Matthew Barton Ltd European & Asian Works of Art | London Wednesday 6Th & Thursday 7Th June 2018

Matthew Barton Ltd European & Asian Works of Art | London Wednesday 6th & Thursday 7th June 2018

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Matthew Barton Ltd EUROPEAN & ASIAN WORKS OF ART including Netsuke from the Peter E. Muller Collection, curated by Max Rutherston and Judaica from the Richard Teltscher Collection

TO BE SOLD BY AUCTION AT Matthew Barton Ltd 25 Blythe Road London W14 0PD

PUBLIC EXHIBITION Sunday 3rd June 12 noon to 4pm Monday 4th June 10am to 8pm Tuesday 5th June 10am to 5pm

SALE DAYS Asian Works of Art, Lots 1 to 423, Wednesday 6th June 2018 at 11am European Works of Art, Lots 424 to 749, Thursday 7th June at 11am

This auction is conducted by Matthew Barton Ltd in accordance with our Conditions of Business printed in the back of this catalogue.

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IMPORTANT INFORMATION FOR BUYERS All lots are offered subject to Matthew Barton Ltd’s Condition’s of Business and to reserves. The Conditions of Business for Buyers, are published at the end of the printed catalogue. A Buyer’s Premium of 24% is applicable to all lots in this sale. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer's margin scheme and VAT on the Buyer’s Premium is payable by all buyers. Export and Permits: it is the purchaser’s sole responsibility to identify and obtain any necessary export, import, endangered species or other permit for any lot. Matthew Barton Ltd makes no representations or warranties as to whether any lot is or is not subject to export or import restrictions or any embargoes. Buyers outside the European Union will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request. ‡ † Lots marked with the symbol ‘‡’ have been imported from outside the European Union (EU) to be sold at auction under Temporary Import Rules. When released to buyers within the EU, including the UK, the buyer will become the importer and must pay VAT at the rate of 5% on the hammer price and 20% on the Buyer’s premium. Lots marked with the symbol ‘†’ are subject to normal VAT rules and the standard VAT will be charged on both the hammer price and the buyer’s premium. Buyers outside the EU will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request. Matthew Barton Ltd can supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and will assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Matthew Barton Ltd will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. Bids must be signed and submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition in the saleroom). To bid by telephone please contact us at least 24 hours before the sale. These services are offered free of charge. Estimates are published as a guide only and are subject to review. The actual hammer price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”. Reserves are confidential but will never be higher than the low estimate figure at the time of sale. Cataloguing Practice PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. Weights may only be accurate to within 5 grams. Weights shown as ‘(*oz)’ are in Troy Ounces and usually rounded down to the full ounce. ~ Lots marked with the symbol ‘~ ’ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import and export. The information is made available for the convenience of bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. Please note that it is not possible to post or ship ivory of any kind (including marine ivory) to the United States of America It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective buyers should be aware that the gemstones or pearls could have been enhanced by some method. Condition: not normally recorded and all lots sold as viewed. Obvious faults may be recorded in italics at the end of a description for ceramics. Condition reports can be requested prior to sale. Whilst we are pleased to provide a general report of condition, we are not professional conservators or restorers and any statement made by Matthew Barton Ltd is merely a subjective, qualified opinion. Prospective buyers should satisfy themselves in person wherever possible as to the condition of a lot,or ask an agent to inspect it for them. Payment Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. We are pleased to accept UK debit cards; we can no longer take payment from credit cards and international debit cards. Cash payments above £6,000 and “card holder not present” payments above £2,000 will not be accepted without prior arrangement. Electronic transfers may be sent directly to our Bank: IBAN No: GB90HBUK40190491814001 HSBC Bank Plc BIC: HBUKGB4B 38 High Street Sort Code: 40-19-04 DARTFORD DA1 1DG Account No: 91814001 Account Name: Matthew Barton Ltd VAT Registration Number: 972118224

Storage On receipt of cleared funds, lots can be collected from the Saleroom during the auction or immediately after its completion. Thereafter, all purchased lots will be stored at Matthew Barton Ltd’s premises for a period of one month prior to transfer to third party for storage. A transfer fee of £10 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release. Please note that collection is BY APPOINTMENT on +44 (0) 20 7806 5545.

