to allow the candle 230 cup to be screwed in and peaned over.’ A good pair of early to mid-18th century brass tapersticks, English, circa 1730 - 1750 The handle of this chamberstick is characteristic of a group of brass Having seamed stems and sockets, each with a flared bobeche above a kitchen utensils - tentatively attributed to the 17th century - all of which straight-sided socket with bulbous lower moulding, above a square knob bear a circular maker’s mark of a cross with pellets. R. Butler, A Study and an octagonal facetted tapering stem, raised on a square petalled Collection of Marked Domestic Brass and Other Base Metalware c. 1600 base with rounded corners, 11.5cm high (4.5in high) (2) - c. 1900 (September 2001), p. 101 illustrates a chamberstick with a very £800 - 1,200 similar pan and handle which bears this mark.

231 The example from the Lear Collection sold Christie’s, 15th December Three late 18th/19th century hogscraper ejector candlesticks, 1998, Lot 143. to include two examples in brass, English, probably Sheffield/ Birmingham The first an early 19th century brass example, with flared bobeche, twin ring knops to the stem, and a domed a line-decorated circular base, 15.5cm high (6in high), the second a mid- to late 18th century brass example, the bobeche with downswept shaped hanging hook, the stem with single band knop, the ejector thumbpiece a brass trefoil, raised on a circular base, 15cm high (5.5in high), the third late 18th century and of sheet iron, the flange flared and up-swept, the stem with single band knop, the ejector thumbpiece stamped ‘W. PAR[K?]?’, on a circular base, 20cm high (7.5in high), (3) £200 - 300

Illustrated: The brass example with hanging hook to flange is illustrated D. Robinson, Antique Metalware Society Journal, June 2003, p. 21, Figure 9.

See J. Caspall, Fire & Light in the Home pre-1820 (2000), pp. 163 - 169 for a discussion of hogscraper types. 230

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231 (detail)

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The Oak Interior | 79 ‘In the Close...an old broken glasse Lanterne...’

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80 | Bonhams 234 237 An early 19th century sheet iron candle A late 18th/early 19th century wrought lantern, with rare yoke handle, English/ iron spiral candleholder, probably Cumbria, Continental, circa 1800 - 1820 circa 1800 Of cylindrical form and fitted with a hinged The rectangular-section spiral-turned stem door secured by a scroll-ended handle, topped rising from a square base of sheet iron, the by a conical roof, pierced all over with a variety elevator with a solid drum with dished top, the of lines and holes forming geometric patterns, handle a ball knop, 20.5cm high (8in high) fitted with a hand wrought yoke-shaped £250 - 350 handle with end spike for wall-mounting, the lantern excluding handle 16.5cm diameter x Illustrated: R. Ashley, The Rushlight and Related 38cm high (6in diameter x 14.5in high) Holders, A Regional View (2001), p. 181, Photo £300 - 500 133 D, where it is described as ‘probably a Cumbrian variation’. Illustrated: J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 238, Figure 540. Caspall It is noted on p. 179 that whilst the majority of 240 describes this lantern as ‘a very rare type of extant spiral candlesticks originated in France, pierced iron lantern, which is pivoted within a there is a small group which appear to have 239 wrought iron yoke which in turn may be driven come from the Penrith area of Cumbria, on A tall 18th century wrought iron double into a wall or timber’ [p. 237]. the basis of two or three candlesticks found candleholder, French at Bewcastle and Penrith. And on p. 173 that Having a wrythen main stem topped by an 235 ‘these are believed to be copies of imported open cylindrical socket and issuing a hook A late 18th/early 19th century steel and examples. These may well be a Cumbrian for hanging, a spring issuing from the base beech spiral candlestick, French/English style, based on a continental original, the idea of the stem and rising through a ring to The stem formed from a coiled iron band, the perhaps having arrived via trade routes’. accommodate candles of various diameters, upper coil extending into a hook for hanging, the spring decorated with a scroll, all raised on the elevator an iron drum within the spiral with An earlier all-iron example, which Ashley dates a spade-shaped tray base with shallow rim, and a broadening square-section knop, raised on to the 16th century, is illustrated p. 179. on three scroll-ended feet, 34cm high (13in a turned spreading circular beech base, 19cm high) high (7in high) See also J. Caspall, Fire & Light in the Home £400 - 600 £150 - 200 pre-1820 (2000), pp. 158 - 161. Similar examples are illustrated R. Ashley, The See similar examples illustrated J. Caspall, Fire 238 Rushlight and Related Holders, A Regional View & Light in the Home pre-1820 (2000), p. 159 - An early 18th century wrought iron double (2001), p. 305, Photographs 278 and 278 A. 161, where they are described as either French candleholder, French or English; R. Ashley, The Rushlight and Related Having a tightly wrythen main stem topped 240 Holders, A Regional View (2001), p. 303, by a wrapped conical socket and issuing a A late 17th century steel and fruitwood where candlesticks of this type are attributed hook for hanging, a spring issuing from the wax-jack, South German/North Italian to France. base of the stem and rising through a ring to Topped by a pair of sprung jaws, with heart- accommodate candles of various diameters, shaped terminals engraved with stylised 236 the spring decorated with a wrythen and flowers, and curving arms, on a line-turned A late 18th/early 19th century wrought undulating scroll, all raised on a spade-shaped column mounted on a square platform, iron and oak spiral candleholder, probably tray base with shallow rim, and on three scroll- engraved with stylised flowers and with wave- Cumbria, circa 1800 ended feet, 22.5cm high (8.5in high) cut edge, issuing a turned fruitwood handle The stem formed from a band of coiled iron, £400 - 600 with steel attachment, raised on four round- topped by an iron ring for catching grease, the section supports terminating in trefoil-shaped elevator with two projections, one a disc and Similar examples are illustrated R. Ashley, The flat feet, 7.5cm wide x 16cm deep x 12.5cm the other an up-turned hook, the candle socket Rushlight and Related Holders, A Regional View high, (2.5in wide x 6in deep x 4.5in high) inside the spiral formed from two small flanges, (2001), p. 305, Photographs 278 and 278 A. £500 - 700 all raised on a rectangular chamfered oak base, with traces of green paint to both base and It is noted that ‘the ring with the long spring A wax-jack with a similar stem, decorative edge stem, 12.5cm high (4.5in high) allows for varying diameters of candle. It would to the square platform, and legs and feet of £250 also accommodate oil or tallow-soaked twisted the same profile, dated to the late 17th century rope-like material such as flax as a substitute and attributed to North Italy or Venice, is in Illustrated: R. Ashley, The Rushlight and Related for candles. It is said that some continental the collection of the Metropolitan Museum of Holders, A Regional View (2001), p. 181, Photo holders utilise the tray at the base to hold Art [Accession Number: 01.23.69]. Another, 133 C, where it is described as ‘attributed water to extinguish any sparks.’ of similar design but attributed to South example to the Cumbria region of England.’ Germany, is in the same collection [Accession Number: 20.21.1]. Another, in the collections Ashley describes an earlier stick on p. 179, of the Victoria & Albert Museum, and dated to found in Penrith, which also has ‘a ring on the the 16th century, is illustrated M. Campbell, top of the spiral’ and an ‘external socket’ on Ironwork (1985), p. 19. the disc terminal to one side of the elevator. He dates it to the 17th century. An example sold, Sotheby’s, 21st November 1984, Lot 305. J. Caspall, Fire & Light in the Home pre-1820 (2000) illustrates a similar model, on a circular Most surviving examples have all-metal base and with pierced terminal to the double- handles, with an upswept handle terminating sided elevator, on p. 158, which he dates to in a shaped, etched handle. the first half of the 18th century.

The Oak Interior | 81 241 A late 18th century wrought iron down-hearth grisset, Welsh, circa 1780 The pan of oval form with pointed, notched ends and raised on a pair of scrolling feet, the long side of the pan issuing a long rectangular-section broadening handle supported by a peg and terminating in a hook forming a hanging loop, 42.5cm wide x 52cm deep x 5cm high, (16.5in wide x 20in deep x 1.5in high) £300 - 400

The purpose of a grisset is to catch the drips of animal and bird fat whilst roasting on an open fire. A part-peeled rush was then drawn through the fat and cooled to form a rushlight.

241 J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 201, Figure 466, illustrates a rectangular example with the same form of hanging loop and supportive peg, and dates it as anywhere between the late 18th and the mid-19th century.

R. Ashley, The Rushlight and Related Holders, a Regional View (2001), pp. 236 - 238 illustrates a variety of different grisset forms, and notes that the ‘boat-shaped’ grisset was common in North Wales.

242 An 18th century wrought iron pendant candle-holder Wrought in the form of an ‘S’, topped by a hook for hanging, and terminating in an open seam conical socket, 39.5cm high (15.5in high) £100 - 150

A similar example illustrate, J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 251. Another, with wrythen stem, and called a ‘loom-light’, in J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 156, Figure 342. See also R. Ashley, The Rushlight and Related Holders, A Regional View (2001), pp. 252 - 5.

243 A rare 18th century wrought iron pendant adjustable rushnip and candleholder, English Having a slender iron stem topped by a hook and with a stop to the other end adjusting on a fifteen-position trammel topped by a leaf- shaped finial pierced with the initials ‘EM’, and issuing at its end a bar mounted to one end with a tapering cylindrical candle socket in a dished drip-pan, and to the other with a pair of rectangular nips, the jaw arm terminating in a pointed ball knop counterweight, 125.5cm high (49in high) at fullest extension £500 - 700

An example with a comparable finial at the top of the trammel, but with a pair of rushnips, is illustrated J. Seymour Lindsay, Iron & Brass Implements of the English House (1970), Figure 245. J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 198, Figure 453, illustrates another.

The pierced initials on this example are unusual. 242 243 244 A late 18th/early 19th century wrought iron and green-painted elm candleholder, English/Welsh, circa 1800 Once raised on a stand, now lacking, the wedge-shaped green-painted elm support issuing a wrought iron extendable arm with two riveted hinges, terminating in a circular drip-tray with shallow rim, and an open rolled cylindrical socket with serrated rim, 66cm long (25.5in long) when fully extended £120 - 180

The serrated rim of this candleholder could indicate that it was made in Wales.

244 Other candleholders with extendable hinged arms are illustrated J. Caspall, Fire & Light in the Home pre-1820 (2000), Figures 244, 256 and 260 and another, attributed to Surrey or Sussex, is illustrated R. Ashley, The Rushlight and Related Holders, A Regional View (2001), p. 279, Photo 68.

82 | Bonhams 245 246 247

245 247 A late 18th/early 19th century wrought iron and brass standing A fine late George III wrought iron and ash standing rushlight and candleholder, circa 1800, probably Dutch candleholder, Sussex, circa 1780 The round-section upper stem topped by a turned brass finial and fitted Topped by an urn finial, the upper stem of round section, fitted with with a sliding sprung brass ejector issuing an arm terminating in a brass an adjustor issuing to one side a rushnip, with notched jaws and centre drip-pan and a cast brass moulded and facetted candleholder, the hinge, and to the other side a candleholder, with rolled open cylindrical adjustor with brass hook for a douser (now lacking) and stopping on a socket with ejector, the thumbpiece in the shape of a scalloped fan, in brass ball knop above the wrythen lower stem, raised on three flattened a moulded circular drip-tray, the adjustor rising and falling on the upper downswept supports terminating in simple pad feet, 141cm high (55.5in stem until it meets a stop where the stem becomes facetted, all raised high) on a turned ash base of three downswept supports, 136cm high (53.5in £600 - 800 high) £700 - 900 246 A late 18th/early 19th century wrought iron standing rushlight For other examples of this type of Sussex standing holder, see R. Ashley, and candleholder, Surrey/Sussex, circa 1800 The Rushlight and Related Holders, A Regional View (2001), pp. 258 The round-section upper stem topped by a ‘cockerel’ finial, and fitted - 259 and 279 - 282. Photo 224 A is the most comparable, with an urn- with a sliding sprung adjustor issuing at right angles a round-section topped stem, adjustor stop and ejector candleholder. arm hinged by a rivet to a ‘U’-shaped arm with a wrapped conical candleholder counterweight, both terminating in a pair of rectangular jaws, the adjustor stopping as the lower stem becomes square-section, raised on a simple base of three downswept supports terminating in pad feet, 116cm high (45.5in high) £600 - 800

H. P. & N. Schiffer, Antique Iron (1979), p. 247, Figure B illustrates a very similar example with a cockerel-type finial, attributed to Suffolk.

See R. Ashley, The Rushlight and Related Holders, A Regional View (2001), p. 279 for another standing rushlight holder topped by a cockerel-type finial, and where it is noted that ‘the cock or cockerel is occasionally found on examples from Surrey as a finial. Since the cock is the symbol of France this may be another Anglo-French feature’.

The holder in this lot has been attributed to Surrey/Sussex on the basis of the finial, the adjustor, and the twin profile stem, which stops the adjustor. 246 (detail)

The Oak Interior | 83 248 249

251 250

84 | Bonhams 248 251 An early 19th century wrought iron table rushnip and A late 18th/early 19th century wrought iron sprung table rushnip candleholder, circa 1800 - 1820 Having a rectangular section stem terminating in broadening jaws with Possibly Welsh decorative notches to their upper edge, with fulcrum hinge, the nip arm Having a square-section stem, terminating in a pair of rectangular jaws with flattened disc terminal, raised on three rectangular-section supports pivoting on a riveted hinge, the nip arm terminating in a conical socket, terminating in upright scroll feet 29.5cm high (11.5in high) raised on four downswept legs of triangular-section and terminating in £300 - 400 penny-shaped feet, 21cm high (8in high) £300 - 500 This rushnip does not conform exactly to any of the Welsh examples illustrated by R. Ashley, The Rushlight and Related Holders, A Regional Illustrated: R. Ashley, The Rushlight and Related Holders, A Regional View (2001), but the spring-action and fulcrum hinge are reminiscent of View (2001), p. 58, Photo 20 B, where the author notes that ‘this those on a holder attributed to Denbighshire and illustrated on p. 96, example is one of the occasional mix of styles which is more difficult Photo 68. to provide clear attribution without any provenanced specimens...A tentative attribution is...made as North West or Central North West Wales.’

249 An early 19th century wrought iron combined table rushnip and candleholder, circa 1820 Welsh/Irish Having a wrythen stem, the jaws with hooked or ‘parrot-beak’ ends and pivoting around a riveted hinge, the wrythen jaw arm terminating in a wrapped cylindrical candle holder counterweight with serrated rim, all raised on a ‘crown’ of three downswept supports joined by a side ring, 28cm high (11in high) £600 - 800

Illustrated: R. Ashley, The Rushlight and Related Holders, A Regional View (2001), p. 67, photo 24 B and J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 181, Figure 382.

There is some confusion as to the origin of rushnips of this design: Caspall attributes this example to Ireland, whilst Ashley identifies it as Welsh. The latter writes (p. 67) that ‘The parrot beak jaw has been found to be almost exclusively of Irish design. However, in the areas to the South of the Dovey Valley several specimens have provenance (of local history) with this feature. One specimen only might suggest an ‘import’, several suggesting local manufacture. These rushlight holders on tripod bases are very distinct. The parrot beak jaws sometimes have small serrations or ‘saw teeth’ cut in the tops of the jaws. This is usually repeated in the top of the rolled socket.’

250 An early 19th century wrought iron table rushnip with candleholder, probably North Wales, circa 1800 252 Having a partially twisted and chamfered stem, terminating in a pair of rectangular jaws pivoting around a riveted hinge, the right-angled nip arm also with short wrythen section terminating in a slightly tapering cylindrical rolled socket counterweight, with unusual coiled carry 252 handle below, raised on three chamfered rectangular-section supports An early to mid-19th century wrought iron and oak table rushnip terminating in pointed feet, 19cm high (7in high) The square-section stem terminating in rectangular jaws, the nip arm £500 - 800 terminating in a counterweight knop with pointed domed top, raised on a turned and line-decorated oak base in the form of a beehive, 27cm Illustrated: R. Ashley, The Rushlight and Related Holders, A Regional high (10.5in high) View (2001), p. 60, Photo 22 B, where it is noted that ‘the rare coil £250 - 350 carrying handle bears a close connection with some goffering irons of Wales’.

The Oak Interior | 85 253 254

255 256

86 | Bonhams 253 A mid-19th century wrought iron and pine table rushnip The plain round-section stem terminating in a pair of rectangular jaws, the nip arm terminating in a pointed ball knop counterweight, raised on a rectangular stained pines base, 23cm high (9in high) £100 - 150

254 An early 19th century iron and turned ash table rushnip, possibly Sussex The round-section stem topped by tapering rectangular jaws with swelling tips, the jaw arm of round-section and terminating in a candle socket with moulded rim, raised on a turned and line-decorated circular ash base, 26.5cm high (10in high) £200 - 300

255 An 18th century wrought iron and fruitwood table rushnip and candleholder, probably Sussex With traces of original painted decoration to the base, having a square- section stem with central square knop terminating in rectangular jaws, the round-section arm terminating in a conical socket with moulding around its bottom edge, raised on a turned and stepped circular fruitwood base, 26.5cm high (10in high) £400 - 600

Illustrated: R. Ashley, The Rushlight and Related Holders, A Regional View (2001), p. 202, Photo 158 A, where it is attributed as ‘a further variation of the Sussex styles’.

256 A rare small 18th century wrought iron table rushnip with candleholder, English, probably Sussex Having a square-section notched stem terminating in a pair of rectangular jaws, one extending into a hook for hanging, the square- section nip arm with seamless conical socket counterweight, raised on three flattened downswept supports terminating in spade-shaped feet, 18.5cm high (7in high) £300 - 400 257

Illustrated: R. Ashley, The Rushlight and Related Holders, A Regional View (2001), p. 200, Photo 153 A, where noted that the carrying hook at the top of the stem has only been found on Sussex examples, and is a rare feature on a rushnip with a tripod base.

J. Caspall, Fire & Light in the Home pre-1820 (2000), p. 188, Figure 417, illustrates a wooden-based example also fitted with a hanging hook to one jaw. He notes, p.186, that this ‘feature which by no means unique is seldom observed’.

257 A very fine early 18th century polished steel, brass and laburnum table rushnip Having a steel stem with baluster and ring turnings and terminating in long, slender and tapering jaws, the centre hinge file-decorated with a cross and chevrons, the jaw arm terminating in a polyhedron knop counterweight, the stem inset into a finely-turned and tall broadening fruitwood base, the joint reinforced by a brass collar, 28.5cm high (11in high) £1,000 - 1,500

The centre hinge and turned stem bear resemblance to a Cardiganshire example illustrated R. Ashley, The Rushlight and Related Holders, A Regional View (2001), p. 66, Photo 24 A.

They also, however, are comparable with a Sussex rush holder, also with centre hinge, illustrated ibid., p. 209, Figure 168, where it is noted that this type sometimes has ‘a multi-faceted ball’ knop counterweight, as does the example offered here.

257 (detail)

The Oak Interior | 87 Lots 258 - 302: The Danny Robinson Collection – Furniture

260

258 A Victorian beech and elm child’s scroll-back Windsor armchair, maker stamped, Oxfordshire, circa 1860-80 Having a broad curved top-rail and ball-turned and centrally flattened cross splat, the downswept open-arms on multiple ring-turned baluster- shaped underarm supports, the elm saddle-seat with distinctive right- angle rear corners, raised on ball and concave-turned baluster-shaped front legs and elliptical-turned back legs joined by H-shaped elliptical- turned stretchers, the rear of the seat stamped S.Hazell, 34cm wide x 35cm deep x 59.5cm high, (13in wide x 13 1/2in deep x 23in high) £200 - 300

Stephen Hazell first advertised as a ‘Turner and Windsor chair-maker’ in 1846, working in South Parade, Summertown, Oxford. In the 1870s the business passed to his son, Stephen Hazell Junior, who continued manufacturing chairs until 1892. Both father and son appear to have used the same identification stamp, although ‘Oxford’ almost always accompanies the name. Dr. B. Cotton notes Stephen Hazell as ‘one of Oxford’s most significant Windsor chair makers’, The English Regional Chair (2000), p. 91. Similar examples illustrated ibid., p. 40, pl. 9 and p. 90, figure TV208. Notable commissions include chairs produced for the Reading Rooms of the Bodleian Library, Oxford.

259 A George II small oak corner cupboard, circa 1750 Having a single fielded panelled cupboard door enclosing three shelves, the central shelf with decorative scroll-cut front edge, 58cm wide x 30cm deep x 88cm high, (22 1/2in wide x 11 1/2in deep x 34 1/2in high) £200 - 300

301 (detail)

88 | Bonhams ‘In the Geasten Chamber...an ollde Cheste...’

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260 A Victorian ash, fruitwood and sycamore Windsor side chair, maker stamped, possibly Buckinghamshire, circa 1840-70 Having a hooped back with a central shaped and pierced splat with roundel or draught motif, the unusual sycamore saddle-seat with rear wedge, raised on ball and concave baluster-shaped legs with lower ring, joined by a H-shaped stretcher, the stamp of W. Griffin impressed twice to the rear of the seat, 41cm wide x 42cm deep x 91cm high, (16in wide x 16 1/2in deep x 35 1/2in high) £200 - 300

Literature: Dr. Bernard Cotton, The English Regional Chair (2000), illustrates a highly similar Windsor side chair, together with an armchair, p. 60, figure TV37. The author notes ‘these chairs epitomise the robust structure and simple, well designed appearance which enabled this type of chair to become a major regional style throughout many of the southern shires of England’. The only main feature of this chair to contradict a Thames Valley attribution is the highly unusual use of sycamore for the seat. Furthermore, no record of this maker’s stamp is recorded. Two chair makers with the surname Griffin are listed as 258 working in the High Wycombe area, but neither have the initial W. It has been proposed during a recent Regional Furniture Society visit to Danny Robinson’s collection that the chair may possibly be Welsh. 262 261 A Charles II and later oak and hide upholstered chair, South An Elizabeth I oak boarded chest, circa 1600 England, circa 1660-80 The hinged lid with linear crossed carving to the front and sides and with The rectangular padded-back, back-uprights and stuff-over seat leather the addition of chip-carving to the sides, the front board slightly canted upholstered and fastened by brass-nails, the seat with typical rectangular and carved to the centre with nulled-carving which is typically adapted to stitching to centre, raised on block and baluster-tuned front legs joined accommodate the lock plate, the sides descending to V-shaped cutaway by a baluster-turned front mid-stretcher, alterations, 44cm wide x 40cm supports, each support with saw marks extended at the ‘V’ apex to form deep x 87.5cm high, (17in wide x 15 1/2in deep x 34in high) a decorative motif and scroll-profiled to the front below the frieze board, £200 - 300 106.5cm wide x 36.5cm deep x 60cm high, (41 1/2in wide x 14in deep x 23 1/2in high) £800 - 1,200

The Oak Interior | 89 263

‘In the newe parlor...a square table with a frame...’

263 265 A pine, ash and fruitwood ‘tavern table’, English, circa 1830-1840 A George III stained pine delft rack, circa 1790 The twin-boarded rounded rectangular top raised on X-form trestle-ends, Having a cyma recta cornice above dentil moulding, the wavy-shaped joined by a mid-stretcher, with typical iron-bolted joints and diagonal frieze with central scroll-shaped and pierced decoration, above three stretchers above, 122cm wide x 44cm deep x 70.5cm high, (48in wide x shelves, each with stay-bar, flanked to either side by four arch-headed 17in deep x 27 1/2in high) niche shelves, 140.5cm wide x 6.5cm deep x 97cm high, (55in wide x 2 £700 - 1,000 1/2in deep x 38in high) £600 - 800 David Knell, English Country Furniture 1500-1900 (2000), illustrates several examples of similar trestle tables, pp. 217 - 218, dating from the 266 beginning of the 19th century. A Charles I oak panel-back open armchair, Gloucestershire, circa 1640 264 The back panel carved with a large double-heart motif, the cresting A mid-17th century oak joint stool, English, circa 1650-60 carved with a pair of punch-decorated scrolls centred by a lunette, above With moulded edge to seat, gauge-carved and channel-moulded rails, an integral guilloche-carved top-rail, the downswept scroll-ended open- raised on parallel-baluster and reel-turned legs joined by plain stretchers, arms on baluster-turned front supports, the boarded seat with moulded restorations, 45.5cm wide x 26cm deep x 55cm high, (17 1/2in wide x edge above lunette-carved seat rails, raised on parallel-baluster and 10in deep x 21 1/2in high) reel-turned front legs joined by plain stretchers, initials WM branded to £500 - 800 the underside of the seat, 55cm wide x 54.5cm deep x 109cm high, (21 1/2in wide x 21in deep x 42 1/2in high) £2,000 - 3,000

90 | Bonhams 268

267 A George IV/William IV yew, elm and ash Windsor side chair, Buckinghamshire, circa 1820-40 Having a hooped back, a central pierced and shaped splat with star- 266 fretted motif and central roundel, the elm saddle-seat raised on ring and concave baluster-turned front legs joined by H-shaped elliptical-turned stretchers, 38cm wide x 39cm deep x 89.5cm high, (14 1/2in wide x 15in deep x 35in high) £200 - 250

Dr. Bernard Cotton, The English Regional Chair (2000) illustrates a similar Windsor side chair, p. 64, figure TV89.

268 269 A Charles II small oak side table, circa 1680 A Charles I oak panel, West Country, circa 1620-40 Possibly for a child Formerly part of a tester bed headboard or possibly an overmantel The boarded top with moulded edge, above channel-moulded front Used recently as a headboard, with three leaf-filled lunette carved and side friezes, the front with the attractive addition of a scalloped and panels, above four arched-carved and lozenge centred panels, within pierced edge, raised on block and ball-turned legs joined by a front ball gauge-carved rails, restorations, 155.5cm wide x 13cm deep x 89cm and ring-turned mid-stretcher plain low stretchers to the sides and rear, high, (61in wide x 5in deep x 35in high) 62.5cm wide x 51cm deep x 62.5cm high, (24 1/2in wide x 20in deep x £300 - 500 24 1/2in high) £1,000 - 1,500

Provenance: Former property of Cyril Minchin, past president of The Pewter Society.

Illustrated and discussed in an article written by Victor Chinnery, Antique Collecting The Journal of the Antique Collectors’ Club, Volume 33, number 4, September 1998, p. 18, figure 6. The author notes, ‘The high front stretcher is a fashion particularly associated with dining chairs in the last quarter of the 17th century, but also found on small tables’.

The Oak Interior | 91 270

270 The use of black and red stain on late 17th century furniture, (sometimes A rare Charles II oak and painted/stained geometric chest of with the addition of white), is primarily associated with Dorset, but its drawers, Dorset, circa 1670-80 use also existed in neighbouring Devon, Somerset and Wiltshire. A chest With period lining paper to drawers from Burderop Park, Wiltshire, with original paint work and dated to Having a typically thin boarded top above four geometric mitre-moulded circa 1650-80 is illustrated Victor Chinnery, Oak Furniture: The British long drawers, each enlivened by what appears to be original black and Tradition (1993), p. 209, figure 2:235. Further association can be made red stained ground between the mouldings, the top drawer flanked with decorated American furniture of the same period, as shown by the by linear-cut corbels, the remaining drawers by pairs of split-bobbin chest attributed to Ipswich, Massachusetts, dated 1678, illustrated next mouldings, on extended stile supports, each drawer with late 17th to the aforementioned Wiltshire example, figure 2:256. century block-printed lining paper, 98cm wide x 54cm deep x 91.5cm high, (38 1/2in wide x 21in deep x 36in high) The lining paper is another notable feature of this chest. Laid in £2,000 - 3,000 overlapping pieces it is block-printed in a repetitive banded design of Tudor roses and lily/tulip filled-vases. A block printed wall paper, circa Illustrated and described, Antique Collecting, The Journal of the Antique 1670, used to line a box, is illustrated ibid., p. 367, figure 3:395, and is Collectors’ Club, volume 31, number 4, September 1996, p. 18, figure decoratively employed as the work’s endpapers. 8, in an article written by Victor Chinnery, entitled ‘Early Oak Furniture in Context’. The author notes that, ‘This is a common pattern for chests, A Charles II board oak box, circa 1660, lined with figural block-printed but this one is unusually cheered-up by the crisp red and black paint paper sold, The Beedham Collection, Bonhams Chester, 24 May 2012, which defines the mouldings’. This chest was often shown to students Lot 103. and course members from West Dean College, North Chichester and Weald and Downland Museum, Chichester, when they visited accompanied by Victor Chinnery to study Danny Robinson’s collection.

92 | Bonhams 271

273

271 A William & Mary panelled oak close stool or box, circa 1690 Having a hinged boarded lid, the front and sides each with four fielded panels, with the addition of brass drop-handles to the front, on worn turned feet, 48.5cm wide x 45cm deep x 48cm high, (19in wide x 17 1/2in deep x 18 1/2in high) £500 - 800

A close stool is essentially a lidded box which contained a chamber pot. Two further examples are illustrated Victor Chinnery, Oak Furniture: The British Tradition (1993), p. 363, figures 3:376a and 3:376b. 272 272 A Charles II oak backstool, Southern Lancashire/North Cheshire, 273 circa 1680 A George II small oak cricket table, English or Welsh, circa 1740 Having a distinctive large arched floral and vine-carved cresting, above The circular boarded top above ogee-cut friezes, raised on block and a floral-carved back panel, the uprights with characteristic pyramid turned legs joined by a rare tri-form stretcher arrangement, with the finials, the panelled seat raised on block and ball-turned legs, joined by turned stretchers meeting in the centre and joined by a concave-sided an unusual spiral-turned front mid-stretcher, 48cm wide x 42cm deep x platform or disc, 50.5cm diameter x 60.5cm high 107.5cm high, (18 1/2in wide x 16 1/2in deep x 42in high) £700 - 1,000 £800 - 1,200 Victor Chinnery, Oak Furniture: The British Tradition (1993), illustrates Provenance: Reputedly former property of David Lloyd George, British an English cricket table with a tri-form stretcher arrangement centred Prime Minister (1916-22), from his home at Ty Newydd, Llanystumdwy, by a turned disc or roundel, p. 297, figure 3:183. A further example, Wales. This information was given to Danny Robinson by Barbara Pearce, attributed to Kidwelly, Carmarthenshire, dated circa 1690-1720, is a founder member of The Regional Furniture Society. illustrated Richard Bebb, Welsh Furniture 1250 -1950 (2007), Vol. II, p. 53, plate 699.

‘In the newe parlor...a Joyned Chayre...’

The Oak Interior | 93 274

274 Some spindle-filled cupboards were intended for the storage of fragile A rare mid-17th century small oak and fruitwood spindle and drinking glasses, but many were used for food storage, with the joined mural livery cupboard, English, circa 1650-70 necessary ventilation provided by the open spindles. The majority were Having a row of turned fruitwood spindle uprights centred by a small hung to protect their contents from vermin. pivotal-door formed from a pair of uprights with short turned cross- members, a boarded cupboard door below with simple carved and Victor Chinnery, Oak Furniture The British Tradition (1993), illustrates punch-decorated lozenge motif, flanked to either side by similar fixed several examples of mural livery cupboards, pp. 337-339. Roger Warner, panels, 71cm wide x 17.5cm deep x 42.5cm high, (27 1/2in wide x 6 Memoirs of a Twentieth Century Antique Dealer, (Regional Furniture 1/2in deep x 16 1/2in high) Society, 2003) p. 45 fig. 16 illustrates a similar example to this lot. Sold £2,000 - 3,000 Christie’s, The Roger Warner Collection, January 2009, lot 94, (£3,750).

Illustrated Antique Collecting, Journal of the Antique Collectors’ Club. Volume 35, Number 4, September 2000, p. 10, figure 7. In the article entitled Delightful Oddities!, it is described by Barbara Pearce, as ‘... few come smaller and prettier than the mid-17th century elm example shown here’.

94 | Bonhams 277

275 A mid-17th century oak joint stool, English, circa 1650 The seat with broad moulded-edge, above channel-moulded rails, raised on parallel-baluster and reel-turned legs joined by plain stretchers, on turned feet, 45cm wide x 28.5cm deep x 54.5cm high, (17 1/2in wide x 11in deep x 21in high) £600 - 800

276 A small oak inverted breakfront chest of drawers Constructed principally from 18th century timbers, with three graduated moulded-edge drawers, flanked by plain pilasters, 70cm wide x 47.5cm deep x 81cm high, (27 1/2in wide x 18 1/2in deep x 31 1/2in high) £400 - 600

277 An 18th Century pine farmhouse table 275 Having a rectangular deep boarded top unusually constructed with cross- members set into the underside, raised on rectangular-section legs with chamfered-edges, each leg with pairs of tenon-joints mortised through the top and joined by a conforming H-shaped stretcher, some possible original paint finish to legs, 216cm wide x 89cm deep x 72cm high, (85in wide x 35in deep x 28in high) £2,000 - 3,000

The construction without a frieze allows for a particularly functional table, with the additional benefit of heavy solid timbers to the top and overall considered construction.

276

The Oak Interior | 95 278

278 An example in St. Fagans National History Museum, Wales, ibid., p. 340, A fine and rare mid-17th century oak and elm boarded glass case, figure 3:328, is of highly comparable form to this lot. The open-shelf English, circa 1640-60 apron in particularly is of similar shape, but also decorated with pairs of The simple cornice with incised curves forming geometric decoration upturned tulips. It could be suggested that both cupboards derive from highlighted with a cross-headed punch, above a pair of chain-carved the same workshop, and almost certainly from the same region. The arches centred by a delicate stylized tulip, the spandrels each carved with majority of glass cupboards appear to follow the same basic design with pairs of pointed-leaves, the pillars carved with alternating single daisies a twin arched frieze, with or without a central support, over a single- and linked pairs of tulips, headed by Ionic capitals, the single middle- shelf, flanked by pillars. They are considered the forerunner to the delft shelf with a bicuspid shaped apron decorated with linear gauge-carving and dresser rack. above simple incised-carved pairs of tulip flowers amongst conforming incised curves and punched crosses, moulded base rail, 67cm wide x Illustrated and discussed in article by Victor Chinnery, Antique Collecting 21cm deep x 64cm high, (26in wide x 8in deep x 25in high) The Journal of the Antique Collectors’ Club, volume 33, number 4, £5,000 - 8,000 September 1998, p.18. Described as ‘An oak glass cupboard hung on the wall to keep valuable drinking glasses out of harms way’. Victor Chinnery, Oak Furniture: The British Tradition, (1993) illustrates several examples of boarded glass cases, pp. 339-341. The author notes that ‘Cheap and coarsely-made drinking glasses were fairly plentiful even in middle class homes in the sixteenth century and seventeenth centuries, but owing to their fragile nature some special system of storing them was a necessity. The answer was a lightly-built case of shelves, known as a glass case, glass perch of glass cupboard which first made an appearance toward the end of the sixteenth century. These were sometimes provided with doors in the same manner as a food cupboard, but the usual seventeenth century version has open shelves’.

96 | Bonhams 281

280

279 281 An early 19th century ash and alder spindle-back armchair, North A James I oak panel-back open armchair, circa 1620 West, circa 1830 The back panel centred by a carved and punch-decorated roundel- Having three rows of turned spindles, outsplayed open arms on vase- filled lozenge, the top-rail nulled-carved, the broad downswept arms turned front supports, the rush-seat raised on turned- tapering front legs with linear incised-decoration and raised on baluster-turned supports, terminating in pad feet, joined by a ball-turned front stretcher, 61cm the boarded seat above seat rails with bicuspid-shaped lower channel- wide x 48cm deep x 110cm high, (24in wide x 18 1/2in deep x 43in moulded edge, raised on conforming baluster-turned front legs joined high) by plain stretchers, restorations 54cm wide x 50cm deep x 98.5cm high, £100 - 150 (21in wide x 19 1/2in deep x 38 1/2in high) £800 - 1,200 280 An unusual 18th century oak tripod work table, English, circa 1760 The rectangular tray top above a pair of short moulded-edge drawers, raised on a baluster-turned column and three downswept legs terminating in pad feet, 56.5cm wide x 47cm deep x 68cm high, (22in wide x 18 1/2in deep x 26 1/2in high) £1,200 - 1,800

The Oak Interior | 97 285 282

282 Victor Chinnery illustrates and discusses comparable items of furniture, A late 17th century oak court cupboard, Trough of Bowland, North Oak Furniture: The British Tradition, (1993), pp. 481-486. The author Lancashire, circa 1680-1700 notes that ‘From the North of Lancashire, where the lowland is reduced The pendant-hung frieze carved with mythical beasts issuing flowers to a narrow coastal strip around Lancaster and Bowland, comes a series and vine, enclosing a pair of panelled cupboard doors, each door panel of cupboards and chests with a distinctive flat and finely-curled style of boldly carved with stylized foliage within flat finely-curled carved frame- carving’. This is demonstrated here by the fine scroll-carving found on rails, centred by a floral carved fixed panel, the lower-section with a leaf- the upper door rails. The rest of the carving remains bold and rather carved top-rail above a pair of triple panelled cupboard doors, each top flamboyant, whilst retaining confidence, with great care of execution, to door panel with conforming floral carving as found on the upper doors, dramatic effect. Many elements of the carved designs can also be found with lozenge carved panels below, raised on extended stile supports, on both panel-back armchairs and backstools attributed to Lancashire, 133.5cm wide x 52cm deep x 180cm high, (52 1/2in wide x 20in deep x circa 1680. 70 1/2in high) £2,000 - 3,000

‘In the Butterye within the Hawle...an Olde Cubbarde with Shelves...’

98 | Bonhams 283 An Elizabeth I small oak boarded chest, circa 1580 - 1600, conceivably a child’s coffer although possibly with alterations to size The front carved with pairs of elongated stop-fluting centred by a Tudor-rose, evidence of integral front spandrels, the sides descending to V-shaped cut-away supports, with their front and rear profiles projecting below the base board, 54cm wide x 32.5cm deep x 37cm high, (21in wide x 12 1/2in deep x 14 1/2in high) £600 - 800

284 A pair of late 17th century oak high-back chairs, English, circa 1680-90 Each back centred by an unusual slender spindle, originally ebonized and framed either side and below by S-scroll carved rails, the cresting with carved and pierced C-scrolls united by a raised scallop-shell, the baluster, ball and vase-turned uprights with ball-finials, the panelled seat raised on block and ball-turned front legs joined by a conforming S-scroll carved mid-stretcher and a low block and ball-turned H-form stretcher, 47.5cm wide x 40cm deep x 147cm high, (18 1/2in wide x 15 1/2in deep x 57 283 1/2in high) (2) £800 - 1,200

With reference to the shell centred cresting, Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, (2008) notes ‘a carved scallop shell motif, relatively common on Continental furniture, is seldom seen on English oak furniture’. The author illustrates a panel-back side chair, dated to circa 1685, which incorporates a carved shell and foliage to both the upper and lower back rails, p. 288, plate 401.

285 An unusual 17th century oak boarded upright livery cupboard, possibly West Country, dated Of narrow proportions, the frieze carved with initials MEG, the door carved with a roundel-filled quatrefoil headed by the dated 1663 enclosing four shelves, above an arched cut-away front support, the sides descending to conforming cut-away supports each with a chain- carved filled lozenge and incised base-edge decoration. 41.5cm wide x 32cm deep x 156cm high, (16in wide x 12 1/2in deep x 61in high) £2,000 - 3,000

Although scribe-lines are present around the date it would appear not to be by the same hand as the finer quatrefoil-roundel carving. It could therefore be suggested that both date and initials, which are filled with a mastic-composition type substance, are a later addition. The arched cut-away ends of the boards could also indicate a date earlier than 1663. An iron bound chest in Abingdon Museum, with an unusual arched foot similar to the one found here, is illustrated, Professor Jane Geddes, Medieval Decorative Iron Work in England, (1999), p. 111, figure 4:146.

Danny Robinson has noted that whilst this cupboard was discussed during a visit by the Regional Furniture Society, 30th September 2012, it was concluded that the shelves would have to have been slotted into 284 their prospective groove before the back and sides, (which are slightly canted), were nailed into position.

286 287 An early 18th century oak tripod table, possibly Welsh, circa 1700- An early 17th century oak boarded chest front, dated 30 Recently used as a headboard, carved with a double row of guilloche The boarded circular tilt-top with thumb-moulded edge, above a bird- above three chain-filled arches raised on leaf-filled pillars, each centred cage support, raised on a baluster-turned column and three baluster- by entwined quatrefoil-roundels with leaf-infill, headed by the divided profiled downswept legs emanating from a ring-turned and pendant- initials and date T1633K 157cm wide x 4cm deep x 69cm high, (61 1/2in hung collar, 75cm diameter x 3.5cm high wide x 1 1/2in deep x 27in high) £300 - 400 £300 - 500

The Oak Interior | 99 288 A rare William & Mary oak boarded mural cupboard, circa 1690 Of gable form, each door within a mitre-moulded frame overlapping the iron strap hinges, the two boards forming the peaked top with channel- moulded front edges and projecting chip-carved ends, the interior with three removal shelves, 37cm wide x 15cm deep x 62cm high, (14 1/2in wide x 5 1/2in deep x 24in high) £1,000 - 1,500

Similarly shaped mural livery cupboards, dated to the mid-17th century, are illustrated Victor Chinnery, Oak Furniture The British Tradition, (1993), p. 338, figures, 3:316, 317 and 318. The latter, although with Gothic pierced tracery to the door boards, resembles the basic form of this lot.

289 A small George III oak high dresser, Carmarthenshire, circa 1760-90 The open rack with wavy-cut and incised-edged frieze above a pair of shelves, each shelf mortise-jointed through unusually elongated ogee- shaped sides, the lower-section with three edge-moulded frieze drawers, above a pot-board, raised on rectangular-section supports, headed by fret-work curved spandrels and centred by an unusual vase-profiled front support, 131cm wide x 38cm deep x 185cm high, (51 1/2in wide x 14 1/2in deep x 72 1/2in high) £2,500 - 3,500

288

289

100 | Bonhams 291

290 A Charles II oak backstool, Southern Lancashire/North Cheshire, circa 1680 Having a scroll and leaf-carved arched cresting, above a plain fielded panelled back, the uprights with pyramid finials, the panelled seat raised on block and baluster turned front legs joined by a baluster-turned front mid-stretcher, restorations, 45cm wide x 43.5cm deep x 102.5cm high, (17 1/2in wide x 17in deep x 40in high) £150 - 200

291 An unusual 17th century oak boarded chest, English, circa 1640-60 The lid with a series of gauge-carved linear lines to the chip-carved and channel-moulded front edges, the front naively shallow-carved with a segmented band of linear, chip and wavy-filled arches, the sides descending to V-cutaway supports, interior division, 98cm wide x 33cm deep x 49.5cm high, (38 1/2in wide x 12 1/2in deep x 19in high) £1,200 - 1,800

292 292 A late 17th century oak and upholstered armchair, circa 1680-1700 Constructed with show-tenon joints, having a rectangular padded back and stuff-over seat, the downswept scroll-ended open arms on ball- turned front supports, raised on block and ring-turned front legs joined by a ball-turned front mid-stretcher and conforming H-shaped low- stretcher, 56.5cm wide x 69cm deep x 118cm high, (22in wide x 27in deep x 46in high) £600 - 800

293 A small George III oak and pine delft rack, with traces of original blue paint, circa 1770 With cavetto cornice and ogee-cut wavy-frieze above three open shelves, each with stay-bar, 88cm wide x 12cm deep x 85cm high, (34 1/2in wide x 4 1/2in deep x 33in high) £400 - 600

293

The Oak Interior | 101 296 ‘In the olde parlor...3 Joyned Stooles...’

294 297 A late 17th century oak joint stool, English, circa 1680-90 A George III oak and mahogany delft rack Of unusual construction Having a dentil-moulded cornice and mahogany-veneered frieze The seat with moulded-edge, above channel-edge moulded rails, raised chequer-inlaid with flutes, the wavy-shaped oak lower-edge with highly on ring-turned tapering legs joined by plain stretchers, on ball-turned unusual ‘crinolated’ edge, over three pine shelves with scroll-shaped feet, 46cm wide x 27.4cm deep x 56cm high, (18in wide x 10 1/2in deep sides, 144cm wide x 16.5cm deep x 116.5cm high, (56 1/2in wide x 6in x 22in high) deep x 45 1/2in high) £800 - 1,200 £200 - 300

The construction of this joint stool is highly irregular. There is a 298 pronounced gradient particularly to the side rails and the corresponding A harlequin set of six Charles II and later oak and walnut hide stretchers. It would appear to have been constructed in this unusual way upholstered chairs, South England, circa 1660-80 and later without a single true right-angle joint employed and the dimensions of Each having a rectangular back, back-uprights and stuff-over seat leather various elements altered to compensate for the irregularities. upholstered and fastened by brass stud-nails, the seat with typical rectangular stitching to centre, raised on block and turned front legs 295 joined by a turned front mid-stretcher, and multiple plain stretchers, Two pairs of early 19th century ash ladder-back chairs, Lancashire/ variety of turning styles, the walnut example with spiral-turned back Cheshire, circa 1800-40 uprights, restorations (6) One pair with four domed ladders, each with scroll-shaped underside £800 - 1,200 centred by a downward tip, the other with five similar ladders, all with rush seats and raised on turned tapering front legs, one pair with 299 baluster-turning to the top of the front legs, all with baluster-turned A Charles I joined oak standing cupboard, circa 1640 front mid-stretcher, (4) Having a thin boarded top with channel-moulded front edge and £200 - 300 chip-carved ends, above a single four-panelled cupboard door, flanked by pairs of fixed panels, enclosing a single shelf, with bi-cuspid shaped 296 base-rails, on extended stile supports, 122cm wide x 39.5cm deep x An Elizabeth I/James I oak coffer, circa 1600-1610, English 106.5cm high, (48in wide x 15 1/2in deep x 41 1/2in high) The lid with three unusual lozenge incised-carved and linear punched- £2,000 - 3,000 decorated panels, within channel-moulded and gauge-carved rails with the addition of zig-zag and linear punched-decoration, the front with a pair of broad panels, each with two rows of nulled-carving, the top-rail with similar carving, punch-decoration to each null, raised on broad channel-moulded supports typically similar to the lid rails, double panelled sides, 122cm wide x 53cm deep x 52.5cm high, (48in wide x 20 1/2in deep x 20 1/2in high) £800 - 1,200

The simple, yet effective, decoration found on the lid panels is a relatively rare design feature. The treatment of the back, with the attention to detail and general high level of workmanship, is a further distinguishing feature.

294

102 | Bonhams 298

299

The Oak Interior | 103 300

301 ‘In the Geasten Chamber...an ollde follding Table...’ ‘In the Hawle...a Turned Chayre...’ 300 302 A William & Mary oak gateleg occasional table, circa 1690 An exceptionally rare small early 17th century oak upright side The oval drop-leaf top raised on peg and baluster-turned end-supports, table, possibly Salisbury, circa 1620-30 joined by a wave-shaped platform stretcher, on sledge supports, the Popularly referred to as credence-table form gates with unusual internal scalloped-edge to both the uprights and The thin boarded top of canted-sided form with triple-reeding to the lower stretcher, 73cm wide x 58.5cm deep x 67cm high, (28 1/2in wide x sides and front edges, three arched friezes each with convex-cusped 23in deep x 26in high) lower-edge and carved leaf-filled spandrels, raised on multiple ring- £1,000 - 1,500 turned tapering legs, above a boarded undertier and joined by channel- moulded and chain-carved base-rails, each lower front leg block bearing 301 the initial T and P respectively, unusually the initials are inlaid in pewter, A rare and unusual oak slat-back chair, South Yorkshire, circa 1660- 58cm wide x 34cm deep x 86cm high, (22 1/2in wide x 13in deep x 33 80 1/2in high) The back of unusual gently bowed-form, having a cresting rail pierced £6,000 - 8,000 and carved with facing serpents, each with curled forked tail, above a pair of conforming pierced and carved laths flanking a solid leaf-carved Although the table’s form is now popularly described as credence-type, slender upright, the back uprights carved with slithering snakes and this lot was originally conceived as a side table. It never had a folding headed by inward facing scroll-carved terminals, the boarded seat raised top, with a rear support gate, and as such was never intended for use as on block and spiral-turned front legs joined by a conforming turned a credence table. A more accurate description would perhaps be a court front mid-stretcher and side stretchers, on turned front feet, cup-board as described in Victor Chinnery, Oak Furniture The British £1,000 - 1,500 Tradition, p. 315, in the sense that it is an ‘open’-piece of furniture, constructed without cupboard doors, and consequently made primarily Exhibited: Chairs Through Four Centuries - A Personal Selection, a loan for display. A table of similar form illustrated ibid., p. 315, figure 3:248. exhibition, Roderick Butler Antiques, Marwood House, Honiton, Devon, 14th - 20th November 2011. Several examples of panel-back armchairs, attributed to Salisbury and dated 1580-1630, are illustrated ibid., pp.452 - 453. Many demonstrate With such unusual design features the South Yorkshire regional the regional characteristics as found on this table. In particular, two rings attribution is primarily based on the recognisable feature of the inward turned in close proximity as found on the legs; the chain-decoration or facing scroll terminals to the uprights. Other areas of manufacture, running S-carving to the rails; and the classic leaf-filled spandrels. An such as the Lake District, are a possibility. Either way, the chair is almost aforementioned credence-type table, also attributed to Salisbury, with certainly North Country. marked similarities to this lot is illustrated p. 454, figure 4:78.

The initials, inlaid in pewter, are unusual. The style of the lettering is contemporary to the piece and likely to be those of the original owner.

104 | Bonhams 302 (detail)

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The Oak Interior | 105 Lots 303 - 307: The Danny Robinson Collection – Textiles

305

303 305 An early 18th century tapestry fragment Two cushions incorporating 18th century tapestry fragments Featuring foliage and a red-breasted bird, edged with a later woven Both featuring floral tapestry designs, mounted on velvet cushions, border, edged with braid and fringing, one 44cm wide x 27cm high; the other 66cm wide x 86cm high 47cm wide x 33cm high, (2) £200 - 300 £120 - 180

304 306 A mid-17th century stumpwork picture depicting The Judgment of A 19th century brocade hanging Solomon Featuring a bold floral and bird design, brocaded in polychrome silk and The King seated under a central canopy, a castle in the background, a gilt threads, edged with a gilt metal braid border, 193cm wide x 123cm leopard, stag and pool in the foreground, surrounded by birds, insects high and flowering and fruiting plants, worked in satin stitch, purled wire, £200 - 300 chenille threads, detached buttonhole stitch and applied seed pearls on a cream silk satin ground, framed, 48cm wide x 33.5cm high; 57cm wide x 307 42cm high including frame A Charles I needlework picture, depicting The Judgement of £4,000 - 6,000 Solomon, dated 1647 Featuring Solomon seated under a canopy, in a hilly landscape, Provenance: An accompanying label, removed from the old mount, surrounded by animals, insects, birds and flowering and fruiting plants, states ‘Worked by Miss Glenister of Aston Clinton, near Aylesbury, with a large house in the background, inscribed ‘AD 1647’, worked in Buckinghamshire, 1643 - 50’. silk tent stitch, framed, 44cm wide x 34cm high; 62cm wide x 51cm high including frame £8,000 - 10,000

106 | Bonhams 304

307

The Oak Interior | 107 310 (part)

Lots 308 - 417: Mixed Owner Textiles 309 Collectors lace pieces, including 17th century Gros Point 308 Spanish Gros Point (af); Flemish lace in the baroque style (af); 17th A deep flounce of 17th century Flemish bobbin lace in the century Mezzo Punto; an 18th century square stole of Brussels baroque style application (af); Mechlin and other lace pieces; and a runner of linen and With a variety of decorated braids and fillings, 375cm x 52cm. filet lace squares. (qty) £300 - 500 £100 - 150

308

108 | Bonhams 311 310 (part) 312

310 311 312 A pair of mid 18th century Mechlin lappets A pair of early 18th century joined Brussels A pair of early 18th century Brussels or With realistic flowers within a scalloped border or Devon tapered lappets in the Bizarre Honiton lappets with various quatrefoil fillings; a single early style Of deeply scalloped design with stylised 18th century Brussels bobbin lace square- Mounted on purple velvet alongside an 18th flowers and foliage; a single late 18th century ended lappet with dense ‘bizarre’ design; a century Devon edging; with lengths of 18th Valenciennes lappet; a long-fronted collar single mid 18th century Brussels bobbin lace century Mechlin and Devon edgings; 19th formed from a pair of mid 18th century scalloped lappet; and an early 18th century century Blonde; mixed Brussels application; Brussels lappets; and a Brussels needlelace cap Brussels cap back. (5) Bucks Point and others. (10) back (sd). (5) £600 - 800 £400 - 600 £600 - 700

Provenance: Collection of Ann Collier, lace Provenance: Collection of Ann Collier, lace maker and author. maker and author.

The Oak Interior | 109 313

313 315 An 18th century baby cap and neck band, with matching Hollie A group of 17th and 18th century collectors lace Point insertions Including a length of scallop-edged bobbin lace, circa 1630, probably The Hollie Point strips extending from front-to-back of the cap and at the Flemish; a collar formed from mid 17th century English bobbin lace; a centre-back of the neck band, with evidence of an embossed pattern on length of Argentella; a deep border of 18th century Brussels guipure, the muslin on both items. (2) 300 x 14cm; together with 17th century flat point and Gros Point; a £300 - 400 large linen and drawn thread work hanging (af); 18th century Mechlin, Valenciennes and needlelace pieces; and a length of 19th century Gros For similar embossing on a baby cap see Plate 285 of ‘Lace, A History’ by Point. (qty) Santina Levey. £400 - 600

Provenance: Collection of Ann Collier, lace maker and author. 316 A deep flounce of late 17th century Milanese bobbin lace 314 Featuring a variety of decorated braids and fillings, 180 x 45cm, with a A length of 18th century Flemish lace in Pottenkant style 1932 letter from P. Steinmann & Co to Miss Pope concerning its repair With a variety of fillings on Flemish round ground and with a coat of and cleaning; with other collector’s pieces including Gros Point, Alençon, arms motif, 180 x 8cm; two tamboured stoles and a tamboured square 18th century Devon, and 19th century collars formed from earlier lace; shawl (sd); an imitation Blonde fascinator; a deep imitation white with 19th century dress items including a Blonde scarf, a Rococo bertha, Chantilly flounce; filet lace runners and other lace items. (qty) a Bucks Point collar and two Honiton edged handkerchiefs. (qty) £150 - 250 £400 - 600

316

110 | Bonhams 317

317 319Y A group of 17th–19th century collectors lace pieces An ecru Point de Gaze fan on carved ivory sticks Including a deep Alençon engageante with shaded flowers and ribbons The leaf having a symmetrical floral design bordered with a variety of and with Argentan ground filling, 112 x 26cm; a Point de Gaze flounce filled cartouches, length 30cm; another Point de Gaze fan on resin sticks, with matching edging; a Burano edging with motifs similar to those in length 30cm; a Valenciennes de Ghent fan on carved mother-of-pearl Plate 474 in ‘Lace, A History’ by Santina Levey; a 19th century flounce of sticks, length 27cm; and a Brussels application fan with mother-of-pearl Gros Point worked by a combination of weaving and needlelace stitches sticks, length 27cm; all boxed. (4) mounted on pink fabric; 18th century Mechlin lengths; Valenciennes/ £500 - 600 Binche lengths, circa 1700; 18th century needlelaces; and 19th century Valenciennes. (qty) Provenance: Collection of Ann Collier, lace maker and author. £500 - 700 320 Provenance: Collection of Ann Collier, lace maker and author. A small Point de Gaze collar With narrow strapwork and leaf border; a length of scalloped Point 318 de Gaze edging, 65 x 9cm; a Bedfordshire collar and plastron; lace A 19th century collar of Rosaline perlé lace scarf ends and doilies and a pair of whitework cuffs, all in a box of And another (sd); an eastern European scalloped bobbin lace edging; figured walnut with tulipwood banding; together with lace books and a deep collar of imitation Idrian style lace; a cream Maltese scarf; an pamphlets including ‘The Identification of Lace’ by Pat Earnshaw, ‘Pillow imitation Blonde fascinator; two black triangular lace shawls; and other Lace in the East Midlands’ from Luton Museum, ‘Honiton Lace’ by P.M. lace items. (qty) Inder, and instruction books by CC Channer, M.E.W. Milroy, Hamer and £100 - 150 Waller. (qty) £100 - 150

320

The Oak Interior | 111 321

321 A flounce of 19th century Brussels application Having a scalloped edge with C scrolls, tall cartouches, sprays of naturalistic flowers and all over spotting, 600 x 29cm; a needlerun flounce, 600 x 42cm; another of Honiton application (in two pieces); a large square shawl or veil with delicate floral tamboured border, corner sprays and all over sprigging; a long stole with dense tamboured design with large boteh to each end; a triangular Honiton application shawl; other stoles and large bonnets veils. (qty) £300 - 500

322 Twelve monogrammed lace edged handkerchiefs, reputed to have belonged to Princess Mary Adelaide of Cambridge, Duchess of Teck The lace including Point de Gaze, Valenciennes and Honiton Guipure. (12) £500 - 600

Princess Mary Adelaide of Cambridge, Duchess of Teck (27 November 322 1833 – 27 October 1897) was the mother of Queen Mary, the consort of George V.

Provenance: Collection of Ann Collier, lace maker and author.

323 A group of 19th century lace lappets and ties Including Point de Gaze, Chantilly, Honiton on Alençon ground and Tenerife; with a Honiton guipure fall cap; a pair of Point de Gaze mittens and two other pairs. (14) £300 - 400

Provenance: Collection of Ann Collier, lace maker and author.

324 A group of 19th century lace flounces and edgings Including flounces of Brussels Duchesse, 300 x 20cm; Brussels application, 400 x 21cm; Limerick, 800 x 23cm in two pieces; Duchesse and others; together with edgings of Point de Gaze, Rosaline Perle, Honiton, Duchesse and other laces. (qty) £300 - 400

323

112 | Bonhams 325

325 A deep Honiton guipure flounce and another matching flounce and edging The overflounce having a symmetrical arrangement of S scrolls and roses, 440 x 42cm; the lower flounce having matching lower edge design and simplified upper section, 300 x 42cm; with a narrow matching edging, 126 x 9cm in 3 pieces. (5) £300 - 500

326 A small group of mounted knitted lace samples mostly of pina or agave fibre With some of the sheets bearing Marie Eysn labels. (8) £100 - 150

327 A large late 19th/early 20th century stole of Belgian bobbin lace on needle lace ground With dense symmetrical design of scrolling foliage and heart-shaped cartouches, with a variety of needle fillings and grounds, 280 x 52cm; a square veil with curving sprig motifs to the scalloped edge and a 326 border of floral sprays, 112 x 112cm; seven further stoles including Carrickmacross, tambour and needlerun; a deep Irish Crochet collar; a pair of deep raised Honiton (or Brussels) cuffs; lace scarves, collars, fichus and veils; a bodice of imitation Gros Point and a large linen and sol work tablecloth or bedcover, 230 x 190cm. (qty) £300 - 500

328Y Three folding carriage parasols with silk linings One of tape lace over black silk with ivory handle studded with blue stones and matching finial; the second with Bedfordshire lace over blue silk with ivory handle and ringed finial; the third of black Le Puy lace over blue silk with bone handle. (3) £150 - 250

Provenance: Collection of Ann Collier, lace maker and author.

327

The Oak Interior | 113 329

329Y 331 Three folding carriage parasols with silk lined lace covers A complete circular Blonde flounce, circa 1830 One of Carrickmacross over cream silk on a decorated ivory handle; With single flowerheads to the top and bottom edges and a deep another of imitation black Chantilly over cream silk with carved ivory floral and fern border, 400 x 47cm; a Blonde overskirt with full-length handle; the third of Irish Crochet over double blue and white silk lining triangular floral decoration to the front and deep all-round floral on a wooden handle. (3) border, 350 x 110cm and a large handkerchief with embroidered ‘EM’ £250 - 350 monogram and crown. (3) £300 - 400 Provenance: Collection of Ann Collier, lace maker and author. Fragments of a box included with the lot have a label inscribed ‘This lace 330 was worn by Maria Teresa, Infanta of Spain, at her wedding with Louis A long-fronted raised Honiton collar with matching cuffs XIV of France, in 1661.’, which must refer to lace that is now lost. Featuring butterflies and roses at the back of the collar; a large The label is further inscribed ‘Handkercheif belonging to Empress Carrickmacross collar and Carrickmacross scarf; a large square Eugenie (Eugenie de Montijo) before her marriage to Napoleon III.’, tamboured shawl with scalloped floral border and all over sprigging, 186 which corresponds to the monogram on the handkerchief included in x 150cm; a flounce of similar lace, 600 x 38cm, mounted on blue paper; the lot. a Honiton application lace fan on ivory sticks (sd) in a Duvelleroy box; a Empress Eugénie was born into Spanish aristocracy. She was known to large imitation Blonde stole and other lace items. (qty) have worn blonde lace, including gold blonde flounces which comprised £200 - 300 part of her trousseau.

Provenance: From the collection of Miss Lowenthal, the niece of Leopold 332 Iklé, who donated most of his collection of textiles and lace to the Thirteen lace edged handkerchiefs Industrie und Gewerbe Museum in St Gallen, Switzerland. Including Youghal, Blonde, Point de Gaze, Honiton guipure, Limerick, Brussels application and others. (13) £300 - 400

Provenance: Collection of Ann Collier, lace maker and author.

331

114 | Bonhams 333

333Y 335 Three folding carriage parasols with silk lined lace covers and A group of late 19th century lace dress items elaborately carved ivory handles and finials Comprised of collars, stoles, veils and handkerchiefs, including a Brussels One of Point de Gaze over cream silk, with handle carved to depict grape Duchesse collar with raised Point de Gaze rose petals; a Rosaline collar; vines and ribbons; another of Youghal needle lace with monogrammed a tamboured stole with three dimensional rose petals; a Limerick choker handle representing entwined branches; the third of Chantilly lace over and dress front; together with a deep flounce of Brabant bobbin lace, cream silk, with a handle of trailing ivy in deep relief. (3) 150 x 50cm; a needlerun flounce with delicate foliate design, 550 x £400 - 500 32cm; lace edgings and mats; a square wool shawl with frilled lace edge; a whitework baby cap; two baby gowns and a large net and tape lace Provenance: Collection of Ann Collier, lace maker and author. tablecloth or bedcover, 250 x 225cm. (qty) £200 - 400 334 A large 19th century Brussels application square shawl 336 With scalloped strapwork border around floral sprays, large floral sprays A group of lace collars to each corner and all over sprigging and spotting, 194 x 194cm; with a Including a small scale Bedfordshire example with overlaid tallies and letter from Essie. M. Mark of Bond Street relating to professional repairs picots; a large Bedfordshire collar with matching cuffs and boteh design; carried out in 1934. (2) a long-fronted Duchesse collar and another of Honiton guipure; a £300 - 500 whitework deep cape collar with lace edging; a Point de Gaze scarf/ tie with large and small flowers with raised petals; a Duchesse dress decoration; two handkerchiefs with deep Honiton borders; together with twenty-four large square filet insertions depicting figures and animals; two large lace tablecloths and a quantity of other lace items. (qty) £300 - 400

334 336

The Oak Interior | 115 337

337 Five lace fans Including a very deep Maltese leaf on mother-of-pearl sticks, length 35cm; one of Point de Gaze surrounding three hand-painted silk cartouches, initialled ‘LT’ on resin sticks, length 28cm; a mixed Brussels leaf on mother-of-pearl sticks, length 24cm; a Chantilly leaf mounted on salmon silk on mother-of-pearl sticks, length 26cm; and another Chantilly leaf (sd) on mother-of-pearl sticks, length 33cm. (5) £300 - 500

Provenance: Collection of Ann Collier, lace maker and author.

338 A deep 19th century Honiton application bonnet veil The border featuring a variety of leadwork fillings and large sprays of grasses and flowers to the body, 118 x 47cm; a deep long fronted raised Honiton collar on Alençon ground; two Duchesse collars; a large black Honiton stole and a quantity of other Honiton and Brussels collars, cuffs and veils. (qty) £250 - 350

339 338 Two Carrickmacross circular berthas and another tamboured example Two raised Irish Crochet collars, one with matching cuffs; seven lace edged handkerchiefs; a large knitted Shetland style stole; a quantity of black beaded dress trimmings and other lace scarves, stoles, collars and edgings. (qty) £300 - 400

340 Three large folios of photographs of lace in various collections Including ‘SPITZEN aus dem Museum der Königl. Kunst-Schule Für Textil-Industrie zu Pauen i. V.’, comprising a tied portfolio containing fifty-six (of sixty) loose leaf photographic plates recording the museum collection of handmade lace at Plauen, Germany, published in 1903/4, 81 x 48cm; ‘FONDS DE BONNETS DU XIXme SIÈCLE – Collection A. LESCURE’, comprising fifty-two (of fifty-four) loose leaf photographic plates of mainly whitework bonnet backs in a tied portfolio, published in 1920, 39 x 29cm; ‘ALAN S. COLE - IRISCHE SPITZEN’, comprising thirty photographic plates rebound into a later folio cover and illustrating Irish lace items, published circa 1900, 45 x 32cm. (3) £300 - 500

339

116 | Bonhams 341

341 Five boxed lace fans on mother-of-pearl sticks One of Carrickmacross, length 24cm; one of Limerick, length 23cm; one of Bucks Point over pink silk on inlaid sticks, length 24cm; one of Honiton lace on an Alençon ground with carved sticks (broken guard), length 28cm; and another of Honiton on plain sticks, length 29cm. (5) £250 - 350

Provenance: Collection of Ann Collier, lace maker and author.

342 A collection of lace collars and berthas Including Point de Gaze with matching cuffs; Honiton guipure; Brussels Duchesse; Carrickmacross and Limerick; a large white square Honiton application shawl and other dress items. (qty) £500 - 700

Provenance: Collection of Ann Collier, lace maker and author.

343Y Two whitework sample panels and a group of whitework items The hand-sewn sample panel featuring lacing, crochet, cording, pulled 342 threadwork, faggoting, gathering and tucking, whitework embroidery, button holes and further embroidered motifs and lettering, 250 x 35cm; the machine-sewn panel, dated 1899, featuring box pleats, applied cording, tucks, pleats and gathering, inserted frills, a padded and quilted band and embroidery, 246 x 42.5cm; the additional items include a filet and tape lace tablecloth featuring butterflies and acorns; a further filet lace tablecloth; four collars; a panel from an Ayrshire christening gown; two broderie anglaise caps; two pairs of sleeves; two Irish crochet jabots; several boderie anglaise flounces; and a Nottingham lace panel mounted on board, commemorating ‘The American Declaration of Independence, 1776’, produced by E&A Richards Ltd, Nottingham. (qty) £300 - 400

The two sample panels are believed to have both been worked by ‘M.H.’ in 1899, who was a nun and domestic science teacher.

Provenance: Collection of Ann Collier, lace maker and author.

343

The Oak Interior | 117 347

344 345 A large quantity of 19th century and modern bobbins A group of thimbles Over five-hundred bobbins, comprised of fifty-seven 19th century Comprised of thirty-four hallmarked silver examples, including two with spangled bone East Midlands bobbins, including seven named examples, hard-stone tops, two in leather cases and one in a Mauchline ware case; and wire decorated and dyed examples; thirty seven 19th century a group of sterling silver and Continental silver thimbles and a silver gilt spangled East Midlands wood bobbins, including wire decorated, pewter example; two Charles Horner for Dorcas thimbles; two with applied inlaid leopards and butterflies and bitted examples; eighteen 19th abalone; two Halcyon Days enamel thimbles; two Spode and three Royal century wood thumpers and trollies, some with pewter jingles and others Worcester ceramic examples; an acorn form thimble case and further beaded and a quantity of un-decorated thumpers; twelve modern bone thimbles. (qty) and six glass bobbins; and a large quantity of modern wood Honiton, £250 - 350 East Midlands, thumpers, Belgian and Maltese bobbins; together with a modern pillow and stand, a quantity of prickings, spangles, threads, 346 wires, linen and teaching packs for lace making. (qty) A Palais Royal sewing box and another £300 - 500 The early 19th century Palais Royal box of sarcophagus form in burr elm, set with a hand-painted and glazed cartouche of a riverside scene to the lid, containing a mother-of-pearl stiletto, scent bottle, scissors, needlecase and winder, width 12.5cm x depth 8cm x height 4.5cm; the second mid 19th century French painted and printed box featuring a scene of drinking cavaliers to the lid, containing pressed steel scissors, stiletto, needlecase, thimble and knife, width 14.5cm x depth 10.5cm x height 2.5cm. (qty) £300 - 400

346

118 | Bonhams 349

347Y 349 A group of seven late 19th and early 20th century fans A mid 18th century framed fan Including a tortoiseshell fan with a black net leaf, decorated with small The pierced, painted and gilded mother-of-pearl monture decorated with mirrored ovals and black and silvered sequins, length 21.5cm; a small lovers and putti, the hand-painted paper leaf featuring figures in classical mother-of-pearl fan with satin and gauze leaf decorated with gilt and dress in a rural landscape, framed, fan length 28cm. silvered sequins, with a central signed hand-painted vignette of a lady £500 - 800 holding a flower, length 16.5cm; a resin fan, the sticks with a pierced and painted urn design, the gauze leaf lavishly decorated with an urn, It is believed a similar or identical fan is on display at the Victoria and embroidered flowers and gilt and silvered sequins, length 21.5cm; a Albert Museum, London. bone fan with gilt decorated sticks, a gilt gauze and swagged burgundy silk leaf, decorated with gilt sequins, length 19cm; a resin fan, the leaf 350Y painted with a central vignette of a courting couple, length 24.5cm; Five fans, 18th-early 20th century a tortoiseshell fan, the machine lace and gauze leaf painted with a Including a late 18th century hand-painted ivory fan, depicting a reclining woman, length 25cm; a small pierced and painted resin fan, sleeping maiden lying on a hillock after being shot by Cupid, (a.f.) length length 16cm; all boxed. (14) 26cm; a late 19th century ivory fan, with a shaped hand-painted gauze £300 - 500 leaf depicting couples in a garden, edged with sequined swags, (s.d.), length 20cm; an ivory and feather face screen, total length 35cm; a Provenance: Collection of Ann Collier, lace maker and author. crude ivory and embroidered Chinese fan, length 18.5cm; and a crude bone and feather fan, length 17cm; together with a with a small leaflet 348Y relating to ‘The Worshipful Company of Fan Makers’, circa 1948. (6) Three 19th century framed fans £400 - 600 One on gilded mother-of-pearl sticks, the hand-painted paper leaf featuring a central seated girl; a fan on ivory sticks, the paper leaf printed with a floral design; the third on gilt wood sticks, the silk leaf featuring gilt spangle designs (all s.d.). (3) £250 - 350

348

The Oak Interior | 119 351

351* Mariano Fortuny y Madrazo (11 May 1871–3 May 1949) was a Spanish A Mariano Fortuny stencilled velvet mantle, circa 1900-10 artist and fashion designer, most well-known for his Delphos and Peplos Of amber coloured velvet, with gilt stencilled foliate designs, lined in grey dresses, which were Grecian style robes constructed from his unique silk satin, a circular label to the lining ‘Mariano Fortuny, Venise’, 105 x patented finely pleated silk. Fortuny also patented a way of stencilling on 97cm. velvet, creating his own dyes and printing blocks. £1,500 - 2,500

For similar Fortuny mantles see: The National Museum of Art, Architecture and Design in Norway, item number OK-1992- 0128 and a seemingly identical example held by Nordenfjeldske Kunstindustrimuseum.

351

120 | Bonhams 354

352 354 A rare and unusual pair of flat 18th century ladies shoes, circa A pair of Sanquhar gloves, dated 1818 1740 With ‘G.F.’ monogram, worked in a chevron pattern of pale blue and Of green ribbed silk, embroidered with bold floral designs in pinks, cream wool; together with a pair of Chinese shoes for bound feet; a greens and metal threads, the uppers of fashionable form, with square knitted Middle Eastern cap and another similar. (6) tongue and latchets, with a flat leather sole, length 22cm. (2) £400 - 600 £1,000 - 1,500 The knitting industry in Sanquhar, Scotland is traced back to the 16th 353 century, but was at its peak in the late 18th century. As a cottage Three late 19th century capes and an appliqué picture industry, it was financially supported by the local government and local Two capes of black satin, lavishly decorated with black glass and cut steel aristocracy, including the Duke of Queensberry. It was valued for its beads, with lace frills; the third cape of black imitation Chantilly lace quality and intricate patterns, mainly found in stockings and gloves. decorated with black beads and velvet ribbon; the appliqué picture, circa There is no formal record of the industry after the 1830s. 1830s, depicting two women in a domestic setting, worked in silk and applied fabrics, in a bird’s eye maple frame, 16 x 21cm. (4) In 1807, Thomas Brown recorded in his Union Gazetteer for Great £300 - 400 Britain and Ireland, “The [Sanquhar knitting] trade is the oldest, and was formerly more considerable than at present, though the fabric is both The picture labelled verso ‘Worked by Winifred Beatson at Canterbury’. curious and serviceable and almost peculiar to the place. The knitters, by the dexterous use of two threads, produce a substance resembling an outside and a lining. Most of the items are parti-coloured and of great variety of patterns.”

352

The Oak Interior | 121 356 (detail)

355 A mid-late 19th century boy’s costume, in the mid 18th century style Probably for use as a page boy or for fancy/theatrical dress, comprised of a cream silk waistcoat embroidered with polychrome silk flowers down the centre front and pockets, with cut steel buttons; a royal blue wool frock coat, trimmed with metal braid and buttons decorated with spangles and purled wire, the deep turn-back cuffs trimmed with lace; matching blue wool breeches, trimmed with metal braid and cut steel buckles; and a wig, labelled ‘Tom Taylor, 19 Whitechapel, Liverpool’. (4) £400 - 600

Tom Taylor is traceable through Liverpool Street Directories, held at 355 Liverpool Central Library. In the 1873 and 1876 directories, he is listed at 19 Whitechapel, as being a ‘Theatrical Wig Maker’; but by 1880 his listing has changed to ‘Wig Maker’; by 1890 there is no listing at that address.

356 A late 18th century man’s embroidered waistcoat Circa 1770-1800, of cream ribbed silk, embroidered down the centre front opening and pockets with a floral and foliate design, the back of silk, lined with glazed cotton, inscribed in pen ‘A.F.Arbuthnot Esq.’ to the lining. £200 - 300

357 Four shawls, mid 19th-early 20th century Including a black net and white metal assuit shawl, 57 x 228cm; a printed gauze paisley shawl, the green foliate woven centre bordered with polychrome paisley motifs, 172cm square; a cream silk shawl, with floral ikat designs at opposing corners, 176cm square; and a small damask weave cream shawl, printed with a floral border and with deep silk fringes, 108cm square. (4) £200 - 300

358 One wholecloth quilt and two hand embroidered cloths The 19th century wholecloth quilt of blue cotton sateen, featuring hand-quilted flowers and spirals, 120 x 153cm; a white linen bedcover, embroidered throughout in red cotton with flowers and scenes including a pair of owls, a girl skipping and a well titled ‘All’s [well]’, dated 1894, with a crocheted trim, 184 x 208cm; and a cream linen tablecloth with cutwork and embroidered designs, 142 x 308cm. (3) £250 - 350

356

122 | Bonhams 359

359 Five fabric sample ledgers, circa 1905 Comprising four large ledgers full of numbered tweed samples of varying colours and designs, the ledgers labelled ‘Ranges 2, 3 and 4’ and ‘Spring 1905’ to their spines, labelled internally ‘Manufactured by The Scottish Co-operative Wholesale Society Ld., Shieldhall, Govan.’, approx. 52 x 39cm; the fifth smaller ledger containing design charts for varying tweed weaves; one book contains three loose sheets which appear to detail orders from a Charles Wilson & Sons. (5) £800 - 1,200

The Scottish Co-operative Wholesale Society was formed in 1868 for the purpose of purchasing or manufacturing goods for supply to numerous local co-operative retail societies. A factory complex was established at Shieldhall, Glasgow, which produced a wide range of foods, furniture, textiles and metalware.

360 A 19th century soldier’s patchwork quilt Constructed from square and diamond shaped patches of red, yellow, black and blue woven wool felt, featuring a central concentric diamond pattern and edged with a deep border, backed with red paisley boteh 360 printed cotton, 167 x 150cm. £300 - 500

361 A mid-late 19th century ‘Grandma’s Flower Garden’ patchwork quilt The quilt of hexagonal shape, featuring a central hexagonal design and concentric rings of hexagonal ‘flowers’, of printed glazed and unglazed cottons, many with original backing papers and tacking stitches intact, 183 x 215cm. £200 - 300

362 Three patchwork quilts Including a ‘log cabin’ quilt of mainly wool and jersey, labelled ‘Gift of Canadian Red Cross Society’, 180 x 150cm; an early 20th century American ‘pin wheel’ quilt of white and green printed cotton, 144 x 112cm; and a mid 19th century Welsh patchwork and hand-quilted quilt, of printed cottons, 196 x 148cm. (3) £250 - 350

Provenance: It is believed the Red Cross quilt was gifted to a family in Southall, Middlesex in 1945, when they were bombed out.

It is believed the ‘pin wheel’ quilt was made in Kansas in the 1930s. 361

The Oak Interior | 123 The Howard Neville Collection The following 8 lots

363 A rare and important late 15th/early 16th century English embroidered chasuble of Italian plum velvet designed with the Crucifixion of Christ The front orphrey embroidered in coloured silks with laid, long and short stitches and applied gold thread, designed with St. John the Evangelist, St. James and one other Saint, each set under an arch and with a tower and houses in the background, the back orphrey depicting Christ on the Cross with the Holy Spirit above and a seraph holding a chalice to each side, the lower portion with two well dressed male figures, the whole with braid edge decoration, the later linen lining over the remains of the original dark blue linen, 131cm long. £1,000 - 1,500

This chasuble is likely to belong to a group of vestments made in London workshops before the Reformation. The Tudors are known to have employed their own embroiderers: for instance an embroiderer called Robynet was housed and boarded at the expense of Queen consort Elizabeth of York (1466 – 1503.) He was allowed £2 per year house rent and received 1s. 4d. a week board wages. Robynet also hired and paid other embroiderers. Elizabeth of York could well have an association with the Skenfrith cope noted below, the designs of whose orphreys compare favourably with those of this chasuble. At the turn of the fifteenth and sixteenth century Elizabeth of York visited the Welsh marshes and was believed to have donated works by Robynet to stately homes and churches on her travels.

For comparison of orphreys see: (i) The Skenfrith cope of St. Bridget’s Church in Skenfrith, 363 (detail) Monmouthshire by Kirstie Buckland, The Textile History Journal, number 14, pub. 1983 (ii) High Fashion in the Church by Pauline Johnstone, page 48, fig. 53, pub. 2002 (iii) Imagens em Paramentos Bordas, seculos XIV - XVI by Teresa Alarcao and Jose Alberto Seabra Carvalho, pages 152 - 155, pub. 1993 (iv) The Adler Collection, Sothebys, 24th Feb 2005, lot 67.

Related Literature: The History of English Secular Embroidery, M. Jourdain, E.P. Button & Co., New York. The Privy Purse Expenses of Elizabeth of York, ed. Nicholas Harris Nicolas.

364

363

124 | Bonhams 364 A 17th/18th century eucharistic cloth of sea blue silk and embroidered silver thread designed with the Dormition of the Virgin Possibly Turkish, the Virgin wearing a crown and holding a palm, her hands clasped before her, with a figure of Saint Peter, a cock at his feet to one side and Saint Paul to the other, worked with silver thread, metal strip and spangles, the border worked in a woven design, the edge with pale blue silk fringe and rosettes, mounted in a later Japanned rectangular frame, 31 x 50cm. £600 - 800

365 Two 16th century embroidered orphrey panels depicting Saint John the Evangelist, Saint James of Compostella and Saint Matthew Possibly Spanish, each saint separated by a design of a house with a forecourt, worked in coloured silks and gold thread in laid and long and short stitches, a house in the background of each saint, with applied cord border, applied to a 19th century chasuble back and front, each part applied to a later black velvet mount. (2) £1,000 - 1,500

For a similar depiction of a house with courtyard depicted in perspective see the 16th century back chasuble of the Bernheimer Family Collection sale, Christies, London, 11 June 1996, lot 156.

366 A mid 17th century English ivory silk embroidered chalice veil The centre designed with the sacred heart pierced with three nails, the inner corners with winged cherubim, the border designed in sections each with symbols of the Passion of Christ, the edge with gilt metal bobbin lace, worked in applied gold and silver thread, brown, blue, 365 (detail) yellow and green silks in long, short and satin stitches, the whole sprinkled with spangles and embellished with coiled metal thread, applied to a later black velvet mount, 54 x 57cm. £300 - 500

366

365

The Oak Interior | 125 367

367 A Russian embroidered chalice cover or pall depicting scenes from the life of Christ, probably late 16th century The central panel depicting Christ rising from the dead, soldiers surrounding the tomb, the falling sides with upright scenes of the Nativity of Christ, with the Virgin and Saint Joseph, and the Baptism of Christ, worked with gold and silver thread in a variety of raised and applied stitches, and fawn, green and blue silks in long and short stitches, the borders embroidered with Slavonic captions and prayers, 89 x 35cm. £1,000 - 1,500

368 A late 16th/early 17th century Russian or Slavic land embroidered crimson silk icon cover (pelena) depicting the Dormition of the Virgin The surround with God the Father holding the Christ Child beside the tomb, Apostles to the head and foot, worked with gold and silver thread 368 in a variety of laid stitches in lattice and other patterns, the hands and faces embroidered in cream and red silks, with script below, the border of laid red silk with Cyrillic prayer script in gold thread, later lined, 62 x 63cm. £600 - 800

369 Two 16th century Cologne woven linen, silk and gold thread braids The first designed with the text ‘St. Paul, St. Anna, Maria’, and with a flowering and a fruiting tree and stylised flowerheads, each section 96 x 6.5cm; the second with the text ‘Ihesus and Maria’ and with a similar fruiting tree and a roundel of flowers and leaves encircling the letter ‘M’, woven in linen and gold thread, green, blue, red and cream silks, 112 x 6.5cm, each now divided into two pieces. (4) £500 - 700

Provenance: Bought from the Bernheimer Family Collection sale, Christies, London, 11 June 1996, lots 163 and 196.

370 A group of religious textiles, 17th-19th century Including a chasuble of 18th century blue floral silk brocade, edged with metal lace; two further chasubles; a cope of embroidered knotted net; a beige damask dalmatic; a 17th century appliqué hanging; two brocade silk panels; an embroidered altar cloth; two stoles and other items. (13) £500 - 700

369

126 | Bonhams 371

372

371 A pair of mounted 15th century embroidered panels One depicting the Virgin Mary and Child and the second depicting two Saints, both worked in silk and metal threads, mounted to the front opening flaps of a desk blotter, edged with metal braid, panels 41.5 x 18cm, mount 55 x 62cm. £500 - 700

372 A group of 16th-18th century embroidered fragments Including an embroidered orphrey panel, depicting three pairs of Saints, worked in silk and gilt threads, 95 x 17.5cm; a small embroidered panel depicting two Saints flanking a vase of lilies,15 x 20.5cm; a panel of embroidered floral and bargello work, 34 x 29cm; a group of early 17th century embroidered motifs, featuring flowers and insects within coiled tendrils of plaited braid stitch, worked in silk, metal thread and spangles, possibly from a jacket or cap; a group of 18th century embroidered floral motifs in silk and gilt thread and other items. (qty) £600 - 800

373 A late 17th/early 18th century needlework picture 373 Depicting the Holy Family at prayer, with God watching from above, worked in silk tent stitch and satin stitch and applied metal threads, within a later tortoiseshell frame, 23 x 18.5cm (inc. frame 39 x 34cm). £500 - 700

374 A mixed group of textiles, 17th-19th century Including a fragment of 17th century embroidery, with deep Reticella- style scalloped borders; a fragment from a woven orphrey panel depicting saints; a fragment of floral embroidered gauze; three fragments of floral embroidered muslin, dated 1822; a cream silk and satin case, heavily embroidered with raised metalwork flowers and a central crown bordered by the motto of the Order of the Garter and a further silk case. (8) £200 - 300

374

The Oak Interior | 127 376 377

375 An embroidered Bishop’s mitre, 18th century Of cream silk, heavily embroidered with couched silvered threads and decorated with red cut glass beads, 80 x 32cm. £200 - 300

376 Three late 18th/early 19th century silkwork pictures Including a circular floral posy, 55cm diameter; an octagonal picture of two women tending to a memorial, 40.5 x 39.5cm; an oval picture of a shepherd and shepherdess seated in a rural landscape, in verre églomisé mount, 21.5 x 29.5cm; a mid Victorian cut paper memorial picture, with an applied dove motif, 18 x 12cm and two further silk fragment pictures; all framed. (6) £600 - 800

Provenance: The framed silk fragment is labelled verso ‘Worn on September 8th 1831 at the Coronation of T.M. King William IV & Queen Adelaide’.

377 378 A 17th century needlework picture Depicting a central angel playing a horn, surrounded by four women, flanked by oak trees and a leopard and lion, a fountain in the foreground, worked in satin and brick stitch on a cream satin ground, in a carved wood frame, 27 x 38cm (inc. frame 37 x 48cm). £1,000 - 1,500

378 A 17th century band sampler Initialled ‘E.N.’, featuring numerous bands of stylised floral and foliate designs, worked mainly in red, blue and green silk on a linen ground, framed, 51 x 18cm. £600 - 1,000

379

128 | Bonhams 380

381

379 An early 19th century silkwork picture Probably depicting Bonnie Prince Charlie and Flora MacDonald, she standing in a boat and he at the water’s edge, surrounded by a dense floral border, worked in silk and chenille threads, within and octagonal verre églomisé mount and gilt frame, 43 x 53cm (inc. frame 61 x 71cm). £300 - 500

380 A 17th century stumpwork picture depicting Hagar and Ishmael The central figures surrounded by birds, flowers, fruiting plants and insects, a lion, leopard and fishpond to the foreground, worked in satin stitch, purled wire, chenille threads and detached buttonhole stitch, within a gilt frame, 22 x 43cm (inc. frame 28.5 x 50cm). £3,000 - 5,000

381 A George III oval needlework map of England and Wales, worked by Ann Brown Dated 1814, featuring the county names, surrounded by a floral border, worked in silk on a wool ground, within an oval gilt frame, 51.5 x 45cm. £300 - 500 382 382 A George II band sampler, worked by Mary Cock Dated January 2nd 1730, featuring the alphabet and numerals, several geometric bands, a band of initials beneath crowns and various spot motifs, worked in silk on linen, framed, 44 x 21cm. £500 - 700

383 An early 20th century woolwork picture depicting a garden and fountain In the Arts and Crafts style, framed, 44 x 33cm. £200 - 300

Provenance: Reputedly purchased from C. John, Mayfair, London.

383

The Oak Interior | 129 384

384 385 A 17th century needle and stumpwork picture A pair of early 18th century needlework pictures Featuring a stumpwork lion, elephant and horse, in a hilly landscape, Probably French, one depicting a seated lady playing a lyre, surrounded surrounded by further animals, birds, insects and flowering and fruiting by several seated onlookers and animals, including a lion, stag and fox, plants, worked in rococo, brick and tent stitch in silk, unframed, 28 x within a hilly landscape dotted with oak trees, 46 x 49cm (inc. frame 39cm. 54 x 57cm); the second depicting a couple seated in a rural landscape, £1,500 - 2,000 a putti with doves in a chariot to the left and other figures and dogs, 48.5 x 52.5cm (inc. frame 57 x 61cm); both worked in silk and wool tent stitch, within tortoiseshell frames. (2) £3,500 - 4,500

385 385

130 | Bonhams 386

386 387 A late 18th century needlework picture depicting Saint Francois de An unfinished 17th century needlework picture Sales Depicting a King seated under a canopy, being waited on by his Queen Double-sided, worked on paper, depicting Francois in religious garb, and attendants, within a hilly landscape, surrounded by animals, insects, seated at a desk, surrounded by an ornate floral border, inscribed ‘Saint birds and flowering and fruiting plants, two castles to the background Francois de Sales...’ in ink, worked in polychrome silk and metal threads, and a fishpond, stag and leopard to the foreground, partially worked in framed with glazing to both sides, 26 x 21cm (inc. frame 35 x 29cm). silk tent stitch, the remainder showing the ink design, 34.5 x 47cm. £800 - 1,200 £1,500 - 2,000

Francois de Sales (1567-1622), was a Bishop of Geneva and is honoured as a Saint in the Roman Catholic Church.

387

The Oak Interior | 131 388 An early 19th century sampler, entitled ‘Kindness’, worked by Julia Soloman Aged 8 years, featuring a moral verse and numerous spot motifs of trees, birds and butterflies, surrounded by a strawberry border, worked in silk on a wool ground, framed, 37.5 x 33cm (inc. frame 45.5 x 41cm). £600 - 700

Provenance: Reputedly purchased by the current owner from Witney Antiques.

389 388 Two pairs of late 18th century oval silkwork pictures One pair both initialled ‘S.M.’, both depicting women seated in rural landscapes, both 27 x 21cm; the larger pair featuring a shepherdess tending her flock and a woman tending Shakespeare’s tomb, 31 x 24cm and 32 x 25cm; all worked in silk and chenille threads, in verre églomisé mounts and gilt frames. (4) £250 - 350

Provenance: There is a letter of provenance to the reverse of one frame, stating the four pictures were worked by Sally Morris, an ancestor of the vendor.

390 An early 18th century embroidered apron panel or bed sheet sham Of cream linen, decorated with a fine floral crewelwork border, topped by five floral sprays, 45 x 101cm; together with an early 19th century embroidered green satin drawstring purse, 19.5 x 21.5cm and the joined side borders of a woven cashmere shawl. (3) £200 - 300

389

390

389

132 | Bonhams 391 A George III sampler, worked by Harriot Bland Dated April 28th 1813, featuring the alphabet and numerals, above a moral verse and floral motifs, surrounded by a rosebud border, worked in silk on a wool ground, framed, 42 x 32cm (inc. frame 50.5 x 41cm). £400 - 600

Provenance: Purchased by the current owner from Witney Antiques.

392 391 Two 19th century framed silkworks of birds One featuring a pair of birds feeding a nest full of chicks, early 19th century, worked in silk on silk, framed, 18 x 23cm; the second depicting a single bird feeding chicks in a nest, mid-late 19th century, framed, 18.5 x 16cm (both s.d.). (2) £150 - 250

393 An early 19th century sampler, worked by Elizabeth Timothy Aged 15 years, depicting floral baskets and sprays, surrounded by a floral border, within a Victorian burr oak frame, worked in silk on a linen ground, 37 x 33cm (inc. frame 52.5 x 48.5cm). £400 - 600

394 A woolwork picture, circa 1740 Depicting a man leading a lady seated on a horse through a rural landscape, with castles in the background, with a deep pink border, worked in wool and silk, framed, 42 x 94cm (inc. frame 49 x 101cm). £400 - 600

392

394

393

The Oak Interior | 133 395

395 396 A colour printed wall hanging of ‘Taste’ from ‘The Lady and the An 18th century Aubusson tapestry panel Unicorn’ tapestry series Depicting a horned god and a putti surrounded by fruit, within a red Stretchered, 139 x 171cm. tapestry border, 61 x 164cm. £300 - 400 £300 - 500

‘The Lady and the Unicorn’ is the title given to a series of six tapestries 397 woven in Flanders of wool and silk, from cartoons drawn in Paris in the Three textiles, 19th century late fifteenth century. Five of the tapestries are interpreted as depicting Including an Indian embroidered panel, featuring a central circular the five senses – taste, hearing, sight, smell, and touch; the sixth displays motif on a cream satin fully worked with stylised flowers, edged with a the words ‘À mon seul désir’, interpreted as love or understanding. magenta satin border, 203 x 177cm; a woven paisley shawl, featuring The series are on display at Musée du Moyen-Âge in Paris. a concentric design of stylised boteh, with a harlequin border, 184cm square; and a Chinese embroidered shawl of cream silk, featuring pagoda and floral designs, 158cm square (all a.f.). (3) £100 - 150

396

134 | Bonhams 398

398 400 An early 18th century Continental needlework panel Two late 17th/early 18th century tapestry panels, possibly French Probably for a chair back, featuring a shepherd and shepherdess One depicting a king and a bishop, surrounded by fruits and flowers, 55 embracing beneath a tree, surrounded by flying putti and a scrolling x 196cm; the second fragment depicting a seated queen holding a cross, floral border, worked in silk and wool tent stitch, framed, 67 x 65cm. beneath a swagged canopy and fruit, 104 x 50cm. (2) £500 - 700 £500 - 700

399 401 Three framed textile fragments, probably coptic Two framed textile fragments, probably coptic and a bag One of tan and cream cotton, woven with detailed geometric designs, A cream fragment, woven with brown geometric designs, 32 x 19cm; a 37 x 14cm; one of brown and cream cotton with a woven trellis design, joined length of course brown cotton damask, with a striped and fringed 72 x 10cm; and a brown cotton fragment woven with animal designs, border to each side, 60 x 23cm; and a knotted bag, featuring geometric 37 x 16cm; all framed. (3) designs, a handwritten labelled pinned inside inscribed ‘Equador Scigrus £150 - 200 bag’, 22 x 14cm. (3) £150 - 200

400

The Oak Interior | 135 402

402 A large mid 18th century needlework panel Featuring a central clam shell design, enclosing a vignette of figures and animals beside a pool, surrounded by bold floral and foliate designs, including daffodils, carnations, roses, lilies and acanthus leaves in polychrome silk on a gilt thread brick stitch ground, edged with metal thread braid, framed, 93.5 x 205cm. £800 - 1,200

403 A group of 19th century needlework pictures and a bell pull Including a pair of birds, worked in raised chenille threads, perched on branches, both oval, framed, 12 x 16.5cm; a pair of panels depicting figures in dress of the world, worked in cross stitch, framed, 41 x 8cm; a woolwork picture depicting a vase of flowers and butterflies, framed, 37 x 30.5cm; and a mid 19th century wool and beadwork bell pull with gilt fixings. (6) £400 - 600

404 A late 18th century sampler, worked by Sarah Elizabeth Sharp Aged 10 years, depicting a large red brick house and garden, with a stag 403 and sheep to the foreground, flanked by trees and flowerpots, edged with a strawberry border, worked in wool and silk on linen, framed, 41 x 41cm (inc. frame 55 x 55cm). £250 - 350

405 A mid 19th century tapestry depicting St Rodriguez, after Bartolome Esteban Murillo Worked in wool and metal thread, within a wood frame, unglazed, 187 x 114cm. £300 - 400

404

136 | Bonhams 406 407

406 A picture comprised of 17th century needle and stumpwork slips Applied to a later dark green velvet ground, featuring the central figures of Hagar leading her son Ishmael, surrounded by motifs including a castle, lion, leopard, stag, squirrel, flowering plants and insects, below two family Coats of Arms of Boyd and Trochrigg, framed, 67 x 54.5cm (inc. frame 73 x 60.5cm. £800 - 1,200

407 A picture comprised of 17th century needle and stumpwork slips Applied to a later silk satin ground, featuring a central lady, surrounded by an oak tree, fruiting plants, birds and insects, within a reproduction 18th century style walnut cushion frame, 55.5 x 64.5cm (inc. frame 70.5 x 79cm. £1,000 - 1,500

408 A 16th century spot motif sampler A linen ground scattered with various geometric spot motifs, worked in silk and metal threads (a.f.), framed, 37 x 25cm. £300 - 500 408

Labelled verso: ‘S.W.R.I. National Exhibition of Needlework...Article: Elizabethan Sampler 1500’.

409 A 17th century needlework picture, depicting Rebecca at the Well Comprised of two panels, probably removed from a casket, the upper panel depicting Rebecca offering water, beside a fountain, with a camel looking on, in silk on a cream silk satin ground; the lower panel featuring flowers and a fish, worked in purled wire on a silk satin ground, framed, 16 x 24.5cm. £500 - 600

409

The Oak Interior | 137 410

410 412 An early 18th century needlework picture A Dutch darning sampler, dated 1762 Depicting a classical goddess seated on grassy hillocks, beneath an oak Inscribed ‘M.W., Anno 1762’ beneath a coronet, within a central square tree, playing a lyre, surrounded animals and birds, including a horse, wild damask darn border, surrounded by eight cruciform darns and numerous hog, deer, lion, goat, dog, rabbits and a peacock, worked in silk on a further block and corner darns of varying designs, worked in polychrome cream silk ground, framed, 19.5 x 24cm. silks on linen, unframed, 40.5 x 42cm. £800 - 1,200 £400 - 600

411 Provenance: Purchased from Ex Antiques, Amsterdam. An embroidered susani Featuring a central stylised tree design, with a deep border of circular flowers, worked mainly in red, pink and green silk on a linen ground, 166 x 128cm. £700 - 1,000

411

138 | Bonhams 413 414

413 415 A 17th century needlework picture A rare group of very large embroidered slips, late 16th/early 17th Comprised of two joined panels, depicting Moses and another Biblical century figure holding a trumpet, bordered with motifs including a winged bow Now detached from their original backing, the largest motif featuring a and arrow, and arrow-pierced heart, tents and fountains, edged with crowned mermaid surrounded by a scrolling floral border, the remainder later braid, worked in floss silk and metal threads, framed, 25 x 22cm. featuring floral urns and further floral and bird designs, worked in floss £1,000 - 1,500 silk on silk grounds, edged with yellow silk cord, largest 50 x 46cm, smallest 6 x 6cm. (31) 414 £500 - 700 An early 18th century needlework panel Initialled ‘A.S.’, featuring a central spray of carnations and tulips on a The depiction of a mermaid possibly relates to Mary, Queen of Scots, scrolling false-quilted linen ground, worked in silk, framed, 31.5 x 24cm. who was often portrayed in this manner. £500 - 700

415

The Oak Interior | 139 416

416 417 An early 18th century embroidered fichu fragment A mid 17th century embroidered velvet purse Of ivory silk, two sides edged with an applied foliate border of stylised Circa 1640, of rectangular envelope form, the raised silvered thread leaves and berries, worked in blue silk and metal threads, framed, fichu foliate embroidery to a dark red velvet ground, a small centre-front hook 42 x 96cm; together with letter of provenance. (2) clasp, lined with leather, three inner compartments all with pierced and £800 - 1,200 stamped leather flaps, 10.5 x 6.5 x 1cm. £400 - 600 Provenance: The accompanying letter of provenance states that the ‘unusual kerchief was from direct descendants of Cromwell’s second An almost identical purse is housed at Museu Nacional do Traje, Lisbon, son’. Portugal, item number 10660; an Italian 17th century red velvet purse with similar metal thread embroidery is housed at the Metropolitan Museum of Art in New York, accession number 09.50.1146; and a purse of very similar form and design was sold by Aadlers Auctions of Australia on November 8th 2009 as lot 400.

417

140 | Bonhams

Day Two: 22 January 2014 Furniture, Metalware & Treen

418

418 A rare early 17th century oak staircase banister, two sections, incomplete, English, circa 1620-40 Typically constructed as a series of short flights, the larger section having a newel post carved with a stiff-leaf design to the front and stylized boss and imaginative fleur-de-lys to the sides, with two similar plain posts, all surmounted by the same leaf-carved finials, joined by strap-work carved lower-rails and a broad-moulded hand-rail, enclosed by pierced balustrade to the flights and solid narrow balustrade to the landing, with lath-and-plaster to the front below the tread (possibly original); together with another flight section, 198cm wide x 216cm high; 90cm wide x 141cm high (2) £1,500 - 2,000

Provenance: 38 Watergate Street, Chester. Removed during renovation completed in the 1970s.

See Herbert Cescinsky and Herbert Gribble, Early English Furniture and Woodwork, (1922), Vol.1, for an informative and well illustrated chapter designated to ‘The English Staircase’, pp.211 - 230. The staircase photographed at Charleton House, Kent, dated 1612-15, has particular similarities to the pierced-balustrade found on this lot, p. 219, figure 144.