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Asian Works of Art Lots 1 to 423 Wednesday 6th June 2018 at 11am

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Lot 276

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Asian Works of Art Lots 1 to 423 Wednesday 6th June 2018 at 11am

1 2 A CHINESE BLUE AND WHITE PORCELAIN CHARGER, KANGXI A KRAAK PORCELAIN STORAGE JAR AND COVER, WANLI (1573- (1662-1722) 1620) circular with barbed rim, painted with a central panel of birds and the ovoid body painted in underglaze blue with panels of flowers flowering peony against a diaper pattern ground reserved with and rockwork, the shoulder and domed cover with further foliate panels enclosing landscapes alternating with flowers panels, all against a ruyi-studded strap and key-fret ground, with 38cm diameter probably 18th century South East Asian metal rim mounts, hinge, £600-900 clasp and finial 40cm high £2000-3000

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5 5 A CHINESE PORCELAIN PART DINNER SERVICE, GUANGXU MARK, EARLY 20TH CENTURY famille rose yellow ground, painted with panels enclosing characters against a yellow ground filled with flowers and tendrils, comprising: seventeen plates, 24.5cm diameter, three further smaller plates, twelve saucer dishes, 24cm diameter, fourteen bowls, a further smaller bowl, nine shallow bowls and eighteen covers, and thirteen spoons (87) £500-700

3 3 A CHINESE CADOGAN TYPE PORCELAIN WINE POT (OR TEAPOT), EARLY 20TH CENTURY peach form, the yellow ground painted in famille rose enamels with lotus flowers and bats amidst blue and green scrolls, 16cm high; together with four various Chinese export porcelain teapots and covers, 18th century (5) £250-350 4

4 A CHINESE PORCELAIN TEAPOT AND COVER, QIANLONG (1736- 1795) globular, Mandarin palette, painted each side with a figurative panel inside an underglaze blue frame against an iron red scale pattern ground 16cm high, replacement metal spout 3 part £150-250 6 TWO CHINESE FAMILLE ROSE PORCELAIN SNUFF BOTTLES, 20TH CENTURY double gourd ovoid, each moulded in high relief with figures against a turquoise ground, aprochryphal iron red Qianlong seal marks 7cm high, rim chip to one £150-250

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7 ‡ A CHINESE DAYAZHAI ALMS BOWL, GUANGXU PERIOD (1875-1908) the rounded sides rising from a countersunk base, the sides painted en grisaille with leafy branches of peony, reserved on a yellow enamel ground, with an inscription in iron red, Dayazhai and a seal, Tiandi yijia chun (Springtime in Heaven and Earth, One Family), the base with the iron-red four-character mark, Yong qing chang chun (Eternal Prosperity and Enduring Spring) 25cm diameter Provenance: Christie’s, London, 22nd May 1997, lot 515 £800-1200 ‡ 8

8 A PAIR OF CHINESE IMARI PORCELAIN MUGS, CIRCA 1720-50 baluster, painted with vases of flowers on a table beneath a diaper pattern border reserved with flower panels, 15cm high, one handle detached; together with a Chinese export porcelain mug, Qianlong (1736-1795), cylindrical, painted in the Mandarin palette with a hunting scene, 13cm high, chips (3) £200-300

9 A CHINESE FAMILLE ROSE WATER BOTTLE AND A BASIN, CANTON, 19TH CENTURY each painted with figurative panels inside key pattern borders against a ground filled with insects, flowers and Buddhist emblems, bottle with associated cover 35cm high, basin 41cm diameter, some damage; together with a Canton famille rose bowl, with single handle, and a soap dish and liner (6) £200-300

10 A CHINESE BISCUIT PORCELAIN GROUP, QIANLONG (1736-1795) modelled as a smiling man and woman standing side by side, he in celadon glazed long robes, she in a blue glazed coat 17cm high, heads restuck £60-80 9

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11 ‡ 12 A CHINESE PORCELAIN ‘BOY AND CHICKEN’ CUP, QIANLONG SEAL MARK AND A CHINESE FAMILLE ROSE BOX AND COVER, PERIOD (1736-1795) CANTON, 19TH CENTURY the steep rounded sides resting on a countersunk base, famille rose painted with a rectangular, the cover painted with a seated continuous scene of a boy approaching a rooster in a garden with flowering peony official and attendants, the body with two issuing from rockwork, with an inscription of an Imperial poem by the Qianlong divisions to the interior, the exterior painted Emperor and dated with the bingshen year corresponding to 1776 with panels of birds in flowering branches 5.5cm high reserved against a solid gilt ground filled with Provenance: Christie’s, London, 19 June 2001, lot 97 bats and flowers 18.5cm long £2000-3000 ‡ £100-150

13 A SMALL CHINESE PORCELAIN BOTTLE VASE, LATE MING DYNASTY, 17TH CENTURY blue and white, painted each side with a bird perched in flowering branches 15.5cm high £300-500