419 Three sections of early 17th century oak wall panelling, English, circa 1620-40 With slight differences in design, but almost certainly made for the same interior scheme, the plain panels, principally of two sizes, set within channel-edge moulded rails, losses, 338cm high x 172.6cm wide; 223cm 418 high x 118cm wide; 221cm high x 65.5cm wide, (3) £400 - 600

Provenance: Thought to be removed from the same shop premises as the previous lot; 38 Watergate Street, Chester.

142 | Bonhams 420

420 422 A George III solid yew-wood chest of drawers, circa 1790 An early 18th century oak dresser base, English, circa 1720-40 With two short over three long graduated and cockbeaded drawers, on Having a boarded top with deep under-edge moulding, three moulded- bracket feet, 89.5cm wide x 53.5cm deep x 95cm high, (35in wide x edge frieze drawers above a waist-moulding, the sides with ogee-cut 21in deep x 37in high) aprons, raised on front cabriole legs terminating in pointed pad feet, £800 - 1,200 184cm wide x 50cm deep x 81.5cm high, (72in wide x 19 1/2in deep x 32in high) 421 £800 - 1,200 A George II oak bureau on integral stand, circa 1730-40 The cleated sloping fall enclosing an interior fitted with an arched central The frieze base-rail which extends below the waist-moulding and cupboard door, bookslides and small drawers, above a cockbeaded frieze sits behind the front knee of each cabriole leg is an unusual feature. drawer, raised on turned tapering legs terminating in pad feet, 83.5cm Traditionally the rail would not extend below the top of the leg, or at wide x 51cm deep x 94.5cm high, (32.5in wide x 20in deep x 37in high) least positioned in front. £300 - 500 423 An early 18th century and later oak gateleg dining table, English Having an oval drop-leaf top, above a pair of end-frieze drawers, raised on slender baluster-turned supports, joined by channel-moulded stretchers, on turned feet, restorations, 165.5cm wide x 128cm deep x 74.5cm high, (65in wide x 50in deep x 29in high) £300 - 400

422

The Oak Interior | 143 425

424 426 A George III oak tripod table A George III oak tripod occasional table Having a circular top raised on a vase-turned column and three The circular boarded tilt-top raised on a vase-turned column and three downswept legs terminating in pad feet, 53.5cm diameter x 63cm high downswept hipped legs terminating in pad feet, 75cm diameter x 73cm £100 - 150 high £200 - 300 425 A William & Mary oak panelled box settle, circa 1700 427 The rectangular back with four small panels over four larger panels, A Charles I oak coffer, West Country, possibly Somerset, circa 1630- each mitre-moulded frame, within channel-moulded rails, the steep 50 downswept open-arms with pronounced scroll-cut base profile raised on Having a boarded hinged lid with thumb-moulded edge, above a ring-turned front supports, the single-boarded seat above a conforming quadruple raised panelled front, each panel strap-work carved with fan panelled front, on extended stile supports, 160cm wide x 59cm deep x incised-carved spandrels, the upright rails with conforming strap-work 138.5cm high, (62.5in wide x 23in deep x 54.5in high) decoration, the top-rail arcaded-carved, the base-rail with chain-carving, £1,200 - 1,800 the sides each carved with a large lozenge, 146cm wide x 60cm deep x 66.5cm high, (57in wide x 23 1/2in deep x 26in high) £300 - 500

428

144 | Bonhams 430 430

427

428 430 An Elizabeth I/James I oak coffer, circa 1600-20 A small George I tooled leather casket, English, early 18th century The boarded lid with linear moulded front and side edges, above a triple The domed cover fitted with an articulated iron bale handle, and with panelled front, each panel applied with a guilloche-filled arch raised on iron lockplate and hasp, the whole stamped with foliate motifs within stop-fluted pillars, the muntins and stiles with further carved stop-fluted tooled foliate borders, lined to the interior with a page from Burke’s decoration, nulled-carved top-rail with carved initials GC AC carved to Complete Peerage, 27.5cm wide, 15.5cm deep, 11cm high (10 1/2in each end, twin panelled sides, restorations, 140cm wide x 54.5cm deep wide, 6in deep, 4in high) x 73cm high, (55in wide x 21in deep x 28 1/2in high) £300 - 400 £400 - 600 See Sotheby’s, The Clive Sherwood Collection, 22nd May 2002, Lot 201 429 [£752], for a very similar casket stamped with crowned GR cyphers. A 19th century ash and elm low-back Windsor armchair, Nottinghamshire, circa 1840 431 Having a typically pierced upper-splat and key-hole pierced lower-splat, A George III elm and oak lace bobbin winder, with maker’s stamp baluster-turned front arm-supports, elm saddle-seat, on triple ring- The flywheel of seven turned and tapering spokes and a steamed turned baluster-shaped legs joined by a crinoline stretcher, 52.5cm wide bentwood rim, and with small turned handle, and having an upright x 48cm deep x 88cm high, (20.5in wide x 18.5in deep x 34.5in high) turned spool holder, a pivoting chamfered arm mounted to the end with £200 - 300 a chamfered cruciform oak skein holder, all on an elm base with chip- carved ends stamped ‘?. TIMMS’, the base 28.5cm wide x 37cm high to top of flywheel £100 - 150

For a similar example, see E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 334.

The Oak Interior | 145 432 A small near pair of late 17th century brass candlesticks, North European, possibly Swedish, with maker’s mark Of very thin gauge, each having a slightly flared line-decorated socket with downswept flange, on a baluster-turned and knopped shaft, and a domed base with line-decorated drip tray, and flared circular foot, the bases stamped with the initials CS either side of a fir tree,12cm high, (2) £250 - 350

433 A George III boarded and joined oak mural tinder box The waisted and arched rear board pierced with a hole above a lozenge, the sliding front board enclosing a divided interior of two compartments, one fitted with a damper, with two probably associated steels, 11cm wide, 7.5cm deep, 32cm high (4in wide, 2 1/2in deep, 12 1/2in high) £200 - 300 437 For comparable examples, see J. Caspall, Fire & Light in the Home pre- 1820 (2000), p. 19.

The upper compartment in this box was for storing flint, steel and tinder, whilst the lower compartment would have been for lighting the flame. Once lit, the damper would extinguish it.

See above, Lot 186, for a similar box (of elm) in the Danny Robinson Collection.

434 A pair of late 15th/early 16th century carved walnut misericord seat corbels, French The flat top of lobed form, above a tapering lobed support with collar rib, terminating in a fluted scroll, now fitted for use as wall brackets, 21.5cm wide x 11cm deep x 20cm high, (8in wide x 4in deep x 7 1/2in high) (2) £600 - 800 433 435 A Charles II oak gateleg dining table, Yorkshire, circa 1680 Having an oval drop-leaf top, above an exceedingly long end-frieze drawer, raised on egg-turned legs joined by conforming stretchers, on pear-shaped turned feet, 161cm wide x 130cm deep x 78.5cm high, (63in wide x 51in deep x 30.5in high) £1,500 - 2,000

436 A George III yew-wood tripod occasional table, circa 1800 Having a single-piece tilt top, raised on an unusual ring and vase-turned column and three downswept legs terminating in simple Manx-style (shoe) feet, 43cm diameter x 64cm high £600 - 800

436

146 | Bonhams 438

437 438 A George I/II walnut and elm side chair, circa 1720-40 A George III oak high back dresser, Conway Valley, circa 1760 Having a shaped scroll-over top-rail, an ergonomically vase-shaped and The boarded rack with cyma recta cornice, pointed-ogee cut frieze and pierced splat, drop-in seat, above a deep serpentine-shaped front rail, three shelves flanked by scroll-cut sides, the lower-section with three raised on front cabriole legs terminating in pointed pad feet, 54cm wide drawers over a pair of pointed-ogee headed applied panelled doors, x 50cm deep x 104cm high, (21in wide x 19.5in deep x 40.5in high) centred by a bank of faux drawers, 160cm wide x 54.5cm deep x 201cm £200 - 300 high, (62.5in wide x 21in deep x 79in high) £1,500 - 2,000

434

The Oak Interior | 147 439

439 442 A Charles I oak panel-back open armchair, Salisbury, circa 1630 A Charles II oak boarded chest, possibly Lake District, circa 1660 The back panel carved with interlaced stylized pointed leaves within a The lid with linear moulded edges, the frieze carved with a variety gauge-carved filled arch, the top-rail stop-fluted carved, the trapezoid- of decorative motifs centred by four pairs of linked leaf S-scrolls, shaped boarded seat flanked by downswept open arms on ring-turned the spandrels each carved with a stylized leaf-and-berry, the sides tapering front supports, the seat-rails with gauge-carved lower-edges, descending to shaped V-cutaway supports, 109cm wide x 41.5cm deep x raised on inverted baluster-turned front legs joined by plain stretchers, 64.5cm high, (42 1/2in wide x 16in deep x 25in high) 59cm wide x 47cm deep x 109cm high, (23in wide x 18.5in deep x £600 - 800 42.5in high) £2,000 - 3,000 Along with the extraordinarily diverse range of motifs chosen to decorate the frieze, the way the board slightly overlaps the end-supports should 440 be noted, (the backboard is constructed in a similar fashion). Traditionally A Charles I oak boarded chest, circa 1640 both ends would simply be nailed in-line with the side supports. The front carved with a pair of chain-filled arches raised on conforming pillars, each enclosing a stylized tulip spray and headed by entwined 443 leaf-carved spandrels, the sides descending to stepped arched cut-away A George I oak court cupboard, Westmorland, dated supports, possible alterations, restorations, 112cm wide x 36.5cm deep x The frieze carved with the off-centred date 1717 and raised on baluster- 50.5cm high, (44in wide x 14in deep x 19 1/2in high) turned end-columns, enclosing a pair of panelled cupboard doors £200 - 300 centred by a conforming fixed panel, the lower-section with a pair of drawers over a pair of twin-panelled cupboard doors centred by a Victor Chinnery, Oak Furniture: The British tradition, (1993), illustrates a unusually broad upright-rail, on extended stile supports, 170cm wide x boarded chest, dated to the mid-seventeenth century, with comparable 58.5cm deep x 176.5cm high, (66 1/2in wide x 23in deep x 69in high) pairs of carved tulip sprays and pointed leaves, p. 360, figure 3:366. £800 - 1,200

441 444 A very near set of eight beech, ash and elm Windsor side chairs, An early 19th century small pine chiffonier, English Buckinghamshire, circa 1930-40 Having a three-quarter spindle-turned gallery above a pair of stepped Some bearing maker’s stamp of O.Haines, High Wycombe shelves, the lower-section with a pair of metal lattice-grilled doors, on Each with a hooped stick-back, the elm saddle-seat with rear wedge, toupie-style feet, 67cm wide x 34.5cm deep x 120.5cm high, (26in wide raised on ring-turned legs, joined by a H-shaped turned stretcher, various x 13.5in deep x 47in high) stamps to the underside of the seat and rear wedge, including; O.Haines £400 - 600 High Wycombe, some dated; J(crown)S; A(crown)M; JFS; TH; W(crown) K; WL; (crown)JS; BN; generally of similar design and proportions, but with slight differences to the seat wedge design, some with straight sides, others curved, (8) £400 - 600

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444

445 447 A yew-wood gateleg dining table, English, circa 1700 A 19th century fruitwood, or possibly alder, and elm serving table, The oval drop-leaf top raised on egg-turned legs, joined by channel-edge French moulded rectangular-section stretchers, on turned feet, 150cm wide x The rounded rectangular top of two boards above three drawers, the 123.5cm deep x 77cm high, (59in wide x 48.5in deep x 30in high) frieze rails with stepped spandrels, raised on ring-turned tapering legs, £1,000 - 1,500 185.5cm wide x 88cm deep x 80cm high, (73in wide x 34 1/2in deep x 31in high) 446 £600 - 800 An early 17th century oak tester bed panel, English Having nine plain panels within channel-moulded rails, two corners with circular holes to receive the bed-posts, 141cm wide x 190.5cm deep x 3.5cm high, (55 1/2in wide x 75in deep x 1in high) £200 - 300

447

The Oak Interior | 149 450

448 451 An oak candlestand, in the English circa 1680 manner A George III and later oak high dresser The circular fixed top raised on a plain column, the cruciform base on The boarded rack having pot-belly type sides, with a pair of shelves over downswept supports with chip-carved edges, 35cm diameter x 67cm five spice drawers, the lower-section with a T-shape arrangement of high drawers flanked to either side by a panelled cupboard door with applied £200 - 300 upper cut-corner beading, on ogee bracket feet, 150cm wide x 49.5cm deep x 210cm high, (59in wide x 19in deep x 82.5in high) 449 £1,000 - 1,500 A George III yew-wood and elm tripod occasional table The yew-wood boarded circular tilt-top raised on an elm turned stepped 452 and tapering column support and three downswept yew-wood legs with A good Regency brass-inlaid, mahogany and ebony miniature later iron-work pad-shaped feet, restorations, 81cm diameter x 70.5cm chest of drawers high The rectangular top inlaid with a brass foliate scroll and above a secret £200 - 300 ebony line-inlaid frieze drawer, and two short and three graduated long drawers, all cockbeaded, lined with blue paper and with dust beads, The iron-work replaced pad feet are an old, resourceful and creative each inlaid with an ebony lozenge-shaped escutcheon and with a turned repair. ebony handle, with shaped aprons and raised on outswept bracket feet, with a faint pencilled signature to the rear board of the bottom drawer, 450 now mostly indistinct, but possibly reading ‘...HIGGS’, 38.5cm wide x A rare and unusual Elizabeth I large carved oak boarded chest, 22cm deep x 39.5cm high, (15in wide x 8 1/2in deep x 15 1/2in high) circa 1570-1600 £400 - 600 The lid with linear incised edges and exterior iron strap hinges, the front carved and punched-decorated with S-scroll over an arcade of lancet 453 arched cusped tracery, each arch filled with faint acanthus incised A miniature oak cutlery box, with twelve miniature bone knives carving above floral-filled roundels, the sides descending to flat-ogee and forks in the manner of the early 18th century headed cut-away supports, 162.5cm wide x 45cm deep x 72cm high, The candle box with sliding cover with arched end and chamfered (63 1/2in wide x 17 1/2in deep x 28in high) edges, enclosing six miniature bone knives and six miniature bone forks, £2,000 - 3,000 the knives with scimitar blade and pistol-shaped handle, the forks with two tines and baluster-shaped stem, the cutlery box 3cm wide x 9cm The decoration to the front of this chest is a rare combination of Gothic high; the knives 6cm long, together with a 19th century polychrome- inspired tracery mixed with mannerist S-scrolls, roundels and acanthus decorated bone Prisoner-of-War spinning wheel automaton, leaves, which were to become prevalent motifs throughout the 16th French, losses and damages, and in need of restoration, of a woman century. As such the chest can be viewed as a transitional piece between in a white and pink dress and a blue-spotted underskirt at a spinning the Late Gothic and Renaissance styles and represents the move away wheel, the largest part 7cm high, (25) from ecclesiastical inspired decoration to more secular work. £300 - 400

Ralph Edwards, The Dictionary of English Furniture, (1986), illustrates a chest carved with an arcade of Perpendicular tracery bordered with roundels, dated circa 1500, Vol. II, p. 8, figure 14.

150 | Bonhams 451

454 455 A brass and walnut table-top miniature cannon A Victorian stained pine miniature chiffonier or dresser base The cannon with moulded muzzle, and line decoration, mounted on a Topped by a superstucture with undulating back centred by a carved walnut gun carriage with stepped sides and four brass four-spoke 9cm stylised flowerhead, above an ogee-cut shelf above two pairs of small diameter wheels, two of the wheels stamped ‘33 L’, the cannon 32cm drawers, all between scroll-cut sides, the base of three moulded drawers long; the carriage 33cm long above a central cupboard door with raised ogee-arched panel, flanked £300 - 500 to either side by two further short drawers, raised on six turned feet, 52.5cm wide x 19cm deep x 54cm high, (20 1/2in wide x 7in deep x 21in high) £150 - 250

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The Oak Interior | 151 456 457

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459 460

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456 460 An early 19th century sand picture, in the manner of Benjamin A 19th century sand picture, in the manner of Benjamin Zobel Zobel (German, 1762 - 1831) (German, 1762 - 1831) Showing a sheep and a lamb, a bull and a cow in a farmyard, beside a A flock of sheep and a donkey in the foreground in a glade, a landscape wall with a gentleman behind, a milkmaid to the foreground, and farm with church steeple beyond, framed and under glass, 59cm wide x buildings beyond, framed and under glass, 67.5cm wide x 54.5cm high 44.5cm high £500 - 700 £500 - 700

The left-hand side of this picture, showing the gentleman, and the 461 reclining sheep and bull beneath a tree, is after The Young Bull, by A 19th century elm, fruitwood, beech and ash Windsor armchair, Paulus Potter (Dutch, 1625 - 1654). The milkmaid, cow and background Buckinghamshire, circa 1820-40 are additions. Having a fruitwood wheel-pierced splat, baluster-turned front arm- supports, broad elm saddle-seat, on single-ring and concave-turned 457 legs connected by a H-shaped elliptical turned stretcher, the rear of the A 19th century sand picture, in the manner of Benjamin Zobel seat stamped I7W, 61cm wide x 60cm deep x 100cm high, (24in wide x (German, 1762 - 1831) 23.5in deep x 39in high) Of a lion, reclining on a rocky outcrop, bearing a paper trade label £200 - 300 to reverse reading ‘Tho. Pilchis?, Looking Glass Manufacturer, 208 Shoreditch, London,..’, framed and under glass, 62cm wide x 52.5cm 462 high A late 17th century oak geometric chest of drawers, circa 1680- £800 - 1,200 1700 With three long mitre-moulded drawers, on hooded ball-turned feet, 458 traces of a printed lining paper, 98cm wide x 56.5cm deep x 86.5cm An early 19th century sand picture, in the manner of Benjamin high, (38.5in wide x 22in deep x 34in high) Zobel (German, 1762 - 1831) £800 - 1,200 Of a reclining tiger in its lair, rocks and trees beyond, 59cm wide x 49.5cm high 463 £800 - 1,200 An oak mural cupboard, constructed from 18th century timbers, English 459 Having a dentil-moulded cornice above a single arched door, flanked by A 19th century sand picture, in the manner of Benjamin Zobel stop-fluted pilasters, with cockbeaded drawer below, 40cm wide x 24cm (German, 1762 - 1831) deep x 70cm high, (15.5in wide x 9in deep x 27 1/2in high) Depicting two donkeys in a forest clearing, with trees beyond, framed £300 - 500 and under glass, 55cm wide x 48cm high £500 - 700 464 An oak and mahogany refectory-type table Incorporating some period timbers The rectangular planked top with cleated ends, above plain mahogany friezes, raised on ring-turned legs, joined by rectangular-section stretchers, 204cm wide x 90.5cm deep x 69.5cm high, (80in wide x 35 1/2in deep x 27in high) £600 - 800

The Oak Interior | 153 465 An unusual Charles II oak geometric moulded chest of drawers with box-lid, circa 1670-80 The hinged lid enclosing a well and two tills above a pair of secret drawers to each end, the cushion-moulded frieze above three raised and geometric mitre-moulded long drawers, the deep middle drawer with a pair of split-bobbin mouldings, on front bun feet, 102cm wide x 55cm deep x 102.5cm high, (40in wide x 21.5in deep x 40in high) £2,000 - 3,000

466 A George II ‘country-house’ oak dresser, circa 1730-50 Of long proportions, having a boarded top with thumb-moulded edge, above four frieze drawers, raised on five baluster-turned front legs, on 465 pear-shaped feet, 270cm wide x 53cm deep x 85cm high, (106in wide x 20 1/2in deep x 33in high) £2,000 - 3,000

467 A rare Henry VIII oak boarded chest, with associated lid, circa 1520-40 The lid is probably constructed from 17th century re-claimed timber, with later cleats, the front incised-carved with four tracery-filled arches with simple spandrels, a simple lattice carved below the iron lock plate, the sides descending to V-shaped cutaway supports, restorations, 114cm wide x 35cm deep x 65.5cm high, (44.5in wide x 13.5in deep x 25.5in high) £800 - 1,200

Carved lancets, produced by bold, confident, shallow cuts using a V-gouge tool, are a characteristic design of secular chests from this period. Similar examples are illustrated in H. Cescinsky and E. Gribble, Early English Furniture and Woodwork (1922), Vol. II, figure 30-32. Figure 31 is particularly notable for the similar linear in-fill decoration as found here. The authors refer to a distinction between the flatter chip-carving of secular pieces and the more ornate, deeper, carving of clerical items of this period. They continue that the geometrical form of interlacing circular heads which produces the pointed or lancet arch at the intersections, was a favourite detail, possibly because it was easily remembered and as easily executed. The three illustrated examples, from the collections of W. Smedley Aston and Leonard G Bolingbroke, are all dated to the end of the fifteenth century.

A further comparable chest, with notable similar linear in-fill to the lancet arches, sold Bonhams Chester, The Beedham Collection, May 2012, lot 40, (£8,450). As with this example, the frieze design of the chest was adapted in order to accommodate the lock plate.

468

154 | Bonhams 467

468 An early 19th century oak and mahogany didarn, Cardiganshire, circa 1820-30 Having a moulded frieze with tear-drop end-pendants headed by draught-turned tablets, enclosing a pair of recessed quadruple-panelled cupboard doors, flanked to either side by quarter-cut pilasters, the lower- section with three incised-edged drawers over a pair of triple-panelled cupboard doors, on extended stile supports, 115cm wide x 52.5cm deep x 192cm high, (45in wide x 20 1/2in deep x 75 1/2in high) £800 - 1,200

469 A Charles I oak, ash and fruitwood enclosed armchair, North Country, circa 1630-40 Having a plain fruitwood back-panel, the guilloche-carved and punched- decorated top-rail positioned on top of channel-edge moulded back uprights, each scroll-profiled upper-arm with a flat underside above a fruitwood panel, a further conforming panel below the later pine boarded seat, losses, 56.5cm wide x 52cm deep x 101.5cm high, (22in wide x 20in deep x 39 1/2in high) £1,500 - 2,000

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The Oak Interior | 155 472 470

470 472 An early 19th century yew-wood spindle-back open armchair, A pair of Victorian yew and elm low Windsor armchairs, North-West, circa 1820-50 Nottinghamshire, circa 1840-80 Having two rows of simple turned-spindles and chamfered bar top-rail Each with pierced-shaped splat, baluster-turned front arm-supports, the between upper ring-turned back uprights, the flat ogee-cut and scroll- elm saddle-seat on triple ring-turned baluster-shaped legs joined by a ended splayed open-arms on baluster-turned front arm-supports wedged crinoline stretcher, 53cm wide x 52cm deep x 92cm high, (20.5in wide x and mortised through the arm, the rush-seat on turned front legs 20in deep x 36in high) (2) terminating in pad feet, joined by a baluster-turned front stretcher and £500 - 700 multiple plain turned stretchers, 63cm wide x 51cm deep x 104cm high, (24.5in wide x 20in deep x 40.5in high) 473 £400 - 600 A Charles II oak joined livery cupboard, English, circa 1680 Having a simple boarded top above a channel-moulded frieze drawer 471 locked by a pair of panelled cupboard doors below, with shaped A mid-17th century and later oak joint stool, Gloucestershire spandrels, raised on extended stile supports, 108cm wide x 59cm deep x The boarded seat with moulded-edge, above scrolling stylized-leaf 85cm high, (42.5in wide x 23in deep x 33in high) carved rails, raised on parallel-baluster and reel-turned legs, joined by £1,000 - 1,500 plain stretchers, 48.5cm wide x 25cm deep x 50cm high, (19in wide x 9 1/2in deep x 19 1/2in high) £250 - 350

473

156 | Bonhams 478

474 A pair of 17th century carved oak figural terms or Atlantes Each carved as a male figure, supporting an Ionic capital upon his head, bare-chested and with tied fabric at the waist, above a scrolling corbel carved with eyes and issuing a pendant spray of fruits and foliage, 15cm wide x 89cm high, (2) £500 - 700

475 A late 16th century carved pine panel, probably Dutch Carved with a lady in 16th century dress, her hands on the jambs of a doorway, another doorway occupied by a bishop, all between a pair of columns with acanthus and volute capitals joined by a dentil arch, rendered with flat perspective, and beneath a rail topped by an arch formed from a pair of leaves, carved with trailing foliate lines and centred by a scroll-edged cartouche bearing the faint traces of initials between griffin supporters, 49.5cm wide x 60.5cm high £300 - 500

476 An early 17th century and later newel post, English, now a lamp standard Topped by a square-section finial carved with half-bosses and with decorative mouldings, the post carved to each face with a sunken panel with alternate rectangular and oval bosses and strapwork, with four later scrolling brackets, and later cruciform base, 195cm high £500 - 700 476

477 Two mural spoon racks, in George III style The first oak and mahogany-crossbanded, with arched, crossbanded and boxwood-strung backplate, fitted with a notched rail for six spoons, all above a box base fitted with a sloping hinged cover, with drawer below, 29.5cm wide x 13.5cm deep x 46cm high, the second of oak, the shaped backplate pierced for hanging and fitted with a pair of rails notched for five spoons, above a shelf with moulded front rail, a candlebox below, all between shaped sides, 33cm wide x 13cm deep x 62cm high, (2) £200 - 300

478 A 16th century carved chestnut panel, Franco-Flemish Centred by a bird with long tail feathers, its beak clasping a scrolling, fruiting vine, 55cm wide x 33.5cm high £400 - 600

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The Oak Interior | 157 480

479 480 A James I/Charles I oak table refectory-type table, West Country, An early 19th century oak high dresser, South Wales, circa 1820-40 circa 1620-30 and later The boarded rack with three shelves, the lower-section with three edge- Having a twin boarded top, partly scored with shuffleboard type marks, moulded frieze drawers, raised on rectangular-section supports joined by the front frieze lunette and stylized flowerhead carved above scroll- a pot-board, with boarded back, 140cm wide x 38.5cm deep x 192cm carved and punched-decorated spandrels, losses, 166cm wide x 68.5cm high, (55in wide x 15in deep x 75.5in high) deep x 75cm high, (65in wide x 26.5in deep x 29.5in high) £800 - 1,200 £600 - 800

479

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481 484

481 484 A Queen Anne oak lowboy, circa 1710 A Charles II oak and stained mule chest, Dorset/Devon, circa 1660- The boarded top with moulded front and side edges, the scroll-cut 80 arched frieze enclosing one short and two deep drawers each within a Having a boarded lid with thumb-moulded edge, the front with three reeded surround, raised on four cabriole legs terminating in pointed pad panels, each with an incised-carved and punched-decorated large feet, 82cm wide x 51cm deep x 70.5cm high, (32in wide x 20in deep x flowerhead, the petals highlighted in alternating black and red stain, 27.5in high) with similar decorative treatment to the crescent incised rails, and the £700 - 1,000 lunette-carved long base drawer, 119cm wide x 46.5cm deep x 67.5cm high, (46 1/2in wide x 18in deep x 26 1/2in high) 482 £700 - 1,000 An early 18th century and later oak chest of drawers, English Having a thin boarded top with moulded front and side edges, above a David Knell, English Country Furniture 1500-1900, (2000), illustrates a cyma recta frieze, the top long drawer carved to simulate three fielded coffer, p. 52, colour plate 8, with the distinctive crescent-shaped incised panels each within integral and applied mitre-moulded frame, over three decoration highlighted in black, red and white as found here. The author conforming double simulated panelled graduated drawers, on stile feet, notes ‘this distinctive decorative style is particularly associated with restorations, 99cm wide, 48.5cm deep, 84cm high (38.5in wide, 19in Dorset, but variations of it are also found in neighbouring Devon and deep, 33in high). Somerset, and as far away as the Hertfordshire/Essex border’. See lot £600 - 800 270, day one, The Danny Robinson Furniture Collection.

483 An Elizabeth I/James I oak bed headboard, reduced in height, circa 1600-1610 Formerly with a pair of panels above three knot-pattern line-inlaid panels, enclosed by gauge-carved and punched decorated frames, with plain panels below, all within gauge and channel-moulded rails, 137.5cm wide x 113cm high £400 - 600

The Oak Interior | 159 485 A William & Mary notably large oak gateleg dining table, circa 1690 The oval drop-leaf top above a pair of end- frieze drawers, raised on ball-turned supports, joined by conforming stretchers, 177cm wide x 151cm deep x 76cm high, (69 1/2in wide x 59in deep x 29 1/2in high) £3,000 - 5,000

486 A Charles II oak coffer, possibly West Country, circa 1670 The rectangular hinged boarded lid with chip- carved sides, the front with three lozenge and petal carved panels with channel-moulded rails, some background staining present, 105.5cm wide x 44cm deep x 64.5cm high, (41.5in wide x 17in deep x 25in high) £600 - 800

See lot 484, a mule chest also with staining, attributed to the West Country. 486 487 An early 19th century yew, elm and ash low Windsor armchair, probably Nottinghamshire, circa 1820-40 Having a pierced-shaped two-part splat, baluster-turned front arm-supports, elm saddle-seat on baluster-turned legs joined by a crinoline stretcher, 56cm wide x 53cm deep x 91.5cm high, (22in wide x 20.5in deep x 36in high) £200 - 300

488 A Charles II oak coffer, South Yorkshire, circa 1670 The hinged lid with three panels, the central panel unusually of slightly larger size, the front with a pair of lozenge-filled and tulip-carved panels, the top-rail lunette-carved, with single channel-moulded and punched-decorated rails, 105cm wide x 47cm deep x 52cm high, (41in wide x 18.5in deep x 20in high) 485 £600 - 800

489 A George III yew-wood tripod wine table, possibly Welsh, circa 1780 Having a fixed circular dish-top, raised on a vase-turned column and hipped rectangular- section legs with upright scroll feet, 41cm diameter x 64cm high £300 - 400

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160 | Bonhams 490

490 491 492 An unusual William & Mary oak panel-back A Charles I small oak coffer, possibly A Charles I and later oak joint stool open armchair, Yorkshire, circa 1690-1700 Cheshire, circa 1640 The rectangular boarded seat with thumb- The back panel carved with a large central The boarded top with chip-carved ends, the moulded edge, above lunette-carved friezes, lozenge, filled with interlaced and punched- front with a pair of panels, each unusually raised on splayed ring-turned tapering legs decorated strap-work around a single carved with a wheat-sheaf motif, raised on joined by plain stretchers, restorations, 44cm flowerhead, the unusual arched scroll-cut extended stile supports, 85.5cm wide x 44cm wide x 28cm deep x 56cm high, (17in wide x cresting carved with a crowned angel or deep x 63.5cm high, (33.5in wide x 17in deep 11in deep x 22in high) 43cm wide cherub, its wings enclosing the initials S W x 25in high) £400 - 600 centred by a rose-head, flanked by coiled £600 - 800 corded-scrolls, with S-scroll carved ears, downswept scroll-ended open arms on baluster-turned front supports, boarded seat, raised on baluster and ring-turned front legs joined by plain stretchers, 58cm wide x 53.5cm deep x 111cm high, (22 1/2in wide x 21in deep x 43 1/2in high) £800 - 1,200

492 491

The Oak Interior | 161 497 A late 18th/early 19th century wrought iron and turned beech table rushnip and candle-holder, Irish The square-section stem with a short wrythen section terminating in rectangular jaws, the flat rectangular-section jaw arm terminating in a wrapped conical candle socket with open seam, 30cm high £300 - 400

498 Two late 18th/early 19th century rushnips The first an early 19th century wrought iron and sycamore rushnip and candleholder, the slightly tapering square-section stem topped by rectangular jaws, the square-section jaw arm terminating in a slightly tapering candle socket, all on a sycamore cruciform base, 26cm high, together with a late 18th/early 19th century wrought iron rushnip, having a wrythen stem topped by rectangular jaws, the square-section jaw arm terminating in a scroll handle or counterweight, all on a primitive stained pine base, 22cm high, (2) £400 - 600

494 R. Ashley, The Rushlight & Related Holders, A Regional View (2001) illustrates cruciform-based rushlights for Caernarvonshire (p. 55) and Leicestershire (p. 194). 493 A George III and later fruitwood and oak centre table The second rushnip exhibits characteristics - the wrythen stem, Having an oak boarded top above fruitwood edge-moulded friezes and rectangular jaws and scroll terminal - found on Welsh rushnips, see ibid., rectangular-section legs with internal chamfer, 90cm wide x 60cm deep x p. 70. 70cm high, (35in wide x 23 1/2in deep x 27 1/2in high) £200 - 300 499 A good early 19th century wrought iron and painted pine rushnip 494 and candle-holder An early 18th century elm and walnut chest of drawers, English Having a wrythen wrought iron stem, topped by a pair of slightly In two parts, having two short over three long box-wood linear inlaid tapering rectangular jaws, the right-angled jaw arm terminating in a drawer, on bracket feet, restorations, 96cm wide x 55.5cm deep x 94cm wrapped closed candle socket counterweight, all raised on a domed high, (37.5in wide x 21.5in deep x 37in high) cylindrical base decorated with multiple ring-turnings and with extensive £600 - 800 traces of original painted decoration, 25cm high £1,000 - 1,500 495 Six mid-19th century ash and elm low-back Windsor armchairs 500 To include five Nottinghamshire examples, with traditional shaped and An early to mid-19th century sheet iron and horn pendant lantern, pierced upper-splat and key-hole pierced lower-splat, baluster-turned English front arm-supports, the elm saddle-seat raised on ring-turned baluster- The cylindrical body with a pierced section fitted with a small lenticle of shaped legs joined by a crinoline stretcher; a further example; and a red glass and enclosing a wrapped open candleholder behind a horn- 20th century yew and elm high-back Windsor armchair, with wheel- glazed hinged door, opposed by an angular strap handle, topped by a pierced splat, in-curved front arm-supports, on slender baluster-turned conical cowl with three vents, and a slatted chimney topped by a loop legs, joined by a crinoline stretcher, the rear of the seat stamped AP, (7) carrying handle, 49cm high £600 - 800 £150 - 200

496 501 An early 19th century wrought iron table rushnip with candle- A large pair of late 17th/early 18th century turned jacaranda holder, probably Irish candlesticks, Portuguese Colonial Having a square-section stem filed to its centre with four decorative Each having a flared candleholder with mid-fillet on a multi-knopped and notches, the tapering jaws with conforming filed decoration, the jaw acorn-turned stem with a broad flat mid-drip pan, raised on a domed arm forming a right angle and terminating in a wrapped cylindrical and spreading base with scroll-cut footrim, with losses, 43cm high, (2) socket counterweight, 27cm high £1,500 - 2,000 £150 - 250 A similar pair sold Sotheby’s, 15th November 2005, Lot 1 [£6000].

162 | Bonhams 496

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The Oak Interior | 163 508

502 504 Two items of domestic lighting A Charles I oak coffer, Somerset, circa 1630 To include a mid-19th century turned boxwood travelling candle or The twin boarded lid with incised edges, the front with three panels, chamberstick, the broad dished base fitted with a turned candle socket, each carved with quatrefoil arranged interlaced flowerheads, the top-rail with a conical cover topped by a threaded finial, which screws into a carved with entwined-roundel arcaded stiff-leaf decoration, the muntins hole in the side of the candle socket to form a handle when in use, with guilloche-carving, the stiles with conforming decoration stopping 11.5cm diameter x 16.5cm high, together with a late 18th/early 19th in line with the base-rail lower-edge, the base-rail lunette-carved and century wrought iron rushnip and candleholder, with a later base, unusually centred by the carved initials IL, the side with a pair of panels the square-section stem topped by a pair of tapering rectangular jaws, each centred with a large stylized flowerhead and with conforming the wrythen jaw arm terminating in a wrapped conical candle socket decoration to the rails, 135cm wide, 54cm deep, 65.5cm high (53in counterweight, all set into a later wooden block base, 27.5cm high, (2) wide, 21in deep, 25 1/2in high) £200 - 300 £700 - 1,000

Comparable examples of the travelling candlestick illustrated E. H. Pinto 505 Treen & Other Wooden Bygones (1985), Plate 125. An early 17th century oak boarded chest, English With iron strap hinges to the lid, the sides descending to arched cut-way 503 supports, 130cm wide x 37cm deep x 49cm high, (51in wide x 14 1/2in A pair of early 18th century brass candlesticks, French deep x 19in high) Each having a moulded and line-decorated socket on a faceted, tapering £400 - 600 and knopped stem, raised on a moulded octagonal base, 20cm high, together with a pair of early 19th century brass saucer-based slide ejector candlesticks, each having a flared nozzle and slightly broadening vase-bottomed stem, fitted with a slide ejector with a brass knob, raised on a dished saucer-shaped base, 20cm high, (4) £200 - 300

504

164 | Bonhams 510

506 509 A fruitwood tripod table, English, circa 1830-50 A mid-18th century oak dresser base, Midlands Having a rounded-rectangular top, baluster-turned column and hipped With raised gallery back-shelf enclosing three spice drawers, over three downswept legs terminating in pointed pad feet, 44.5cm wide x 42.5cm frieze drawers, raised on silhouette-baluster profile legs to front and deep x 68.5cm high, (17.5in wide x 16.5in deep x 26.5in high) sides, 180cm wide x 58cm deep x 93cm high, (70.5in wide x 22.5in £200 - 300 deep x 36.5in high) £1,500 - 2,000 507 An 18th century and later oak and elm panel-back armchair on 510 associated rockers, Welsh An early 16th century carved oak window ‘sill’ [or cill], English The plain back panel with serpentine-shaped top-rail incised-carved with Of slightly curved form and tapering towards each end, carved to the a pair of flowerheads, the downswept and scroll-ended open-arms on centre with a flowerhead between stiff foliage, and with two moulded turned front supports, the boarded seat above a side drawer, raised on bands of bosses, 133cm wide x 15cm high shortened turned front legs, on associated rockers, restorations, 52cm £250 - 350 wide x 63cm deep x 95.5cm high, (20in wide x 24.5in deep x 37.5in high) Literature: In the late 15th/early 16th century, a sill or cill was the lowest £300 - 400 horizontal member in the frame of a window, and supported the window’s weight on the exterior of the building. See H. Cescinsky & E. 508 Gribble, Early English Furniture & Woodwork (1922), Vol. I, p. 181, Figs. An oak court cupboard 186 & 187, for two late 15th examples in Lavenham, Suffolk. Incorporating some 17th century timbers With pendant hung interlaced lunette/stylized fleur-de-lys carved frieze, 511 above a pair of roundel flowerhead-filled carved panelled cupboard Six pieces of 16th/17th century carved oak architectural timber doors, centred by a panel carved with a large flowerhead enclosed by To include a late 16th/early 17th century carved oak beam, with a carved arch and flanked to either side by a fixed panel carved with decorative mouldings, 141cm long, together with three similar pieces stylized flora, the lower-section with a lunette and gauge-carved top-rail, of early 17th century oak frieze, each piece carved with a nulled above a pair of triple panelled lozenge-carved cupboard doors centred arcade, two with later white paint, the longest 155.5cm long, a carved by a guilloche carved upright rail, on extended channel-moulded stile oak bargeboard, its edge pierced with roundels and with carved supports, panelled sides 167cm wide x 64.5cm deep x 157cm high, (65 pierced cusps, 153cm long, and a 17th century carved oak framed 1/2in wide x 25in deep x 61 1/2in high) panel, carved with a foliate heart, the framing rails carved with wavy £700 - 1,000 lines, 34cm wide x 46cm high, (6) £100 - 150

509

The Oak Interior | 165 512

512 An Elizabeth I carved oak architectural joist end or finial pendant, Shropshire Attributed to the ‘Shrewsbury school of carpentry’ The beam tapering to a point and pierced with six holes for pegs, the terminal carved as the head of a man, rendered with beard, moustache and curly hair, beneath a carved band of cable moulding, 17cm wide x 75cm high £3,000 - 4,000

The prosperity of the Drapers’ Company in post-Reformation Shrewsbury ushered in a wave of timber-framed building, especially between 1560 and 1590, which is now identified as the ‘Shrewsbury school of carpentry’. Hallmarks of this school are double bressumers, lazy jetties, curved ‘S’-braces, sunken quatrefoils, cable-moulded pilasters sometimes terminating in carved heads, and carved vine-leaves and fruit on tie- beams and bargeboards.

A substantial number of Shrewsbury’s surviving Early Modern buildings can be said to be part of this group, but Owen’s Mansions, in Shrewsbury’s High Street, probably represents the epitome of this style. 514 Dated 1592, its gabled roof is adorned with four finials, all of which have pendant terminals carved with bearded male faces beneath a band of spiral or cable carving, and are strikingly similar to the example offered in this lot.

The impressive gabled end of the Vicarage at Claverley features a joist end beneath a jetty’s supporting bressumer which is carved with a face. The stepped profile of the beam in this lot, as well as the pegholes, might suggest that it was a joist terminal rather than a pendant on a roof finial.

See M. Moran, Vernacular Buildings of Shropshire (2003), p. 109 for a detail of the joist at Claverley Vicarage, p. 259, for details of the finials to the roof of Owen’s Mansions and pp. 249 - 265 for descriptions of other houses attributed to this school.

513 A George III oak dresser and rack, Shropshire/Staffordshire, circa 1780 The open rack with a pair of scroll-headed boarded cupboard doors to either end, centred by a single shelf, with a further shelf above, the lower-section with three moulded-edge drawers above an ogee-cut apron, raised on cabriole front legs terminating in pointed pad feet, restorations, 185.5cm wide x 50cm deep x 185cm high, (73in wide x 515 19.5in deep x 72.5in high) £500 - 800

166 | Bonhams 513

514 516 A George I and later walnut crossbanded and featherbanded chest An early to mid-18th century oak settle, possibly Welsh of drawers The back of five flattened-ogee headed fielded panels, above a scroll- With two short over three long graduated drawers within cushion- cut base rail, the back uprights with rounded-ends, the downswept moulded rails, on shaped bracket feet, 95.5cm wide x 52cm deep x open-arms on barrel-shaped front supports, later boarded seat, on there 96cm high, (37 1/2in wide x 20in deep x 37 1/2in high) baluster-turned front legs, 175cm wide x 69cm deep x 104.5cm high, £700 - 1,000 (68.5in wide x 27in deep x 41in high) £400 - 600 515 An early 19th century elm settle, incorporating Charles I oak panelling attributed to Somerset The oak panelled back with three leaf-filled arched carved panels, each centred by an interlaced flowerhead and pointed-leaf, with three plain panels below the single-piece elm seat, with elm wing-shaped boarded sides, 116cm wide x 48cm deep x 111cm high, (45.5in wide x 18.5in deep x 43.5in high) £500 - 700

516

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517 520 An early 19th century oak high dresser, possibly Lake District, circa A garniture of five 18th century Delft vases, Dutch 1820-30 Each painted in blue with the same scene of an urn on a pedestal amid The boarded rack with cyma recta cornice, above an arched frieze a landscape with trees and flowering plants, comprising three baluster descending to concave-moulded pilasters and enclosing a pair of shelves, vases with domed covers and knopped finials and two trumpet vases, the lower-section with a central bank of three graduated drawers, 23cm high and 17cm high, (5) flanked to either side by a panelled cupboard door, on bracket feet, £800 - 1,200 182cm wide x 52.5cm deep x 201.5cm high, (71 1/2in wide x 20 1/2in deep x 79in high) 521 £1,200 - 1,800 Two pieces of 18th century bianco-sopra-bianco Delft, Bristol, circa 1760 518 To include a lobed plate, painted in colours with a man with a walking Five 19th century ash, beech, fruitwood and elm Windsor chairs, cane before a house, within a border of lozenges and sprays of foliage Buckinghamshire, circa 1820-50 painted in colours, the lobed rim with white flowerheads and leaves, To include three side chairs, each with hooped back, shaped and wheel- 22.5cm diameter, and a plate, painted in blue and white with a pair pierced splat, elm saddle-seat with rear wedge, raised on single-ring of men in a boat, before a fisherman, a scene of houses in a landscape and concave baluster-turned legs joined by H-shaped elliptical-turned beyond, the rim decorated in white with flowers and foliage, 22.5cm stretchers, the rear of each seat with the impressed maker’s initials C.H; diameter, (2) together with a similar side chair and a armchair example with multiple £200 - 300 ring-turned front arm supports, (5) £500 - 800 522 Two 18th century polychrome-painted Delft plates, circa 1760 519 The first with line-painted bamboo, a fence and flowers, the rim A George III fruitwood tripod wine table decorated with three conforming sprays, 22.5cm diameter, the second Having a fixed circular top, tapering column with beaded collar and decorated with a bird, trees and flowering plants, the rim with trees and downswept legs terminating in elongated pad feet, diameter 45cm x foliate sprays, 22cm diameter, (2) height 65cm £200 - 300 £200 - 300

168 | Bonhams 520

523 524 An 18th century manganese-painted Delft charger, English, circa An 18th century Delft charger, English, circa 1760 1750 - 1760 Painted in colours with a bird flying over a fence, with flowering plants Painted with a spray of naturalistic flowers and foliage, the rim with and a tree beyond, the rim painted with hatched cartouches and scrolls, trumpet flowers and harebells, 35.5cm diameter 34.5cm diameter £200 - 300 £300 - 400

521 523

524 522

The Oak Interior | 169 526

525 528 A group of twenty-three second half of the 18th century Delft A pair of 16th century carved oak panels, English, probably the tiles, mainly Dutch, circa 1750 - 1790 South-West To include a set of six manganese tiles, painted in the Dutch manner Each carved with a cockerel-headed ‘S’ scroll, within a notch-carved with a bird house, a church, a ship, a house, a windmill and a well, 13cm border, approximately 28cm wide x 31cm high, (2) wide x 13cm high, a set of six polychrome-painted tiles, painted £300 - 500 in colours with Dutch figures, with blue scrolls to each corners, 10cm wide x 10cm high, a pair of green-painted tiles, painted with Dutch The bird-headed scroll - which is reminiscent of the cockerel-headed, landscape scenes, 13cm wide x 13cm high, a pair of manganese tiles, dragon-tailed creature known as a cockatrice - was a motif which can be painted with landscape scenes in an octagonal reserve, within a hatched found used in decorative schemes throughout the 16th and early 17th and foliate-scroll border, 13cm wide x 13cm high, three non-matching centuries. manganese tiles, one painted with a ship, another with a Biblical scene, the third with a simple spray of flowers, the largest 13.5cm wide A Romayne panel dated 1534 in the Hall of Great Fulford, Devonshire, is x 13.5cm high, a single polychrome-painted tile, decorated with a decorated with a very similar pair of bird-headed scrolls [see M. Jourdain, soldier in colours within a manganese border, 13cm wide x 13cm high, a English Decoration & Furniture: I. Of the Early Renaissance 1500 - 1650, blue and white tile, painted with a well, 10cm wide x 10cm high, and p. 73, Fig. 85]. two polychrome tiles, one painted with a tulip, another with a couple on an island, 10cm wide x 10cm high, (23) The 1611 tomb to Sir John Jeffrey at Whitchurch Canonicorum in £300 - 500 Dorset uses bird-headed scrolls to edge the strapwork cartouches to the tomb proper. This seems to have been inspired by a 1565 work of 526 Mark Geerart’s of Antwerp, Diversarum protractationum quas Vulgo Three 18th century polychrome-decorated Delft plates Compartimenta vocat. The first circa 1750 - 1760, and decorated in colours with a Japanese lady holding a fan, in a landscape, the rim with diapered cartouches and Antony Wells-Cole notes that ‘most of the examples of plates from this foliate sprigs, 22.5cm diameter, the second circa 1760, and decorated suite in architectural decoration date from the late 1580s. With the with a Chinoiserie scene of a house in a landscape by a lake or river, with exception of one Midlands example [at Hardwick Hall] instances are a trellis border, the rim decorated with alternating circles and lines, 26cm concentrated in the West Country.’ diameter, the third circa 1740, and painted in colours with a gadrooned urn issuing flowers and stylised fern-like foliage, the rim painted with See A. Wells-Cole, Art and Decoration in Elizabethan and Jacobean stylised drapery, 22cm diameter, (3) England (1997), pp. 89 - 90, and p. 65, Figure 77 for an image of Sir £300 - 500 John Jeffrey’s tomb.

Provenance: The first plate in this lot bears an adhesive paper label to its 529 underside reading ‘Jonathan Horne’. A pair of 17th century carved oak panels Of rectangular form, each panel centred by the mask of a wild man with 527 foliate headdress and moustache above an open mouth, all within foliate A late George III boarded oak spoon rack and cutlery box berried scrolls with perching birds, flanking squirrels and a pendant The backboard with ogee-cut sides and broken-arched cresting pierced flowerhead, all against a ground decorated with a flowerhead punch, for hanging, and mounted with a pair of moulded rails, each with 34cm wide x 47.5cm high, (2) pierced slots for five spoons, above a box topped by a hinged, sloping £300 - 500 lid, together with eight pewter spoons, 30.5cm wide x 14cm deep x 52cm high, (12in wide x 5 1/2in deep x 20in high) (9) 530 £300 - 400 A pair of late 17th century/early 18th century carved oak pilasters Each topped by a composite capital carved with volutes and acanthus, above stop-fluted shafts and moulded plinths, 25cm wide x 79cm high, (2) £250 - 350

A pair of early 17th century pilasters in situ as part of wall panelling at Tissington Hall, Derbyshire are illustrated, H. Cescinsky & E. R. Gribble, Early English Furniture & Woodwork (1922), p. 272, Figure 308. 170 | Bonhams 528

527

531 A pair of carved and stained oak wall appliques 18th century Topped by a riband bow, issuing a spray of flowers, buds, leaves and tendrils, terminating in a drapery fold, each with a later oak backing, 17.5cm wide x 101cm high, (2) £500 - 800 531 532 A Charles I and later oak coffer, Gloucestershire, dated Having a triple panelled hinged lid, the front with three quatrefoil interlaced flowerhead and leaf-carved panels, S-scroll carved muntins and lunette carved top-rail, the stiles carved with stiff-leaves and headed by the date 16 31, 126cm wide x 55.5cm deep x 66cm high, (49 1/2in wide x 21 1/2in deep x 25 1/2in high) £300 - 500

533 A pair of oak joint stools 19th century, in the Charles I, circa 1630, manner Each with a rectangular seat with moulded edge, raised on parallel- baluster and reel-turned legs, joined by plain stretchers, 45cm wide x 26.5cm deep x 55cm high, (17.5in wide x 10in deep x 21.5in high) (2) £400 - 600

533

The Oak Interior | 171 535

534 536 A late 17th century oak side table, English, circa 1680-90 A late 15th century and later oak and beech choir-stall section, Having a boarded moulded-edge top, above an ovolo-shaped drawer French front, raised on baluster and ring-turned legs joined by rectangular- The pair of later joined sections each with linenfold-carved back-panels, section stretchers, 93cm wide x 56.5cm deep x 72cm high, (36.5in wide lacking hinged seat and misericord, each standard with front linear x 22in deep x 28in high) gauge-carving above a projected and downswept stylized organic leaf, £1,200 - 1,800 restorations, 133.5cm wide x 44cm deep x 99.5cm high, (52 1/2in wide x 17in deep x 39in high) 535 £300 - 500 A James I oak and marquetry floral inlaid coffer, circa 1620 The boarded top above a triple panelled front, each panel with applied 537 stiff-leaf and fluted-carved arch enclosing floral marquetry decoration, An early 17th century and later three-tier oak buffet, guilloche-carved uprights and nulled-carved top-rail, on extended stile Gloucestershire, circa 1630-40 supports, 132.5cm wide x 58cm deep x 65.5cm high, (52in wide x Having a pair of cushion-moulded and flowerhead-filled roundel-carved 22.5in deep x 25.5in high) drawers raised on turned-tapering and stiff-leaf carved front supports, £2,000 - 3,000 above a pair of acanthus-leaf carved drawers raised on conforming fish-scale carved supports, the bottom tier above strap-work carved rails, Provenance: H.W. Keil, Broadway, Worcestershire, inventory/stock restorations, 111cm wide x 44cm deep x 112.5cm high, (43 1/2in wide x numbers to the underside of the lid. 17in deep x 44in high) £4,000 - 6,000

Provenance: Purchased Timothy D. Wilson, Yorkshire, sold with a copy of the original receipt (for insurance), May 1988, (£8,500).

534

539

172 | Bonhams 537

538 539 A William & Mary oak food cupboard, circa 1690 A set of six late George III ash and elm dining chairs The boarded top with applied-moulded edge, the front with a pair of Including one open armchair, each with arched and carved back with double-panelled cupboard doors, each panel with a series of linear channel-moulded uprights, the serpentine-fronted drop-in seat raised on pierced air-holes, each lower panel with the addition of a pierced fleur- square-section tapering front legs with gaitered-ends and joined by an de-lys motif to the centre, panelled sides, on extended stile supports, H-shaped stretcher, losses, (6) 18cm wide x 54.5cm deep x 122cm high, (7in wide x 21in deep x 48in £500 - 700 high) £2,000 - 3,000

538

The Oak Interior | 173 540

541 541

540 542 An 18th century carved birch and pine coopered tankard, Three 19th century carved birch loom shafts, Scandinavian Norwegian All three of long slender form, and all carved towards one end with Having a gadrooned or ‘jelly mould’ hinged lid with scallop-carved edge geometric shapes and lines between notched edges, pierced at one end, and a scrolling handle with kicked thumbpiece and ‘X’-carved kicked the largest 175cm long, (3) terminal, the slightly broadening body formed from staves, carved with £200 - 300 foliage scrolls and bound by two groups of withies, on three shaped ball feet, carved to the underside of the pine baseboard with three indistinct 543 initials, 13.5cm base diameter x 20cm high to top of thumbpiece A Regency sycamore ‘Sussex’ spice tower £700 - 1,000 Of slightly broadening form, and having a slightly domed cover over four screw-threaded circular sections with printed scroll-ended labels 541 for “NUTMEGS”, “GINGER”, “CLOVES” and “ALL-SPICE”, 21cm high, An 18th century carved sycamore double-sided gingerbread together with a late 18th/early 19th century turned fruitwood mould, Dutch standing salt, the domed cover with knop finial above a vase-turned Carved to one side with the figure of a lady, with curly hair, ruff, body with single ring-turning, raised on a short stem and a spreading puffed and slashed sleeves and an embroidered dress, and to the other circular foot with decorative notch-carved edge, 15cm high, (2) side with a gentleman wearing a feathered hat and a ruff, and an £200 - 300 embroidered jacket, a sword in his right hand, 19cm wide x 3.5cm deep x 65cm high, (7in wide x 1in deep x 25 1/2in high) See E. H. Pinto, Treen & Other Wooden Bygones (1985), Figure 141, C, £500 - 800 for another ‘Sussex’-type spice tower, and p. 144, for a description of their label types.

See ibid., Figure 78, F, for a comparable salt.

543

174 | Bonhams 545

544 546 Three early to mid-17th century oak pilasters or figural terms, circa A Charles II oak and hide upholstered chair, South England, circa 1630 - 1640 1660 To include a pair of male figures or Atlantes, both with features The rectangular back, back-uprights and stuff-over seat leather reminiscent of Charles I, standing beneath an exotic tree, with outswept upholstered and fastened by brass stud-nails, raised on block and ball- hair, moustache and pointed beard above a ruff, pleated sleeves and a tuned front legs joined by a ball-turned front mid-stretcher, and multiple doublet, and a single female figure or Caryatid, also wearing a ruff, and plain stretchers, 46cm wide x 39cm deep x 96cm high, (18in wide x 15in bare-breasted, all three standing on a drapery-carved tasselled pedestal, deep x 37 1/2in high) approximately 10.5cm wide x 53cm high, (3) £200 - 300 £200 - 300 547 545 A Charles II oak coffer, Yorkshire, circa 1670 A late 17th/early 18th century yew-wood loving cup or chalice, Having a triple panelled hinged lid, the front with three panels circa 1700 each carved with stylized foliage, the top-rail and stiles carved with The cylindrical cup with ring-turned underside, raised on a straight stem conforming meandering foliage, the flowerheads again unusually and a domed and ring-turned foot, the underside concave and with red- formed from simple cross-hatched decoration, with scroll-carved painted (inventory?) number ‘2141’, 12cm diameter x 27.5cm high spandrels, 131cm wide x 55cm deep x 72.5cm high, (51.5in wide x £800 - 1,200 21.5in deep x 28.5in high) £400 - 600 See O. Evans-Thomas, Domestic Utensils of Wood (1992), Plate 19, Bottom Row, for comparable loving cups.

547

The Oak Interior | 175

548

548 An exceptionally rare and fine early 17th century oak recessed panel-back open armchair, Somerset, circa 1620-30 The back panel carved and punched-decorated with scrolling stylized flowers and leaves, recessed within a deep lunette-carved frame, the top-rail with conforming floral carved decoration, the ears of S-scroll outline and carved with a single-leaf, the downswept scroll-ended arms on parallel-baluster turned front supports, the single-boarded seat 548 above bi-cuspid shaped rails, raised on conforming parallel-baluster shaped front legs, joined by plain stretchers, 66.5cm wide x 59cm deep x 116.5cm high, (26in wide x 23in deep x 45 1/2in high) £6,000 - 8,000

It is exceptionally rare for a 17th century chair to be constructed with a recessed panel set within a heavy frame, as opposed to a conventional panel framed simply within the line of the back rails. A further example in the Burrell Collection (14.215), Glasgow, has an inlaid panel recessed within a gadroon carved frame, illustrated, Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, (2009), p. 99, plate 99, dated to circa 1630.

The Oak Interior | 177 552

549 An Elizabeth I oak and inlaid coffer, circa 1590-1600 Having a twin-panelled hinged lid, the front with a pair of panels each linear-inlaid with a knot-pattern design and centred by a chequer-stellar inlay, the uprights with inlaid fluting, interior till, 118cm wide x 54cm deep x 62.5cm high, (46in wide x 21in deep x 24.5in high) £500 - 700

550 A set of four early 19th century ash and elm spindle-back side chairs, Shropshire/Staffordshire, circa 1820-60 Each with four back spindles connected by turned curved cross-rails, a conforming rail above, the elm seat mortised into round side and back seat rails and nailed to a ogee-shaped front frieze, the turned front legs 549 with concave upper-ring and terminating in pad feet, joined by a peg baluster-turned front mid-stretcher and multiple plain-turned stretchers, 47cm wide x 36cm deep x 91.5cm high, (18.5in wide x 14in deep x 36in high) (4) £300 - 400

Bernard Cotton, The English Regional Chair, (2008) illustrates a virtually identical chair, p. 304, figure WM39. A photograph illustrated on page 303, figure WM37, shows this type of chair used in a Stafford shoe factory during the late 19th century. The author notes their daily use in places of work as testament to the chairs practical and robust design.

554

178 | Bonhams 556

551 555 A mid-19th century elm and ash painted Windsor armchair, West A Victorian beech, ash and elm Windsor armchair, Country Buckinghamshire, circa 1850-80 Painted green, having a stick-filled hoop back, three-part outsplayed arm With stick-back and curved-bar stay-rail, baluster ring-turned front arm- on incurved front arm-supports, the saddle-seat with flat-front, raised on supports, elm saddle-seat, on single-ring and concave-turned legs with ring and concave-turned baluster-shaped front legs and plain elliptical- lower-ring joined by H-shaped elliptical turned stretchers, rear of elm turned back legs, joined by H-shaped stretcher, together with an ash saddle-seat with the impressed maker’s mark SM, 58cm wide x 49cm ladder-back rocking chair, later painted, (2) deep x 95.5cm high, (22 1/2in wide x 19in deep x 37 1/2in high) £300 - 500 £150 - 250

552 Dr. B. Cotton, The English Regional Chair, (2000) illustrates two Windsor A 17th century style oak tester bed chairs both with the same maker’s mark as found here, together with Having a multiple-panelled tester centred by a large recessed lozenge a detail of the stamp, p. 73, figures TV131, TV132; and p. 84, figures applied panel, the headboard with a pair of flowerhead-filled guilloche TV175, TV176. panels painted with a play on the words of King Louis XIV’s motto Un roi, une foi, une loi (one king, one law, one faith), with three arch- 556 applied panels below, over a pair of plain panels, the turned end-posts A William & Mary large oak gateleg dining table, circa 1690 joined by a triple-panelled footboard, associated rails, 145cm wide x The oval drop-leaf top above a single end-frieze drawer, raised on ball- 219.5cm deep x 181cm high, (57in wide x 86in deep x 71in high) turned supports, joined by substantial plain stretchers, on turned feet, £1,000 - 1,500 167cm wide x 137.5cm deep x 72.5cm high, (65 1/2in wide x 54in deep x 28 1/2in high) 553 £2,000 - 3,000 A near set of eight 19th century and later ash and alder spindle- back dining chairs Including two open armchairs, both with three rows of turned spindles and eared stay-rail, the outsplayed open-arms on turned front supports, the rush seat on turned tapering front legs joined by a ring-turned front stretchers and terminating in pad feet, each side chair with two rows of spindles, (8) £300 - 400

554 An early 17th century small oak boarded, English or Welsh, circa 1620-50 The unusual pivotal-hinged lid with channel-moulded long edges and chip-carved sides, the sides descending to V-shaped cut-away supports, 65cm wide x 43cm high £300 - 500

The pivotal wooden hinges (one lacking) are a rare feature, typically traditional metal loop or strap hinges would be employed. 555

The Oak Interior | 179 557

557 559 560 A pair of 18th century walnut and Three 18th century brass and copper Three items of domestic brass upholstered open armchairs, Flemish tobacco boxes, Dutch To include a late 18th/early 19th century Each with spiral-turned frame and rectangular The first of oblong form, engraved with scenes sheet brass spout lamp, Dutch/English, chamfered rear legs, the flat open-arms with from the life of Actaeon and with panels of having a cylindrical cup with trough-like ovoid-turned ends, a high front stretcher and Dutch text, all within engraved foliate scrolls, spout fitted with a font, topped by a slightly low H-shaped stretcher, the rectangular padded 17cm long, the second engraved with a city’s domed cover with spire finial, and with a (now back and seat upholstered in cyan tweed, the skyline, 16cm long, the third of oval form, detached) shaped hanging bracket, all on a back incorporating a fragment of 17th century engraved with a river over a bridge to one side, tubular stem and a conical foot with flat back, tapestry, 60cm wide x 51.5cm deep x 92.5cm and a coat of arms between sunbursts to the 31cm high, together with a pair of late 18th high, (23.5in wide x 20in deep x 36in high) (2) other, 15cm long, (3) century brass candle snuffers or douters, £1,200 - 1,800 £200 - 300 with scroll handles and slightly domed rectangular wick trimmer, on three tapering 558 supports with ball feet, possibly with very faint An unusual pair of brass ember or pipe vestigial maker’s mark, 17cm long, and a 19th tongs, probably Dutch, possibly 17th/18th century pressed brass snuffer tray, with century moulded rim, 24cm long, (3) A single strip of metal folded over and with £200 - 300 a brass rivet forming a loop at the top, the jaws of tapering form and each decorated For a comparable lamp, see J. Caspall, Fire & with three cartouches containing three figures Light in the Home pre-1820 (2000), p. 216 - 7. in 17th century costume, above floral-filled shaped lozenges, the disc grips with floral decoration, 34cm long £200 - 300

568

180 | Bonhams 558

563

561 565 567 A leaded bronze tobacco jar A George III boarded oak mural spoon rack An early 19th century oak and elm mural 18th century with cutlery box box Of octagonal form, having a moulded and The twin plank backboard applied with a The backboard with shaped and pierced slightly domed cover fitted with a fleur-de-lis moulded ‘cornice’, and mounted with a pair of cresting above a compartment with sloping type foliate finial, with moulded foot, 15.5cm slotted and moulded rails each pierced to take lid lifting on pivotal hinges, above a lower high six spoons, between scroll-cut wavy sides, all compartment without lid, the front boards with £150 - 200 above a cutlery box with sloping hinged cover, chip-carved ends, 32.5cm wide x 10cm deep 37.5cm wide x 13.5cm deep x 69cm high, (14 x 29cm high, (12.5in wide x 3.5in deep x 11in 562 1/2in wide x 5in deep x 27in high) high) An 18th century style yew-wood mural £300 - 400 £200 - 300 spoon rack and candle-box Having a shaped backplate pierced for hanging 566 568 and fitted with a pair of rails, each pierced for An early 19th century brass tinder or A Charles II and later oak and marquetry six spoons, above a candle-box with hinged tobacco box, English inlaid mule chest, Leeds, Yorkshire, circa shaped lid, with shaped front frieze, 30.5cm Made of sheets of cast brass, the hinged cover 1680 wide x 18.5cm deep x 59.5cm high, (12in wide with bale handle fixed by octagonal, domed Having a hinged cleated boarded lid, the x 7in deep x 23in high) backplates, the interior with one division, raised front with three marquetry inlaid flower-filled £150 - 200 on four ball feet, 28cm wide x 15.5cm deep x vases within variant carved arched surrounds, 13cm high, (11in wide x 6in deep x 5in high) divided by chequer-inlaid and split-bobbin 563 £150 - 200 applied uprights, over a pair of conforming A late 19th century oak revolving dumb floral marquetry inlaid drawers each with a waiter or Lazy Susan deep moulded frame, the top-rail carved with The lobed top with moulded edge, raised on sections of meandering vine within inlaid a moulded circular socle, 55cm diameter x chevron borders, and centred by the carved 11.5cm high initials MS, leaf-carving to the lower upright- £200 - 300 rails and base rail, restorations, possible alterations, A more elaborately carved oak ‘Lazy Susan’ £600 - 800 attributed to Carmarthenshire, Wales, is illustrated R. Bebb, Welsh Furniture 1250 - 1950: A Cultural History of Craftsmanship and Design (2007), Volume II, p. 366, Figure 1327.

564 A Charles II and later boarded oak box, on later legs The twin-plank hinged lid above a front frieze carved with stylised stiff leaves within arches, later raised on four tapering square-section legs joined by an ‘H’-stretcher, 65.5cm wide x 35.5cm deep x 76cm high, (25 1/2in wide x 13 1/2in deep x 29 1/2in high) £150 - 200

565 567

The Oak Interior | 181 570

569 571 A Regency painted box commode, circa 1820 A William & Mary oak settle, circa 1690 Decorated in pale ochre with simulated timber grain, the black outlined The back of five plain panels, the downswept scroll-ended open-arms hinged lid with moulded-edge and spandrel detail, the front with on baluster-turned front supports, the twin boarded seat with moulded- conforming decoration, raised on inverted-baluster and bun-turned legs, edge, raised on block and baluster-turned front legs, with a pair of interior with hinged circular aperture, 46cm wide x 43.5cm deep x 44cm conforming front supports joined by rectangular-section stretchers, high, (18in wide x 17in deep x 17in high) 196cm wide x 58cm deep x 104.5cm high, (77in wide x 22.5in deep x £300 - 400 41in high) £1,500 - 2,000 570 A rare late 15th/early 16th century and later chestnut and oak 572 aumbry, French, circa 1480-1520 A late 19th century large cherry-wood farmhouse table, French Of boarded construction and frontal-raked form, the single door carved Having a rectangular planked top with cleated ends and a drawer to with Saint Barbara, standing in an elliptical oval, a chalice raised forth, each end-frieze, raised on tapering baluster-turned legs terminating in palms held in her left-arm, with leaf-and-berry spandrels and star-burst peg feet, 244cm wide x 91cm deep x 76.5cm high, (96in wide x 35 1/2in pierced holes, the front uprights pierced and incised in a M-shape, deep x 30in high) the tapering side boards each centred by a cross-shaped piercing, £1,000 - 1,500 restorations, 89cm wide x 39cm deep x 100cm high, (35in wide x 15in deep x 39in high) £2,000 - 3,000

572

182 | Bonhams 571

573 575 A 17th century-style cast iron fireback, after the original from the Two lidded copper cauldrons Weald of Sussex The first late 18th/early 19th century and of circular bellied form with Decorated with a central fouled anchor flanked by pilasters and figures rolled rim and soldered dovetailed seams, fitted to opposing sides with a with fruiting vines, the arched top cast with the date ‘1608’, 91cm wide crude iron spike handle attachment, and topped by an associated slightly x 75cm high domed cover with copper riveted strap handle, 36cm rim diameter x £200 - 250 37cm high, the second early 19th century and of oval form with rolled rim and brazed dovetailed seam, fitted with an articulated iron handle, See R. Gentle & R. Feild, Domestic Metalwork 1640 - 1820 (1994), p. and topped by a slightly domed cover with strap handle, 48cm wide x 332, for an image of the original 17th century fireback which this is 32cm deep x 32cm high, (4 including covers) after. It is noted that ‘the bird could be the device of Nicholas Fowle £200 - 300 (died 1634) who operated a furnace and forge at Riverall in the Weald of Sussex.’

574 A matched set of three late Victorian/Edwardian copper saucepans Of graduated capacity, each with a cast iron handle with pierced terminal, the smallest pan stamped ‘R. J. ROBERTS, OSWESTRY’ and engraved ‘W.W.W’, the medium-sized pan engraved ‘WWW’, the largest pan stamped ‘W.W.W’, 19cm diameter, 21cm diameter and 23cm diameter, (3) £150 - 250

By repute, the ‘WWW’ engraved on these pans stands for Watkin Williams-Wynn, or the Williams-Wynn family of Wynnstay, one of the most powerful and wealthy families in Wales between the 18th and 20th centuries. One of their houses was LLanforda Hall near Oswestry.

573

The Oak Interior | 183 576

577

576 579 A first half of the 19th century cast iron boot scraper, English, An early 18th century black and gilt Japanned bureau on stand, possibly Benthall near Ironbridge English, circa 1720-30 Cast as a fluted urn with horizontal bar scraper top, between a pair of The bureau decorated overall with chinoserie pagoda filled landscapes, winged birds each with a single ball and claw foot, raised in a dished birds and insects, the fall enclosing a stepped interior of pigeon holes octagonal base on four tapering feet, the tray cast with the word and vacant drawer apertures, above two frieze drawers, side carry- ‘BENTHALL’, 38.5cm wide, 29.5cm deep, 34cm high (15in wide, 11 1/2in handles, the stand with cushion-moulded scroll-cut friezes, raised on deep, 13in high) cabriole legs terminating in ball-and-claw feet, restorations, 72cm wide x £200 - 300 43cm deep x 101cm high, (28in wide x 16 1/2in deep x 39 1/2in high) £1,200 - 1,800 Benthall is situated about a mile south of Ironbridge on the River Severn in Shropshire. Benthall Hall, an Elizabethan property now in the charge 580 of the National Trust, is nearby. A harlequin set of six Charles II oak backstools, restorations, South Lancashire/North Cheshire, circa 1680 577 Each having a distinctive large floral-carved cresting, over a back-panel A 19th century brass and iron clockwork spit jack or a Pearse’s with similar carving, the uprights with characteristic pyramid finials, the Patent Veruvolver Economical Roasting Apparatus, circa 1830 boarded or panelled seat raised on block and baluster-turned front legs The iron mechanism encased in a brass box, and with a brass-cased joined by a baluster ring-turned front mid-stretcher, restorations, (6) spring fitted with an iron bar handle, with impressed numbers ‘11130’ £3,000 - 4,000 and ‘710’, and with an oval brass plaque embossed with the Royal Arms, overall 10.5cm wide x 22cm high 581 £250 - 350 An oak livery cupboard In the mid-18th century manner, incorporating period timbers This veruvolver is illustrated R. Deeley, The Cauldron, the Spit & the Fire Having a pair of fielded cupboard doors enclosing hanging space, the (2011), p. 68. lower-section with five rectangular fielded panels above a pair of short fielded drawers, 138cm wide x 50cm deep x 182.5cm high, (54in wide x See also Samuel Timmins, Birmingham & The Midlands Hardward District 19.5in deep x 71.5in high) (1866), p. 653 which notes ‘about thirty-five years ago, Mr. Pearse, of £500 - 800 Tavistock, invented his ‘veruvolver’ jack, worked by a spring, and the same principle was adopted with slight modifications in the Linwood 582 veruvolver.’ A fruitwood side table, circa 1700, French Possibly cherry-wood, having a boarded fully cleated top above a 578 moulded-edge frieze drawer, raised on ball-turned legs, joined by a A small 19th century oak and iron coffee grinder or mill conforming H-form stretcher centred by an erect finial, 75cm wide x Of square section, having an open top with protruding rod fitted with a 59.5cm deep x 69cm high, (29 1/2in wide x 23in deep x 27in high) removable hinged iron crank handle, a small drawer below, the initials £1,500 - 2,000 ‘AG’ carved or branded to the underside, 7cm wide, 7cm deep, 16cm high (2 1/2in wide, 2 1/2in deep, 6in high) £100 - 150

184 | Bonhams 580

582

579

The Oak Interior | 185 583

583 585 A William & Mary and later oak geometric dresser base, circa 1700 A late George III oak and fruitwood-banded boarded mural The top with thumb-moulded front and side edges, above three mitre- cutlery box moulded drawers, over a pair of panelled geometric mitre-moulded Topped by a scroll-ended cresting pierced to the centre for hanging, doors, centred by a conforming fixed panel, base moulding, restorations, over a hinged sloping top, tapering sides and a fruitwood-banded front 192.5cm wide x 50.5cm deep x 82cm high, (75 1/2in wide x 19 1/2in board, 20cm wide x 13.5cm deep x 45cm high, (7 1/2in wide x 5in deep deep x 32in high) x 17 1/2in high) £2,000 - 3,000 £100 - 150

584 586 A mid-17th century and later dovetail-joined oak box, with a later A large George II carved and boarded oak desk box, dated 1734 table base The flat rear top board with an applied bead moulding, behind the The later edge-moulded and hinged top above front and side friezes hinged slope with moulded edge, the front board carved to the centre carved with opposing ‘S’-scrolls and leaves, with base moulding, raised with the initials ‘MS’ above the date ‘1734’ against a matted ground, on a later base comprising some late 17th century elements, with four between line-carved foliate scrolls, 92.5cm wide x 53cm deep x 33.5cm slender baluster-turned legs united by a galleried shelf stretcher and on high, (36in wide x 20 1/2in deep x 13in high) four turned pear feet, the box 64cm wide x 44.5cm deep x 23cm high; £150 - 200 overall 80cm high £300 - 500

586

588

186 | Bonhams 590

587 589 Three oak boxes A quantity of early 17th century oak wall panelling The first a late George III oak boarded box, the hinged lid with Ten incomplete sections in total, each of different size, with slight moulded front edge, the front with chip-carved ends, lined to the differences in design and general proportions, some with a painted interior with blue paper, with base moulding, 48cm wide x 26cm deep finish; together with a quantity of mostly 17th century loose plain panels x 20.5cm high, the second a George III oak candle-box of tapering and short rails; approximate dimensions of panelling; 121cm x 96cm; square-section form, with hinged cover, the arched backplate pierced 112cm x 91cm; 145cm x 98cm; 170cm x 101cm; 87cm x 145cm; 126cm for hanging, 14cm wide x 13cm deep x 52.5cm high, the third an x 141cm; 108cm x 108cm; 97cm x 156cm; 142cm x 94cm; 105 x 180cm 18th century style two-tier box, of trapezoidal form and with arched £500 - 800 backplate, with two boxes each with hinged cover, above a drawer, 34cm wide x 21cm deep x 39cm high, (3) 590 £200 - 300 A Charles I oak court cupboard, English, circa 1630-40 Of impressive large proportions, having a fleur-de-lys arcaded carved 588 frieze raised on bulbous ring and peg-turned end-columns, enclosing A 17th century carved oak heraldic mount or finial, probably a pair of panelled cupboard doors, each panel carved with a geometric French pomegranate design within running channel-moulded and punch- Modelled as a recumbent lion, with flowing mane, rendered with his decorated rails, centred and flanked to either side by a conforming scroll mouth open showing his tongue and his teeth, his forepaw grasping a flowerhead-carved panel, the lower-section with a pair of quadruple shield carved with a coat of arms, possibly a tree, and the motto ‘BON panelled cupboard doors, raised on extended channel-moulded stile TEMS’, 22cm high supports, , 186cm wide, 56cm deep, 145cm in diameter, (73in wide, £400 - 600 22in deep, (57in in diameter, £1,200 - 1,800 The charge to the coat of arms appears to have been obscured, but could represent a tree. The words ‘bon tems’ could refer either to a motto, or a family name.

The Oak Interior | 187 591 592

592 British School, (circa 1760) Portrait of a gentleman wearing dark jacket, lace collar and full grey wig, waist length in a feigned oval indistinctly signed ‘Cuitt 176?’ (lower left) oil on canvas 75 x 63cm (29 1/2 x 24 13/16in). £500 - 700

593 An early 19th century painted trade sign and Royal Warrant, for G & O Bredge, Coach Builders of Cheltenham Painted with the Royal coat of arms with the Order of the Garter, flanked by a crowned lion and a unicorn as supporters, with flags behind, above a banner painted ‘G & O BREDGE, COACH BUILDER, CHELTENHAM’, in a later moulded pine frame, 86cm wide x 86cm high including frame £250 - 350

594 A George III oak chest of drawers With two short over three long graduated cockbeaded drawers, on shaped bracket feet, 95.5cm wide x 50.5cm deep x 87.5cm high, (37.5in wide x 19.5in deep x 34in high) £200 - 300 593 595 A mid-16th century and later oak linenfold panelled coffer, circa 591 1550 British School, (early 18th century) Having an unusual four-panel lid and four linenfold carved front panels, A portrait of a lady wearing red cloak and white chemise, bust length each with decorative frilled upper and lower edges, the sides with pairs oil on canvas of conforming plainer linenfold panels, raised on extended stile supports, 59 x 46cm (23 1/4 x 18 1/8in). restorations and alterations, 122cm wide x 61cm deep x 68cm high, £300 - 500 (48in wide x 24in deep x 26 1/2in high) £500 - 800

Helena Hayward, World Furniture (1973) illustrates a comparable Tudor coffer, again with a quadruple panelled lid, p. 57, plate 175.

188 | Bonhams 595

596

596 597 A an oak and ebonized cabinet, Flemish A mid-18th Century oak livery/clothes-hanging cupboard, possibly Late 19th century, in the 17th century manner, possibly incorporating Welsh some period timbers Having a pair of arched ogee-shaped fielded cupboard doors, centred by Having a moulded projecting cornice above a frieze carved with leaf- a slender arched and fielded fixed panel, above three rectangular fielded arabesques and centred by a fruit-filled bowl flanked by birds, raised panels and a pair of fielded drawers, triple panelled sides, on shaped on a pair of atlantes figural terms, enclosing a twin panelled back, bracket feet, 134.5cm wide x 48.5cm deep x 189cm high, (52.5in wide x each panel centred by a cherub-carved tablet above a slender shelf, the 19in deep x 74in high) lower-section with a pair of panelled cupboard doors, each with a pair £500 - 700 of conforming tablet centred panels and divided by stop-fluted pilasters, with applied ebonized split bobbin-mouldings headed by ebonized strap- work, 167cm wide x 61cm deep x 189cm high, (65 1/2in wide x 24in deep x 74in high) £800 - 1,200

The Oak Interior | 189 598

598 599 An Elizabeth I oak joint stool, circa 1580-1600, having an A Charles I oak coffer, West Country, circa 1640 associated 17th century seat Having a triple panelled lid, the front with a pair of interlaced- The seat with simple thumb-moulded edge, above bicuspid shaped flowerhead carved panels centred by a stiff-leaf enriched arched-panel channel-moulded and gauge-carved rails, raised on inverted- baluster enclosing an upright stylized carnation, strap-work carved decoration to and ball-turned stop-fluted carved legs, joined by rectangular-section the top-rail, guilloche-carving to the muntins and meandering stylized- stretchers with channel-moulded lower outer-edge, 46cm wide x 28.5cm leaf decoration to the base-rail, the sides similarly carved, raised on deep x 54.5cm high, (18in wide x 11in deep x 21in high) chain-pattern carved extended stile supports, 134cm wide x 58cm deep £600 - 800 x 67.5cm high, (52.5in wide x 22.5in deep x 26.5in high) £800 - 1,000 Provenance: Paper label to the rear of one frieze reads Lord Bathurst. Possibly referring to a member of the Bathurst family, Cirencester Park, 600 Gloucestershire. A mid-19th century cherry-wood farmhouse table The rectangular planked top with cleated ends, a single frieze drawer to Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, (2009) one long frieze, raised on tapering square-section legs, 190cm wide x illustrates several Elizabeth I joint stools with fluted-carving to the legs, 84cm deep x 77cm high, (74 1/2in wide x 33in deep x 30in high) pp. 216 - 220. With comparison to the illustrated examples this lot could £800 - 1,200 be judged to have extremely elegant, well proportioned and refined legs. Comparison can also be made with lot 828 in this sale.

600

190 | Bonhams 602

601 602 An oak side table, in the Charles II manner, English A George III oak high dresser, North Wales, circa 1770-80 Incorporating period timbers, having a boarded top with moulded edges The boarded rack with pine backboards, cyma recta cornice and above a frieze drawer with channel-moulded base, raised on block and scroll-cut frieze, over three shelves and five spice drawers, the lower- ball-turned legs joined by barrel and ball-turned front and rear mid- section with three drawers over a pair of flattened-ogee headed fielded stretchers and conforming low side stretchers, 90cm wide x 55cm deep x cupboard doors centred by a bank of three faux drawers, twin panelled 64.5cm high, (35in wide x 21.5in deep x 25in high) sides, on extended stile supports, 185cm wide x 52.5cm deep x 205.5cm £400 - 600 high, (72 1/2in wide x 20 1/2in deep x 80 1/2in high) £3,000 - 4,000

599

The Oak Interior | 191 604 605

603 A George III oak linen press chest, East Anglia The superstructure with arched pediment and turned screw-mechanism raising a rounded-rectangular board with moulded edge, the lower- section with typical ogee-moulded frieze over four long graduated drawers, on bracket feet, 80.5cm wide x 46cm deep x 201cm high, (31.5in wide x 18in deep x 79in high) £500 - 700

604 A Charles I oak panel-back open armchair, South West, circa 1630 The back panel carved with an exotic flower-filled vase against a punch- decorated ground, the rails above the arms unusually carved with a continuous guilloche border, the downswept scroll-ended open-arms raised on baluster ring-turned front supports, flanking a later boarded seat, above nulled-carved rails, raised on conforming baluster-turned front legs, joined by plain stretchers, restorations, 59cm wide x 50cm deep x 102cm high, (23in wide x 19.5in deep x 40in high) £800 - 1,200

605 A part Charles I oak panel-back open armchair The back panel carved with geometric strap-work, the broken-arched cresting with similar craving, the downswept open arms with padded armrests upholstered in Spanish style parcel-gilt and embossed leather, the seat with similar cover, raised on bicuspid-shaped rails, on ring- turned front legs, joined by plain stretchers, 57cm wide x 54cm deep x 90cm high, (22in wide x 21in deep x 35in high) £400 - 600

606 A mid-15th century iron, latten and ivory or bone table knife, circa 1450 Having a single-edged flat-backed blade and broadening handle with bone or ivory scales held by three latten-lined pierced rivets, the hooked terminal with latten-lined pierced thong hole and latten cap, 21.5cm long £150 - 200

Provenance: Found in the River Thames, London. Recorded by the 603 Museum of London.

192 | Bonhams 606 607

608 609

611 610

612

607 P. Brown, British Cutlery (2001), p. 67, Figure 20 d, illustrates a similar An early to mid-15th century iron, latten and wood table knife, knife with a blade of the same profile, and the same broadening flat cap. circa 1400 - 1450 It is noted that ‘this knife illustrates a new style of construction, where Having a single-edged flat-backed blade, with rare surviving pewter inlay blade, tang and end are all forged in one piece.’ to the cutler’s mark, the handle with latten bolster, wooden scales, three pierced latten-lined rivets and a latten cap, 15.5cm long 611 £150 - 200 A second half of the 16th century all-iron table knife, English, c. 1550 - 1600 Provenance: Found in the River Thames, London. Recorded by the Having a slender single-edged flat-backed blade with cutler’s mark, the Museum of London. integral broadening rectangular-section iron handle with decorative lines and chamfered angles, fitted with an integral balustroid finial, 20cm long 608 £150 - 200 A mid-15th century iron, latten and wood table knife, circa 1450, possibly Flemish Provenance: Found in the River Thames, London. Recorded by the Having an iron fullered and single-edged blade, latten bolster and scale Museum of London. tang, the handle formed from a pair of wooden scales with four small rivets, three latten-lined piercings forming a trefoil, and another pierced See P. Brown, British Cutlery (2001), p. 75, Figure 29, for an illustration latten-lined roundel, having a latten-edged wooden terminal and a of five of these all-iron, elegant knives which ‘show evidence of black shaped latten cap with notched edges, 16cm long enamel and could possibly be memento mori gifts bequeathed to £150 - 200 mourners.

Provenance: Found in the River Thames, London. Recorded by the 612 Museum of London. A late 16th century iron and bone table knife, circa 1580 Having an iron single-edged flat-backed blade with ‘S’-shaped cutler’s 609 mark, and with an integral faceted and balustroid bolster and pin-tang, A mid-16th century iron, latten, wood and bone table knife, circa the handle of broadening faceted form, and with flared terminal, 16cm 1550, English long Having a single-edged flat-backed iron blade, with cutler’s mark in the £150 - 200 form of an ‘I’, the blade with integral line-decorated iron bolster and pin- tang, the broadening handle in two parts, one bone, the other wood, Provenance: Found in the River Thames, London. Recorded by the their joint lined with latten washers, 18.5cm long Museum of London. £150 - 200 613 Provenance: Found in the River Thames, London. Recorded by the A mid-15th century iron, latten and wood knife, circa 1450 Museum of London. The single-edged, fullered blade, inlaid in copper with two cutler’s marks, one a crown and the other an ‘I’ with outswept terminals, with 610 integral bolster and tapering handle with wooden scales, 24.4cm long, An early to mid-16th century iron, latten and wood table knife, together with another mid-15th century iron and latten knife, the circa 1500 - 1550 single-edged, fullered blade engraved with a cutler’s mark in the form of Having a single-edged flat-backed blade with cutler’s mark in the form a crescent, with integral bolster, the handle now lacking scales and with of a ‘P’ struck twice, with integral iron bolster with decorative diagonal a latten-lined pierced circular terminal, with latten cap, 25cm long, (2) lines, integral scale tang and integral broadening, flat handle terminal, £100 - 150 the wooden scales fixed by three latten rivets, 21.5cm long £150 - 200 Provenance: Found in the River Thames, London. Recorded by the Museum of London. Provenance: Found in the River Thames, London. Recorded by the Museum of London.

The Oak Interior | 193 618 A late 17th century and later oak gateleg dining table, English The oval drop-leaf top above end-frieze drawers and scroll-cut aprons, raised on spiral and baluster-turned supports joined by spiral-turned stretchers, on pear-shaped feet, restorations, 148.5cm wide x 125.5cm deep x 73.5cm high, (58in wide x 49in deep x 28.5in high) £400 - 600

619 An early 19th century oak and ebony line inlaid bookcase cabinet, English Having a pair of astragal glazed cupboard doors enclosing three shelves, the lower-section with three cockbeaded drawers, each over a panelled cupboard door, on extended stile supports, 158cm wide x 45.5cm deep x 197cm high, (62in wide x 17 1/2in deep x 77 1/2in high) £1,500 - 2,000

620 A Charles II small oak coffer, circa 1680 Having a triple panelled lid, the front with a pair of filled-lozenge carved and punch- decorated panels below a lunette carved 615 top-rail, on channel-moulded extended stile supports, 98.5cm wide x 49cm deep x 55cm high, (38.5in wide x 19in deep x 21.5in high) £500 - 800 614 616 An 18th century horn penner A Charles II oak panel-back open armchair, 621 Of typical conical form, and in three Possibly Welsh, circa 1670 A Charles II and later oak panel-back open threaded parts, pounce pot, inkwell and Having a plain back panel, below a channel armchair, North Country, circa 1670 quill compartment, decorated all-over with moulded, zig-zag incised and punched- Having a double panelled back, the upper engraved lines, 13cm high decorated top-rail, with integral scroll-cut panel boldly carved with tulip-heads and £150 - 200 cresting, flanked by scroll-ended uprights, the leaves, the panel below carved with a single downswept open-arms on stop-chamfered stylized tulip against an arched background, See M. Finlay, Western Writing Implements: In front supports, with conforming front legs, the the cresting carved with similar leaves, and the Age of the Quill Pen (1990), p. 142. boarded seat with applied moulded-edge, plain the initials A S, the back uprights headed by stretchers, 60cm wide x 57cm deep x 115cm pyramid finials, the downswept open-arms 615 high, (23.5in wide x 22in deep x 45in high) raised on turned-tapering front supports, A George III oak bow-front bacon settle, £800 - 1,200 flanking a later boarded seat, above an West Country associated front seat rail carved with the initials Having a pair of quadruple-panelled fielded 617 E H, raised on turned front legs joined by plain cupboard doors, above a pair of boarded seats, A large oak mule chest, English, circa 1700 stretchers, restorations, 56.5cm wide x 55cm the flat downswept-shaped arms raised on Having a boarded hinged with thumb-moulded deep x 106cm high, (22in wide x 21.5in deep x boarded sides, with four fielded frieze panels, edge, above a twin panelled front and two 41.5in high) on sledge-type feet, losses, 148cm wide x mitre-moulded short drawers, on extended stile £600 - 800 82cm deep x 188cm high, (58in wide x 32in supports,, 153cm wide, 58cm deep, 91.5cm deep x 74in high) high (60in wide, 22.5in deep, 36in high). Inventory metal plaque, LK 4229, later applied £500 - 800 £500 - 700 to the underside of the front seat rail.

194 | Bonhams 619

616 621

The Oak Interior | 195 626

622 624 An early 18th century and later oak gateleg table, English A Queen Anne oak centre table, circa 1710 The circular drop-leaf top raised on baluster-turned legs, joined by The rectangular top with moulded edges, above slender scroll-cut rectangular-section stretchers, on worn turned feet, 129cm wide x friezes, raised on turned-tapering legs joined by channel-edge moulded 129cm deep x 71.5cm high, (50.5in wide x 50.5in deep x 28in high) rectangular-section stretchers, on splayed-shaped feet, 67cm wide x £500 - 700 47cm deep x 70cm high, (26in wide x 18.5in deep x 27.5in high) £600 - 800 623 A George III yew-wood pembroke table 625 The rectangular drop-leaf top above a single end-frieze drawer, raised on A George III elm corner armchair rectangular-section tapering legs, terminating in brass castors, 102.5cm The curved armrest raised on a pair of scroll-pierced splats and gun- wide x 88cm deep x 72.5cm high, (40in wide x 34.5in deep x 28.5in barrel turned supports, the drop-in seat on rectangular-section legs with high) internal chamfer and joined by a ring-turned X-shaped stretcher, 71cm £400 - 600 wide x 63cm deep x 75.5cm high, (27.5in wide x 24.5in deep x 29.5in high) £300 - 400

623 624

196 | Bonhams 630

626 629 A Charles I oak court cupboard, Derbyshire, circa 1630 A pair of early 17th century carved oak panels, Flemish, depicting Of boarded and panelled construction, the stylized flowerhead-carved scenes from the Life of St John the Baptist frieze raised on baluster-turned end-columns, headed respectively by the The first The Annunciation to Zechariah, showing an angel pointing inlaid initials RT and IT, enclosing a pair of boarded doors each carved heavenwards to the rays of the sun and a dove with outswept wings, with a flowerhead-filled lattice design, centred by a stellar-carved panel Zechariah kneeling at her feet and holding an open book, the second flanked to either side by scrolling-floral carved panels, above a pair The Execution of St John the Baptist, showing the scene moments of panelled cupboard doors, each upper panel nulled-carved, flanked before, John kneeling at the feet of an executioner with raised sword, by conforming carved slender panels, within strap-work carved rails, a lamb by his side, an angel trying to stay the executioner’s hand, both boarded sides, restorations, 179cm wide x 52.5cm deep x 162cm high, scenes within a strapwork arch applied with pyramid bosses, with leaf (70in wide x 20.5in deep x 63.5in high) and berry spandrels, 23.5cm wide x 37cm high, (2) £1,500 - 2,000 £300 - 500

It is unusual to have boarded sides instead of typical joined construction. 630 A pair of late 16th/early 17th century carved oak panels, Flemish, 627 showing the Circumcision of Christ and the Naming or Presentation of An early 19th century pine cupboard, English, circa 1800-30 Christ Having a single astragal glazed cupboard door above a pair on panelled The first centred by the naked child Christ on the lap of a priest, the cupboard doors, enclosing shelves, on a plinth base, 99cm wide x 43cm mitred Simeon at his right side wielding a knife, a table with basin deep x 188cm high, (38.5in wide x 16.5in deep x 74in high) beyond with flanking attendants, one wielding a flaming torch, the £400 - 600 second showing Mary presenting the Christ child, an attendant with ewer at his feet, Simeon in the background with his hands joined in 628 prayer, and attendant with basin at his side, both scenes beneath pulled An oak low dresser back drapes, and with notched scrolling borders, 24cm wide x 35cm Incorporating mid-18th century timbers high, (2) Having three cockbeaded drawers above ogee-cut aprons, raised on £1,000 - 1,500 baluster-turned front legs, joined by rectangular-section stretchers, 160cm wide x 47cm deep x 83.5cm high, (62.5in wide x 18.5in deep x 32.5in high) £300 - 400

629

The Oak Interior | 197 636

631 634 An early 17th century carved oak panel, The Circumcision of Christ, A late 16th/early 17th century carved oak panel, The Annunciation, Flemish, after a painting by Luis de Carvajal (Spanish, 1531 – c. Flemish 1618) The Virgin seated beneath a canopy and at a prie-dieu, the Angel The scene centred by a hooded and bearded priest or rabbi, the Christ Gabriel at her left side bearing a lily, beneath clouds, the rays of the child on his lap, flanked to his right by a mohel wearing robes and Sun, and a dove, all within a scroll-carved arch, 24.5cm wide x 31.5cm slippers, Mary and Joseph behind lamenting with their hands at their high, together with a small 17th century carved oak panel, English, breasts, and a pair of pages bearing pricket candlesticks, all in front of a decorated with an arcade of nulling and punched squares and circles, pleated curtain and a wall with pilasters, all beneath a scroll-carved arch, 30.5cm wide x 15cm high, a small 17th century carved oak mount, 33.5cm wide x 37.5cm high Franco-Flemish, of an angel with curly hair, and folded wings, 10cm £600 - 800 wide x 12.5cm high, and a run of 17th/18th century carved oak frieze, carved with naturalistic flowers on a scrolling, foliate vine, 70cm This panel was clearly inpired by the composition of Luis de Carvajal’s wide x 24cm high, (4) Circumcision, painted circa 1580. Similarities include the pleated £200 - 300 curtain hanging in the background, the slippers worn by the mohel, the postures of Joseph and Mary, the costumes of the candle-bearers or 635 pages, and the pricket candlesticks themselves. Details and positioning A Charles II carved oak boarded chest, circa 1660-80 have been slightly altered and the carver of this panel omitted to include The hinged boarded lid with channel-moulded long edges and chip- other figures. Nonetheless, this is an interesting instance of the influence carved sides, the front incised-carved with stylized leaf-filled lunettes of painted media on wood carving in the 17th century. enlivened with punches, the sides descending to V-shaped cut-away supports, the sides also unusually with carved decoration above the apex 632 of the ‘V’ and linear gauge-carved decoration to the edges, 91cm wide x A 17th century carved oak allegorical figural mount, Flemish, 35.5cm deep x 46cm high, (35.5in wide x 13.5in deep x 18in high) emblematic of Speak no Evil £600 - 800 Flat-backed, carved as a semi-clad woman wearing flowing robes, a flowering plant at her left side with a perching monkey - Iwazaru - It is unusual to find carved decoration on the side supports of a boarded covering its mouth with its hands, on a naturalistic plinth, 16.5cm wide chest; typically they are left plain or possibly with extended saw marks at x 30cm high the apex of the cut-away supports to achieve simple decorative detail. £300 - 500 636 633 A George III oak and inlaid dresser base, North-West A late 17th/early 18th century carved walnut mount, probably Having a possibly replaced boarded top, above an arrangement of seven Italian burr-oak crossbanded and linear inlaid drawers centred by a flattened- Flat-backed, carved with a crucifix between a pair of tapering and fluted ogee headed fielded cupboard door, again crossbanded with the square-section pilaster with Corinthian capitals, beneath a trefoil-shaped addition of chequer inlay, the banks of three drawers flanked to either arch topped by flanking cherubs holding a pair of crossed keys and a side by chevron chequer inlaid pilasters, 202.5cm wide x 58cm deep x papal tiara, 11.5cm wide x 20.5cm high 86cm high, (79.5in wide x 22.5in deep x 33.5in high) £300 - 500 £1,500 - 2,000

Provenance: Label to one drawer reads; Came from Bimson’s Farm, Heskin, and passed to Cedric Houghton by descent from the Stock, Stringfellow or Bimson Families.

637 A Charles II oak coffer, Lancashire, circa 1670 The boarded lid with chip-carved ends, the front with three stylized foliate carved panels, below a lunette carved top-rail, the muntins with incised-carved stylized tulips, raised on extended linear incised-carved stile supports, with pierced spandrels, 119cm wide x 46.5cm deep x 67cm high, (46.5in wide x 18in deep x 26in high) £500 - 800

198 | Bonhams 635

631

637

The Oak Interior | 199 639

638 639 A Charles I and later oak serving/refectory-type table A Victorian oak and specimen wood inlaid high dresser, Gwynedd, Having a near single-piece top, (an edge section replaced) and cleated possibly Blaenau Ffestiniog, circa 1850-70 ends, nulled-carving to the front frieze and sides, raised on peg-baluster The boarded rack with a quatrefoil-pierced and ogee-cut frieze unusually and reel-turned legs, joined by channel-edge moulded rectangular- centred by an ‘anvil’, above three ogee-edged shelves, flanked by section stretchers, 194cm wide x 67.5cm deep x 81cm high, (76in wide x inlaid and moulded pilasters, the lower-section with three cockbeaded 26.5in deep x 31.5in high) drawers, over a central bank of one true and two faux drawers, flanked £600 - 800 to either side by a panelled cupboard door, each door panel with fan- inlaid top spandrels, on shaped bracket feet, 168cm wide x 48cm deep x 204cm high, (66in wide x 18 1/2in deep x 80in high) £1,500 - 2,000

The ‘anvil’ piercing to the centre of the frieze is high unusually. It may represent the influence of the nearby slate quarrying mines on the dresser’s design. Richard Bebb, Welsh Furniture 1250 to 1959 (2007), illustrates two comparable inlaid dressers, Vol. II, p. 266, plates 1148 and 1150.

640 A 19th century stained pine bowfront open mural cupboard With three shelves each with ogee-cut apron, 74.5cm wide x 46cm deep x 125.5cm high, (29in wide x 18in deep x 49in high) £200 - 300

200 | Bonhams 641

641 A George III oak bacon settle, West Country Originally built-in at one end, having a pair of triple panelled cupboard doors flanked to either side by conforming panels, the flat-shaped open- arms on rectangular-section front supports, the hinged boarded seat above a quadruple panelled front, panelled right-hand side, the left with natural boards, 132.5cm wide x 76.5cm deep x 190.5cm high, (52in wide x 30in deep x 75in high) £800 - 1,200

Provenance: Removed from a farmhouse, North Devon

642 A Charles I oak coffer, English, dated Having a triple panelled hinged lid, each lid panel unusually delicately inscribed and punched-decorated with a lozenge design, further punched-decoration to the muntin-rails, the front with a pair of panels 642 carved with a conforming lozenge design and centred by a single large flowerhead-carved panel, the upright-rails all guilloche-carved, the top-rail similarly carved and centred by the initials and date CI 1642, 124.5cm wide x 52.5cm deep x 64cm high, (49in wide x 20 1/2in deep x 25in high) £600 - 800

The Oak Interior | 201 644

643 644 An early 19th century oak buffet a deux corps, French An unusual oak open glass-case and livery cupboard, dated, Having a moulded cornice and scroll-carved frieze centred by a leaf- Anglo-Dutch spray, above a pair of double cartouche panelled cupboard doors, with 17th century rounded corners within a moulded surround, the lower-section with Having a pair of shelves, each with a multiple bicuspid-shaped apron, three lappet-carved frieze drawers over a pair of cartouche panelled punched-decorated with pentagrams, amongst incised linear and scroll- cupboard doors, with stop-fluted and beaded rounded corners, fielded carving and centred by the date 1664, headed by a scallop-shaped frieze panelled sides, the scroll-cut apron descending to shaped feet, 131.5cm and flanked to either side by pairs of split-bobbin mouldings, over a wide x 57cm deep x 227cm high, (51 1/2in wide x 22in deep x 89in projecting cupboard enclosed by a mitre-moulded door, embraced to high) either side by a fixed slender mitre-moulded panel and stop-fluted and £1,000 - 1,500 split-bobbin applied uprights, 83cm wide x 37.5cm deep x 101cm high, (32 1/2in wide x 14 1/2in deep x 39 1/2in high) £3,000 - 4,000

646

646 (detail)

202 | Bonhams 645 A pair of late 17th century oak and elm slat-back side chairs, English, circa 1685 Each high-back with an unusual wavy profile- cut central slat flanked to either side by an outward facing scroll and foliage-carved slat and mortised between a conforming scroll carved cresting and base rail, the ring-turned uprights with ball finials, the boarded elm seat on block and ball-turned front legs joined by a scroll-carved mid-stretcher and multiple plain side stretchers, 49cm wide x 44cm deep x 123cm high, (19in wide x 17in deep x 48in high) (2) £700 - 1,000

The back uprights have an unusual pronounced rear step at seat-rail height and therefore increase in depth from the seat level down.

Tobias Jellinek, Early British Chairs and Seats, (2009), illustrates a slat-back chair with a similar carved cresting rail dated to circa 1685, p. 309, Plate 430. Comparisons can also be made with regard to the back uprights, particularly the treatment of the ball finials.

646 645 A Victorian figured oak breakfast table, Welsh The timber reputedly from an oak tree known as Derwen Ceubren yr Ellyl The rounded rectangular tilt-top with twin veneered bands within a broad crossbanded edge, raised on an octagonal shaped column and four simulated grain and scroll-profiled downswept legs, terminating in inward-facing scroll feet, 121.5cm wide x 88.5cm deep x 74cm high, (47 1/2in wide x 34 1/2in deep x 29in high) £500 - 800

Provenance: Reputedly bequeathed by Sir Robert Williames Vaughan, third Baronet of Nannau, (1803-1859), to Mrs Jones Dolawen, Rhyl and by descent to Thomas Eyton-Jones, (Mayor of Wrexham 1875-76).

The oak tree known as Derwen Ceubren yr Ellyl (hollow tree of the demons/spirits) stood in Nannau Park, Dolgellau, Wales. According to legend in 1404 the Welsh Chieftain Owain Glyndwr murdered and hid the body of his cousin and rival Hywel Sele, 8th Lord of Nannau ‘within the hollow trunk’. This ‘venerable old tree’ reputedly fell in July 1813.

Sold with a print and accompanying text, both framed in oak (again reputedly from the aforementioned tree). One an etching of ‘Derwen Ceubren yr Ellyl’, similar to the example in the collection at Erddigg, Wrexham, (National Trust inventory number 1149879). The other with reference to the tree in Sir Walter Scotts epic poem Marmion about the Battle of Flodden Field, (1513), and ‘illustrated in the following Verses, by the Rev. George Warrington’s: Ceubren yr Ellyll; or the Spirit’s Blasted Tree’. It also notes the provenance.

643 The Oak Interior | 203 649 650 647 648 A 17th century and later oak and marquetry inlaid cabinet, An Elizabeth I/James I and later oak table, possibly Welsh, circa Flemish 1600-10 Having a gadrooned-carved cornice above a pair of panelled cupboard Possibly reduced in size doors, each with mitre-moulding and boss embellishments against a Having a cleated boarded top above channel edge-moulded friezes, strap-work inlaid ground, flanked and divided by lion masks and fruit- raised on heavy stop-chamfered legs, joined by plain and nulled-carved carved pilasters, a nulled-carved long drawer below, over a pair of large stretchers, restorations, 106cm wide x 63cm deep x 74cm high, (41.5in mitre-moulded cupboard doors centred by conforming inlay, flanked and wide x 24.5in deep x 29in high) divided by stop-fluted carved and inlaid pilasters, headed by strap-work £500 - 800 carved decoration and split-bobbin-mouldings, on ebonized bun feet, 157.5cm wide x 66cm deep x 170.5cm high, (62in wide x 25 1/2in deep Victor Chinnery, Oak Furniture: The British Tradition, (1993), illustrates x 67in high) a dining table, dated to the second half of sixteenth century with £1,500 - 2,000 comparable stop-chamfered legs, p. 183, figure 2:199.

647 204 | Bonhams 653

649 652 A 17th/18th century carved and stained pine figure, The A stained pine, oak and elm serving-type table, Presentation of Christ, Spanish Elements 18th/19th century and later Probably depicting Simeon in the robes of a Franciscan monk, wearing a Having a re-claimed oak boarded top with moulded edge, above a pair mantle, flowing alb and knotted cincture, holding the infant Christ on a of drawers and scroll-cut apron raised on rectangular-section supports, blanket in his arms, on an octagonal base, 48.5cm high 162cm wide £300 - 500 £600 - 800

650 653 A 15th/16th century carved and polychrome-decorated figure of a A George III oak livery cupboard saint, Spanish/Italian Having a pair of ogee-headed and rectangular panelled cupboard doors Modelled with shoulder-length hair, and an open necked robe tied at the flanked to either side by quarter-cut fluted pilaster, enclosing hanging waist, a gilt-edged skirt below, holding a balustroid torchere or lamp, space, the lower-section with three faux over two short and one long 59cm high cockbeaded drawer, on extended stile supports, 132cm wide x 54cm £1,500 - 2,000 deep x 195cm high, (51.5in wide x 21in deep x 76.5in high) £500 - 800 651 A George II oak and stained fruitwood joined desk box, dated 654 1751 A George I and later figured walnut toilet mirror The flat top board and hinged slope with applied edge mouldings, the The plate in a moulded surround with rounded re-entrant top corners, slope carved with the initials ‘AW’ and the date ‘1751’ in a line-carved raised on a pair of ball finial-topped tapering supports, the box base rectangle issuing stylised tulips, enclosing three short drawers, the front fitted with a concave-fronted long drawer, raised on bracket feet, board with two inlaid rectangle frames, with ogee corners, 68cm wide x 31.5cm wide x 18cm deep x 50cm high, (12in wide x 7in deep x 19.5in 49.5cm deep x 30cm high, (26 1/2in wide x 19in deep x 11 1/2in high) high) £200 - 300 £150 - 200

The Oak Interior | 205 656

655

655 658 A late 17th century and later walnut and marquetry cushion- A 17th/18th century walnut, chestnut and elm boarded stool, framed wall mirror Italian The bevelled plate in a moulded and cushion surround inlaid with sprays The rectangular elm seat with thumb-moulded edge and central pierced of flowers and foliate scrolls, 59.5cm wide x 69cm high aperture, above ogee-cut aprons, raised on vase-profiled end-supports, £700 - 1,000 the front support carved with a vacant shield over acanthus wrapped reeded-carving, with baluster-turned low-stretcher, stamped C.MB 656 (below a coronet) to the rear end-support, 39.5cm wide x 32.5cm deep An 18th century oak cushion-framed wall mirror, English x 53cm high, (15 1/2in wide x 12 1/2in deep x 20 1/2in high) Of rectangular form, the plate in a moulded and cushioned surround, £700 - 1,000 bearing a label to reverse reading ‘Hart Collection, Chipping Camden [sic], Glos., Aug 1971, Lot 705 / 718’, 43cm wide x 44.5cm high An Italian boarded stool described as marked MB (with a crescent and £300 - 500 a star), sold Christie’s, New York, Rockefeller Plaza, The Property of the Metropolitan Museum of Art, July 17-19, 2012, lot 747. Provenance: The label suggests this was once part of the collection of Fred Hart, Trinder House, Chipping Campden, inherited by his nephew, 659 George Hart, and which was dispersed in 1971. A Charles II and later oak side table, circa 1680 Having a rectangular twin-boarded top with moulded edge, above Commander Fred Hart of Trinder House, Chipping Campden and his an associated strap-work carved frieze drawer, with integral shaped- great friend Charles Wade (d. 1956) of Snowshill Manor, Gloucestershire spandrel rail below, raised on baluster and spiral-turned legs joined by were avid antique collectors and travelled regularly on buying trips plain stretchers, on turned feet, 102.5cm wide x 59.5cm deep x 72cm together in the 1950s and 1960s. high, (40in wide x 23in deep x 28in high) £500 - 800 Several lots sold Sotheby’s, The Roger Warner Collection - Part I, 20 - 21 January 2009, had once been Hart’s. 660 A Charles I oak court cupboard, circa 1640 657 Of impressive large proportions A late George III brass dial scumbled pine-cased thirty hour Having a stylized floral carved frieze raised on inverted baluster-turned longcase clock end-columns, enclosing a pair of deep panelled and stylized foliate by Benjamin Rees [Rice], Neath (Welsh, 1757 - 1813) carved cupboard doors with leaf-carved and punch-decorated rails, The 10” arched square dial with Roman hours and Arabic minutes, centred by a pair of conforming panels, the lower-section with a the arch finely engraved ‘David Morgan’ above an eagle perching on a gadrooned-carved frieze centred by the same stylized foliate decoration, foliate scroll banner reading ‘TEMPUS FUGIT’, the dial with a house on above a pair of quadruple panelled cupboard doors, flanking a pair of a island, with ships at sea, and marked ‘BENJAMIN REES, NEATH’, with fixed panels, on extended stile supports, later carved cornice, 200cm oval patera spandrels, the movement outside countwheel-striking on a wide x 67.5cm deep x 163.5cm high, (78.5in wide x 26.5in deep x 64in bell, the case with arched glazed door between engaged column, the high) long trunk door between stop-moulded cut corners, raised on a box £2,000 - 3,000 base and a moulded plinth, 198cm high £400 - 600

B. Loomis, Watchmakers and Clockmakers of the World, Volume II, lists ‘REES, Benjamin. Neath (Wales), b. 1758, d. 1813. Sometimes Rice.’

He is known to have worked between 1778 and 1813. His will, of which his wife Mary was executor, was probated on 20th May 1813.

206 | Bonhams 660

659

658

The Oak Interior | 207 663

661 661 662 A George III oak high dresser, Carmarthenshire, circa 1780-1800 A Charles I oak coffer, South-West, Possibly Somerset, circa 1630-40 The boarded rack with three shelves, the lower-section with three Having a quadruple panelled lid within broad channel-moulded rails, incised-edged drawers, each over an arched scroll-cut apron, raised on the front with four further panels each carved with S-scrolls and exotic rectangular-section supports joined by a pot-board, 152cm wide x 41cm bird-head profiles, within cushion-moulded and S-scroll carved upright- deep x 190.5cm high, (59 1/2in wide x 16in deep x 75in high) rails and a flowerhead and lunette-carved top-rail, twin-panelled and £800 - 1,200 lozenge-carved sides, with similar decoration to side-rails, 157cm wide x 56cm deep x 72.5cm high, (61 1/2in wide x 22in deep x 28 1/2in high) £600 - 800

Provenance: A hand written label to the lid of the till reads, This oak coffer, Herefordshire, circa 1660 was in the same family from when it was made. It is known as the Grosvenor Chest and was traditionally handed down through the female line. The Jacobean birds carved on the side are from Herefordshire. The four panels on the lid are unusual. Inside there is a candle box.

662

208 | Bonhams 664 663 665 A George III elm and oak tripod occasional table, circa 1760-80 A 17th century oak chest, French Having an elm octagonal single-piece top, raised on a ring-turned Parts possibly 16th century, of boarded dove-tailed construction, the tapering column and three downswept-hipped legs terminating in pad lid with applied moulded framed to simulate panelled construction, feet, 54.5cm wide x 53.5cm deep x 66cm high, (21in wide x 21in deep the frieze with four applied arches, each filled with scroll-carving, with x 25.5in high) conforming decoration to each end and extremely thick projecting base £800 - 1,200 boards, on shaped bracket feet, 112cm wide x 61cm deep x 57cm high, (44in wide x 24in deep x 22in high) Provenance: Beedham Antiques Ltd. £500 - 800

664 666 A George II oak and elm high dresser A small William & Mary and later oak side table The open rack with a pair of shelves above a pair of spice drawers Having a scroll-cut shaped frieze enclosing a pair of short drawers and centred by a conforming faux drawer, the lower-section with three applied with geometric reeded beading, raised on slender baluster and crossbanded and cockbeaded frieze drawers over a scroll-cut apron, reel-turned legs joined by a wavy X-shaped stretcher, 62.5cm wide x raised on baluster-turned legs, restorations, 194.5cm wide x 55cm deep 40.5cm deep x 70.5cm high, (24.5in wide x 15.5in deep x 27.5in high) x 178cm high, (76.5in wide x 21.5in deep x 70in high) £200 - 300 £800 - 1,200

665

The Oak Interior | 209 669 667 669 671 An early 18th century and later elm British School, 18th century A carved and polychrome-decorated gateleg dining table A portrait of a British monarch, thought to be wooden diorama, of a butcher’s shop Having an oval drop-leaf top raised on baluster- George I Modelled with a butcher, an assistant and turned supports joined by plain stretchers, oil on canvas a butcher’s boy, one holding a cleaver and on turned feet, 167cm wide x 132cm deep x 76 x 57cm (29 15/16 x 22 7/16in). standing by a chopping block, all with aprons, 74cm high, (65 1/2in wide x 51 1/2in deep x £1,000 - 1,500 all three before an array of hams, joints and 29in high) carcasses, above a counter, and below a £300 - 400 With inscription on frame reading ‘William IV’. balcony centred by a Royal warrant plaque, and with potted plants, and a green-painted 668 670 Georgian-style facade of four sash windows, A late 16th century and later walnut and English Naive School, (later 19th century) framed and under glass, 65.5cm wide x 55cm chestnut boarded chest, French Horse and two dogs in a stable yard high including frame The boarded lid with moulded-edge, above oil on canvas £600 - 800 a scroll and leaf-carved cushion-frieze, with 25 x 30cm (9 13/16 x 11 13/16in). three interlaced scroll-carved roundels below, £200 - 300 This is a 20th century copy of a popular 19th spaced by caryatid carved applied rails, with century subject. See E. H. Pinto, Treen & Other conforming applied corner mounts, the Wooden Bygones (1985), Figure 219, and J. sides with a scroll carved heart-motif, above Ayres, British Folk Art (1977), p. 121. a lunette-carved cushion-moulded applied base-rail, on later feet, 144cm wide x 56.5cm deep x 70.5cm high, (56.5in wide x 22in deep x 27.5in high) £500 - 600

668

210 | Bonhams 671

672 A Victorian malacca and antler walking stick horse standard or measure, by J. Gilbert The two branch antler handle unscrewing to reveal a measure stamped ‘J. GILBERT’ and bearing two scales, one side calibrated in feet and inches, the other in hands and inches, with a pivoting brass arm which folds into the standard when not in use, the cane fitted with an iron ferrule, 121.5cm long £400 - 600

See E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 291 for an illustration of a similar stick made in 1872 - 3.

673 A late Victorian copper Five Gallon haystack ale measure, by Farrow & Jackson Of typical form with flared spout applied with a plaque reading ‘Farrow & Jackson, London & Paris’, the broadening body fitted with a scrolling hollow handle and engraved ‘5 GALLON’ standing on a flared footrim, 43cm high, together with a 19th century copper two gallon haystack ale measure, of typical form, the body engraved ‘2 TWO GALLON’, with brazed seams, 31cm high, (2) £200 - 300 674 674 An early 20th century black-painted and gilt-highlighted cast iron Roberval 56lb beamscale 675 By W & T Avery, Birmingham An Edwardian brass, agate and cast iron 7lb shop counter Comprising a fixed iron plate edged in gilt, and a folding arm fitted beamscale with a removable sheet metal pan, the latter with scroll-cast upright, By Hunt & Co, 248 Long Lane, London all suspended from a cast iron hanger painted with the arms of ‘W With pierced brass skeleton beam and steel knife edges, the beam & T Avery, Birmingham, England’, and topped by a foliate crest and marked ‘TO WEIGH 7lb’ and ‘CLASS C’, and ‘2’ to the underside, and spire finials, on a central Ionic column, 72cm high, together with five marked four times for Hunt & Co., the hanger marked ‘CLASS B’ and associated and matched 20th century iron hexagonal Metric ‘6b’, one shackle supporting a brass weight and a dished brass pan, weights, one marked ‘AVERY’, the remainder with loop handle, four to the other shackle supporting a brass rod fitted to the end with a later weigh 1kg, and one to weigh 500g, (8) ceramic plate transfer-printed ‘248 Long Lane, Bermondsey, London, £500 - 700 SE1, Hunt & Co., Scalemakers, Tel Hop 0121, Est. 1861’, all raised on a cast iron and brass support, 82.5cm high, together with an associated and matched incomplete set of seven brass Avoirdupois bell weights, to weigh 2lb - 1oz, and 1/4 oz., (8) £80 - 120

The Oak Interior | 211 676 (detail)

677

676 677 A late Victorian brass Imperial baton capacity measure, by Thomas A late Victorian oak and iron-bound coopered Bushel measure, for Cheshire of Liverpool (fl. 1844 - 1894) the City of Aberdeen, Scotland The rectangular-section brass rod engraved to one side with the word Of cylindrical coopered form, bound to each rim with an iron band, ‘DIAMETER’ and a scale of increasing units up to 75, the opposing side and with a pair of iron bale carry handles with spade-shaped handle similarly inscribed ‘DEPTH’ and with a scale of increasing unit sizes up to attachments, stamped to the exterior with the word ‘BUSHEL’ twice, 41, also engraved ‘Thos. Cheshire, Maker, Liverpool’, one edge of the and the number ‘146’ beneath a crown and the initials ‘ER’ for Edward bar engraved with instructions reading ‘Measure the Diameter with the VII, stamped numerous times to the interior with initials ‘VR’ beneath scale marked “Diameter” and take the reading. Measure the depth with a crown, the number ‘146’, the verification dates ‘1888’, ‘1908’ and the scale marked “Depth” and take the reading. Add the two readings’, ‘1924’, twice with the crowned initials ‘ER’, and with the three-turreted the opposing edge engraved with the conversion ‘The sum will be 10 for castle of Aberdeen and the letters ‘ABD’, three similar stamps to the 1/2 Gill. 20 for Gill. 30 for 1/2 Pint. 40 for Pint. 50 for Quart. 60 for 1/2 inside of the rim, 49.5cm diameter x 25cm high Gallon. 70 for Gallon. 80 for Peck. 90 for 1/2 Bushel. 100 for Bushel’, £200 - 300 with verification stamp for 1894, 55.5cm long, in the original hinged and baize-lined mahogany case, 59cm long, (2) The three-turreted castle was the symbol of Aberdeen, and is said to £300 - 500 refer to the three fortified hills on which the City had its origins.

The current lot is a relatively simple but useful tool designed to assist The uniform verification number 146 was adopted by the City in 1881. in the verification of Imperial unit measures by those employed in the enforcement of legislation with regards to Weights and Measures. See C. Ricketts & J. Douglas, Marks & Marking of Weights & Measures of the British Isles, p. 119.

678

212 | Bonhams 680

678 680 A cedar-wood carved boarded chest A late 16th century oak court cupboard Probably 17th century, Italian French The front having an applied board carved with Neptune riding his chariot Having a raised back-plate above a cleated boarded top, raised on drawn by hippocamps, within a scroll-carved oval, the top spandrels baluster and turned-tapering end-columns, enclosing a pair of recessed carved with cherub faces, flanked to either side by simple pilasters and panelled dentil-moulded and interlaced leaf-carved cupboard doors, an applied board carved with a brick-arch enclosing a vernacular church, centred by a fixed panel carved with a winged angel bishop’s tassel on bracket feet, 142.5cm wide x 64cm deep x 83.5cm high, (56in wide x beneath a sunburst halo and cross, the lower-section with a pair of triple 25in deep x 32.5in high) panelled cupboard doors, the cross-rails and panels each guilloche- £1,000 - 1,500 carved and flanked by conforming end-columns, the deep projecting moulded-base with dentil-decoration, interior boards possibly spruce, 679 121cm wide x 67cm deep x 164cm high, (47 1/2in wide x 26in deep x An oak refectory-type table, in the late 16th century manner, 64 1/2in high) English £5,000 - 8,000 The rectangular multiple-boarded top with cleated ends, above stylized leaf-filled C-scroll carved friezes and scroll-carved spandrels, raised on parallel-baluster and reel-turned legs, each with fluted and stiff- leaf carving, joined by plain stretchers, incorporating some re-claimed timbers, 183.5cm wide x 176.5cm deep x 76.5cm high, (72in wide x 69in deep x 30in high) £500 - 800

The Oak Interior | 213 683

682

681 682 An oak side table, English, circa 1700 A Charles II oak boarded chest, West Country, circa 1660 Having a triple boarded top with moulded front and side edges, above The lid having a zig-zag carved and punch-decorated border, the a frieze drawer, raised on block and baluster-turned legs, joined by front carved with a pair of quatrefoil interlaced-leaf motifs, the sides conforming mid-front and rear stretchers and a low H-shaped stretcher, descending to key-hole cut-away supports, 98cm wide x 32cm deep x on turned feet, 76cm wide x 54cm deep x 75.5cm high, (29.5in wide x 46cm high, (38.5in wide x 12.5in deep x 18in high) 21in deep x 29.5in high) £400 - 600 £800 - 1,200

214 | Bonhams 684

683 A George III oak and elm press cupboard, circa 1760-80 Having a dentil-moulded cornice, above a pair of doors each with five panels, now enclosing hanging space, the lower-section with a pair of faux-drawer fronts later hinged, on extended stile supports, 131.5cm wide x 52cm deep x 170.5cm high, (51 1/2in wide x 20in deep x 67in high) £600 - 800

684 A mid-18th century oak dresser base, Welsh, circa 1740-60 Having an associated rack, partly with backboards, a wavy-cut frieze and three shelves, the lower-section with a boarded thumb-moulded edged top over a central back of three fielded drawers, flanked to either side by a fielded panelled cupboard door, twin panelled sides, on extended stile supports, 175.5cm wide x 51.5cm deep x 188cm high, (69in wide x 20in deep x 74in high) £1,200 - 1,800

681

The Oak Interior | 215 685 A Charles I oak and inlaid child’s chair, probably originally a high-chair, circa 1630 The back panel carved with interlaced flowerheads, the cresting formed by a large Salisbury-type leaf-filled lunette above a band of chequered geometric inlay, the uprights with inward scroll terminals, downswept open arms on turned front supports, the boarded seat raised on similar turned front legs, joined by a foot rest, 41cm wide x 42cm deep x 74cm high, (16in wide x 16.5in deep x 29in high) £600 - 800

Presumably, due to the presence of the footrest, formerly a child’s high chair and later shortened in height. However, the chair could be considered rather too large for a high chair, with the width in particular being more comparable to a standard chair.

Ivorine oval inventory plaque, numbered 113, to the underside of the rear seat rail; together with the scratched name and date ‘Simon S Brown, 195(?)2’.

686 A George III oak, beech and inlaid linen press chest, East Anglia, circa 1760 The superstructure with turned screw- mechanism raising a rounded moulded board, the lower-section with typical ogee-moulded frieze over a central arched stellar inlaid cupboard door, flanked to either side by a pair of short moulded drawers, over three graduated long drawers, on bracket feet, 86.5cm wide x 50cm deep x 183cm high, (34in wide x 19 1/2in deep x 72in high) £600 - 800

687 A George II walnut and elm dining chair, circa 1730 Having a shaped solid-splat, broken-curved 686 top-rail and sides, bowfront drop-in pad seat, raised on cabriole front legs terminating in pad feet, 53.5cm wide x 48cm deep x 95cm high, (21in wide x 18.5in deep x 37in high) £500 - 600

688 A Charles I oak coffer, circa 1640 The triple panelled lid having an unusual incised-carved front edge of egg-and-dart type design, the frieze with three leaf-filled lozenges, each with flying pennants, the top- rail with inverted leaf-filled lunette carving, the muntins with gauge-carving, the base-rail and stiles with bands of lozenge-carving, 127cm wide x 52.5cm deep x 66.5cm high, (50in wide x 20 1/2in deep x 26in high) £300 - 500

The carving to the front rail of the lid is a particularly unusual original feature.

688

216 | Bonhams 689

685

689 A William & Mary oak and marquetry inlaid coffer, Leeds, Yorkshire, dated Having a boarded lid, the front with three panels, each panel carved with a stylized flowerhead and a pair of exotic birds, beneath a meandering flowerhead carved top-rail centred by the carved initials and date SS 1694, the stiles carved with tulip-head surmounted scrolls, all rails with chequer-inlaid borders, 135.5cm wide x 55cm deep x 71cm high, (53in wide x 21.5in deep x 27.5in high) £700 - 1,000

Provenance: A hand-written statement pasted to the underside of the lid notes James Fowler of Wakefield purchasing the chest, in November 1874, from Elizabeth Armitage of Flanshaw, Wakefield, whose mother bought the coffer at a sale of items belonging to a Jane Smith. It describes the circumstances surrounding the murder of Jane Smith in 1802 by John Terry and Joseph Heald, for which both men were hanged in York on 21st March 1803.

Victor Chinnery, Oak Furniture: The British Tradition, (1993) illustrates two panel-back armchairs, attributed to South West Yorkshire/ East Lancashire with pairs of exotic birds, each with accentuated scrolled-fanned tails as found here, p. 475, figures 4:128 and 4:129. 690

690 A George III and later oak and inlaid high dresser, Shropshire/West Midlands The boarded rack with moulded cornice and pierced frieze above three shelves flanked to either side by pairs of niche-shelves over a paterae centred boarded cupboard door with small drawer below, the lower-section with three mahogany crossbanded frieze drawers, over a scroll-pierced apron, raised on front cabriole legs terminating in a trefoil pad foot, 187cm wide x 48cm deep x 199.5cm high, (73 1/2in wide x 18 1/2in deep x 78 1/2in high) £800 - 1,200

The Oak Interior | 217 691 692

691 693 A Victorian brass revolving church lectern, dated 1875 An early 19th century burr yew-veneered, crossbanded and Topped by an eagle perching on a revolving orb, with outstretched boxwood-strung box wings forming a book-slope, fitted to its bottom edge with a lunette Veneered in burr yew to both interior and exterior, the crossbanded and quatrefoil-pierced book-rest, raised on a knopped shaft and a and hinged rectangular top enclosing a pair of hinged flaps above two spreading and moulded circular edge engraved ‘THE GIFT OF SOPHIA divisions forming four compartments, the interior inlaid with a boxwood ANNE NUSSEY TO ST CHADS CHURCH FAR HEADINGLY LEEDS AD 1875 lattice and crossbanded in rosewood, the sides fitted with a brass loop : THANKS BE TO GOD FOR HIS HOLY GOSPEL +’, on three paw feet, handle with lion mask backplate, 32.5cm wide, 24.5cm deep, 13cm high 198cm high (12 1/2in wide, 9 1/2in deep, 5in high) £700 - 1,000 £400 - 600

Sophia Anne Nussey was probably born in 1826 and died in 1902. She was wife to Peter Nussey (b. 1823 - d. 1896). A monument to this couple, and a daughter Mary, stands in Lawnswood Cemetery, Leeds.

692 An 18th century carved beech revolving lectern, Italian Topped by an eagle with outspread wings, fitted with an ogee-shaped iron folio rest, and perching on a revolving orb, all on a balustroid triangular-section shaft carved with sprays of flowers and strapwork and issuing three scrolling and cusped brackets, all on a triform plinth base with moulded edge, 163cm high £2,000 - 3,000

218 | Bonhams 694

694 A set of four early to mid-16th century carved oak ‘Romayne’ panels, English Two carved with the profile of a man, and two carved with the profile of a woman, the men wearing spangled caps, the women wearing French hoods, all wearing open necked gowns, and all beneath an arch topped by leaf and berry spandrels, all above sprays of foliate scrolls, 23cm wide x 49cm high, (4) £1,200 - 1,800

695 A matched set of twelve early to mid-16th century Romayne panels, French, mounted in two later oak door frames Comprising six male portrait busts, and six female portrait busts, all mounted in opposing pairs, each carved in a foliate roundel, and each with a variety of scrolling foliage, beast-headed foliage, and flowering urns both above and below, mounted in later oak door frames, the panels 23.5cm wide x 38.5cm high; the doors 71.5cm wide x 167.5cm high (2) £3,000 - 4,000

695

The Oak Interior | 219 696 A pair of mid-16th century carved oak Romayne panels, French/ English Carved to the centre with an opposing portrait roundel within a riband- tied laurel border, one with the bust of a man wearing a martial helmet, beneath a vase issuing foliate scrolls and pendant tassels, a plinth or urn below carved ‘IZZS’, and issuing scrolls, the female wearing a French hood, and with padded, slashed sleeves, beneath bird-headed foliate scrolls issuing pendant leaves, a stylised fluted urn issuing foliate scrolls below, both in a later moulded frame and mounted on a later plush- covered board, 30.5cm wide x 41.5cm high, (2) £400 - 600

697 A rare Elizabeth I carved oak Romayne panel, circa 1560 Carved with a female profile bust, wearing a French type hood, an embroidered collar and a dress with puffed and slashed sleeves, her décolletage covered in pleated lawn, above a pair of flowers, 24.5cm wide x 38cm high £600 - 800

Provenance: Michael Dunn Antiques, New York.

698 A pair of early to mid-16th century carved oak Romayne panels, French Each carved with a profile portrait bust of a woman, one wearing a coif, both with tendrils of hair at their necks, and both within a riband-tied laureate roundel, one beneath a gadrooned urn topped by a cherub mask with outstretched wings, the other beneath cockatrice-headed foliate scrolls, within moulded borders, 20cm wide x 35cm high, (2) £300 - 400

699 A Charles II carved and boarded oak box The twin-plank lid with moulded edge, and lined to the underside with foliate lining paper, above a front frieze carved with a pair of opposing winged beasts, and with chip-carved ends, 64cm wide, 41.5cm deep, 24cm high (25in wide, 16in deep, 9in high) 697 £150 - 250

696

220 | Bonhams 700

700 A Charles I oak court cupboard, North Country, circa 1640 Having a lunette-carved frieze raised on baluster-turned end-columns, enclosing a pair of panelled cupboard doors each decorated with a gauge-carved lozenge and centred by a conforming fixed panel, the lower-section with a pair of conforming twin-panelled cupboard doors, on channel-moulded extended stile supports, 121.5cm wide x 51cm deep x 156cm high, (47 1/2in wide x 20in deep x 61in high) £2,000 - 3,000

701 An early 18th century oak gateleg occasional table, English, circa 1700-30 Having an oval drop-leaf top raised on elongated-baluster and ball- turned supports joined by rectangular-section stretchers, on turned feet, restorations, 115cm wide x 84cm deep x 67.5cm high, (45in wide x 33in deep x 26.5in high) £300 - 500

702 A near pair of late 19th century alder and ash spindle-back armchairs, North West Each with three rows of turned spindles, the outsplayed arms on vase-turned front supports, the rush seat raised on tapering front legs terminating in pad feet, joined by a ball-turned front mid-stretcher and 701 multiple turned stretchers, (2) £400 - 600

The Oak Interior | 221 703

704 709

703 704 A George III oak dresser base with associated rack A burr-elm and oak wine tripod table, English The replaced boarded rack with three shelves, the lower-section The single-piece circular burr top raised on a vase-turned column with three small deep drawers spaced by short drawers, each short and three hipped downswept legs terminating in pad feet, base 18th drawer over a panelled and applied beaded cupboard door spaced by century, 35cm diameter x 67cm high conforming slender panels, 172cm wide x 49.5cm deep x 227.5cm high, £600 - 800 (67.5in wide x 19in deep x 89.5in high) £1,000 - 1,500

222 | Bonhams 705

705 708 A George III style oak high dresser, Yorkshire A George I oak boarded mule chest, dated Incorporating some period elements The front carved with the initials and date RI 1720, over a pair of Of impressive large proportions, restorations, alterations, the inverted drawers, with applied waist and end-mouldings, the sides descending to breakfront cornice with four stop-fluted pilasters dividing five tiers of arched cut-away supports, 118cm wide x 50cm deep x 68cm high, (46in shelves, headed by a wavy-cut and quatrefoil-pierced frieze, the lower- wide x 19.5in deep x 26.5in high) section with a central bank of three fielded drawers, and a further £300 - 500 drawer over an ogee-arched fielded panelled cupboard door to either side on bun feet, 218.5cm wide x 63.5cm deep x 229cm high, (86in 709 wide x 25in deep x 90in high) A Charles II oak coffer, North Lancashire, circa 1680 £1,000 - 1,500 The boarded lid having an unusual border of punched-decoration, the front with three panels, the central panel flat-carved with stylized foliage 706 within a gauge-carved arch, flanked to either side by a panel unusually A Charles II walnut and hide upholstered side chair, South centred with a conforming flat-carved and punched-decorated motif, England, circa 1660-80 split bobbin-moulding applied to the muntins and extended stile front Having a rectangular upholstered back raised on turned uprights, the supports, interior till, restorations, 132cm wide x 57.5cm deep x 76cm stuff-over seat on spiral-turned legs, joined by a front and rear mid- high, (51 1/2in wide x 22 1/2in deep x 29 1/2in high) stretcher and low H-shaped stretcher, 47cm wide x 41cm deep x 90.5cm £400 - 600 high, (18.5in wide x 16in deep x 35.5in high) £100 - 150 The punched decoration around the edge of the lid is unusual. Furthermore, the way the lid spandrels and central projecting motifs 707 mirror the flat-carving to the top-rail is of particular note. A mid-18th century oak chest, Welsh, circa 1750-60 Having a rectangular boarded hinged lid with moulded-edges, the front with three fielded panels over two conforming faux-drawer fronts, on front bracket feet, 127cm wide x 55cm deep x 92.5cm high, (50in wide x 21 1/2in deep x 36in high) £500 - 600

The Oak Interior | 223 710

710 224 | Bonhams 711

710 711 A 19th century oak and ebonized cabinet, Flemish A 19th century pine painted chest, Tyrolean Incorporating some 17th century elements With a powder-blue painted ground, the cleated hinged lid with traces Having a deep projected moulded cornice, above a cushion-moulded of two floral painted panels, the frieze with a pair of polychrome painted frieze carved with birds amongst scrolling acanthus-leaves and centred panels each decorated with a fruit-filled twin-handled urn, on bun feet, by a squat gadrooned urn, with a pair of panelled doors below, each interior till, 111.5cm wide x 64.5cm deep x 61cm high, (43 1/2in wide x door with an applied arch profusely carved with vine, foliage and birds 25in deep x 24in high) and headed by a pair of cherubs, flanked to either side by an Ionic £400 - 600 capital column-pilaster carved with coiled vine, also with a typical central integral door pilaster of conforming design, above an inverted breakfront 712 carved lower frieze, raised on front gadrooned-carved bun feet, A Charles II oak coffer, Salisbury, Wiltshire restorations, 163.5cm wide x 75cm deep x 188.5cm high, (64in wide x The boarded lid with rear multiple linear incised edge, the front with 29 1/2in deep x 74in high) four stylized plant carved panels, the top-rail S-scroll carved, the muntins £1,200 - 1,800 and extended stile supports stiff-leaf carved, restorations, 152cm wide x 60.5cm deep x 81.5cm high, (59 1/2in wide x 23 1/2in deep x 32in high) Provenance: Sold with two letters, one dated 1893, from Mr J.W. £400 - 600 Phillips, Manor House, Hitchin, Hertfordshire, to Dr Morley Fletcher. One describes and offers the cabinet for sale and encloses a photograph, Provenance: A handwritten label to the rear of the front top-rail records; (illustrated here). In both letters the originality of the cabinet is expressed ‘bought 1880 out of an old house at Catherington, Hants. I had it to great effect. A third letter, dated July 1939, from Burton Corner, cleaned and repaired by .... repair & delivery to London, £5.00’ Petworth, Sussex, refers to the aforementioned letters and adds that it was once in the possession of Wm Thackerary, and also that it came from Tiverton. Together with a photograph, believed to be taken in the 1950s, showing the cabinet in place at Monkton Old Hall, Pembroke.

712

The Oak Interior | 225 713 720 717

713 714 A George III painted mahogany ‘Cornish’-type truncheon, for A group of four George V painted and gilt-highlighted truncheons the City of Plymouth, dated 1805, and possibly with links to the The first painted ‘SPECIAL CONSTABLE DURING THE GREAT WAR Freemasons 1914 - 1918, SUNDERLAND’ 37.5cm long, the second probably for Of typical form, topped by an urn-shaped finial and with square-section Staffordshire, painted ‘SPECIAL CONSTABLE 1914 - 1919’, 39cm long, end, each face painted as follows, the first with the Royal Coat of Arms the third bearing the coat of arms and motto of Oldham, above the beneath a Crown and the initials GR, the second with the arms of the words ‘SPECIAL CONSTABLE 1916 - 1919’, 39cm long, the last bearing City of Plymouth [argent, a saltire vert between four towers sable], the the coat of arms and motto of King’s Lynn, Norfolk, and the date ‘1914 - third with a monogram of the initials ‘JR’ above the date ‘1805’, the 1918’, 37.5cm long, (4) fourth with an unidentified coat of arms displaying a beehive against £300 - 500 a black saltire and an ermine ground, with a baluster and ring-turned knopped handle, 53cm long £300 - 500

It is possible that the beehive to the unidentified coat of arms indicates a connection to the Freemasons, who use the beehive as a symbol of industry.

Truncheons from Cornwall were unusual in having square-section, rather than round-section, ends.

226 | Bonhams 719 A Victorian polychrome-painted and gilt-highlighted truncheon, for the Bishop of Ripon Painted in black, and with a gilt-highlighted crown beneath the letters ‘VR’ and above a bishop’s mitre, a banner painted ‘C. R. RIPON’ below, with a ribbed handle, 41cm long, together with a 19th century painted and gilt-highlighted oak truncheon, for the Metropolitan 715 Special Constabulary, painted with a crown, a faint cipher, and ‘M.S.C. Three 19th century polychrome-painted truncheons, to include 24’, with a turned ribbed handle, 51cm long, (2) two Scottish examples £200 - 300 The first a Victorian gilt-highlighted truncheon, for the borough of Ayr, painted with a crown above the royal cipher ‘VR’ and a gilt Provenance: The first of these truncheons sold with an undated roundel painted ‘AYR BURGH POLICE’, with ribbed handle, 39.5cm newspaper clipping reading: long, together with a 19th century polychrome-painted example, for Kincardine, painted with a crown within foliate scrolls, and the ‘Mr. Hemsworth, who is always on the look-out for historic relics of words ‘KINCARDINE COUNTY POLICE’, with ribbed turned handle, Ripon...recently has come into possession of a special constable’s staff 38.5cm long, and a 19th century polychrome-painted truncheon, that belonged to the first Bishop of Ripon, Dr Charles Thomas Longley, with vestigial traces of a crown, a cipher, and a torse, with ribbed turned who afterwards became Archbishop of Canterbury. A picture of the staff handle, 45.5cm long, (3) accompanies this article. The inscription includes the letters ‘V.R.’ over £300 - 500 a crown, and a bishop’s mitre, and underneath the mitre is the bishop’s name, ‘C. T. Ripon’s. It was acquired by Mr Hemsworth on the dispersal 716 of the late Bishop Boyd-Carpenter’s effects.’ Two 19th century polychrome-painted and gilt-highlighted truncheons Charles Thomas Longley (1794 – 1868) was a bishop in the Church of Both bearing the Royal Arms within the garter beneath a crown, one England. He served as Bishop of Ripon, Bishop of Durham, Archbishop of dated ‘1840’ and with the initials ‘VR’, 36cm long, the second 19th York and Archbishop of Canterbury from 1862 until his death. century and with the stamped initials ‘SC’ for Special Constable, and the stamped number ‘9565’, 43.5cm long, (2) William Boyd Carpenter KCVO (1841, Liverpool – 1918) was a Church of £200 - 300 England clergyman who became Bishop of Ripon and court chaplain to Queen Victoria. 717 A group of three early 19th century truncheons The second truncheon in this lot sold with an Insurance Valuation from To include a George III mahogany and brass truncheon, topped by the City Antique Company Limited, Throgmorton Street, London for £15 a brass collar engraved ‘GR 1812 Jno Bodey’, the brass collar to the on 17th May 1968. handle with line decoration, 45.5cm long, together with a William IV rosewood and brass truncheon, the brass collar engraved ‘WR IV’, 720 with turned and ribbed waisted handle, 35cm long, and a William IV An Edwardian polychrome-painted and gilt-highlighted polychrome-painted truncheon, for St Pancras Ward, London, truncheon, Burnley, dated 1902, presented to Joseph Eadson for painted ‘WR’ above a crown, and the words ‘ST PANCRAS MIDDX 129’, apprehending a poultry thief with turned and ribbed tapering handle, 45.5cm long, (3) Painted with the Imperial Crown above the initials ‘ER’ and the Burnley £300 - 500 City Coat of Arms and motto, the gilt words ‘PRESENTED TO J. EADSON FOR HIS GALLANT CONDUCT IN THE ARREST (SINGLE HANDED) OF 718 A NOTORIOUS CRIMINAL 6 MAY 1903’, with a turned and knopped A group of four George V polychrome-decorated and gilt- handle, 38cm long highlighted truncheons £200 - 300 Comprising a near pair of George V examples for Boston, Lincolnshire, dated 1914-15-16, both painted with an Imperial Under the headline ‘Alleged Theft of Poultry’, the Burnley Gazette Crown flanked by the initials ‘GR’, above the Boston coat of arms with reported on the 10th May 1902 that ‘William Parker, a weaver, was mermaid supporters, and a red shield painted in gilt ‘ALD C. LUCAS / charged with the theft of a hen and twelve chickens, valued at 27s., the MAYOR of BOSTON / 1914-15-16’, one 37.5cm long; the other 38cm prosecutor being Joseph Eadson a wine and spirit merchant, who has a long, together with two George V mahogany truncheons, for hen-pen near his residence in Padiham Road - Prosecutor the previous Birmingham Special Constabulary, with gilt ‘GR’ cipher beneath a night heard a disturbance in his pen, and on visiting it he caught the crown, one stamped ‘SC’ for Special Constable and with the number prisoner, who had twelve of his chickens in a bag. He was in the act of ‘2491’, the other stamped ‘SC’ and ‘2056’, the former 38cm long; the putting another chicken in the bag. He had a hen also in a bag. When latter 39.5cm long, (4) charged, prisoner made no reply. Prisoner had other convictions against £300 - 500 him, and was committed to the next Quarter Sessions.’

Reporting on these Quarter Sessions later in the year (26th July 1902) under the headline ‘A Desire for Poultry’, the Burnley Express remarked, ‘William Parker (45), weaver, pleaded guilty to stealing one hen and twelve chickens, the property of Joseph Cadson [sic], on 6th May...Mr Wingate-Saul, for the prisoner...made an earnest appeal for leniency to the Recorder. Parker, he said, had tried to lead an honest life, and before that offence had been suffering very much from depression. Prisoner’s wife was strongly of the opinion that had her husband been in normal health at the time, he would never have done what he did. A sentence of one month’s imprisonment was passed to the prisoner.’

The Oak Interior | 227 721

721 723 An oak refectory-type table, English A mid-18th century oak high dresser, North-West, circa 1740-60 With impressive probably 17th century single-piece top Having an altered/associated open rack with three shelves, the lower- The rectangular top above plain frieze rails, raised on ring-turned section with a raised platform superstructure and boarded top with tapering legs joined by plain stretchers, restorations, 233cm wide x 73cm rounded front corners, above a T-shape arrangement of moulded-edge deep x 74cm high, (91 1/2in wide x 28 1/2in deep x 29in high) drawers flanked to either side by a flattened-ogee headed boarded £800 - 1,200 cupboard door, all within an unusual moulded outer-edge frame integral to the cut-away bracket plinth base, boarded sides; base only, 166cm 722 wide x 52cm deep x 82cm high, (65in wide x 20in deep x 32in high) A small William & Mary oak mule chest, circa 1690 £1,500 - 2,000 The hinged boarded lid with thumb-moulded edge, above three mitre-framed plain panels over a pair of short drawers, within channel- moulded rails, triple panelled sides, 130.5cm wide x 55cm deep x 72cm high, (51in wide x 21 1/2in deep x 28in high) £400 - 600

722

228 | Bonhams 723

724 725 An oak side table An oak joined clothes press Incorporating Charles I timbers Predominantly incorporating 17th century timbers Having a rectangular boarded top, the front frieze carved with simple Having an unusual carved frieze with a pair of deep recessed roundels geometric ‘strap-work’, raised on ring-turned tapering legs, joined by centred by a cross against a foliate ground, above a pair of triple deep plain stretchers, 114cm wide x 65cm deep x 70cm high, (44 1/2in panelled cupboard doors enclosing shelves, over a pair of plain panels, wide x 25 1/2in deep x 27 1/2in high) on extended stile supports, 109.5cm wide x 44.5cm deep x 185cm high, £600 - 800 (43in wide x 17 1/2in deep x 72 1/2in high) £400 - 600

724

The Oak Interior | 229 726

726 An Elizabethan-Revival oak and inlaid tester bed Incorporating some period timbers, the tester with twelve panels, each inlaid with a flowerhead and leaves, the headboard with a conforming leaf-inlaid elongated panel above a pair of panels each inlaid with a flowering plant enclosed by a leaf-and-berry carved arch raised on stop- fluted pillars, flanked by figural terms, three plain panels below, with baluster-turned end-post and channel moulded and rope-hole pierced rails, chequer lozenge inlay to the majority of rails and the end-posts, 135.5cm wide x 202.5cm deep x 212.5cm high, (53in wide x 79.5in deep x 83.5in high) £2,000 - 3,000

230 | Bonhams 727

727 A rare pair of Charles I oak joint stools, possibly Salisbury, circa 1630 Each with triple-reeded edge-moulded top, above channel-moulded and bicuspid-shaped rails, raised on parallel-baluster and reel-turned legs, joined by channel-moulded rectangular-section stretchers, slight difference in height, 45.5cm wide x 29.5cm deep and 58cm, 57cm high £10,000 - 15,000

Although the majority of joint stools were probably made in sets of six or more it is now relatively scarce to find more than a single example from a larger set.

A pair of joint stools, dated to circa 1640, sold the Clive Sherwood Collection, Sotheby’s May 2002, lot 85, (£6,185). Another pair, with a parallel-baluster and ball-turned legs, sold Nyetimber Manor, Sotheby’s, September 2001, lot 1174, (£8,812).

The Oak Interior | 231 730

732

733

232 | Bonhams 729 734

728 732 A pair of early 18th century oak high-back side chairs, probably Dutch A Charles II large oak ‘marriage’ chest, Westmorland, dated Each with slender arched fielded back panel and channel-moulded top- The rectangular boarded hinged lid with cleated ends, the front with rail, the boarded seat raised on square-section cabriole front legs joined five panels each flat-carved with either stylized flora or Celtic strap-work by a H-shaped block and baluster-turned stretcher, 45cm wide x 40cm design within a typical scallop-edged rectangular or arched surround, deep x 114.5cm high, (17.5in wide x 15.5in deep x 45in high) (2) the top-rail carved with the initials and date ID:MD 1673 the front rails £200 - 300 predominantly carved with meandering-leaf designs, twin panelled sides, old restorations, 175.5cm wide x 64.5cm deep x 94cm high, (69in wide 729 x 25in deep x 37in high) An unusual George II oak side table with fitted interior, £600 - 800 restorations Having a fully cleated boarded top opening to reveal a fitted interior of Due to the sheer size of this chest it was originally constructed with stepped small drawers behind a ratchet-mechanism slope enclosing a three rails running front to back, two mortised through the two central well, with fall faux-drawer front, raised on four turned tapering legs with muntins (now removed) and one through the base rail. lappet knees and pad feet, 91cm wide x 70.5cm deep x 76cm high, (35 1/2in wide x 27 1/2in deep Victor Chinnery, Oak Furniture: The British Tradition, (1993), illustrates x 29 1/2in high) several pieces of furniture attributed to Westmorland and the Lake £800 - 1,200 District, pp.486 - 494. Many demonstrate the custom of inscribing initials and dates often found on furniture from this region, from the end 730 of the 17th century and beginning of the 18th century. A 17th century and later oak chest Having a quadruple fielded-panelled hinged lid, the front with an oval 733 formed from geometric boss and floral-carved spandrels, inlaid with the A James II/William & Mary oak coffer, Westmorland, dated initials E A, flanked to either side by a floral-carved and punch-decorated The hinged lid of four panels within channel-moulded rails, the front panel enclosed by an applied S-scroll carved arch and flanked by carved also with four plain panels, below a top-rail with flat-carved scroll-leaf pilasters, above an unusual ovolu-moulded base drawer, on extended decoration centred by the carved ownership triad and date REC 1689, stile supports, elements of decoration later, 147.5cm wide x 62.5cm twin panelled sides, on extended stile supports, 158cm wide x 60.5cm deep x 72cm high, (58in wide x 24.5in deep x 28in high) deep x 72cm high, (62in wide x 23 1/2in deep x 28in high) £800 - 1,200 £400 - 600

731 Literature: Victor Chinnery, Oak Furniture The British Tradition, illustrates A George III and later oak lowboy several pieces of furniture attributed to Westmorland and the Lake The rectangular top with moulded front and side edges, above a Distict, pp.486-494, which demonstrate the custom of inscribing initials pointed-ogee arch-shaped frieze enclosing one short and two deep and dates often found on furniture from this region at the end of the drawers, on four cabriole legs terminating in pad feet, restorations, 17th century and beginning of the 18th century. 74.5cm wide x 51cm deep x 73cm high, (29in wide x 20in deep x 28 1/2in high) 734 £350 - 450 A George III oak tripod occasional table Having a circular tilt-top, baluster-turned column, on three hipped downswept legs terminating in ‘pad’ feet, 93cm diameter x 75.5cm high £200 - 300

The Oak Interior | 233 736

738

735 738 An early to mid-19th century turned lignum vitae vessel Four pieces of late 18th/19th century silver-mounted treen Of flared and vase-turned form, on a spreading circular and line- To include an early 19th century silver-mounted coconut cup, moulded foot, probably once with a lid, 14cm diameter x 23cm high probably Continental, the nut decorated with line-carved chevrons £200 - 300 and arcs, mounted to the rim with a scalloped silver collar, and to the underside with four silver petals and a pierced filigree circular foot, 8cm 736 diameter x 9.5cm high, together with a large late 18th/early 19th A late 18th/early 19th century carved boxwood screw-action century carved coquilla nut cup, silver-mounted to the rim and applied nutcracker, Scandinavian with a silver plaque engraved with a crest of a Talbot hound above the The pear-shaped body carved with alternating bands of geometric initials ‘WHW’, the nut carved all over with bands and reserve of flowers decoration and roundels around the shaped opening, the screw topped and scrolling foliage, 5cm rim diameter x 7cm high, a late 19th century by a disc finial carved with concentric lines, and with flared fluted collar, silver-mounted lignum-vitae twin-handled cup, the rim mounted 11.5cm high with a silver band engraved with roses and foliage, and issuing two ‘C’- £200 - 300 scroll handles, the body mounted with five engraved cartouche mounts, the silver marked for London, 1898, with maker’s mark for the Pairpoint See E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 72, G, and Brothers (John & Frank), 6.5cm rim diameter x 7cm high, an early 19th R. Mills, Nutcrackers (2001), p. 6, for comparable examples. century silver-mounted carved quaich, the handles carved with recumbent stags, the exterior with basket weave, a silver plaque to the 737 interior engraved with a thistle and the words ‘SGUAB ASE’, the silver A small collection of treen and objets d’art mount to the rim later engraved ‘W. G. Gordon from his Father, 30th To include six coconut shell saucers, each of shallow dished form and July 1859’, 12cm wide across handles x 4cm high, and a 20th century with low footrim, 7.5cm diameter, a carved rosewood snuff box, silver-mounted fruitwood quaich, with silver print to the interior, and the hinged cover impressed with a house, 7cm wide, a rose-turned silver-mounted foot and rim, 11cm wide across handles x 3cm high, (5) fruitwood stand, with rose-carved top and bottom, and a fluted edge, £600 - 800 5cm diameter, a sachet, a two-part nut with dark striations, fitted to the interior with a small pierced bone plate, 2.5cm high, a 19th century The basket weave-decorated quaich is similar to two illustrated E. Pinto, carved inkwell, decorated with roundels and spiral carving, with glass Treen & Other Wooden Bygones (1985), Plate 46. The explanatory liner, 5.5cm diameter x 3.5cm high, a turned treen container, possibly text on pp. 54 notes, ‘in the first decade of the 19th century, some for patches, with removable lid and dished ivory plate to the interior, nicely made hardwood quaichs were carved externally in a basket- 3.5cm high, a turned vegetable ivory desk seal, of knopped baluster weave pattern. Some of them are silver-mounted and engraved with form and fitted with a brass cross-hatched seal, 8.5cm high, and an Gaelic inscriptions...All give the impression of coming from the same ivory desk seal, with brass head engraved with a ‘W’ and an ‘M’, and workshop.’ a brass implement, a blow-tube or pipe fitted with a sprinkler end, 21.5cm high, (14) £200 - 300

234 | Bonhams 739

739 An early 19th century carved coquilla nut flask One end, lacking stopper, carved with the open-mouthed face of a moustachioed ‘bugbear’, with glass eyes, the body of the flask carved and undercut with a trailing fruiting vine, a heart-topped marital trophy of a pair of crossed quivers, and musical trophies, spaced by a female bust, a grotesque human face forming the finial to the other end, 6.5cm long, together with a late 19th century carved coquilla pepperette or muffineer, topped by a finial enclosing a Stanhope viewer, possibly showing a church ‘L’Eglise de la Mare’, above a pierced domed cover, and ovoid body, and a spreading foot, carved all over with roundels, 10.5cm high, a late 19th century carved coquilla nut pomander, in the form of an egg, in two threaded sections and carved all over with roundels, 5.5cm high, and a small late 19th century carved coquilla pedestal stand, of navette shape, carved and pierced with scrolling foliage, on a balustroid stem and a spreading circular foot, 4.5cm high, (4) £300 - 500

E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 206, D, is 740 another finely-carved flask carved with a bugbear and undercut musical and martial trophies. 740 The pepperette or mufineer and the egg-shaped container in this lot, are A late 18th/early 19th century carved coquilla nut pomander or part of a group of wares described by Pinto [p. 195] as follows: ‘Coquilla flask, probably Italian ‘eggs’, which are the natural nut shape and, therefore, the commonest, In four threaded sections, topped by a finial carved as the head of originally often contained rosaries...and were sold, in the 1870s, outside a man wearing a turban, the two-part body carved with a musical the Madeleine in Paris, the Pantheon in Rome etc...Dice cups, bottles, trophy and a cherub playing a harp, raised on a turned and leaf-carved flat circular barrels...were other items in this range. Some objects of the circular spreading stand, 16cm high, together with another late 18th/ type described, have a small knop at the top, provided with an ‘eye’ or early 19th century carved coquilla nut pomander or flask, in four window, containing souvenir views.’ threaded sections, topped by a fluted bud finial, the two-part body carved with cherubs amidst scrolling foliage, with pendant fluted and balustroid finial, 15cm high, (2) £500 - 700

See E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 207 illustrates a similar flask with a mask-headed finial. See descriptive text pp. 194 - 196.

The Oak Interior | 235 743

744

741 743 A collection of treen items A white metal-mounted mulberry pipe stopper, reputedly from To include a 19th century carved walnut and bone-inlaid shoe-form Shakespeare’s mulberry tree at New Place, Stratford-upon-Avon snuff box, with hinged upper engraved with stylised foliage and with Possibly mid-18th century, by Thomas Sharp heart-shaped bone inlay to the toe, the heel rendered to the underside, Topped by a carved bust of Shakespeare, on a moulded square-section 10.5cm long, together with two 19th century silver-mounted exotic pedestal, the facetted broadening stem gauge-carved and mounted with nut flasks or vases, the first of flattened circular form, the nut with a white metal ferrule, 8.5cm high dark striations, the opening mounted with a silver collar, 8.5cm high, the £200 - 300 second of bun form and with integral curing stalk handle, mounted to the body with a silver cartouche, and with a floral-embossed silver rim, See E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 321 for a 7.5cm high, two turned coquilla nut acorns, probably bell-pushes similar pipe stopper signed ‘Sharp’. or pulls, both pierced with a square hole, one threaded, both fitted with a bone rod finial pierced with a hole, the largest 9.5cm high, and a 19th The mid-18th century owner of New Place, Reverend Francis Gastrell, century coquilla nut and bone toddy ladle, with turned bowl and incensed by the number of visitors to Shakespeare’s tree, cut it down balustroid bone handle, 13cm long, (6) in 1756. Still plagued by numerous callers, he demolished the house in £250 - 350 1759. He sold the wood of the tree to various carvers including Thomas Sharp, William Hurdis Harborne and William Hunt. A number of objects For comparable shoe-form snuff boxes, see E. H. Pinto, Treen & Other certified by Thomas Sharp as made from the tree have survived, including Wooden Bygones (1985), Plate 364. small caskets, tea caddies, toothpick cases, goblets, snuff boxes, tobacco stoppers, sugar tongs etc [see ibid., pp. 296 - 7.] 742 Three pieces of 19th century carved coquilla nut This pipe stopper is accompanied by a receipt from Polly de Courcy- To include an early 19th century carved coquilla snuff box, French, Ireland, dated 1994, which reads as follows: ‘an 18th century mulberry the hinged cover carved with a pair of cherubs holding flaming torches pipe stopper of Shakespeare, probably by Thomas Sharpe, circa 1760, either side of a cartouche, against a background of fruiting vines, the £345.00’. opposing side carved with an urn issuing fruit and flowers, the ends carved with hearts and flowerheads, 9cm wide, together with a small 19th century carved coquilla flask, with turned stopper, the body carved to one side with a vacant shield amidst flowers, and to the opposite side with a pair of lovebirds, on an integral flared foot, 6cm high, and a small 19th century carved coquilla nut sachet, the threaded lid carved with a flower, and enclosing a pierced ivory plate, 2.5cm diameter, (3) £300 - 500

An identical sachet illustrated E. H. Pinto, Treen & Other Wooden Bygones (1985), Plate 207, G.

236 | Bonhams 748

744 746 An oak ‘stump-end’ bed An oak gateleg occasional table Constructed principally from 17th century timbers, in the West Country Constructed using some early 18th century timbers, the oval drop-leaf manner top above a single end-frieze drawer and ogee-cut aprons, raised on The headboard with three lozenge carved and punched-decorated baluster-turned supports, joined by rectangular-section stretchers, on panels spaced by stiff-leaf carved muntins, over four conforming carved turned feet, 106cm wide x 85cm deep x 69cm high, (41 1/2in wide x panels with channel-moulded muntin rails, the cross-rails each carved 33in deep x 27in high) with a running-chain motif, the tapering uprights with rounded-ends £200 - 300 and applied split-bobbin mouldings, the rails with rope pierced holes, raised on inverted baluster-turned end supports surmounted by domed 747 ‘stumps’, 137cm wide x 208cm deep x 147cm high, (53 1/2in wide x 81 A 19th century yew, beech and elm high-back Windsor armchair, 1/2in deep x 57 1/2in high) Buckinghamshire, circa 1820-40 £700 - 1,000 Having a wheel-pierced splat, arms on in-curved front supports, the elm saddle-seat raised on single-ring and concave-turned baluster-shaped 745 legs, joined by a H-shaped stretcher, 63cm wide x 54.5cm deep x A George III oak and fruitwood tripod table 102.5cm high, (24.5in wide x 21in deep x 40in high) The circular tilt-top raised on a vase-turned tapering column and three £300 - 400 fruitwood downswept legs terminating in pointed pad feet, 45cm diameter x 70cm high 748 £200 - 300 A George III oak high dresser, North Wales The boarded rack with three shelves, the lower-section with a T-shape arrangement of drawers flanked to either side by a rectangular fielded panelled cupboard door, 205cm wide x 56cm deep x 209cm high, (80.5in wide x 22in deep x 82in high) £1,500 - 2,000

The Oak Interior | 237 750 751

752

749 751 A small oak chest of drawers A Charles I and later oak coffer, Somerset Constructed in part from George III timbers Having a boarded top with moulded-edge, the front with three With four graduated drawers, within a cockbeaded surround, the panels, each with a guilloche-filled carved arch, scroll leaf-carved top serpentine apron descending to bracket feet, 62.5cm wide x 41cm deep and upright rails, and flowerhead-filled lunette carved base-rail, twin x 73.5cm high, (24 1/2in wide x 16in deep x 28 1/2in high) panelled sides, restorations, 135cm wide x 56cm deep x 72cm high, £300 - 400 (53in wide x 22in deep x 28in high) £500 - 700 750 An oak occasional table, circa 1900 752 Having a burr-oak near square and cut-corner top above a canted deep A late 17th century oak geometric moulded chest of drawers, with drawer and ogee-cut aprons, raised on square-section tapering legs, alterations 53cm wide x 53.5cm deep x 64cm high, (20.5in wide x 21in deep x 25in Having two small drawers, constructed from one long drawer and high) centred by a later secret compartment, with a further secret full-width £400 - 600 narrow drawer to the rear, above three long geometric mitre-moulded drawers, on later bracket feet, the deep drawer centred by the carved initials AL, 97cm wide x 59cm deep x 99.5cm high, (38in wide x 23in deep x 39in high) £700 - 1,000

238 | Bonhams 753

753

753 Three examples of this rare form of folding-table are illustrated Victor A rare William & Mary oak swivel-action joined folding-table, circa Chinnery, Oak furniture: The British Tradition, pp.305 - 306. Two have 1690-1700 a triangular-shaped top opening to form a hexagon, whilst only one Of cricket table type has rounded leaves opening to form a circle, as found here. All three The top of circular form when fully opened, with three boards creating illustrated examples use lopers to support the leaves. None use the more a central triangle, with a hinged ‘semi-circular’ fall-leaf to each outer- efficient and competent swivel-action found on this lot. It creates a edge, opening on a swivel-action, raised on three block and ring-turned highly stable surface when employed. Its use in the late 17th century can tapering legs, with split-bobbin mouldings applied to the mid-leg block be viewed as a precursor to the mechanism’s popularity throughout the and joined by a boarded under-tier, enclosing a small drawer and with 18th century as demonstrated by the plethora of swivel-action tea and integral scroll-cut spandrels to the rails, plain stretchers below, open gaming tables constructed. 89cm diameter x 70cm high £4,000 - 6,000

The Oak Interior | 239 754

754 757 A 19th century oak and ebonized cupboard A 17th century brass, iron and copper warming pan, English In the 17th century Flemish manner The domed cover engraved with a Tudor-type rose within a band of Having a pair of boarded cupboard doors applied with geometric- embossed flowers formed from circles, and with floral punches, the mouldings against an ebonized ground, centred and flanked by lion handle attachment with large copper rivets, fitted with a tapering flat and pendant fruit carved pilasters, above a carved and boss embellished iron handle with bulbous flare at both ends, and with broadening frieze drawer, over a pair of conforming mitre-moulded cupboard doors, wrapped socket handle, 30cm diameter x 109cm long, together with with integral caryatid headed pilaster terminating in paw feet, flanked a 17th century-style brass and beech warming pan, early 20th to either side by conforming pilasters, 163.5cm wide x 64.5cm deep x century, the hinged pan lid decorated and pierced with flowers, on a 149cm high, (64in wide x 25in deep x 58.5in high) turned beech handle, 30cm diameter x 112cm long, £800 - 1,200 £250 - 350

755 758 An oak side table, English, circa 1700 A pair of Arts and Crafts wrought and cast iron andirons The top with moulded-edge, above a frieze drawer, raised on baluster Each topped by a mask, one with horns, on a curving column edged by and acorn-turned legs joined by a wavy X-shaped platform stretcher, on scrolls and with sheet metal acanthus leaves, on curving front supports bun feet, 86cm wide x 51.5cm deep x 68cm high, (33.5in wide x 20in and a curved ‘L’-shaped rear support, 21cm wide, 49cm deep, 58cm deep x 26.5in high) high (8in wide, 19in deep, 22 1/2in high) (2) £600 - 800 £200 - 300

756 759 An 18th century cast iron chimney crane, with three movements A pair of 18th century-style brass and cast iron andirons, engraved The main beam with scroll terminal, the chamfered upright fitted with a hunting motto, circa 1900 with a curving quadrant mounted with eight flattened boss stops, the Each surmounted by a spire finial above a part-gadrooned orb engraved horizontal position of this quadrant adjusting by sliding on the main ‘LET’S DRINK TO THE MASTER / THE HORSE AND THE HOUND / WE’L beam, the lever fitted to the end with a hook, 95cm high, together with [SIC] ALL STICK TOGETHER TILL / REYNARD IS FOUND’, on a gadrooned four 18th/19th century steel ratchet-type pot hooks, one of the steel urn and a boss-decorated square-section pedestal, on divergent scrolling examples with a fourteen-position shaft and with a very long hook, the front supports mounted to the centre with a lion mask bearing a ring in others with sixteen, eleven and five stop positions, (5) its mouth, and terminating in ball feet, with black-painted cast iron ‘L’- £200 - 300 shaped rear support, 26.5cm wide x 32cm deep x 60cm high, (10in wide x 12 1/2in deep x 23 1/2in high) (2) £300 - 400

240 | Bonhams 761

763 762

760 762 A group of four 19th century all-brass footman-type trivets An 18th century Delft charger, circa 1740 - 1750 The first rectangular with rounded front edge with projecting corners, Decorated with a bottle vase and an urn issuing stylised foliage and the top pierced with a Greek key pattern, and a Greek key-pierced flowers, within a border painted with flowers between stylised urns, frieze edged with beading, raised on three straight round-section legs (restorations), 31.5cm diameter united by moulded stretchers, 25cm wide x 16cm deep x 33cm high, £150 - 200 the second of similar form, but with four projecting corners and pierced with quatrefoils, with ball feet, 26cm wide x 17cm deep x 35cm high, 763 the third late 19th/early 20th century with shaped top pierced with A pair of 18th century polychrome Delft plates, circa 1750 - 1760 scrolls, raised on four cabriole supports with cabochon-cast knees, on Painted with three sprigs of stylised flowers around a central flowerhead, square feet, 24cm wide x 13cm deep x 16cm high, the fourth early 20th and all-over painted with radial manganese lines, 22.5cm diameter, (2) century, with slatted top and on four supports with outswept spade- £300 - 400 shaped feet, 32.5cm wide x 23cm deep x 14.5cm high, (4) £300 - 400 A single plate with a diameter of 33.5cm, and painted with four encircling floral sprigs, rather than the three to this pair, sold Lyon & 761 Turnbull, 31st March 2010, Lot 7 [£500]. The single plate bore a label Three 18th century polychrome-decorated Delft plates, circa 1760 stating that it had once been the property of Sir Walter Scott. The first and painted with a bird upon a rock, with flowers beyond, the rim decorated with three sprays of flowers, 22.5cm diameter, the second with a stylised tree between flowers, the rim with four sprays of flowers and leaves, 22cm diameter, and the third with one yellow and two blue flowers amidst green leaves, the rim painted with four yellow buds, and blue and green leaves, 22.5cm diameter, (3) £300 - 500

The Oak Interior | 241 769

765 A rare polychrome-decorated Delft bowl, Liverpool, circa 1760 Painted with a pair of stylised vases issuing blue flowers and scrolling foliage, the rim painted with buds and flowers, 22.5cm diameter, together with an 18th century polychrome Delft bowl, circa 1740, decorated with a tree and flowering plants, the rim with alternating flowers and bosses with green-painted foliage or leaves between, 23cm diameter, (2) £300 - 500

Provenance: The first bowl in this lot with a hand-written adhesive label to underside reading, ‘28. Liverpool, 1740. From the P. H. Garner Collection’.

766 A 19th century slipware money box Of double gourd form, topped by a bird with a pair of birds below, decorated in striated ochre glaze and with the words ‘Save Thou in Me and I May Save Thee’ and with an indistinct name, possibly ‘Mary’, and the indistinct date ‘17 (or 18) 94’, 22cm high £200 - 300 766 767 A mid-19th century fruitwood, ash, beech and elm high-back 764 Windsor armchair, Thames Valley, circa 1840-60 A pair of 18th century manganese-decorated Delft plates, circa Having a comb-back, with rounded-bar stay-rail and wheel-pierced and 1740 shaped central splat, in-curved front arm supports, the elm saddle-seat Each painted with a garden with fence, stylised flowers and rocks, within raised on single ball and concave-turned baluster-shaped legs joined a border of trailing stylised foliage, 22.5cm diameter, together with by an elliptical turned H-shaped stretcher, repairs, 59.5cm wide x 49cm an 18th century manganese Delft plate, circa 1750, painted with a deep x 117cm high, (23in wide x 19in deep x 46in high) flowering plant, the rim painted with four sprays of fruit, flowers and £400 - 600 foliage, 22.5cm diameter, (3) £300 - 500 768 A mid-18th century oak lowboy, West Midlands Alterations/restorations, the rectangular top with moulded front and side edges, above an arched scroll-cut and cockbeaded frieze, enclosing two deep and two short drawers, raised on square-section cabriole front legs terminating in pad feet, with conforming silhouette-shaped rear legs, 76cm wide x 52cm deep x 72cm high, (29.5in wide x 20in deep x 28in high) £500 - 800

242 | Bonhams 771

769 An early 18th century oak gateleg table, English, circa 1720 The oval drop-leaf top above a single end-frieze drawer, raised on baluster ring-turned legs joined by plain stretchers, on pear-shaped feet, 144cm wide x 114.5cm deep x 74cm high, (56 1/2in wide x 45in deep x 29in high) £1,000 - 1,500

770 An oak refectory-type table Incorporating some re-claimed timbers Having a rectangular boarded top with cleated ends, above plain friezes, raised on spiral-turned legs joined by plain section stretchers, 197cm wide x 85.5cm deep x 75.5cm high, (77 1/2in wide x 33 1/2in deep x 29 1/2in high) £500 - 800

771 An early George III oak tridarn, Snowdonia, circa 1760 The canopy superstructure with a moulded cornice and slender edge- moulded frieze raised on reel-turned front end-supports, with panelled back and sides, the middle-section with a pendant-hung faux-panelled frieze over a pair of recessed panelled cupboard doors, centred by an applied-arched panel, the lower-section with a pair of panelled cupboard doors, on extended stile supports, 139cm wide x 53.5cm deep x 184.5cm high, (54 1/2in wide x 21in deep x 72 1/2in high) 767 £2,500 - 3,500

The Oak Interior | 243 776 772 772 A carved limestone head, French 14th century Once part of a larger statue, modelled as the head of a tonsured monk, his head turned slightly to dexter, traces of pigment to the lips, eyes and hair, 20cm high £700 - 1,000

773 A 16th century carved alabaster figural fragment of an Eastern figure, probably one of the Magi, from a larger scene Carved in the round, the figure modelled seated with his legs crossed before him, wearing Oriental robes and shoes, his face rendered with moustache and beard and topped by a jewel-threaded lobed turban, on a cross-hatched base, 8.5cm wide x 10.5cm deep x 9.5cm high, (3in wide x 4in deep x 3 1/2in high) £500 - 800

774 A bronze sundial plate, dated 1739 Of square form, engraved with a central eight-pointed sun, the initials of the cardinal and ordinal directions, hour lines, a chapter ring of the Roman hours I - XII, the motto ‘Docet Umbra’ [The Shadow tells it], and 773 the date ‘1739’, fitted with a gnomen with ‘S’-scroll bracket, 25.5cm wide x 25.5cm deep x 12cm high £500 - 800

775 A Celtic carved sandstone head Carved with ears and dimples, and with line-carved almond-shaped eyes, the hair and chin delineated, raised on a later square-section iron rod and a cylindrical sandstone base, the head 18cm high; 36cm high overall £400 - 600

776 A 17th century and later iron and iron-bound strong box, or ‘Armada’ chest, German Of rectangular form and bound in riveted strapwork, the hinged lid with central keyhole with pivoting cover, fitted to the underside with an elaborate lock shooting five bolts, behind a later iron lockplate, front with iron hasps, the sides with wrythen bale carry handles, 77cm wide x 43cm deep x 42cm high, (30in wide x 16 1/2in deep x 16 1/2in high) £400 - 600

777 A William & Mary style oak low dresser Incorporating some period timbers, with three geometric mitre- moulded frieze drawers, flanked by split-bobbin mouldings, above a waist-moulding and scroll-cut spandrels, raised on four front block and baluster-turned legs, 215cm wide x 53.5cm deep x 90cm high, (84 1/2in 775 wide x 21in deep x 35in high) £1,000 - 1,500

244 | Bonhams 778

778 The form of this table and the overall wear and appearance suggests an An oak trestle-end table early date. The earliest recorded trestles tables are a pair, dated possibly Possibly 16th century as early as the late 15th century, in the Great Hall, at Penshurst Place, Having a triple boarded top, above trestle end-supports, each support Kent; one illustrated Ralph Edwards, The Dictionary of English Furniture, on a broad stepped and round-ended sledge-type base, joined by a Vol. III, p. 210, figure 3. A comparable example sold, The Peter Gwynn plain stretcher mortised and wedged through each rectangular-section Collection, Sotheby’s, November 2001, lot 23. A 15th/16th century upright, old fire damage to the underside of both the top and stretcher, table board, similar to the Peter Gwynn example, from Prinknash Abbey, 245.5cm wide x 69.5cm deep x 75cm high, (96 1/2in wide x 27in deep x Cranham, Gloucestershire, sold Bonhams Chester, 13 May, 2010, 29 1/2in high) (£14,200). £5,000 - 8,000

777

The Oak Interior | 245 779 A George III elm high dresser, West Somerset, circa 1780-1800 The boarded rack with deep moulded cornice and a pair of shelves, the lower-section with a single-piece top above three edge-moulded drawers, raised on concave front-profiled boarded end-supports, on sledge feet, 163.3cm wide x 37cm deep x 191cm high, (64in wide x 14.5in deep x 75in high) £1,000 - 1,500

Literature: David Knell, English Country Furniture 1500-1900, illustrates several dressers with the distinctive concave boarded-ends, attributed to West Somerset, pages 173 and 174.

780 A George III oak enclosed box stool Having a hinged boarded lid, enclosing a circular aperture and cream glazed chamber pot, a further narrow aperture to the left-hand side, the front with three faux drawers, on shaped bracket feet, 52cm wide x 45cm deep x 45.5cm high, (20in wide x 17 1/2in deep x 17 1/2in high) £500 - 800

781 A George II oak gateleg occasional table, circa 1740 The oval top with single-board drop-leaves, above ogee-shaped end- friezes, raised on turned tapering legs, terminating in pad feet, 101cm wide x 91cm deep x 65cm high, (39 1/2in wide x 35 1/2in deep x 25 1/2in high) £800 - 1,200

782 A 17th century leaded bronze mortar, Whitechapel, London Having an everted rim cast to the underside with a band of decoration comprising a shell, a leaf and a ‘whiplash’ scroll, the same band cast to the waist, on a moulded spreading foot with inset rim, the number ‘24’ 779 deeply etched into the underside, 20.5cm rim diameter x 15.5cm high £300 - 400

The foliate decoration to the rim and waist of this mortar suggest that it originated in Whitechapel, London. Both John Clifton (fl. 1632 - 1640) and Anthony Bartlet (fl. 1640 - 1675) used similar motifs, and John Clifton is known to have run the Bartlet foundry when Thomas Bartlet, Anthony’s father, died in 1632 when the latter was still a minor. The form of this mortar, however, with three moulded reeds above the bulbous foot, most resembles one made by John Clifton in 1632.

See M. Finlay, English Decorated Bronze Mortars & Their Makers (2010), pp. 66 - 70.

783 A brass mortar, probably 18th century With flared moulded rim, and a band of three simple lines to decorate the body, on a spreading moulded circular foot, 14cm diameter x 10.5cm high (5.5in diameter x 4in high), together with an associated brass pestle, of double-ended form, the stem turned as a pair of opposing balusters around two central discoid knops, 21cm long (8in long), (2) 780 £60 - 80

246 | Bonhams 781

782 784 785

784 785 A 17th century leaded bronze mortar, English, Yorkshire A George I leaded bronze mortar, dated 1725, probably by the With everted rim, the body cast with a pair of rounded lug handles, and Ashton Foundry of Wigan, Lancashire a pair of arched plaques filled with fleur de lys and foliate scrolls, above Having a flared line-engraved rim, the body cast with the date ‘1725’, two bands of wire decoration, raised on a slightly bulbous foot, 20cm and the initials ‘RH’ and ‘AH’, with a flared moulded foot, 16.5cm rim diameter x 14cm high diameter x 13cm high £500 - 700 £200 - 300

This mortar could be either by William Oldfield (1599 - 1652), William This mortar has been attributed to the Ashton foundry on the basis of Oldfield Junior (b. c. 1607 - 1666/7) or William Cuerdon (fl. 1652 - the similarity of its lettering, particularly the ‘H’, which has a distinctive 1678). The latter is known to have adopted the former’s foundry badge curve to the bar between the upright strokes. See M. Finlay, English and letter sets. Cuerdon is believed to have worked with Oldfield until Decorated Bronze Mortars and their Makers (2010), pp. 54 - 57. The the latter’s death in 1652, and is then thought to have joined the York Ashton foundry produced a number of mortars bearing initial triads, Foundry working for Abraham Smith. hearts and inscriptions commemorating marriages, and were often marked with the date. The Ashton foundry was active in Wigan in the The shape of the mortar and its handles bear a resemblance to mortars first half of the 18th century. produced by both Oldfield and Cuerdon. The design cast on the body of this mortar is a small section of a larger run cast to the body of a mortar by Cuerdon dated 1672.

See M. Finlay, English Decorated Bronze Mortars & Their Makers (2010), pp. 151 - 153 for Oldfield and Cuerdon mortars; Figure 302 for the mortar with the run of foliate casting, and p. 233, Figure 258 for a more detailed line drawing.

The Oak Interior | 247 786 (detail)

788

786 A late 17th century leaded bronze skillet, South-East England 788 With slightly flared rim, the handle cast with the indented name ‘IOHN A pair of Victorian oak Glastonbury-type chairs THOMAS’, spaced by a four-pointed star, unusually without a handle Typically constructed using pegs, each with a plain back panel, brace, raised on three splayed supports with wrythen collars and hoof downswept shaped arms, the panelled seat raised on X-form supports feet, 16cm diameter x 18cm high to tip of handle joined by a central turned stretcher, 52cm wide x 61cm deep x 91.5cm £250 - 350 high, (20in wide x 24in deep x 36in high) (2) £400 - 600 The name on the handle of this unusual skillet could either be that of the founder or its owner. No skillets by a John Thomas are included in For a discussion of period Glastonbury chairs along with illustrated R. Butler & C. Green, English Bronze Cooking Vessels & their Founders examples see Tobias Jellinek, Early British Chairs and Seats 1500 to 1350 - 1830 (2003). Its proportions and the wrythen collars above its 1700, (2009), pp.117 - 123. The author notes that the generic term hoof feet suggest, however, that it was produced in the South-East of Glastonbury derives from the earliest known example, a late 16th England. century chair at Bishop’s Palace in Wells, Somerset, carved with the Latin inscription, ‘John Arthur, Monk of Glastonbury, may God save 787 him, Praise be to God, Lord give Peace’. Although the chairs form may A leaded bronze skillet, probably mid-18th century, possibly by the indicate otherwise, Glastonbury chairs were never designed to fold. Warner Foundry of London However, the pegged construction did allow for the chair to be easily Of typical form, the handle with a faint indented inscription between a taken apart, if necessary. pair of grooves and supported on a stepped wedge-shaped brace, raised on three splayed supports, 16cm diameter x 12cm high £150 - 200

This skillet has been attributed to the Warner foundry on the basis of the remnants of the inscription to the handle; the letters are much rubbed, but a faint ‘W’, ‘R’ and ‘N’ can be discerned. In addition, the inscription - indented rather than raised - the fact that the wedge beneath the handle has a stepped profile, and the sharply angled leg beneath the handle, are all features found on known Warne skillets.

See R. Butler & C. Green, English Bronze Cooking Vessels & Their Founders 1350 - 1830 (2003), pp. 127 - 8 & 159, for other skillets known to be by, or attributed to, the Warner Foundry.

248 | Bonhams 790

789

789 791 An early 19th century sycamore and pine rent-type table, Tyrolean An early 18th century and later oak side table, English Having a typical sliding sycamore, or possibly maple, boarded top, above The boarded top with moulded-edges, above a frieze drawer and ogee- panelled friezes and a drawer with canted front and rear face, raised cut apron, raised on baluster-turned legs joined by a wavy-cut X-shaped on shaped end-supports, with pegged stretchers and a platform-type stretcher, on bun feet, 78cm wide x 51cm deep x 70.5cm high, (30.5in stretcher, on sledge feet, 136cm wide x 98cm deep x 80cm high, (53 wide x 20in deep x 27.5in high) 1/2in wide x 38 1/2in deep x 31in high) £300 - 400 £400 - 600

790 A Charles I oak coffer, Gloucestershire, circa 1640 With boarded lid, the top-rail carved with scroll-lunettes, above three panels, each panel carved with a prominent leafy-tendril enclosed by an arch, stiff-leaf carving to each upright, the sides carved with a double- heart motif, the front stiles terminating in ball-turned feet, 133.5cm wide x 58.5cm deep x 72.5cm high, (52.5in wide x 23in deep x 28.5in high) £600 - 800

An open armchair, attributed to Gloucestershire, with a 1640 dated cresting rail above a carved back panel similar in design and execution to the large-leaf and arched carved panels found here is illustrated Victor Chinnery, Oak Furniture The British Tradition, (2009), p. 457, figure 4:87.

The Oak Interior | 249 792

250 | Bonhams 792

792 A extremely rare pair of Charles II commemorative oak panel-back His executors were Thomas Mellor of Chapel-le-Frith and William Brock open armchairs, named and dated, Cheshire/Derbyshire of Oldfield in taxal. Peter Legh of Lyme, Esquire - Lyme Park - and John Each back panel finely carved with a highly stylized plant having pairs of Shallcross of Shallcross Esquire, were appointed overseers. lotus and daisy flowers below pointed crescent-shaped leaves, headed by a triple-arcade profiled cresting carved Francis Heathcot 1678, over At the time of writing his will, 12th February 1693/4, he and Ellen were Ellen Heathcot, each christian and surname, together with the date still man and wife. Francis was dead by the end of 1694. contained within a scallop-carved frame, the remaining cresting gauge- carved throughout, the downswept open-arms with incised linear-edge It is possible that Francis and Ellen’s son Rowland Heathcot was the decoration, the boarded seat over lower-edge crenellated and channel- father of Michael Heathcot, who served as Groom of the Pantry and moulded rails, with multiple ring-turned front legs and arm supports, Yeoman of the Mouth (food taster) to King George II. plain stretchers, losses and restorations, 70cm wide x 52cm deep x 111cm high, (27 1/2in wide x 20in deep x 43 1/2in high) (2) Literature: A small selection of furniture branded or carved with the £7,000 - 10,000 owner’s initials or name, is illustrated and discussed, Victor Chinnery, Oak Furniture: The British Tradition, (1993) pp. 57 - 63. The author notes Provenance: Marriage registers show that Francis Heathcot[e] married that items of furniture carved with a full-name and date are mostly Heallen [Ellen] Lowe on 15th May 1678 at St James Church in Taxal, attributed to the North Country and accordingly illustrates two examples Cheshire. Her father’s name was John Lowe, and Francis Heathcot’s of seat furniture, p. 63, figure 2:21. The first is an oak backstool or address is listed as Ringstones. side chair, with a rare box-seat, carved to the back panel ‘Dorothy Garrard 1685’. The lettering ‘font’ used on the backstool shows distinct When the baptism of their daughter Alise was recorded on 5th February similarities to that found here, with the words also contained within a 1680, their address was recorded as ‘Ringstone’. Two more daughters scallop-edged surround. Furthermore, both ‘Dorothy’ and ‘Garrard’ are were baptised in the same church. Anne, on 8th April 1682, and Mary, flanked by a single-flowerhead, highly suggestive of the flower used to on 21st May 1684. ornament the back-ears to one chair. The second illustrated item is a panel-back armchair carved ‘Thomas Kyrke 1680’. The general form and The will of Francis Heathcoat of Taxal, Cheshire, records his occupation design of the ‘Kyrke’ chair is generally similar to that employed here. as Yeoman, and that he owned lands in the parish of Chapel-le-Frith, Notably, the triple cusped-profile to the top of each cresting, together Green Fairfield and Hartington in Derbyshire, the profits of which he with the short downswept scroll-ends; the shape of the ears; the disposed to his daughters Alice, Anne, Mary and Sarah, and to his sons crenellations to the front seat-rail (only the front rail is shown); and the John, Rowland and George. Another daughter, Elizabeth, is mentioned, simplicity of the stretchers compared with the chairs ornate treatment married to ‘my son-in-law Michael Heathcott’. His goods and estates - to most other areas. The multiple ring-turning to the supports on both unfortunately not specifically listed - were to be divided between his wife illustrated chairs, although different, should also be noted. and daughters Alice, Anne, Mary and Sarah.

The Oak Interior | 251 793 A walnut side table In the late 17th century manner Having a rounded rectangular single-piece top above a frieze drawer, raised on peg and baluster-turned legs joined by a wavy X-shaped stretcher centred by a turned finial on a rhombus base, on peg feet, 87.5cm wide x 49.5cm deep x 70.5cm high, (34in wide x 19in deep x 27.5in high) £500 - 700

794 A small early 19th century elm and beech high-back boarded settle, West Country The curved boarded back with narrow canopy embraced by winged-sides descending to erect rounded armrests, with ogee-cut front profile below the single boarded seat, 89.5cm wide x 35cm deep x 120.5cm high, (35in wide x 13.5in deep x 47in high) 794 £800 - 1,200

795 A George III and later oak lowboy Having an associated period boarded top with moulded edges, above two short over one long incised-edged drawers, raised on four turned tapering leg terminating in pad feet, 77.5cm wide x 46cm deep x 71cm high, (30 1/2in wide x 18in deep x 27 1/2in high) £200 - 300

796 A pair of late Victorian repoussé copper plaques, depicting scenes from Shakespeare, by Elkington & Co., after the silver originals by Leonard Morel-Ladeuil (French, 1820 - 1888) The first decorated with the trial scene from The Merchant of Venice, the second with the marriage scene from Much Ado About Nothing, both having an integral shaped rectangular frame topped by a pair of putti holding a bust of Shakespeare, and embossed at each corner with dramatic masks and musical trophies, a banner below bearing the title, the Much Ado plaque stamped ‘ELKINGTON & Co. 1311’, the other apparently unmarked, both plaques mounted on a chamfered oak 793 surround, 76cm wide x 62cm high including oak surrounds, (2) £300 - 500

Leonard Morel-Ladeuil (1820 - 1888) was one of the foremost metalwork artists of the nineteenth century. In 1859 he moved from France to England, where he worked for Elkington & Co. for nearly 30 years. Morel-Ladeuil excelled at figural repoussé work, and his commissions for international exhibitions enhanced his reputation and were integral to raising the profile of Elkington & Co. He received considerable acclaim during his own lifetime, and was awarded the Legion of Honor in 1878.

These plaques are copies of an important series of plaques which took the works of Shakespeare as inspiration. The Merchant of Venice and Much Ado About Nothing plaques were probably inspired by the celebrated Shakespearean productions starring Henry Irving and Miss Ellen Terry. The original silver plaques were exhibited at the Royal Academy in 1885.

796

252 | Bonhams 801 798

797 799 A collection of eight 18th century and later brass and copper snuff An 18th century cast iron chimney crane, with two movements and tobacco boxes, Dutch/English The upper cross-beam terminating in a decorative scroll, the square- To include an octagonal sheet copper box, with white metal riband section upright applied with a curving quadrant bar fitted with ten boss- plaque to lid, 11.5cm wide x 7cm deep, an octagonal cast brass box, form stops to adjust the height of the lever tilter below, the latter fitted with hinged cover and moulded edges, 11.5cm wide x 5.5cm deep x with a curving end issuing a chain and hook, 104cm high, together 3cm high, a sheet brass oval box engraved ‘Th. Duloe’ within a scroll with three 18th century iron and ratchet-type pot hooks, two with cartouche, 10cm wide x 5cm deep, a sheet brass and copper oval box twelve stops, the other with eleven, the latter with scroll terminals, and a engraved ‘C. JOHNS’ to cover, 8cm wide x 4.5cm deep, a Dutch sheet 19th century steel ratchet-type pot hook, the shaft with eleven stops, brass box with rounded ends, engraved with a faint scene, text, the the hanging bar formed from a pair of rods, with loop terminal, (5) initials ‘WAF’ and possibly the date ‘1730’, 15.5cm wide x 7.5cm deep, a £200 - 300 Dutch sheet brass rectangular box with engraved townscape and vacant coat of arms, 11cm wide x 7.5cm deep, a sheet copper and brass shoe- 800 form box, with hinged section to the upper, 9.5cm wide x 4cm deep, A group of domestic copper and a 20th century oval brass box, 7cm wide x 4cm deep, (8) To include an 18th century copper and beech warming pan, the £300 - 500 domed hinged cover with faint traces of punched and engraved floral decoration, with a turned beech handle, 30cm diameter x 105cm long, 798 together with an 18th century copper and fruitwood warming pan, An engraved brass pedestal bowl or chalice having a pan with domed hinged cover, and turned fruitwood handle, 15th/16th century, possibly Veneto-Saracenic ware 31cm diameter x 120cm long, a late Victorian copper haystack Half The bowl of circular slightly tapering form, decorated to the exterior with Gallon ale measure, of typical form, with soldered verification mark a band of quatrefoils and stylised scrolling foliage, the bottom edge of ‘VR’ crowned and ‘30’ to spout, the body etched ‘HALF GALLON’, 20cm the bowl with flared skirt, raised on a tapering ribbed stem and on a high, a 19th century lidded copper canister, the lid with strap handle, spreading circular foot with a conforming band of decoration, bearing a the cylindrical body fitted with an iron carry handle, 17cm diameter x (probably inventory) sticker to underside reading ‘339’, 21cm diameter x 15cm high, and a graduated set of five copper-handled copper 15.5cm high saucepans, each of cylindrical form, with ‘T’-shaped handle attachment, £300 - 500 the largest 27.5cm diameter x 18cm high; the smallest 14.5cm diameter x 11cm high, (9) The engraving on this pedestal bowl is reminiscent of wares known as £100 - 150 Veneto-Saracenic. Venice in the Early Modern period traded and fought extensively with the Turkish and Arab empires which bordered the 801 Mediterranean basin. Venetian merchants brought back to the city goods A Charles II oak coffer that had an immediate influence on local design, and eventually the rest Having a boarded lid, above a triple panelled front, the middle panel of Europe. incised-carved with a saltire, each segment containing circular geometric motifs, flanked to either side by a lozenge and leaf-filled carved panel, P., N. & H. Schiffer, The Brass Book (1978), p. 366, Figure C illustrates a on channel-moulded extended stile supports, 109.5cm wide x 50.5cm very similar brass pedestal bowl with the same flared rim to the bottom deep x 75.5cm high, (43in wide x 19.5in deep x 29.5in high) edge of the exterior of the bowl. It is described as possibly Dutch, and £400 - 600 dated to the 17th century. It is also noted that ‘this chalice is so rare it is hard to evaluate. The design and heavy construction suggest the late 17th century as the manufacturing date.’

The Oak Interior | 253 802 A Queen Anne and later oak bureau Having a cleated fall enclosing a stepped-fitted interior around a central well, with secret-drawers to the front of the well, over two short and two long drawers within a reeded surround, on turned feet, restorations, 85cm wide x 43cm deep x 96cm high, (33in wide x 16 1/2in deep x 37 1/2in high) £300 - 500

803 A walnut and needlework fire screen possibly late 17th/early 18th century The adjustable panel with petit-point needlework depicting a flower- filled classical urn, surmounted by an arched foliate carved cresting, raised on peg-baluster supports, joined by a conforming stretcher, on scroll-profiled downswept supports, 73cm wide x 40cm deep x 136.5cm high, (28 1/2in wide x 15 1/2in deep x 53 1/2in high) £400 - 600

804 A Charles II oak coffer, Westmorland, circa 1680 Having a triple panelled hinged lid, the front with three lozenge-filled carved panels, within channel-moulded and punch-decorated rails, the top-rail carved with a meandering leaf design, 124.5cm wide x 50.5cm deep x 61.5cm high, (49in wide x 19.5in deep x 24in high) £300 - 500

805 803 An elm housekeepers’ cupboard In the 19th century manner Having a pair of arched panelled cupboard doors above a short drawer, centred by three open-shelves beneath an ogee-cut frieze, the lower- section with a pair of panelled cupboard doors flanked to either side by a bank of three graduated cockbeaded drawers, on a plinth base, some period timbers, 198.5cm wide x 55cm deep x 200cm high, (78in wide x 21.5in deep x 78.5in high) £600 - 800

806 A late 17th century style oak panel-back open armchair, Yorkshire, dated Incorporating some period elements Having a characteristic double-scroll carved crest with leafy buds, the back with a leaf scroll-carved panel over a further panel carved with the initials and date W1698M, the scroll-ended downswept open-arms on diminutive turned front supports, the boarded seat with chip-carved edges, raised on ring-turned front legs joined by rectangular-section stretchers, on pear-shaped front feet, 61cm wide x 58cm deep x 129cm high, (24in wide x 22 1/2in deep x 50 1/2in high) £300 - 500

807 British School, circa 1820 Hunting prints - drawing cover, gone to ground, full cry and the kill, possibly after Dean Wolstenholme handcoloured aquatints, a set of four, 25 x 32cm (9 13/16 x 12 5/8in). £300 - 400

808 A pair of 19th century turned yew-wood candlesticks Each having a waisted candle holder with downswept rim, above a turned stem centred by a large acorn knop, raised on a domed circular base, 20cm high, (2) £200 - 300

806

254 | Bonhams 809 A very near pair of 19th century turned laburnum candlesticks Each topped by a flared candlesocket above a pair of turned lines, on a balustroid stem with turned lower collar, raised on a domed and moulded circular base, 34cm high, (2) £400 - 600

810 A pair of early 19th century yew-wood and brass lead-weighted candlesticks Each topped by a knopped and waisted candlesocket, fitted with a removable cast brass nozzle, on a pentagonal faceted and tapering stem above a ball knop, raised on a turned circular base weighted to the 809 underside with a ring of lead, 13cm base diameter x 26.5cm high, (2) £800 - 1,200

811 Two late 18th century spiral candlesticks, English/French The first a steel and walnut spiral candlestick, the stem formed from a piece of coiled steel, terminating to the upper coil in a hook for hanging, the stem fitted with a wrapped iron socket issuing a spiral terminal, raised on a domed and turned walnut base, 8cm diameter x 20cm high, the second an iron and oak candlestick, the stem of coiled iron terminating at the top in a hook, the stem fitted with a wrapped socket with fish-tail shaped handle, raised on a spreading turned and moulded oak base, 9cm diameter x 21.5cm high, (2) £400 - 600

812 An unusual mid- to late 18th century wrought iron and turned pine ‘stable’ or ‘birdcage’ candlestick 810 The stem formed from two wire struts and two curved flat strips of wrought iron, topped by a wrapped loop fitted with a hook for hanging, the traveller formed from a wrapped socket on a curved strap forming two handles, all set into a square sheet iron drip-pan with turned-up edges, on a turned pine base, 8.5cm diameter x 23cm high, together with an 18th century wrought iron and beech sprung candleholder, Continental, the stem formed from an iron strut with faint traces of line decoration, topped by a spike and fitted with a hook for hanging, also issuing an iron loop candleholder, the sprung iron strap fitted with a hook to its inside edge, raised on a simply turned beech base with concave underside, 7.5cm base diameter x 23.5cm high, (2) £300 - 500

811

807 (part)

812

The Oak Interior | 255 815

813 It is thought that whilst the struts or rods of A mid- to late 18th century wrought iron these candlesticks would not prevent a flame and turned beech ‘stable’ or ‘birdcage’ coming into contact with straw and other candlestick, English highly flammable materials, they would have Of typical form, the stem formed from prevented the candle from toppling out of the six struts, topped by a pierced disc with holder, which would have been ‘an invaluable downswept hook for hanging, the adjustable contribution to safety.’ Hence they are candle-holder on a circular pierced disc, with colloquially called ‘stable’ candlesticks. loop side handle, all raised on a turned and waisted circular stained beech base with 814 concave underside, 9cm base diameter x Four pairs of mid-18th century petal-based 24.5cm high candlesticks, English £200 - 300 To include three pairs with slide ejectors, one pair with square bases, the largest pair 23cm For similar examples, see J. Caspall, Fire & Light high; the smallest pair 17cm high, (8) in the Home pre-1820 (2000), p. 162, Figures £200 - 300 813 361 & 362.

816

256 | Bonhams 820

818 815 818 A rare James I oak three-tier buffet, circa 1610-20 A stained and leaded glass window panel, painted with the date Having a carved-arcaded frieze drawer, raised on front parallel-baluster 1560 reeded carved supports and inverted-baluster and reel-turned rear In the upper left corner a saint beside a banner painted with the supports, the middle-frieze delicately carved with an interlaced arched words ‘VENITE BENEDICTI PATRIS MEI’, in the upper right corner three design against a punched-ground, raised on conforming supports, the cephalophores, all above the central scene of the Coronation of the base-rails carved with running-guilloche, 122.5cm wide x 47cm deep x Virgin, beneath a pair of red scrolls, with flanking angels, the three wise 109.5cm high, (48in wide x 18 1/2in deep x 43in high) men and an armoured figure, above a coat of arms topped by a crest of £4,000 - 6,000 a bishop’s mitre and crozier, between a red-painted plinth painted with the date 1560 and the words ‘PETRUS GNADEN GOTZHUS ?O GOTTES The baluster-turned rear supports found here, compared to archetypal ABBTE DES ETTINGEN’, 29cm wide x 41.5cm high rectangular-section uprights, are exceptionally rare. A much later £300 - 500 example, post 1660, with rear turned-supports sold Christie’s, Simon Sainsbury: The creation of an English Arcadia, 18 June 2008, lot 11. 819 A further comparable, but incomplete example, dated to circa 1620, A carved and painted Kovsh, Russian illustrated Ralph Edwards, The Dictionary of English Furniture, (1986) Of traditional form, carved to one end with a rising handle in the form Vol. II, p. 182, figure 8; the author notes ‘the turned rear supports an of a wing, with geometric motifs to its top edge, the other end with a exceptional feature’. rising scroll, traces of red paint throughout, 17.5cm wide x 12.5cm high £300 - 500 Other notable features of this buffet include the ‘contrepartie’ treatment of the turned front column supports, although they initially 820 appear identical, the top pair are reeded, whilst the lower pair fluted. An Elizabeth I/James I carved oak boarded box, circa 1600 Furthermore, the central turning to the top pair has the addition of a The rectangular lid mounted to its edges with mitred mouldings to ribbon-tied and punched decorated ring. simulate a panel, the front and sides carved with stop-fluted nulling, and edged with gauge-carved moulding, bearing an adhesive paper label to 816 interior reading ‘NORWICH CASTLE MUSEUM’ and with inked number A 16th century oak choir-stall section, French ‘119.934.15’, 53.5cm wide x 44.5cm deep x 19.5cm high, (21in wide x With three sections, each with a hinged seat and plain misericord, the 17 1/2in deep x 7 1/2in high) standards with floral-carved and fluted detail, 210cm wide x 51cm deep £600 - 800 x 111cm high, (82 1/2in wide x 20in deep x 43 1/2in high) £1,000 - 1,500 Provenance: Norwich Castle Museum.

A highly similar section, described as English, sold Christie’s, South See Sotheby’s, The Clive Sherwood Collection, 22nd May 2002, Lot Kensington, May 2008, lot 440 (£4,470). 398 for an Elizabethan coffer, circa 1580, with similar applied mitred mouldings to the lid. 817 A Regency tôle peinte and parcel gilt octagonal tray A similar nulled box, with four true panels to the lid, sold Bonhams, The Having a slightly flared rim, pierced to either end with a shaped carry Beedham Collection, 24th May 2012, Lot 87 [£4,375]. handle, and decorated to the interior with stylised leaves in gilt, and to the exterior with gilt lines, the tray decorated with a polychrome A similarly decorated example is illustrated R. Edwards, The Dictionary of depiction of a classical maiden, possibly Andromeda, with two English Furniture (1954), Vol. I, p. 102, fig. 8. attendants on a rocky shore, in an oval reserve with a gilt border of naturalistic flowers and leaves, 70.5cm wide, 49cm deep, 4.5cm high 821 (27.5in wide, 19in deep, 1.5in high) No lot. £150 - 250

The Oak Interior | 257 822 823

826

258 | Bonhams 824

822 A 17th century and later gilt-highlighted and polychrome-painted carved oak armorial cartouche The central convex wooden boss decorated with the late 19th century arms of PORCELLI-CUST with a black canton, and the motto ‘ESSE QUAM VIDERI’, all in an oak surround edged by opposing gadrooned ‘C’ scrolls and with a mask-carved apron, 25.5cm wide x 35cm high, together with an associated carved oak heraldic finial, in the form of the CUST crest, a visored helm and a lion’s head erased, collared paly wavy of six argent and azure, and charged on the neck with a cross crosslet, 24cm high, (2) £300 - 500 824 For similar - polychrome-painted - armorial shields of the 17th century, A rare 15th century and later chestnut and walnut Gothic-carved see Christie’s, The Roger Warner Collection, Lot 17. chest, re-assembled, restorations, Northern French The blind-tracery carved front incorporating coat of arms, fleur-de- The structure of this shield shows the marriage of an unarmigerous man lys, flowerheads and frilly-leaves, the columns ribbed and spiral-fluted to a Miss Cust. The black canton in the top-left corner of the shield carved, the sides also tracery-carved, the fine iron lock plate possibly shows that although the man adopted the name and (through his wife) period, 159.5cm wide x 67cm deep x 87.5cm high, (62.5in wide x 26in estate of Cust, the owner of the shield was not a blood descendant of deep x 34in high) the original grantee of the Cust arms. £1,500 - 2,000

The marriage that would account for this adoption of the name Cust is Helena Hayward, World Furniture, (1973), illustrates a comparable chest that of Lieutenant Colonel Allan Roger Charles Porcelli (d. 1897) who p. 29, pl. 67, noted as being in the collection of The Victoria and Albert married Alice Marian Cust (1845 - 1919), daughter of the Honourable Museum, London. Charles Henry Cust (1813 - 1875) and Caroline Macdonald, on 9th September 1876. On 2nd December 1893 his name was legally changed 825 to Allan Roger Charles Porcelli-Cust by Royal License. The coat of arms An oak livery cupboard on stand on this shield, therefore, can have been painted no earlier than 1893. In the mid-17th century manner Incorporating some 17th/18th century timbers, having a central spindle- 823 filled door, flanked to either side by a plain panel, the stand with front A mid-18th century engraved brass twin-handled loving cup, baluster-turned legs joined by plain stretchers, 127cm wide x 57cm deep English, circa 1740 x 98.5cm high, (50in wide x 22in deep x 38 1/2in high) Of tapering cylindrical form, with moulded rim and decorative moulding £500 - 800 at the waist, engraved with the coat of arms of WESTON of Sutton Place, Surrey [ermine on a chief azure five bezants] impaling another, 826 beneath the Weston crest of a Saracen’s head affronty and filleted, A George II oak press or livery cupboard, English or Welsh, circa between a pair of ‘S’-scroll handles, on a spreading circular foot, 13cm 1750-60 diameter x 16cm high With three fielded panels above a pair of triple fielded panelled £200 - 300 cupboard doors enclosing hanging space, the lower-section with four conforming panels over three short and two long drawers, on extended For three very similar English examples, one with cover, and another with stile supports, 140cm wide x 58cm deep x 190.5cm high, (55in wide x traces of silvering, see R. Gentle & R. Feild, Domestic Metalwork 1640 - 22 1/2in deep x 75in high) 1820 (1994), pp. 278 - 9, Figures 1 - 3. £1,500 - 2,000

The Oak Interior | 259 828

827 A George II oak didarn, Welsh, circa 1730-60 Having a deep plain frieze with elongated tear-drop end-pendants, enclosing a pair of fielded panelled cupboard doors centred by a conforming fixed panel, the lower-section with a pair of fielded panelled cupboard doors, on extended stile supports, restorations, 146cm wide x 58cm deep x 171cm high, (57in wide x 22 1/2in deep x 67in high) £700 - 1,000

828 A rare Elizabeth I carved oak joint stool, seat probably later, circa 1590 The two-piece seat with moulded-edge, each frieze with alternating nulled boss and rhombus carving, on baluster-turned and stop-fluted carved legs, joined by plain stretchers, traces of turned feet, 46.5cm wide x 28cm deep x 55cm high, (18in wide x 11in deep x 21.5in high) £1,200 - 1,800

Provenance: This joint stool is illustrated in Victor Chinnery, Oak Furniture: The British Tradition, (1993), p. 264, figure 3:384, credited as in the collection of Shirley Brown.

Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, (2009), illustrates several Elizabeth I joint stools with fluted carving to the legs, pp. 216 - 220. Comparison can also be made with lot 598 in this sale.

An Elizabeth I oak joint stool with comparable frieze sold The Beedham Collection, Bonhams Chester, May 2012, lot 146, (£4,750). An English stool, dated to 1560-80, also with fluted legs, sold Bonhams Chester, July 2013, lot 344, (£25,000).

829 As the top is made form two pieces, disparate from the universal single board, it is highly likely to have been replaced, although it would appear to have been with the base for some time.

260 | Bonhams 833

829 833 A small oak chest on stand, English, circa 1690-1710 An interesting early 17th century carved oak panel, English, circa With two short over two long graduated and geometric mitre-moulded 1620 drawers, the stand with one long drawer, raised on baluster and vase- attributed to the Beckham Workshop of Salisbury turned legs joined by double-concave shaped stretchers to the front and Carved with a curly-maned lion rampant, his tongue protruding, his sides, on bun feet, 90cm wide x 54.5cm deep x 121cm high, (35in wide tail raised, his left foreleg and right hindleg resting on a scroll-edged x 21in deep x 47 1/2in high) cartouche, against a matted ground, the whole flanked by a pair of stiff £2,000 - 3,000 leaf-carved pilasters, 33.5cm wide x 38cm high £500 - 700 830 A late 15th century carved oak tracery panel, topped by an Whilst this has at one time been hung as a cupboard door (both its associated mid-16th century carved oak Romayne medallion, upper and lower left corners have at one time pivoted on hinges, and English there are traces to the reverse that it was once mounted with a lock), it is Topped by an associated portrait roundel of a woman wearing a French possible that it began life as a panel in the back of a chair. hood and carved with a retroussé or tip-tilted nose, above tracery of four lancet lights beneath floral quatrefoils and moulded ribs, 21cm wide x A chair in the Burrell collection is carved with a slightly more detailed 48.5cm high and crisply-carved example, but the pose of the lion, its tongue, tail, and £200 - 300 the scrolling cartouche which frames it and upon which it rest its legs, are similar enough to suggest that the two panels were produced by the 831 same workshop, if not the same hand. A pair of James I oak and inlaid panels, circa 1620, from an overmantel or a bedhead, in later frames Illustrated V. Chinnery, Oak Furniture: The British Tradition (2002), p. Each sunken panel inlaid with opposing stylised flowers issuing from 451, Figure 4.66 (the lion-carved chair) and Figure 4.65 (the chair with a gadrooned urn, beneath a guilloche-carved arch with leaf and berry integral stiff leaf-carved pilasters). Tobias Jellinek also illustrates the spandrels, in a gauge-carved and punch-decorated surround, both in a former chair. See T. Jellinek, Early British Chairs and Seats 1500 - 1700, later frame with gauge-carved sight and chequer-inlaid border, 50cm p. 73, Plate 55. wide x 59.5cm high including later frames, (2) £1,200 - 1,800 Chinnery attributes the chair with a lion-carved back panel to the workshop of Humphrey Beckham (b. 1588), a joyner of Salisbury, 832 to whom the magnificent Council House chair of 1622 is attributed. A pair of 17th century and later oak panels, Flemish Chinnery attributes a group of chairs to Beckham or his workshop One carved with a lion hunt and showing a lodge to the left, a and notes that ‘the variations in quality which are found throughout huntsman with horn, a rampant lion and dogs against a backdrop of the group indicate that several hands were responsible for their trees, the other carved with a stag hunt in the same landscape, both manufacture...though the similarities are close enough to suggest that framed by later cushion mouldings and with a later egg and dart-carved only one important workshop produced them.’ border, 64cm wide x 30cm high, (2) £250 - 350

The Oak Interior | 261 834

834 835 A good James I oak court cupboard, West Country, circa 1610-20 A Charles II and later oak table, English, circa 1680 Of rare form, having a pair of boarded cupboard doors to the frieze, The rectangular top with thumb-moulded edge, above a later frieze each door carved with a series of arcaded stiff-leaves, raised on inverted drawer, raised on ball-turned legs joined by unusual wavy-profiled baluster-turned end-columns, enclosing a pair of boarded doors carved stretchers, 65cm wide x 44.5cm deep x 71.5cm high, (25 1/2in wide x with a border of entwined-guilloche centred by a leaf-and-berry filled 17 1/2in deep x 28in high) lozenge with conforming spandrels, a fixed stiff-leaf carved panel to the £600 - 800 centre, with similar carved uprights, the lower-section with a boarded door, again ‘tablet’ stiff-leaf carved and with similar decorated fixed panels to either side, the top-rail and stiles carved with conforming guilloche, the base-rail carved with a chain motif, 136.5cm wide x 58.5cm deep x 146cm high, (53 1/2in wide x 23in deep x 57in high) £4,000 - 6,000

The attention to detail regarding the carving, the way it has been laid out and confidently executed should be noted. Furthermore the arrangement of the doors to the frieze, although not unique, is extremely rare. A court cupboard, also with frieze doors carved with arcaded stiff-leaves, sold Bonhams Chester, June 2005, lot 240.

There is a rather charming handwritten note to the rear of one of the rare frieze doors which fittingly reads, ‘Do not alter in anyway. Should be in a museum. Valuable’.

262 | Bonhams 837

836 An early 19th century pine painted cupboard, central European, dated Decorated throughout with stylized flora and geometric panels against a burnt-umber ground, the frieze dated ‘1805’, above a pair of fielded panelled cupboard doors, locking a pair of drawers, above a projecting canted shelf over a single cupboard door, on block feet, 112cm wide x 52cm deep x 200cm high, (44in wide x 20in deep x 78 1/2in high) £600 - 800

837 An early 19th century stained pine high dresser, Welsh Welsh The boarded rack with three shelves and shaped sides, the lower-section with four frieze drawers above a pair of arched cockbeaded aprons, raised on a central pierced baluster-profiled support and conforming baluster silhouette front end-supports enclosing a pot-board, with lathe and panelled sides, 169cm wide x 50.5cm deep x 120cm high, (66.5in wide x 19.5in deep x 47in high) £1,200 - 1,800

835

The Oak Interior | 263 838

838 840 An early 17th century and later oak tester bed, English A mid-17th century trumpet-based brass candlestick, English The tester with twelve flowerhead-filled lozenge carved panels, the The socket with broad flared rim, the stem with two bands of moulded headboard with a scroll-leaf and flowerhead carved and punched- ring decoration, on a trumpet base, 13.5cm high decorated frieze, above a pair of panels each with applied lunette- £800 - 1,200 carved and leaf-spandrel filled arch raised on ionic capital headed stiff-leaf pillars, spaced by strap-work carved uprights, with four plain 841 panels below, the later end-posts in the 16th century manner, joined by A mid-17th century trumpet-based brass candlestick, English rectangular-section rails, the base rail with pierced rope-holes and scroll- The socket with flared rim decorated with a pair of lines, the stem with cut spandrels, 142cm wide x 204.5cm deep x 186cm high, (55 1/2in two bands of moulded ring decoration, on a trumpet base, 12cm high wide x 80 1/2in deep x 73in high) £1,200 - 1,800 £2,000 - 3,000 842 839 A mid-17th century brass Heemskerk candlestick, Dutch A pair of late 20th century brass candlesticks, in the Gothic Having a slightly flared candle-holder with moulded rim and a pair of manner pierced circular extraction holes, on a balustroid and knopped cast stem Each topped by a cylindrical candleholder in a drip pan with a high with dished drip-pan with line decoration to the underside, raised on a gallery pierced with trefoils, on a ‘couched’ stem with a moulded medial domed circular base, 23cm high knop, raised on a domed base with line-moulded edge and three paw £150 - 200 feet, 33.5cm high, (2) £150 - 250

264 | Bonhams 840 841

843 845 A large bronze candlestick, Flemish An oak refectory table, incorporating some early 17th century Drilled in several different places for electricity, fitted with a moulded timbers, English candleholder in a dished drip-pan, raised on a balustroid and knopped Having a rectangular top of four boards, above S-scroll leaf and stem and a triform base with three paw feet, 70cm high flowerhead carved and punched-decorated friezes, with an applied £300 - 500 moulded and leaf-carved edge, raised on four cup-and-cover semi-lobed and stiff-leaf carved legs, linked by plain stretchers, 214cm wide x 87cm 844 deep x 78cm high, (84in wide x 34in deep x 30 1/2in high) Two pairs of mid-18th century brass ejector candlesticks, English £1,000 - 1,500 To include a round-based pair, 16.5cm high, and a petal-based pair, 20cm high, together with a single round-based candlestick, 16.5cm 846 high, and another single round-based candlestick with vase turning at A harlequin set of eight 19th century ash wavy ladder-back dining the base of the stem, 18.5cm high, (6) chairs, North West £200 - 300 Each with five graduated wavy ladder splats between turned uprights, the rush seat raised on ring-headed turned tapering legs joined by a baluster-turned front mid-stretcher, (8) £600 - 800

845

The Oak Interior | 265 847

847 A rare mid-18th century oak dresser, Snowdonia, North Wales, circa 1740-60 The canopy-style boarded rack with spoon-aperture to the frieze, above an open-shelf, flanked by scroll-cut sides, a pair of rectangular fielded panelled cupboard doors below centred by an arched-shaped fielded fixed panel and divided by fluted-columns, the lower-section with three drawers over a pair of rectangular fielded cupboard doors, again centred by an arched-shaped fielded fixed panel, twin-panelled sides, on extended stile supports, 135.5cm wide x 52.5cm deep x 180cm high, (53in wide x 20.5in deep x 70.5in high) £5,000 - 8,000

Cupboards set into the rack are a particularly rare feature found on a small, select group of dressers from North Wales, mostly dating from the first-half of the 18th century. The rack cupboards normally follow the basic design of the lower-section base doors. The arrangement here, with the addition of fluted columns, is particularly rare.

Richard Bebb, Welsh Furniture 1250-1950, (2007) illustrates a high dresser, attributed to Llanbedr, North Wales, with a row of cupboards to the rack, and with a similar base arrangement as found here, Vol. II, p. 5. Further comparable examples are illustrated pages 98 and 99.

266 | Bonhams 848 An early 18th century oak gateleg dining table, English Having an oval drop-leaf top above a single mitre-edged moulded frieze drawer and ogee- shaped aprons, raised on elongated baluster- turned supports, joined by channel-edge moulded rectangular-section stretchers, on turned feet,, 133cm wide, 116cm deep, 71cm in diameter, 71cm high (52in wide, 45 1/2in deep, (27 1/2in in diameter, 27.5in high). £300 - 400

849 An early 19th century carved oak armoire, Normandy The stepped cornice with projecting rounded front corners carved with rows of lappets, leaves and beads, the frieze carved with a flower-filled basket issuing meandering flora, above a pair of cartouche-shaped fielded panelled cupboard doors, each centred by a carved flower-filled basket framed by a beaded oval, with stop-fluted and carved rounded pilasters, the scroll-shaped apron carved with leaf-sprigs descending to cabriole legs, the carved name of Monsieur MCT AUGUSTE to the rear of one door, 166cm wide x 66.5cm deep x 231cm high, (65in wide x 26in deep x 90.5in high) £1,000 - 1,500

850 A Victorian scumble-grained pine and oak box-settle, Welsh, circa 1850 The back with four panels and round-ended uprights, the scroll-ended outsplayed open- arms on baluster ring-turned front supports, the boarded seat hinged to the centre, above three frieze panels, 132cm wide x 52cm deep x 130cm high, (51.5in wide x 20in deep x 51in high) £300 - 500 849

End of sale

850

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If you yourself do not have statement or representation by Bonhams or on its behalf in any before) the day of the Sale. The bidding number system is advance of any bids made by the agent on his behalf. Please • Zero rated for VAT, no VAT will be added to the Hammer we refer to such persons as “Bidders” or “you”. Our List of expertise regarding a Lot, you should consult someone who way descriptive of any Lot or any Estimate is incorporated into sometimes referred to as “paddle bidding”. You will be issued refer to our Conditions of Business and contact our Customer Price or the Buyer’s Premium Definitions and Glossary is incorporated into this Notice to does to advise you. We can assist in arranging facilities for you our Buyer’s Agreement. with a large card (a “paddle”) with a printed number on it. Services Department for further details. a Buyers from within the EU: VAT is payable at the Bidders. It is at Appendix 3 at the back of the Catalogue. to carry out or have carried out more detailed inspections and This will be attributed to you for the purposes of the Sale. prevailing rate on just the Buyer’s Premium (NOT the Where words and phrases are used in this notice which are in tests. Please ask our staff for details. Alterations Should you be a successful Bidder you will need to ensure that 6. CONTRACTS BETWEEN THE BUYER AND SELLER Hammer Price). Buyers from outside the EU: VAT is the List of Definitions, they are printed in italics. Descriptions and Estimates may be amended at Bonhams’ your number can be clearly seen by the Auctioneer and that it AND THE BUYER AND BONHAMS payable at the prevailing rate on both Hammer Price Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in is your number which is identified as the Buyer’s. You should and Buyer’s Premium. If a Buyer, having registered under IMPORTANT: Additional information applicable to the Sale loss caused. writing before or during a Sale. not let anyone else use your paddle as all Lots will be invoiced On the Lot being knocked down to the Buyer, a Contract for a non-EU address, decides that the item is not to be may be set out in the Catalogue for the Sale, in an insert in to the name and address given on your Bidder Registration Sale of the Lot will be entered into between the Seller and exported from the EU, then he should advise Bonhams the Catalogue and/or in a notice displayed at the Sale venue 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST Form. Once an invoice is issued it will not be changed. If there the Buyer on the terms of the Contract for Sale set out in immediately. and you should read them as well. Announcements affecting FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE Contractual Description of a Lot is any doubt as to the Hammer Price of, or whether you are the Appendix 1 at the back of the Catalogue. You will be liable to the Sale may also be given out orally before and during the STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT The Catalogue contains an Entry about each Lot. Each Lot successful Bidder of, a particular Lot, you must draw this to the pay the Purchase Price, which is the Hammer Price plus any In all other instances no VAT will be charged on the Hammer Sale without prior written notice. You should be alert to the EXAMINED ON YOUR BEHALF BEFORE THE SALE. is sold by its respective Seller to the Buyer of the Lot as attention of the Auctioneer before the next Lot is offered for applicable VAT. At the same time, a separate contract is also Price, but VAT at the prevailing rate will be added to Buyer’s possibility of changes and ask in advance of bidding if there corresponding only with that part of the Entry which is Sale. At the end of the Sale, or when you have finished bidding entered into between us as Auctioneers and the Buyer. This Premium which will be invoiced on a VAT inclusive basis. have been any. 4. CONDUCT OF THE SALE printed in bold letters and (except for the colour, which may please return your paddle to the Bidder registration desk. is our Buyer’s Agreement, the terms of which are set out in be inaccurately reproduced) with any photograph of the Lot Appendix 2 at the back of the Catalogue. Please read the terms 9. PAYMENT 1. OUR ROLE Our Sales are public auctions which persons may attend and in the Catalogue. The remainder of the Entry, which is not Bidding by telephone (only available on lots with a of the Contract for Sale and our Buyer’s Agreement contained you should take the opportunity to do so. We do reserve the printed in bold letters, represents Bonhams’ opinion (given on low estimate greater than £400) in the Catalogue in case you are the successful Bidder. We It is of critical importance that you ensure that you have readily In its role as Auctioneer of Lots, Bonhams acts solely for and right at our sole discretion to refuse admission to our premises behalf of the Seller) about the Lot only and is not part of the If you wish to bid at the Sale by telephone, please complete a may change the terms of either or both of these agreements available funds to pay the Purchase Price and the Buyer’s in the interests of the Seller. Bonhams’ job is to sell the Lot at or to any Sale without stating a reason. We have complete Contractual Description in accordance with which the Lot is Telephone Bidding Form, which is available from our offices or in advance of their being entered into, by setting out different Premium (plus VAT and any other charges and Expenses to us) the highest price obtainable at the Sale to a Bidder. Bonhams discretion as to whether the Sale proceeds, whether any Lot is sold by the Seller. in the Catalogue. Please then return it to the office responsible terms in the Catalogue and/or by placing an insert in the in full before making a bid for the Lot. If you are a successful does not act for Buyers or Bidders in this role and does not included in the Sale, the manner in which the Sale is conducted for the Sale at least 24 hours in advance of the Sale. It is your Catalogue and/or by notices at the Sale venue and/or by oral Bidder, payment will be due to us by 4.30 pm on the second give advice to Buyers or Bidders. When it or its staff make and we may offer Lots for Sale in any order we choose Estimates responsibility to check with our Bids Office that your bid has announcements before and during the Sale. You should be working day after the Sale so that all sums are cleared by statements about a Lot or, if Bonhams provides a Condition notwithstanding the numbers given to Lots in the Catalogue. In most cases, an Estimate is printed beside the Entry. Estimates been received. Telephone calls will be recorded. The telephone alert to this possibility of changes and ask if there have been the eighth working day after the Sale. Unless agreed by us in Report on a Lot it is doing that on behalf of the Seller of the You should therefore check the date and starting time of the are only an expression of Bonhams’ opinion made on behalf bidding facility is a discretionary service and may not be any. advance payments made by anyone other than the registered Lot. Bidders and Buyers who are themselves not expert in Sale, whether there have been any withdrawals or late entries. of the Seller of the range where Bonhams thinks the Hammer available in relation to all Lots. We will not be responsible for Buyer will not be accepted. Payment will have to be by one of the Lots are strongly advised to seek and obtain independent Remember that withdrawals and late entries may affect the Price for the Lot is likely to fall; it is not an Estimate of value. bidding on your behalf if you are unavailable at the time of 7. BUYER’S PREMIUM AND OTHER CHARGES the following methods (all cheques should be made payable to advice on the Lots and their value before bidding for them. time at which a Lot you are interested in is put up for Sale. We It does not take into account any VAT or Buyer’s Premium the Sale or if the telephone connection is interrupted during PAYABLE BY THE BUYER Bonhams 1793 Limited). Bonhams reserves the right to vary the The Seller has authorised Bonhams to sell the Lot as its agent have complete discretion to refuse any bid, to nominate any payable. Lots can in fact sell for Hammer Prices below and bidding. Please contact us for further details. terms of payment at any time. on its behalf and, save where we expressly make it clear to bidding increment we consider appropriate, to divide any Lot, above the Estimate. Any Estimate should not be relied on as an Under the Buyer’s Agreement, a premium (the Buyer’s the contrary, Bonhams acts only as agent for the Seller. Any to combine two or more Lots, to withdraw any Lot from a Sale indication of the actual selling price or value of a Lot. Estimates Bidding by post or fax Premium) is payable to us by the Buyer in accordance with the Sterling personal cheque drawn on a UK branch of a bank statement or representation we make in respect of a Lot is and, before the Sale has been closed, to put up any Lot for are in the currency of the Sale. Absentee Bidding Forms can be found in the back of this terms of the Buyer’s Agreement and at rates set out below, or building society: all cheques must be cleared before you made on the Seller’s behalf and, unless Bonhams sells a Lot auction again. Auction speeds can exceed 100 Lots to the hour Catalogue and should be completed and sent to the office calculated by reference to the Hammer Price and payable in can collect your purchases; as principal, not on our behalf and any Contract for Sale is and bidding increments are generally about 10%. However Condition Reports responsible for the Sale. It is in your interests to return your addition to it. Storage charges and Expenses are also payable between the Buyer and the Seller and not with us. If Bonhams these do vary from Sale to Sale and from Auctioneer to In respect of most Lots, you may ask for a Condition Report on form as soon as possible, as if two or more Bidders submit by the Buyer as set out in the Buyer’s Agreement. All the sums Bankers draft/building society cheque: if you can provide sells a Lot as principal this will either be stated in the Catalogue Auctioneer. Please check with the department organising the its physical condition from Bonhams. If you do so, this will be identical bids for a Lot, the first bid received takes preference. payable to us by the Buyer are subject to VAT. For this Sale the suitable proof of identity and we are satisfied as to the or an announcement to that effect will be made by the Sale for advice on this. Where a Reserve has been applied to a provided by Bonhams on behalf of the Seller free of charge. In any event, all bids should be received at least 24 hours following rates of Buyer’s Premium will be payable by Buyers genuineness of the draft or cheque, we will allow you to collect Auctioneer, or it will be stated in a notice at the Sale or an Lot, the Auctioneer may, in his absolute discretion, place bids Bonhams is not entering into a contract with you in respect before the start of the Sale. Please check your Absentee of Lots: your purchases immediately; insert in the Catalogue. (up to an amount not equalling or exceeding such Reserve) on of the Condition Report and accordingly does not assume Bidding Form carefully before returning it to us, fully completed behalf of the Seller. We are not responsible to you in respect of 25% up to £50,000 of the Hammer Price responsibility to you in respect of it. Nor does the Seller owe or and signed by you. It is your responsibility to check with our Cash: you may pay for Lots purchased by you at this Sale with Bonhams does not owe or undertake or agree to any duty the presence or absence of any Reserve in respect of any Lot. If 20% from £50,001 to £1,000,000 of the Hammer Price agree to owe you as a Bidder any obligation or duty in respect Bids Office that your bid has been received. This additional notes, coins or travellers cheques in the currency in which or responsibility to you in contract or tort (whether direct, there is a Reserve it will normally be no higher than the lower 12% from £1,000,001 of the Hammer Price of this free report about a Lot, which is available for your own service is complimentary and is confidential. Such bids are the Sale is conducted (but not any other currency) provided collateral, express, implied or otherwise). If you successfully bid figure for any Estimate in the Catalogue, assuming that the inspection or for inspection by an expert instructed by you. made at your own risk and we cannot accept liability for our that the total amount payable by you in respect of all Lots for a Lot and buy it, at that stage Bonhams does enter into an currency of the Reserve has not fluctuated adversely against On certain Lots, which will be marked “AR” in the Catalogue However, any written Description of the physical condition of failure to receive and/or place any such bids. All bids made purchased by you at the Sale does not exceed £3,000, or the agreement with the Buyer. The terms of that contract are set the currency of the Estimate. The Buyer will be the Bidder who and which are sold for a Hammer Price of €1,000 or greater the Lot contained in a Condition Report will form part of the on your behalf will be made at the lowest level possible equivalent in the currency in which the Sale is conducted, at out in our Buyer’s Agreement, which you will find at Appendix makes the highest bid acceptable to the Auctioneer for any Lot (converted into the currency of the Sale using the European Contractual Description of the Lot under which it is sold to subject to Reserves and other bids made for the Lot. Where the time when payment is made. If the amount payable by you 2 at the back of the Catalogue. This will govern Bonhams’ (subject to any applicable Reserve) to whom the Lot is knocked Central Bank Reference rate prevailing on the date of the Sale), any Buyer. appropriate your bids will be rounded down to the nearest for Lots exceeds that sum, the balance must be paid otherwise relationship with the Buyer. down by the Auctioneer at the fall of the Auctioneer’s hammer. the Additional Premium will be payable to us by the Buyer to amount consistent with the Auctioneer’s bidding increments. than in coins, notes or travellers cheques; Any dispute as to the highest acceptable bid will be settled by cover our Expenses relating to the payment of royalties under The Seller’s responsibility to you New Bidders must also provide proof of identity and address 2. LOTS the Auctioneer in his absolute discretion. All bids tendered will the Artists Resale Right Regulations 2006. The Additional The Seller does not make or agree to make any representation when submitting bids. Failure to do this will result in your bid Sterling travellers cheques: you may pay for Lots purchased relate to the actual Lot number announced by the Auctioneer. Premium will be a percentage of the amount of the Hammer of fact or contractual promise, Guarantee or warranty and not being placed. by you at this Sale with travellers cheques, provided the total Subject to the Contractual Description printed in bold letters An electronic currency converter may be used at the Sale. This Price calculated in accordance with the table below, and shall undertakes no obligation or duty, whether in contract or in amount payable by you in respect of all Lots purchased by you in the Entry about the Lot in the Catalogue (see paragraph 3 equipment is provided as a general guide as to the equivalent not exceed €12,500 (converted into the currency of the Sale tort (other than to the eventual Buyer as set out above), in Bidding via the internet at the Sale does not exceed £3,000. We will need to see your below), Lots are sold to the Buyer on an “as is” basis, with amount in certain currencies of a given bid. We do not accept using the European Central Bank Reference rate prevailing on respect of the accuracy or completeness of any statement Please visit our Website at http://www.bonhams.com for passport if you wish to pay using travellers cheques; all faults and imperfections. Illustrations and photographs any responsibility for any errors which may occur in the use of the date of the Sale). or representation made by him or on his behalf, which is in details of how to bid via the internet. contained in the Catalogue (other than photographs forming the currency converter. We may use video cameras to record any way descriptive of any Lot or as to the anticipated or Hammer Price Percentage amount Bank transfer: you may electronically transfer funds to our part of the Contractual Description) or elsewhere of any Lots the Sale and may record telephone calls for reasons of security likely selling price of any Lot. Other than as set out above, Bidding through an agent From €0 to €50,000 4% Trust Account. If you do so, please quote your paddle number are for identification purposes only. They may not reveal the and to assist in solving any disputes which may arise in relation no statement or representation in any way descriptive of a Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details true condition of the Lot. A photograph or illustration may not to bids made at the Sale. At some Sales, for example, jewellery Lot or any Estimate is incorporated into any Contract for Sale as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows: reflect an accurate reproduction of the colour(s) of the Lot. Lots Sales, we may use screens on which images of the Lots will be between a Seller and a Buyer. to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5% are available for inspection prior to the Sale and it is for you to projected. This service is provided to assist viewing at the Sale. Bank: National Westminster Bank Plc require written confirmation from the principal confirming Exceeding €500,000 0.25% satisfy yourself as to each and every aspect of a Lot, including The image on the screen should be treated as an indication Address: PO Box 4RY Bonhams’ responsibility to you the agent’s authority to bid. Nevertheless, as the Bidding its authorship, attribution, condition, provenance, history, only of the current Lot. It should be noted that all bids 250 Regent Street You have the opportunity of examining the Lot if you want to Form explains, any person placing a bid as agent on behalf 8. VAT background, authenticity, style, period, age, suitability, quality, tendered will relate to the actual Lot number announced by London W1A 4RY and the Contract for Sale for a Lot is with the Seller and not of another (whether or not he has disclosed that fact or the roadworthiness (if relevant), origin, value and estimated selling the Auctioneer. We do not accept any responsibility for any Account Name: Bonhams 1793 Limited Trust Account with Bonhams; Bonhams acts as the Seller’s agent only (unless identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%, price (including the Hammer Price). It is your responsibility errors which may occur in the use of the screen. Account Number: 25563009 Bonhams sells the Lot as principal). the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable to examine any Lot in which you are interested. It should be Sort Code: 56-00-27 resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale. remembered that the actual condition of a Lot may not be as 5. BIDDING IBAN Number: GB 33 NWBK 560027 25563009 Bonhams undertakes no obligation to you to examine, please let us know if you are acting on behalf of another good as that indicated by its outward appearance. In particular, investigate or carry out any tests, either in sufficient depth or person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on parts may have been replaced or renewed and Lots may not We do not accept bids from any person who has not If paying by bank transfer, the amount received after the at all, on each Lot to establish the accuracy or otherwise of any the Hammer Price and Buyer’s Premium: be authentic or of satisfactory quality; the inside of a Lot may completed and delivered to us one of our Bidding Forms, deduction of any bank fees and/or conversion of the currency Descriptions or opinions given by Bonhams, or by any person Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s not be visible and may not be original or may be damaged, either our Bidder Registration Form, Absentee Bidding Form of payment to pounds sterling must not be less than the on Bonhams’ behalf, whether in the Catalogue or elsewhere. person to bid on your behalf at the Sale unless this is to be Premium as for example where it is covered by upholstery or material. or Telephone Bidding Form. You will be asked for proof of sterling amount payable, as set out on the invoice. carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer Given the age of many Lots they may have been damaged and/ identity, residence and references, which, when asked for, you You should not suppose that such examinations, investigations Form that you have completed. If we do not approve the Price and Buyer’s Premium or repaired and you should not assume that a Lot is in good must supply if your bids are to be accepted by us. Please bring Debit cards: there is no additional charge for purchases made or tests have occurred. agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on condition. Electronic or mechanical parts may not operate your passport, driving licence (or similar photographic proof with personal debit cards, issued by a UK bank. Debit cards to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium or may not comply with current statutory requirements. You of identity) and proof of address. We may request a deposit issued by an overseas bank, deferred and company debit cards Bonhams does not make or agree to make any representation own behalf. Accordingly, the person bidding at the Sale will should not assume that electrical items designed to operate from you before allowing you to bid. We may refuse entry and all credit cards will be subject to a 2% surcharge; of fact, and undertakes no obligation or duty (whether in be the Buyer and will be liable to pay the Hammer Price and on mains electricity will be suitable for connection to the to a Sale to any person even if that person has completed a contract or tort) in respect of the accuracy or completeness Buyer’s Premium and associated charges. If we approve the mains electricity supply and you should obtain a report from Bidding Form. of any statement or representation made by Bonhams or on

NTB/MAIN/09.13/V2 NTB/MAIN/09.13/V2 The Oak Interior | 269 Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping 2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate. our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers 10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records. payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / 11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed. rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence. be aware that the importation of watches such as Rolex, Frank 13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or Please be aware that all Lots marked with the symbol Y are imported personally. import licence. subject to CITES regulations when exporting these items outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 be requested from: Authority or import licence. Proof of Firearms Animal Health and Veterinary Laboratories Agency (AHVLA) The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for Wildlife Licencing been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition Floor 1, Zone 17, Temple Quay House (a) it was deemed of interest and not intended for use, or (b) is held. 2 The Square, Temple Quay ammunition was not available. In either case, the firearm must BRISTOL BS1 6EB be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. Tel: +44 (0) 117 372 8774 Firearms proved for Black Powder should not be used with smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY Department should you have any queries. The term “Certificate of Unprovability” indicates that a firearm Other than any liability of the Seller to the Buyer of a Lot has been examined at a Proof House and is deemed both Taxidermy and Related Items under the Contract for Sale, neither we nor the Seller are unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply liable (whether in negligence or otherwise) for any error or such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to misdescription or omission in any Description of a Lot or any inform themselves of all such regulations and should expect Estimate in respect of it, whether contained in the Catalogue Guns Sold as Parts the exportation of items to take some time to arrange. or otherwise, whether given orally or in writing and whether Barrels of guns sold as parts will only be made available for given before or during the Sale. Neither we nor the Seller will sleeving and measurements once rendered unserviceable 18. FURNITURE be liable for any loss of Business, profits, revenue or income, or according to the Gun Barrel Proof Act of 1968 to 1978 and the for loss of reputation, or for disruption to Business or wasted Rules of Proof. Upholstered Furniture time on the part of management or staff, or for indirect losses Whilst we take every care in cataloguing furniture which has or consequential damages of any kind, irrespective in any Condition of Firearms been upholstered we offer no Guarantee as to the originality case of the nature, volume or source of the loss or damage Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or

NTB/MAIN/09.13/V2 270 | Bonhams Union Pay cards: these are now accepted at our Knightsbridge any Description or Estimate made of any Lot, or the conduct modern firearms specialist. All prospective Bidders are advised 19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE and New Bond Street offices, when presented in person by the of any Sale in relation to any Lot, whether in damages, for an to consult the ˚ of bore and wall-thickness measurements further date is given, this indicates that the photographic ˜ Ruby and Jadeite card holder. These cards are subject to a 2% surcharge. indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may Ruby and jadeite gemstones of Burmese (Myanmar) origin otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there in the Lot Description). A vintage photograph is one which not be available for immediate collection. may not be imported into the US. Rubies and jadeite of Credit cards: Visa and Mastercard only. Please note there is a we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping was made within approximately 5-10 years of the negative. non–Burmese origin require certification before import 2% surcharge on the total invoice value when payments are sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should Where a second, later date appears, this refers to the date Examining the wines into the US and it is the Buyer’s responsibility to obtain all made using credit cards. It may be advisable to notify your card of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for relevant and required export/import licences, certificates provider of your intended purchase in advance to reduce delays nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to and documentation before shipping. Failure by the Buyer to caused by us having to seek authority when you come to pay. If suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. Description. more recent and everyday drinking wines. Please contact the successfully import goods into the US does not constitute you have any questions with regard to payment, please contact the liability arises from any negligence, other tort, breach All measurements are approximate. • Unless otherwise specified, dimensions given are those of department for details. grounds for non payment or cancellation of Sale. Bonhams our Customer Services Department. of contract (if any) or statutory duty or otherwise. Nothing the piece of paper on which the image is printed, including will not be responsible for any additional costs in this regard set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case howsoever incurred. 10. COLLECTION AND STORAGE (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers • All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue Gemstones The Buyer of a Lot will not be allowed to collect it until or (ii) death or personal injury caused by our negligence (or by who hold their original records. Description. where necessary. You should make proper allowance for Historically many gemstones have been subjected to a variety payment in full and in cleared funds has been made (unless the negligence of any person under our control or for whom variations in ullage levels and conditions of corks, capsules of treatments to enhance their appearance. Sapphires and we have made a special arrangement with the Buyer). For we are legally responsible), or (iii) acts or omissions for which Licensing Requirements 21. PICTURES and labels. rubies are routinely heat treated to improve their colour and collection and removal of purchased Lots, please refer to Sale we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms Information at the front of the Catalogue. Our offices are any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would Corks and Ullages resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following open 9.00am – 5pm Monday to Friday. Details relating to or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to Ullage refers to the space between the base of the cork and irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to the collection of a Lot, the storage of a Lot and our Storage paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is the wine. Ullage levels for Bordeaux shaped bottles are only These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale: Contractor after the Sale are set out in the Catalogue. and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms normally noted when below the neck and for Burgundy, special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist. of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / Alsace, German and Cognac shaped bottles when greater than appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of 11. SHIPPING substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence 4 centimetres (cm). Acceptable ullage levels increase with age; that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether (or details of any exemption from which you may benefit, for generally acceptable levels are as follows: A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion Please refer all enquiries to our shipping department on: 15. BOOKS instance Crown servant status) for the firearm(s) you have detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 purchased prior to taking full payment of the amount shown consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially that Bonhams has been given or has obtained certificates expressed than in the preceding category; 12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between in the circumstances set out in paragraph 11 of the Buyers 5% payable on presentation of your valid certificate or licence the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept import regulations relating to your purchases and also to obtain unframed maps and bound manuscripts are not liable to VAT for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of any relevant export and/or import licence(s). Export licences are on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility issued by Arts Council England and application forms can be produce the correct paperwork, the Lot(s) will be reoffered by Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after obtained from its Export Licensing Unit. The detailed provisions 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point. of the export licencing arrangements can be found on the ACE Sellers, and you will be responsible for any loss incurred by liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a website http://www.artscouncil.org.uk/what-we-do/supporting- All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels museums/cultural-property/export-controls/export-licensing/ to the condition of a clock or watch does not imply that contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine, or by phoning ACE on +44 (0)20 7973 5188. The need for the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has import licences varies from country to country and you should restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the acquaint yourself with all relevant local requirements and the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the provisions. The refusal of any import or export licence(s) or parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore, any delay in obtaining such licence(s) shall not permit the no representation or warranty that any clock or watch is in or changed. to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel. rescission of any Sale nor allow any delay in making full working order. As clocks and watches often contain fine and stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand payment for the Lot. Generally, please contact our shipping complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms the stated weight is a statement of our opinion only. This of the artist; Wines in Bond department before the Sale if you require assistance in service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the relation to export regulations. Buyer is solely responsible, may be necessary. Bidders should import licence. themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless be aware that the importation of watches such as Rolex, Frank been added by another hand. the wines are to remain under Bond. Buyers requiring their 13. CITES REGULATIONS Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms Signatures wine to remain in Bond must notify Bonhams at the time of These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or 1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty, Please be aware that all Lots marked with the symbol Y are imported personally. import licence. When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon. subject to CITES regulations when exporting these items opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks outside the EU. These regulations may be found at 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are For your guidance, in our Catalogues we detail, as far as of the Sale. http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or may CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and be requested from: Authority or import licence. Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding Proof of Firearms Animal Health and Veterinary Laboratories Agency (AHVLA) may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for Wildlife Licencing have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond. been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition Floor 1, Zone 17, Temple Quay House have not been mentioned. Bidders should satisfy themselves (a) it was deemed of interest and not intended for use, or (b) is held. 2 The Square, Temple Quay 3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms ammunition was not available. In either case, the firearm must BRISTOL BS1 6EB Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. Tel: +44 (0) 117 372 8774 using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings: Firearms proved for Black Powder should not be used with repolished, in our Catalogues reference is only made to visible CB – Château bottled smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY 20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled Department should you have any queries. or otherwise. EstB – Estate bottled The term “Certificate of Unprovability” indicates that a firearm Explanation of Catalogue Terms Other than any liability of the Seller to the Buyer of a Lot BB – Bordeaux bottled has been examined at a Proof House and is deemed both Taxidermy and Related Items • “Bill Brandt”: in our opinion a work by the artist. under the Contract for Sale, neither we nor the Seller are 23. VEHICLES BE – Belgian bottled unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply • “Attributed to Bill Brandt”: in our opinion probably a work liable (whether in negligence or otherwise) for any error or FB – French bottled such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to by the artist, but less certainty to authorship is expressed misdescription or omission in any Description of a Lot or any The Veteran Car Club of Great Britain GB – German bottled inform themselves of all such regulations and should expect than in the preceding category. Estimate in respect of it, whether contained in the Catalogue OB – Oporto bottled Guns Sold as Parts the exportation of items to take some time to arrange. • “Signed and/or titled and/or dated and/or inscribed”: in or otherwise, whether given orally or in writing and whether Dating Plates and Certificates UK – United Kingdom bottled Barrels of guns sold as parts will only be made available for our opinion the signature and/or title and/or date and/or given before or during the Sale. Neither we nor the Seller will When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case sleeving and measurements once rendered unserviceable 18. FURNITURE inscription are in the artist’s hand. be liable for any loss of Business, profits, revenue or income, or Dating Certificate in this Catalogue, it should be borne in mind iwc – individual wooden case according to the Gun Barrel Proof Act of 1968 to 1978 and the • “Signed and/or titled and/or dated and/or inscribed in for loss of reputation, or for disruption to Business or wasted that the Veteran Car Club of Great Britain using the services of oc – original carton Rules of Proof. Upholstered Furniture another hand”: in our opinion the signature and/or title time on the part of management or staff, or for indirect losses Veteran Car Company Ltd, does from time to time, review cars Whilst we take every care in cataloguing furniture which has and/or date and/or inscription have been added by or consequential damages of any kind, irrespective in any already dated and, in some instances, where fresh evidence Condition of Firearms been upholstered we offer no Guarantee as to the originality another hand. case of the nature, volume or source of the loss or damage becomes available, the review can result in an alteration of date. Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said Whilst the Club and Veteran Car Company Ltd make every exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any effort to ensure accuracy, the date shown on the Dating Plate or the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Dating Certificate cannot be guaranteed as correct and intending Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances purchasers should make their own enquiries as to the date of is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or the car.

NTB/MAIN/09.13/V2 NTB/MAIN/09.13/V2 The Oak Interior | 271 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose. Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. otherwise have an economic interest. import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) 6 PAYMENT •, †, *, G, Ω, a see clause 8, VAT, for details. been paid and, so far as the Seller is aware, all third parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when DATA PROTECTION – USE OF YOUR INFORMATION the past; the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. Where we obtain any personal information about you, we shall 2.1.5 subject to any alterations expressly identified as such only use it in accordance with the terms of our Privacy Policy made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment (subject to any additional specific consent(s) you may have or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by given at the time your information was disclosed). A copy of Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you our Privacy Policy can be found on our Website www.bonhams. Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case com or requested by post from Customer Services Department, about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), 101 New Bond Street, London, W1S 1SR or by email from letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in [email protected] of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by any Condition Report which has been provided to not later than 4.30pm on the second working day APPENDIX 1 the Buyer. following the Sale and you must ensure that the funds are cleared by the seventh working day after CONTRACT FOR SALE 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless IMPORTANT: These terms may be changed in advance of the 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If Sale of the Lot to you, by the setting out of different terms in Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this the Catalogue for the Sale and/or by placing an insert in the sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in Catalogue and/or by notices at the Sale venue and/or by oral the Catalogue which is not printed in bold letters, paragraph 8 below. announcements before and during the Sale at the Sale venue. which merely sets out (on the Seller’s behalf) You should be alert to this possibility of changes and ask in Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT advance of bidding if there have been any. part of the Contractual Description upon which the Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by Under this contract the Seller’s liability in respect of the quality than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your of the Lot, it’s fitness for any purpose and its conformity with 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds any Description is limited. You are strongly advised to examine as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other the Lot for yourself and/or obtain an independent examination Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. of it before you buy it. writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you 1 THE CONTRACT by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ 1.1 These terms govern the Contract for Sale of the Lot of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared by the Seller to the Buyer. sold. funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot. 1.2 The Definitions and Glossary contained in Appendix 3 3.2 Except as provided in paragraph 2.1.5, the Seller in the Catalogue are incorporated into this Contract does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own for Sale and a separate copy can also be provided or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or by Bonhams on request. Where words and phrases obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance are used which are in the List of Definitions, they are of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. printed in italics. any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling 1.3 The Seller sells the Lot as the principal to the Description or Estimate which may have been made and transport of the Lot on collection and for Contract for Sale, such contract being made between by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in the Seller and you through Bonhams which acts in No such Description or Estimate is incorporated into connection with the Lot. the sole capacity as the Seller’s agent and not as this Contract for Sale. an additional principal. However, if the Catalogue 7.5 You will be wholly responsible for any removal, states that Bonhams sells the Lot as principal, or such 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred a statement is made by an announcement by the QUALITY by the Seller if you do not remove the Lot in Auctioneer, or by a notice at the Sale, or an insert accordance with this paragraph 7 and will in the Catalogue, then Bonhams is the Seller for the 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, purposes of this agreement. to make any contractual promise, undertaking, including any legal costs and fees, Expenses and obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your 1.4 The contract is made on the fall of the Auctioneer’s fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges hammer in respect of the Lot when it is knocked its fitness for any purpose. due under any Storage Contract. All such sums down to you. due to the Seller will be payable on demand.

NTB/MAIN/09.13/V2 272 | Bonhams SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any 8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented undertaking, whether implied by the Sale of Goods from performing that party’s respective obligations THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality 8.1 If the Purchase Price for a Lot is not paid to Bonhams 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond of the Lot or its fitness for any purpose. in full in accordance with the Contract for Sale damage caused by the Lot after the fall of the its reasonable control or if performance of its Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE agreement of Bonhams but without further notice to give rise to a significantly increased financial W Objects displayed with a w will be located in the you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked (whether through Bonhams or otherwise): of the express undertaking provided in paragraph circumstances prevail, be required to perform such collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s 2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not 8.1.1 to terminate immediately the Contract for Sale of the of any term that the Lot will correspond with any obligations imposed on you by paragraph 6. jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to Lot for your breach of contract; Description applied to it by or on behalf of the Seller, not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) 8.1.2 to resell the Lot by auction, private treaty or any otherwise. under the Contract for Sale must be in writing US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the other means on giving seven days’ written notice to and may be delivered by hand or sent by first class Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, you of the intention to resell; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the 8.1.3 to retain possession of the Lot; in the Catalogue (marked for the attention of the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until 9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. 8.1.4 to remove and store the Lot at your expense; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the 8.1.5 to take legal proceedings against you for any sum or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums due under the Contract for Sale and/or damages for or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot breach of contract; any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period. loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared in relation to the Lot made by or on behalf of ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. 8.1.6 to be paid interest on any monies due (after as well the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract otherwise have an economic interest. import of the Lot have (unless stated to the contrary as before judgement or order) at the annual rate the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such in the Catalogue or announced by the Auctioneer) 6 PAYMENT of 5% per annum above the base rate of National conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the •, †, *, G, Ω, a see clause 8, VAT, for details. been paid and, so far as the Seller is aware, all third Westminster Bank Plc from time to time to be after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when calculated on a daily basis from the date upon which the remainder of the relevant term. DATA PROTECTION – USE OF YOUR INFORMATION the past; the Lot is knocked down to you on the fall of the such monies become payable until the date of actual 9.3.2 the Seller will not be liable for any loss of Business, Auctioneer’s hammer in respect of the Lot. payment; Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will, Where we obtain any personal information about you, we shall 2.1.5 subject to any alterations expressly identified as such reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’ only use it in accordance with the terms of our Privacy Policy made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment 8.1.7 to repossess the Lot (or any part thereof) which has time on the part of the Buyer or of the Buyer’s officers, employees and agents. (subject to any additional specific consent(s) you may have or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by not become your property, and for this purpose management or staff or, for any indirect losses or given at the time your information was disclosed). A copy of Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you (unless the Buyer buys the Lot as a Consumer from consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale our Privacy Policy can be found on our Website www.bonhams. Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case the Seller selling in the course of a Business) you any case of the nature, volume or source of the loss are for convenience only and will not affect its com or requested by post from Customer Services Department, about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), hereby grant an irrevocable licence to the Seller by or damage alleged to be suffered, and irrespective interpretation. 101 New Bond Street, London, W1S 1SR or by email from letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in himself and to his servants or agents to enter upon of whether the said loss or damage is caused by [email protected] of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by all or any of your premises (with or without vehicles) or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means any Condition Report which has been provided to not later than 4.30pm on the second working day during normal Business hours to take possession of breach of contract, statutory duty, restitutionary “including, without limitation”. APPENDIX 1 the Buyer. following the Sale and you must ensure that the the Lot or part thereof; claim or otherwise; funds are cleared by the seventh working day after 10.9 References to the singular will include reference to CONTRACT FOR SALE 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one 8.1.8 to retain possession of any other property sold to you 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one of the methods stated in the Notice to Bidders unless by the Seller at the Sale or any other auction or by in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders. IMPORTANT: These terms may be changed in advance of the 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If private treaty until all sums due under the Contract or representation in respect of it, or this agreement Sale of the Lot to you, by the setting out of different terms in Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this for Sale shall have been paid in full in cleared funds; or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a the Catalogue for the Sale and/or by placing an insert in the sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale. Catalogue and/or by notices at the Sale venue and/or by oral the Catalogue which is not printed in bold letters, paragraph 8 below. 8.1.9 to retain possession of, and on three months’ written remedy or in any way whatsoever, the Seller’s liability announcements before and during the Sale at the Sale venue. which merely sets out (on the Seller’s behalf) notice to sell, Without Reserve, any of your other will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12 You should be alert to this possibility of changes and ask in Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT property in the possession of the Seller and/or of exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports advance of bidding if there have been any. part of the Contractual Description upon which the Bonhams (as bailee for the Seller) for any purpose Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by (including, without limitation, other goods sold to the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the Under this contract the Seller’s liability in respect of the quality than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your you) and to apply any monies due to you as a result alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale. of the Lot, it’s fitness for any purpose and its conformity with 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds of such Sale in satisfaction or part satisfaction of any irrespective of whether the liability arises from any any Description is limited. You are strongly advised to examine as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other amounts owed to the Seller or to Bonhams; and negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity the Lot for yourself and/or obtain an independent examination Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the of it before you buy it. writing, including in the Catalogue or on Bonhams’ 8.1.10 so long as such goods remain in the possession of responsibility and/or liability of the Seller, it will also Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you the Seller or Bonhams as its bailee, to rescind the 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit ofBonhams, 1 THE CONTRACT by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or contract for the Sale of any other goods sold to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ you by the Seller at the Sale or at any other auction directly or indirectly) any person’s liability or excluding of such holding company and the successors and 1.1 These terms govern the Contract for Sale of the Lot of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared or by private treaty and apply any monies received or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of by the Seller to the Buyer. sold. funds of the Purchase Price and all other sums due to from you in respect of such goods in part or full respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and the Seller and/or Bonhams in respect of the Lot. satisfaction of any amounts owed to the Seller or to caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to 1.2 The Definitions and Glossary contained in Appendix 3 3.2 Except as provided in paragraph 2.1.5, the Seller Bonhams by you. under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or in the Catalogue are incorporated into this Contract does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts for Sale and a separate copy can also be provided or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or 8.2 You agree to indemnify the Seller against all legal the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the by Bonhams on request. Where words and phrases obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance and other costs of enforcement, all losses and other 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who are used which are in the List of Definitions, they are of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. Expenses and costs (including any monies payable may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law. printed in italics. any Description of the Lot or any Estimate in relation to Bonhams in order to obtain the release of the to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling Lot) incurred by the Seller (whether or not court 10 MISCELLANEOUS 11 GOVERNING LAW 1.3 The Seller sells the Lot as the principal to the Description or Estimate which may have been made and transport of the Lot on collection and for proceedings will have been issued) as a result of Contract for Sale, such contract being made between by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in Bonhams taking steps under this paragraph 8 on a 10.1 You may not assign either the benefit or burden of All transactions to which the Contract for Sale applies the Seller and you through Bonhams which acts in No such Description or Estimate is incorporated into connection with the Lot. full indemnity basis together with interest thereon the Contract for Sale. and all connected matters will be governed by and the sole capacity as the Seller’s agent and not as this Contract for Sale. (after as well as before judgement or order) at the construed in accordance with the laws of that part an additional principal. However, if the Catalogue 7.5 You will be wholly responsible for any removal, rate specified in paragraph 8.1.6 from the date upon 10.2 The Seller’s failure or delay in enforcing or exercising of the United Kingdom where the Sale takes place states that Bonhams sells the Lot as principal, or such 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred which the Seller becomes liable to pay the same until any power or right under the Contract for Sale will and the Seller and you each submit to the exclusive a statement is made by an announcement by the QUALITY by the Seller if you do not remove the Lot in payment by you. not operate or be deemed to operate as a waiver of jurisdiction of the courts of that part of the United Auctioneer, or by a notice at the Sale, or an insert accordance with this paragraph 7 and will his rights under it except to the extent of any express Kingdom, save that the Seller may bring proceedings in the Catalogue, then Bonhams is the Seller for the 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, 8.3 On any resale of the Lot under paragraph 8.1.2, the waiver given to you in writing. Any such waiver will against you in any other court of competent purposes of this agreement. to make any contractual promise, undertaking, including any legal costs and fees, Expenses and Seller will account to you in respect of any balance not affect the Seller’s ability subsequently to enforce jurisdiction to the extent permitted by the laws of obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your remaining from any monies received by him or on any right arising under the Contract for Sale. the relevant jurisdiction. Bonhams has a complaints 1.4 The contract is made on the fall of the Auctioneer’s fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges his behalf in respect of the Lot, after the payment of procedure in place. hammer in respect of the Lot when it is knocked its fitness for any purpose. due under any Storage Contract. All such sums all sums due to the Seller and to Bonhams, within down to you. due to the Seller will be payable on demand. 28 days of receipt of such monies by him or on his behalf.

NTB/MAIN/09.13/V2 NTB/MAIN/09.13/V2 The Oak Interior | 273 APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified in the Notice to Bidders, you authorise us, acting BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the period referred to in paragraph 4.2. These storage 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. which is calculated and payable in accordance with 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage Contractor as agent on behalf of the Seller and 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. into this agreement and a separate copy can also be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due that arrangement, in which case we will address the under the Storage Contract. 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. also made between you and Bonhams on the terms all such sums. in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any event before any collection of the Lot by you or on 1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf. agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT accordance with this paragraph 3, we will have the 1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date 1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase Price). If you do not collect the Lot before the time 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you. the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the out in the Notice to Bidders. Lot as soon as possible after the Sale. 2 PERFORMANCE OF THE CONTRACT FOR SALE

You undertake to us personally that you will observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/09.13/V2 274 | Bonhams APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date specified 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if: in the Notice to Bidders, you authorise us, acting AND PART PAYMENTS payment shall be applied firstly to the Purchase Price BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as as your agent and on your behalf, to enter into a of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the otherwise set out in the Notice to Bidders, you must contract (the “Storage Contract”) with the Storage 7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general IMPORTANT: These terms may be changed in advance of the pay to us by not later than 4.30pm on the second Contractor for the storage of the Lot on the then time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated Sale of the Lot to you, by the setting out of different terms in working day following the Sale: current standard terms and conditions agreed accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot more of the following rights (without prejudice to other sums due to us. to be a leading expert in the relevant field; or announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current any rights we may exercise on behalf of the Seller): You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per 7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for period referred to in paragraph 4.2. These storage breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was 1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses. this paragraph 7 after the payment of all sums due to published or by means of a process which it was which is calculated and payable in accordance with 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have 1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any all such sums paid to us. employed. personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as 7.1.3 to remove, and/or store the Lot at your expense; a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage 8 CLAIMS BY OTHER PERSONS IN RESPECT OF 9.4 You authorise us to carry out such processes and Contractor as agent on behalf of the Seller and 7.1.4 to take legal proceedings against you for payment THE LOT tests on the Lot as we in our absolute discretion 1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot is 3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract. Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot or is not a Forgery. into this agreement and a separate copy can also contract; is the subject of a claim by someone other than be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any you and other than the Seller (or that such a claim 9.5 If we are satisfied that a Lot is a Forgery we will (as phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the charges 7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, principal) purchase the Lot from you and you will are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the (and all costs of moving the Lot into storage) due as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in transfer the title to the Lot in question to us, with Reference is made in this agreement to information methods of payment set out in the Notice to under any Storage Contract. You acknowledge and rate of 5% per annum above the base lending rate any manner which appears to us to recognise the full title guarantee, free from any liens, charges, printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the agree that you will not be able to collect the Lot from of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties encumbrances and adverse claims, in accordance Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an the Storage Contractor’s premises until you have paid to be calculated on a daily basis from the date upon involved and lawfully to protect our position and with the provisions of Sections 12(1) and 12(2) of is referred to it is incorporated into this agreement. agent for a named principal and we have approved the Purchase Price, any Expenses and all charges due which such monies become payable until the date of our legitimate interests. Without prejudice to the the Sale of Goods Act 1979 and we will pay to you that arrangement, in which case we will address the under the Storage Contract. actual payment; generality of the discretion and by way of example, an amount equal to the sum of the Purchase Price, 1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal. we may: Buyer’s Premium, VAT and Expenses paid by you in Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling 7.1.6 to repossess the Lot (or any part thereof) which has respect of the Lot. and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in (unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to 9.6 The benefit of paragraph 9 is personal to, and down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot. grant an irrevocable licence to us, by ourselves, our the Lot; and/or incapable of assignment by, you. also made between you and Bonhams on the terms all such sums. servants or agents, to enter upon all or any of your in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal, premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or 9.7 If you sell or otherwise dispose of your interest in the 3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed business hours to take possession of any Lot or part Lot, all rights and benefits under this paragraph will 1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our thereof; 8.1.3 commence interpleader proceedings or seek any cease. answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including other order of any court, mediator, arbitrator or breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of 7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or 9.8 Paragraph 9 does not apply to a Lot made up of or unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any treaty or any other means on giving you three including a Chinese painting or Chinese paintings, a event before any collection of the Lot by you or on months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in motor vehicle or motor vehicles, a Stamp or Stamps 1.5 Our personal obligations to you are governed by this 3.6 Time will be of the essence in relation to any your behalf. return for pursuing a course of action agreed to by or a Book or Books. agreement and we agree, subject to the terms below, payment payable to us. If you do not pay the 7.1.8 to retain possession of any of your other property in you. to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT our possession for any purpose (including, without 10 OUR LIABILITY accordance with this paragraph 3, we will have the limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1: 1.5.1 we will, until the date and time specified in the rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your Sale) until all sums due to us have been paid in full; 10.1 We will not be liable whether in negligence, other Notice to Bidders or otherwise notified to you, store removal of the Lot or until the time and date set out 8.2.1 may be exercised at any time during which we have tort, breach of contract or statutory duty or in the Lot in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down to in the Notice to Bidders, on the Sale Information 7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at restitution or under the Misrepresentation Act 1967 you, any monies we receive from you will be applied Page or at the back of the catalogue (or if no date purpose whether at the time of your default or at any time after such possession, where the cessation or in any other way for lack of conformity with or 1.5.2 subject to any power of the Seller or us to refuse to firstly pro-rata to pay the Purchase Price of each Lot is specified, by 4.30pm on the seventh day after the any time thereafter in payment or part payment of of such possession has occurred by reason of any any inaccuracy, error, misdescription or omission in release the Lot to you, we will release the Lot to you and secondly pro-rata to pay all amounts due to Sale) and, subject to paragraphs 6 and 10, to be any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, any Description of the Lot or any Entry or Estimate in accordance with paragraph 4 once you have paid Bonhams. responsible as bailee to you for damage to or the loss arbitrator or government body; and in respect of it, made by us or on our behalf or by to us, in cleared funds, everything due to us and the or destruction of the Lot (notwithstanding that it is 7.1.10 on three months’ written notice to sell, Without or on behalf of the Seller (whether made in writing, Seller; 4 COLLECTION OF THE LOT not your property before payment of the Purchase Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there including in the Catalogue, or on the Bonhams’ Price). If you do not collect the Lot before the time or under our control for any purpose (including other exists a serious prospect of a good arguable case in Website, or orally, or by conduct or otherwise) and 1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no goods sold to you or with us for Sale) and to apply favour of the claim. whether made before or after this agreement or prior paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day any monies due to you as a result of such Sale in to or during the Sale. in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another payment or part payment of any amounts owed to 9 FORGERIES 1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out us; 10.2 Our duty to you while the Lot is at your risk and/or or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have 9.1 We undertake a personal responsibility for any your property and in our custody and/or control is to obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3, 7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this exercise reasonable care in relation to it, but we will fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises, reject a bid from you at any future Sale or to require paragraph 9. not be responsible for damage to the Lot or to other Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to you to pay a deposit before any bid is accepted by us persons or things caused by: completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if: may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with to apply such deposit in payment or part payment, as 10.2.1 handling the Lot if it was affected at the time of Sale or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3. the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom to you by woodworm and any damage is caused as a writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale. which you are the Buyer. the original invoice was made out by us in respect of result of it being affected by woodworm; or Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT the Lot and that invoice has been paid; and made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot 7.2 You agree to indemnify us against all legal and other 10.2.2 changes in atmospheric pressure; nor will we be during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us costs, all losses and all other Expenses (whether or 9.2.2 you notify us in writing as soon as reasonably liable for: incorporated into this agreement between you and Notice to Bidders for collection on the days and times will title in the Lot pass to you. However under the not court proceedings will have been issued) incurred practicable after you have become aware that the Lot us. Any such Description or Estimate, if made by us specified in the Notice to Bidders. Thereafter, the Contract for Sale, the risk in the Lot passed to you by us as a result of our taking steps under this is or may be a Forgery, and in any event within one 10.2.3 damage to tension stringed musical instruments; or or on our behalf, was (unless Bonhams itself sells Lot may be removed elsewhere for storage and you when it was knocked down to you. paragraph 7 on a full indemnity basis together with year after the Sale, that the Lot is a Forgery; and the Lot as principal) made as agent on behalf of the must enquire from us as to when and where you can interest thereon (after as well as before judgement or 10.2.4 damage to gilded picture frames, plaster picture Seller. collect it, although this information will usually be set 6.2 You are advised to obtain insurance in respect of the order) at the rate specified in paragraph 7.1.5 from 9.2.3 within one month after such notification has been frames or picture frame glass; and if the Lot is or out in the Notice to Bidders. Lot as soon as possible after the Sale. the date upon which we become liable to pay the given, you return the Lot to us in the same condition becomes dangerous, we may dispose of it without 2 PERFORMANCE OF THE CONTRACT FOR SALE same until payment by you. as it was at the time of the Sale, accompanied by notice to you in advance in any manner we think fit written evidence that the Lot is a Forgery and details and we will be under no liability to you for doing so. You undertake to us personally that you will of the Sale and Lot number sufficient to identify the observe and comply with all your obligations and Lot. undertakings to the Seller under the Contract for Sale in respect of the Lot.

NTB/MAIN/09.13/V2 NTB/MAIN/09.13/V2 The Oak Interior | 275 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation. wasted time on the part of the Buyer’s management a conflict of such opinion; or or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including, a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”. damages of any kind, irrespective in any case of Lot only by means of a process not generally the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders. in respect of any negligence, other tort, breach of for us to have employed; or contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement. manuscripts, extra illustrated books, music or 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12 circumstances where we are liable to you in nothing in this agreement confers (or purports to respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement. an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from, limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third you in respect of the Lot. Parties) Act 1999, which enables the benefit of a You may wish to protect yourself against loss by contract to be extended to a person who is not a obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law. incapable of assignment by, you and if you sell or 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease. person’s liability or excluding or restricting any All transactions to which this agreement applies person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and (ii) death or personal injury caused by our negligence construed in accordance with the laws of that part (or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a given to you in writing. Any such waiver will not complaints procedure in place. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION Where the Lot is made up wholly of a Book or Books and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams. give rise to a significantly increased financial com or requested by post from Customer Services Department, the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from [email protected]. and obligations. This paragraph does not apply to the obligations imposed on you by paragraph 3. APPENDIX 3 you notify us in writing as soon as reasonably practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The address or fax number of the relevant party given Glossary is to assist you to understand words and phrases within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar. return the Lot to us in the same condition as it was of the sender of the notice or communication to at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS evidence that the Lot is a non-conforming Lot and applicable time period. details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale). employees and agents. “Auctioneer” the representative of Bonhams conducting the Sale.

NTB/MAIN/09.13/V2 276 | Bonhams 10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are “Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art Business profits, revenue or income or for loss of reflected the then accepted general opinion of for convenience only and will not affect its “Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the Business reputation or for disruption to Business or scholars and experts or fairly indicated that there was interpretation. Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the wasted time on the part of the Buyer’s management a conflict of such opinion; or “Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006. or staff or, if you are buying the Lot in the course of 12.8 In this agreement “including” means “including, assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted. a Business, for any indirect losses or consequential it can be established that the Lot is a non-conforming without limitation”. the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has damages of any kind, irrespective in any case of Lot only by means of a process not generally words “we”, “us” and “our”. include, unless the context otherwise requires, reference to the benefit of the indemnity in the same position in which the nature, volume or source of the loss or damage accepted for use until after the date on which the 12.9 References to the singular will include reference to “Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items he would have been, had the circumstances giving rise to alleged to be suffered, and irrespective of whether Catalogue was published or by means of a process the plural (and vice versa) and reference to any one Sale. offered for Sale as one Lot). the indemnity not arisen and the expression “indemnify” is the said loss or damage is caused by or claimed which it was unreasonable in all the circumstances gender will include reference to the other genders. “Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to construed accordingly. in respect of any negligence, other tort, breach of for us to have employed; or “Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to contract, statutory duty, bailee’s duty, a restitutionary 12.10 Reference to a numbered paragraph is to a Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot. claim or otherwise. the Lot comprises atlases, maps, autographs, paragraph of this agreement. Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by manuscripts, extra illustrated books, music or “your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale. 10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or 12.11 Save as expressly provided in paragraph 12.12 “Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to circumstances where we are liable to you in nothing in this agreement confers (or purports to with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it. respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under confer) on any person who is not a party to this “Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged, representation in respect of it, or this agreement “collections” or “collections and various” or the Lot agreement any benefit conferred by, or the right to at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value. or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain enforce any term of, this agreement. “Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot. an indemnity or contribution or for a restitutionary a collection, issue or Books which are undescribed or including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the 12.12 Where this agreement confers an immunity from, our Website. calculated according to the formula set out in the Conditions doer has a duty of care. limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles and/or an exclusion or restriction of, the responsibility “Commission” the Commission payable by the Seller to of Business. by way of maximum the amount of the Purchase or advertisements. and/or liability of Bonhams, it will also operate in Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979 Price of the Lot plus Buyer’s Premium (less any sum favour and for the benefit of Bonhams’ holding “Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- company and the subsidiaries of such holding provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979: irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the company and the successors and assigns of Bonhams of the Seller. the Reserve applicable to the Lot. source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot and of such companies and of any officer, employee “Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from and agent of Bonhams and such companies, each Buyer’s Agreement and Definitions and Glossary. our Catalogues. the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse claims of whom will be entitled to rely on the relevant “Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and VAT (1) In a contract of sale, other than one to which subsection breach of contract, statutory duty, bailee’s duty, a and we will pay to you an amount equal to the sum immunity and/or exclusion and/or restriction within calculated at rates set out in the Conditions of Business. on the Hammer Price (where applicable), the Buyer’s Premium (3) below applies, there is an implied term on the part of restitutionary claim or otherwise. of the Purchase Price and Buyer’s Premium paid by and for the purposes of Contracts (Rights of Third “Consumer” a natural person who is acting for the relevant and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell you in respect of the Lot. Parties) Act 1999, which enables the benefit of a purpose outside his trade, Business or profession. “Reserve” the minimum price at which a Lot may be sold the goods, and in the case of an agreement to sell he You may wish to protect yourself against loss by contract to be extended to a person who is not a “Contract Form” the Contract Form, or vehicle Entry form, as (whether at auction or by private treaty). will have such a right at the time when the property is to obtaining insurance. The benefit of paragraph 10 is personal to, and party to the contract, and generally at law. applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered for Sale pass. incapable of assignment by, you and if you sell or to be offered for Sale by Bonhams. by Bonhams. 10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all 13 GOVERNING LAW “Contract for Sale” the Sale contract entered into by the “Sale Proceeds” the net amount due to the Seller from the (2) In a contract of sale, other than one to which subsection or restricting (whether directly or indirectly) any rights and benefits under this paragraph will cease. Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, any (3) below applies, there is also an implied term that- person’s liability or excluding or restricting any All transactions to which this agreement applies “Contractual Description” the only Description of the Lot VAT chargeable thereon, Expenses and any other amount due person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS and all connected matters will be governed by and (being that part of the Entry about the Lot in the Catalogue to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until (ii) death or personal injury caused by our negligence construed in accordance with the laws of that part which is in bold letters, any photograph (except for the colour) “Seller” the person who offers the Lot for Sale named on the time when the property is to pass, from any (or any person under our control or for whom we are 12.1 You may not assign either the benefit or burden of of the United Kingdom where the Sale takes (or and the contents of any Condition Report) to which the Seller the Contract Form. Where the person so named identifies on charge or encumbrance not disclosed or known legally responsible), or (iii) acts or omissions for which this agreement. is to take) place and we and you each submit to undertakes in the Contract of Sale the Lot corresponds. the form another person as acting as his agent, or where the to the buyer before the contract is made, and we are liable under the Occupiers Liability Act 1957, the exclusive jurisdiction of the courts of that part “Description” any statement or representation in any person named on the Contract Form acts as an agent for a or (iv) any other liability to the extent the same may 12.2 Our failure or delay in enforcing or exercising any of the United Kingdom, save that we may bring way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or not), (b) the buyer will enjoy quiet possession of the goods not be excluded or restricted as a matter of law, or power or right under this agreement will not operate proceedings against you in any other court of representation relating to its authorship, attribution, condition, “Seller” includes both the agent and the principal who shall be except in so far as it may be disturbed by the (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights competent jurisdiction to the extent permitted by provenance, authenticity, style, period, age, suitability, quality, jointly and severally liable as such. The Seller is also referred to owner or other person entitled to the benefit conditions. under it except to the extent of any express waiver the laws of the relevant jurisdiction. Bonhams has a origin, value, estimated selling price (including the Hammer in the Conditions of Business by the words “you” and “your”. of any charge or encumbrance so disclosed or given to you in writing. Any such waiver will not complaints procedure in place. Price). “Specialist Examination” a visual examination of a Lot by a known. 11 BOOKS MISSING TEXT OR ILLUSTRATIONS affect our ability subsequently to enforce any right “Entry” a written statement in the Catalogue identifying the specialist on the Lot. arising under this agreement. DATA PROTECTION – USE OF YOUR INFORMATION Lot and its Lot number which may contain a Description and “Stamp” means a postage Stamp offered for Sale at a (3) This subsection applies to a contract of sale in the case Where the Lot is made up wholly of a Book or Books illustration(s) relating to the Lot. Specialist Stamp Sale. of which there appears from the contract or is to be and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from Where we obtain any personal information about you, we shall “Estimate” a statement of our opinion of the range within “Standard Examination” a visual examination of a Lot by a inferred from its circumstances an intention that the either case referred to as a “non-conforming Lot”), performing that party’s respective obligations only use it in accordance with the terms of our Privacy Policy which the hammer is likely to fall. non-specialist member of Bonhams’ staff. seller should transfer only such title as he or a third we undertake a personal responsibility for such a under this agreement by circumstances beyond (subject to any additional specific consent(s) you may have “Expenses” charges and Expenses paid or payable by “Storage Contract” means the contract described in person may have. non-conforming Lot in accordance with the terms of its reasonable control or if performance of its given at the time your information was disclosed). A copy of Bonhams in respect of the Lot including legal Expenses, paragraph 8.3.3 of the Conditions of Business or paragraph this paragraph, if: obligations would by reason of such circumstances our Privacy Policy can be found on our Website www.bonhams. banking charges and Expenses incurred as a result of an 4.4 of the Buyer’s Agreement (as appropriate). (4) In a contract to which subsection (3) above applies there give rise to a significantly increased financial com or requested by post from Customer Services Department, electronic transfer of money, charges and Expenses for loss and “Storage Contractor” means the company identified as such is an implied term that all charges or encumbrances the original invoice was made out by us to you in cost to it, that party will not, for so long as such 101 New Bond Street, London W1S 1SR, United Kingdom or damage cover, insurance, Catalogue and other reproductions in the Catalogue. known to the seller and not known to the buyer have respect of the Lot and that invoice has been paid; circumstances prevail, be required to perform such by email from [email protected]. and illustrations, any customs duties, advertising, packing or “Terrorism” means any act or threatened act of terrorism, been disclosed to the buyer before the contract is made. and obligations. This paragraph does not apply to the shipping costs, reproductions rights’ fees, taxes, levies, costs of whether any person is acting alone or on behalf of or in obligations imposed on you by paragraph 3. APPENDIX 3 testing, searches or enquiries, preparation of the Lot for Sale, connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies you notify us in writing as soon as reasonably storage charges, removal charges, removal charges or costs committed for political, religious or ideological or similar there is also an implied term that none of the following practicable after you have become aware that the Lot 12.4 Any notice or other communication to be given DEFINITIONS AND GLOSSARY of collection from the Seller as the Seller’s agents or from a purposes including, but not limited to, the intention to will disturb the buyer’s quiet possession of the goods, is or may be a non-conforming Lot, and in any event under this agreement must be in writing and may defaulting Buyer, plus VAT if applicable. influence any government and/or put the public or any section namely: within 20 days after the Sale (or such longer period be delivered by hand or sent by first class post or Where these Definitions and Glossary are incorporated, the “Forgery” an imitation intended by the maker or any other of the public into fear. as we may agree in writing) that the Lot is a non- air mail or fax transmission (if to Bonhams marked following words and phrases used have (unless the context person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller; conforming Lot; and for the attention of the Company Secretary), to the otherwise requires) the meanings given to them below. The authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any address or fax number of the relevant party given Glossary is to assist you to understand words and phrases source or composition, which at the date of the Sale had a Lot will be paid, such account to be a distinct and separate (b) in a case where the parties to the contract intend within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change which have a specific legal meaning with which you may not value materially less than it would have had if the Lot had not account to Bonhams’ normal business bank account. that the seller should transfer only such title as a such longer period as we may agree in writing) you of address is given in writing). It is the responsibility be familiar. been such an imitation, and which is not stated to be such “VAT” value added tax at the prevailing rate at the date of the third person may have, that person; return the Lot to us in the same condition as it was of the sender of the notice or communication to an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom. at the time of the Sale, accompanied by written ensure that it is received in a legible form within any LIST OF DEFINITIONS Forgery by reason of any damage to, and/or restoration and/ “Website” Bonhams Website at www.bonhams.com (c) anyone claiming through or under the seller or evidence that the Lot is a non-conforming Lot and applicable time period. or modification work (including repainting or over painting) “Withdrawal Notice” the Seller’s written notice to Bonhams that third person otherwise than under a charge details of the Sale and Lot number sufficient to “Additional Premium” a premium, calculated in accordance having been carried out on the Lot, where that damage, revoking Bonhams’ instructions to sell a Lot. or encumbrance disclosed or known to the buyer identify the Lot. 12.5 If any term or any part of any term of this agreement with the Notice to Bidders, to cover Bonhams’ Expenses restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at before the contract is made. is held to be unenforceable or invalid, such relating to the payment of royalties under the Artists Resale substantially affect the identity of the Lot as one conforming to which a Lot may be sold (whether at auction or by private but not if: unenforceability or invalidity will not affect the Right Regulations 2006 which is payable by the Buyer to the Description of the Lot. treaty). (5A) As regards England and Wales and Northern Ireland, the enforceability and validity of the remaining terms or Bonhams on any Lot marked [AR] which sells for a Hammer “Guarantee” the obligation undertaken personally by term implied by subsection (1) above is a condition and the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. Price which together with the Buyer’s Premium (but excluding Bonhams to the Buyer in respect of any Forgery and, in the GLOSSARY the terms implied by subsections (2), (4) and (5) above indicates that the rights given by this paragraph do any VAT) equals or exceeds 1000 euros (converted into case of specialist Stamp Sales and/or specialist Book Sales, a Lot are warranties.” not apply to it; or 12.6 References in this agreement to Bonhams will, where the currency of the Sale using the European Central Bank made up of a Stamp or Stamps or a Book or Books as set out The following expressions have specific legal meanings with appropriate, include reference to Bonhams’ officers, Reference rate prevailing on the date of the Sale). in the Buyer’s Agreement. which you may not be familiar. The following glossary is employees and agents. “Auctioneer” the representative of Bonhams conducting “Hammer Price” the price in the currency in which the Sale is intended to give you an understanding of those expressions the Sale. conducted at which a Lot is knocked down by the Auctioneer. but is not intended to limit their legal meanings:

NTB/MAIN/09.13/V2 NTB/MAIN/09.13/V2 The Oak Interior | 277 To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected]

19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments UK Porcelain & Pottery UK UK Jon Baddeley Charles O’ Brien UK Fergus Lyons Tim Schofield +44 20 7393 3872 +44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A. U.S.A +44 20 7468 8244 U.S.A U.S.A Jonathan Snellenburg Madalina Lazen U.S.A Jeffrey Smith Mark Osborne +1 212 461 6530 +1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353 +1 415 503 3326 AUSTRALIA EUROPE Scottish Pictures 20th Century British Art Jennifer Gibson Philip Kantor Chris Brickley Matthew Bradbury California & +61 3 8640 4088 +32 476 879 471 +44 131 240 2297 +44 20 7468 8295 American Paintings AUSTRALIA Scot Levitt Greek Art Damien Duigan Silver & Gold Boxes Aboriginal Art +1 323 436 5425 Olympia Pappa +61 2 8412 2232 UK Francesca Cavazzini +44 20 7468 8314 Automobilia Michael Moorcroft +61 2 8412 2222 Carpets UK +44 20 7468 8241 UK Golf Sporting Toby Wilson U.S.A African, Oceanic Mark Dance Memorabilia +44 8700 273 619 Aileen Ward & Pre-Columbian Art +44 8700 27361 Kevin Mcgimpsey U.S.A +1 800 223 5463 UK U.S.A. +44 1244 353123 Kurt Forry Philip Keith Hadji Rahimipour +1 415 391 4000 South African Art +44 2920 727 980 +1 415 503 3392 Irish Art Giles Peppiatt U.S.A Penny Day Motorcycles +44 20 7468 8355 Fredric Backlar Chinese & Asian Art +44 20 7468 8366 Ben Walker +1 323 436 5416 UK +44 8700 273616 Sporting Guns Asaph Hyman Impressionist & Automobilia Patrick Hawes American Paintings +44 20 7468 5888 Modern Art Adrian Pipiros +44 20 7393 3815 Alan Fausel U.S.A UK +44 8700 273621 +1 212 644 9039 Dessa Goddard Deborah Allan Toys, Dolls & Chess +1 415 503 3333 +44 20 7468 8276 Musical Instruments Leigh Gotch Antiquities HONG KONG U.S.A Philip Scott +44 20 8963 2839 Madeleine Perridge +852 3607 0010 Tanya Wells +44 20 7393 3855 +44 20 7468 8226 +1 917 206 1685 Travel Pictures Clocks Native American Art Veronique Scorer Antique Arms & Armour UK Islamic & Indian Art Jim Haas +44 20 7393 3962 UK James Stratton Alice Bailey +1 415 503 3294 David Williams +44 20 7468 8364 +44 20 7468 8268 Urban Art +44 20 7393 3807 U.S.A Natural History Gareth Williams U.S.A Jonathan Snellenburg Japanese Art U.S.A +44 20 7468 5879 Paul Carella +1 212 461 6530 UK Claudia Florian +1 415 503 3360 Suzannah Yip +1 323 436 5437 Watches & Coins & Medals +44 20 7468 8368 Wristwatches Art Collections, UK U.S.A Old Master Pictures UK Estates & Valuations John Millensted Jeff Olson UK Paul Maudsley Harvey Cammell +44 20 7393 3914 +1 212 461 6516 Andrew Mckenzie +44 20 7447 7412 +44 (0) 20 7468 8340 U.S.A +44 20 7468 8261 U.S.A. Paul Song Jewellery U.S.A Jonathan Snellenburg Art Nouveau & Decorative +1 323 436 5455 UK Mark Fisher +1 212 461 6530 Art & Design Jean Ghika +1 323 436 5488 HONG KONG UK Contemporary Art +44 20 7468 8282 Carson Chan Mark Oliver UK U.S.A Orientalist Art +852 2918 4321 +44 20 7393 3856 Gareth Williams Susan Abeles Charles O’Brien U.S.A +44 20 7468 5879 +1 212 461 6525 +44 20 7468 8360 Whisky Frank Maraschiello U.S.A AUSTRALIA UK +1 212 644 9059 Jeremy Goldsmith Anellie Manolas Photography Martin Green +1 917 206 1656 +61 2 8412 2222 U.S.A +44 1292 520000 Australian Art HONG KONG Judith Eurich U.S.A Alex Clark Costume & Textiles Graeme Thompson +1 415 503 3259 Joseph Hyman +61 2 8412 2222 Claire Browne +852 3607 0006 +1 917 206 1661 +44 1564 732969 Portrait Miniatures HONG KONG Australian Colonial Marine Art Jennifer Tonkin Daniel Lam Furniture and Australiana Entertainment UK +44 20 7393 3986 +852 3607 0004 James Hendy Memorabilia Veronique Scorer +61 2 8412 2222 UK +44 20 7393 3962 Prints Wine Stephanie Connell U.S.A UK UK Books, Maps & +44 20 7393 3844 Gregg Dietrich Rupert Worrall Richard Harvey Manuscripts U.S.A +1 917 206 1697 +44 20 7468 8262 +44 (0) 20 7468 5811 UK Catherine Williamson U.S.A U.S.A Matthew Haley +1 323 436 5442 Mechanical Music Judith Eurich Doug Davidson +44 20 7393 3817 Jon Baddeley +1 415 503 3259 +1 415 503 3363 U.S.A Football Sporting +44 20 7393 3872 HONG KONG Christina Geiger Memorabilia Russian Art Daniel Lam +1 212 644 9094 Dan Davies Modern, Contemporary UK +852 3607 0004 +44 1244 353118 & Latin American Art Sophie Hamilton British & European Glass U.S.A +44 20 7468 8334 UK Alexis Chompaisal U.S.A Simon Cottle +1 323 436 5469 Yelena Harbick +44 20 7468 8383 +1 212 644 9136 U.S.A. Modern Design Suzy Pai Gareth Williams +1 415 503 3343 +44 20 7468 5879

278 | Bonhams SD05/11/13 International Salerooms, Offices and Associated Companies ( • Indicates Saleroom) To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected] UNITED KINGDOM Representatives: Channel Islands Ireland - Dublin NOrTH AMErICA SOUTH AMErICA Dorset 31 Molesworth Street London Bill Allan Jersey Dublin 2 USA Argentina 19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments 101 New Bond Street • +44 1935 815 271 39 Don Street +353 (0)1 602 0990 Daniel Claramunt UK Porcelain & Pottery UK UK Jon Baddeley London W1S 1SR St.Helier +353 (0)1 4004 140 fax San Francisco • +54 11 479 37600 Charles O’ Brien UK Fergus Lyons Tim Schofield +44 20 7393 3872 +44 20 7447 7447 East Anglia JE2 4TR [email protected] 220 San Bruno Avenue +44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A. +44 20 7447 7400 fax +44 1534 722 441 San Francisco Brazil U.S.A +44 20 7468 8244 U.S.A U.S.A Jonathan Snellenburg Bury St. Edmunds +44 1534 759 354 fax Italy - Milan CA 94103 Thomaz Oscar Saavedra Madalina Lazen U.S.A Jeffrey Smith Mark Osborne +1 212 461 6530 Montpelier Street • 21 Churchgate Street Via Boccaccio 22 +1 (415) 861 7500 +55 11 3031 4444 London SW7 1HH Bury St Edmunds Representative: 20123 Milano +1 (415) 861 8951 fax +55 11 3031 4444 fax +1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353 +44 20 7393 3900 Suffolk IP33 1RG Guernsey +39 (0)2 4953 9020 +1 415 503 3326 AUSTRALIA EUROPE Scottish Pictures +44 20 7393 3905 fax +44 1284 716 190 +44 1481 722 448 +39 (0)2 4953 9021 fax Los Angeles • 20th Century British Art Jennifer Gibson Philip Kantor Chris Brickley +44 1284 755 844 fax [email protected] 7601 W. Sunset Boulevard ASIA Matthew Bradbury California & +61 3 8640 4088 +32 476 879 471 +44 131 240 2297 South East Scotland Los Angeles +44 20 7468 8295 American Paintings AUSTRALIA England Norfolk Italy - rome CA 90046 Hong Kong Scot Levitt Greek Art Damien Duigan Silver & Gold Boxes The Market Place Edinburgh • Via Sicilia 50 +1 (323) 850 7500 Carson Chan Reepham 22 Queen Street 00187 Rome Aboriginal Art +1 323 436 5425 Olympia Pappa +61 2 8412 2232 UK Brighton & Hove +1 (323) 850 6090 fax Suite 1122 19 Palmeira Square Norfolk NR10 4JJ Edinburgh +39 (0)6 48 5900 Two Pacific Place Francesca Cavazzini +44 20 7468 8314 Automobilia Michael Moorcroft Hove, East Sussex +44 1603 871 443 EH2 1JX +39 (0)6 482 0479 fax New York • 88 Queensway +61 2 8412 2222 Carpets UK +44 20 7468 8241 BN3 2JN +44 1603 872 973 fax +44 131 225 2266 [email protected] 580 Madison Avenue Admiralty UK Golf Sporting Toby Wilson U.S.A +44 1273 220 000 +44 131 220 2547 fax New York, NY Hong Kong African, Oceanic Mark Dance Memorabilia +44 8700 273 619 Aileen Ward +44 1273 220 335 fax Midlands Netherlands - Amsterdam 10022 +852 2918 4321 & Pre-Columbian Art +44 8700 27361 Kevin Mcgimpsey U.S.A +1 800 223 5463 Glasgow De Lairessestraat 154 +1 (212) 644 9001 +852 2918 4320 fax UK U.S.A. +44 1244 353123 Kurt Forry Guildford Knowle 176 St. Vincent Street, 1075 HL Amsterdam +1 (212) 644 9007 fax [email protected] Millmead, The Old House Glasgow +31 20 67 09 701 Philip Keith Hadji Rahimipour +1 415 391 4000 South African Art Guildford, Station Road G2 5SG +31 20 67 09 702 fax Representatives: Beijing +44 2920 727 980 +1 415 503 3392 Irish Art Giles Peppiatt Surrey GU2 4BE Knowle, Solihull +44 141 223 8866 [email protected] Arizona Hongyu Yu U.S.A Penny Day Motorcycles +44 20 7468 8355 +44 1483 504 030 West Midlands +44 141 223 8868 fax Terri Adrian-Hardy Suite 511 Fredric Backlar Chinese & Asian Art +44 20 7468 8366 Ben Walker +44 1483 450 205 fax B93 0HT Spain - Madrid +1 (480) 994 5362 Chang An Club +1 323 436 5416 UK +44 8700 273616 Sporting Guns +44 1564 776 151 Representatives: Nuñez de Balboa no.4 - 1A 10 East Chang An Avenue Asaph Hyman Impressionist & Automobilia Patrick Hawes Isle of Wight +44 1564 778 069 fax Wine & Spirits Madrid California Beijing 100006 Tom Gilbey 28001 American Paintings +44 20 7468 5888 Modern Art Adrian Pipiros +44 20 7393 3815 +44 1983 282 228 Central Valley +86(0) 10 6528 0922 Oxford • +44 1382 330 256 +34 91 578 17 27 David Daniel [email protected] Alan Fausel U.S.A UK +44 8700 273621 Representative: Banbury Road [email protected] +1 (916) 364 1645 +1 212 644 9039 Dessa Goddard Deborah Allan Toys, Dolls & Chess Kent Shipton on Cherwell Wales Japan +1 415 503 3333 +44 20 7468 8276 Musical Instruments Leigh Gotch George Dawes Kidlington OX5 1JH Switzerland - Geneva District of Columbia/ Akiko Tsuchida Antiquities HONG KONG U.S.A Philip Scott +44 20 8963 2839 +44 1483 504 030 +44 1865 853 640 Cardiff Rue Etienne-Dumont 10 Mid-Atlantic Level 14 Hibiya Central Building Madeleine Perridge +852 3607 0010 Tanya Wells +44 20 7393 3855 +44 1865 372 722 fax 7-8 Park Place, 1204 Geneva Martin Gammon 1-2-9 Nishi-Shimbashi West Sussex Cardiff CF10 3DP Switzerland +1 (202) 333 1696 Minato-ku +44 20 7468 8226 +1 917 206 1685 Travel Pictures Yorkshire & North East +44 2920 727 980 +41 76 379 9230 Clocks Native American Art Veronique Scorer Jeff Burfield Tokyo 105-0003 +44 1243 787 548 England +44 2920 727 989 fax [email protected] Southern California +81 (0) 3 5532 8636 Antique Arms & Armour UK Islamic & Indian Art Jim Haas +44 20 7393 3962 Christine Eisenberg +81 (0) 3 5532 8637 fax UK James Stratton Alice Bailey +1 415 503 3294 South West Leeds Representatives: +1 (949) 646 6560 [email protected] David Williams +44 20 7468 8364 +44 20 7468 8268 Urban Art England 30 Park Square West EUrOpE Denmark +44 20 7393 3807 U.S.A Natural History Gareth Williams Leeds LS1 2PF Henning Thomsen Florida Taiwan U.S.A Jonathan Snellenburg Japanese Art U.S.A +44 20 7468 5879 Bath +44 113 234 5755 Austria - Vienna +45 2141 3420 +1 (305) 228 6600 Summer Fang +44 113 244 3910 fax Tuchlauben 8 Paul Carella +1 212 461 6530 UK Claudia Florian Queen Square House [email protected] 37th Floor, Taipei 101 Tower Charlotte Street 1010 Vienna Georgia Nor 7 Xinyi Road, Section 5 +1 415 503 3360 Suzannah Yip +1 323 436 5437 Watches & Bath BA1 2LL North West England Austria Spain - Marbella Mary Moore Bethea Taipei, 100 Coins & Medals +44 20 7468 8368 Wristwatches +44 1225 788 988 +43 (0)1 403 00 01 James Roberts +1 (404) 842 1500 +886 2 8758 2898 Art Collections, UK U.S.A Old Master Pictures UK +44 1225 446 675 fax Chester [email protected] +34 952 90 62 50 +886 2 8757 2897 fax Estates & Valuations John Millensted Jeff Olson UK Paul Maudsley New House [email protected] Illinois [email protected] Harvey Cammell +44 20 7393 3914 +1 212 461 6516 Andrew Mckenzie +44 20 7447 7412 Cornwall – Truro 150 Christleton Road Belgium - Brussels Ricki Blumberg Harris +44 (0) 20 7468 8340 U.S.A +44 20 7468 8261 U.S.A. 36 Lemon Street Chester, Cheshire Boulevard portugal +1 (312) 475 3922 Truro CH3 5TD Saint-Michel 101 Filipa Rebelo de Andrade +1 (773) 267 3300 AUSTrALIA Paul Song Jewellery U.S.A Jonathan Snellenburg Cornwall +44 1244 313 936 1040 Brussels +351 91 921 4778 Art Nouveau & Decorative +1 323 436 5455 UK Mark Fisher +1 212 461 6530 TR1 2NR +44 1244 340 028 fax +32 (0)2 736 5076 [email protected] Massachusetts Sydney Art & Design Jean Ghika +1 323 436 5488 HONG KONG +44 1872 250 170 +32 (0)2 732 5501 fax Boston/New England 76 Paddington Street UK Contemporary Art +44 20 7468 8282 Carson Chan +44 1872 250 179 fax Carlisle [email protected] russia - Moscow Amy Corcoran Paddington NSW 2021 Mark Oliver UK U.S.A Orientalist Art +852 2918 4321 48 Cecil Street Anastasia Vinokurova +1 (617) 742 0909 Australia +44 20 7393 3856 Gareth Williams Susan Abeles Charles O’Brien Exeter Carlisle, Cumbria France - paris +7 964 562 3845 +61 (0) 2 8412 2222 CA1 1NT 4 rue de la Paix U.S.A +44 20 7468 5879 +1 212 461 6525 +44 20 7468 8360 Whisky The Lodge [email protected] Nevada +61 (0) 2 9475 4110 fax Southernhay West Exeter, +44 1228 542 422 75002 Paris David Daniel [email protected] Frank Maraschiello U.S.A AUSTRALIA UK Devon +44 1228 590 106 fax +33 (0)1 42 61 1010 russia - St petersburg +1 (775) 831 0330 +1 212 644 9059 Jeremy Goldsmith Anellie Manolas Photography Martin Green EX1 1JG +33 (0)1 42 61 1015 fax Marina Jacobson Melbourne +1 917 206 1656 +61 2 8412 2222 U.S.A +44 1292 520000 +44 1392 425 264 Manchester [email protected] +7 921 555 2302 New Mexico Como House Australian Art HONG KONG Judith Eurich U.S.A +44 1392 494 561 fax The Stables [email protected] Leslie Trilling Cnr Williams Road Alex Clark Costume & Textiles Graeme Thompson +1 415 503 3259 Joseph Hyman 213 Ashley Road Germany - Cologne +1 (505) 820 0701 & Lechlade Avenue Hale WA15 9TB +61 2 8412 2222 Claire Browne +852 3607 0006 +1 917 206 1661 Winchester Albertusstrasse 26 South Yarra VIC 3141 The Red House +44 161 927 3822 50667 Cologne Oregon +44 1564 732969 Portrait Miniatures HONG KONG Hyde Street +44 161 927 3824 fax +49 (0)221 2779 9650 Sheryl Acheson Daniel Lam Australian Colonial Marine Art Jennifer Tonkin Winchester +49 (0)221 2779 9652 fax +1(503) 312 6023 AFrICA Furniture and Australiana Entertainment UK +44 20 7393 3986 +852 3607 0004 Hants SO23 7DX [email protected] James Hendy Memorabilia Veronique Scorer +44 1962 862 515 Texas South Africa - Johannesburg +61 2 8412 2222 UK +44 20 7393 3962 Prints Wine +44 1962 865 166 fax Germany - Munich Amy Lawch Penny Culverwell Stephanie Connell U.S.A UK UK Maximilianstrasse 52 +1 (713) 621 5988 +27 (0)71 342 2670 Richard Harvey Tetbury 80538 Munich [email protected] Books, Maps & +44 20 7393 3844 Gregg Dietrich Rupert Worrall 22a Long Street +49 (0) 89 2420 5812 Washington Manuscripts U.S.A +1 917 206 1697 +44 20 7468 8262 +44 (0) 20 7468 5811 Tetbury +49 (0) 89 2420 7523 fax Heather O’Mahony UK Catherine Williamson U.S.A U.S.A Gloucestershire [email protected] +1 (206) 218 5011 Matthew Haley +1 323 436 5442 Mechanical Music Judith Eurich Doug Davidson GL8 8AQ +44 20 7393 3817 Jon Baddeley +1 415 503 3259 +1 415 503 3363 +44 1666 502 200 Greece - Athens CANADA U.S.A Football Sporting +44 20 7393 3872 HONG KONG +44 1666 505 107 fax 7 Neofytou Vamva Street Christina Geiger Memorabilia Russian Art Daniel Lam 10674 Athens Toronto, Ontario • +852 3607 0004 +30 (0) 210 3636 404 Jack Kerr-Wilson +1 212 644 9094 Dan Davies Modern, Contemporary UK [email protected] 20 Hazelton Avenue +44 1244 353118 & Latin American Art Sophie Hamilton Toronto, ONT British & European Glass U.S.A +44 20 7468 8334 M5R 2E2 UK Alexis Chompaisal U.S.A +1 (416) 462 9004 Simon Cottle +1 323 436 5469 Yelena Harbick [email protected] +44 20 7468 8383 +1 212 644 9136 Montreal, Quebec U.S.A. Modern Design David Kelsey Suzy Pai Gareth Williams +1 (514) 341 9238 +1 415 503 3343 +44 20 7468 5879 [email protected]

G-NET/12/13

SD05/11/13 The Oak Interior | 279 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Tuesday 21 January 2014 The Oak Interior Sale title: Sale date: Wednesday 22 January 2014

Sale no. 21727 Sale venue: Oxford Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200 ...... by 10s £10,000 - 20,000 ...... by 1,000s out the charges payable by you on the purchases £200 - 500 ...... by 20 / 50 / 80s £20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000 ...... by 50s £50,000 - 100,000 ...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000 ...... by 100s £100,000 - 200,000 .....by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000 ...... by 200 / 500 / 800s above £200,000 ...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000 ...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 2% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) Please indicate Telephone or Absentee (T & VAT) / A)

FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/04/13 Bonhams280 | Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

The Oak Interior, Oxford, Tuesday 21 and Wednesday 22 January 2014

21727 The Oak Interior Bonhams Banbury Road Shipton on Cherwell including the Danny Robinson Kidlington Oxford OX5 1JH Collection +44 (0) 1865 853 640 Tuesday 21 January 2014 at 11am +44 (0) 1865 372 722 fax Wednesday 22 January 2014 at 11am International Auctioneers and Valuers - bonhams.com Oxford