14 A PAIR OF CHINESE EXPORT PORCELAIN PLATES AND A PAIR OF BOWLS, QIANLONG PERIOD 1736-1795 each painted in enamels and gilding with a bird flying amidst a willow tree, rocks and peony and chrysanthemum flowers growing behind a zig-zag fence plates 23cm diameter, one rivetted, some cracks 14 £200-300

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15 ‡ A CHINESE DOUCAI ‘LOTUS’ BOWL, YONGHENG MARK AND PERIOD (1723-1735) circular on rim foot, painted to the exterior with a stylised lotus scroll above a band of petals at the foot, the interior painted with a single lotus 9.5cm diameter £2500-3500 ‡

16 ‡ 16 A CHINESE BLUE OVERLAID WHITE GLASS BOTTLE VASE, 19TH CENTURY the rounded sides rising from a recessed foot to a tall cylindrical neck, carved with a design of a fruiting gourd vine, below a band of hanging leaves at the rim 22cm high £1000-1500 ‡

17 ‡ A CHINESE OVERLAID GLASS JAR AND COVER, QING DYNASTY, 19TH / 20TH CENTURY ovoid, carved in blue, red, black, yellow and green over a white ground, depicting scholars in a landscape playing musical instruments, reading, conversing and on horseback below a band of ruyi to the rim, the cover with a design of lotus scroll below a circular knop, underside with apocryphal four character Qianlong mark 13cm high £300-500 ‡

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18 A CHINESE BLUE AND WHITE PORCELAIN BOTTLE VASE, KANGXI (1662-1722) painted with stylised flowers and tendrils beneath a knopped waisted neck painted with flowers and stiff leaves 24.5cm high, damage to neck and losses £120-180

19 ‡ A PAIR OF CHINESE BLUE GLASS ‘ZHADOU’ VASES, QIANLONG MARK AND PERIOD (1736-1795) the rounded sides of each rising from a short straight foot to a flaring rim, of deep blue colour, the base with Qianlong four character mark within a double square 10cm high £1500-2000 ‡

20 ‡ A CHINESE LAPIS LAZULI MOUNTAIN, 19TH CENTURY deeply carved on the front with a sage and two attendants traversing a bridge on their way to a pavilion nestled amidst trees, while a third attendant ascends a path higher up the mountain-side that leads to a terrace on the reverse where two cranes await, with pine, bamboo and two deer standing on a ledge below 29cm long excluding wood stand Provenance: a private collection formed in Asia prior to WWII, and thence by descent within the family, until sold Christie’s, New York, 22/23 March 2012, lot 1938; private Asian collection. See a related lapis lazuli boulder carved with similar decoration apparently to be found in the collection of the Palace Museum, Beijing, is illustrated in Zhongguo meishu fenlei quanji, Zhongguo yuqi quanji, Vol.6 Qing, 20 Hebei, 1991, p.180, No.262, where it is dated middle Qing dynasty. £2500-3500 ‡

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21 A CHINESE POTTERY FIGURE OF A HORSE, TANG DYNASTY (618-906) modelled in striding pose with open mouth 55cm long, some restoration Sold with an Oxford Authentication Certificate, confirming that the figure was last fired between 1000 and 1600 years ago, Sample No.C118f10 £3000-5000 22 22 A PAIR OF CHINESE POTTERY FIGURES OF FEMALE ATTENDANTS, TANG DYNASTY (618-907) each standing in long robes 33.5cm high £500-700

23 A MOULDED SANCAI-GLAZED POTTERY DISH, LIAO DYNASTY (907-1125) of lobed form, with shallow slightly rounded sides rising from a flat base, moulded to the interior with a central floral roundel surrounded by four stylised flowers, each lobe of the cavetto decorated with a lotus flower, all against a ground of waves, the base left unglazed 14.5cm diameter £800-1200

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24 A CHINESE BRONZE QILIN INCENSE BURNER, 17TH / 18TH CENTURY the mythical beast with head turned to side and holding a pearl in his left raised claw, with scaly body and serrated spine, the head with open mouth above a simple hinge at the collar (hinge pin lacking), dark chocolate brown patination 40cm long including its cloud scroll carved stand £1500-2500

25 A CHINESE JADE VESSEL AND COVER, 20TH CENTURY of archaistic pouring form, carved with taotie motifs, openwork scrolls and a drop-ring below the lip, with openwork carved wood stand 14.5cm long £200-300

26 26 A CHINESE JADE CENSER & COVER, 20TH CENTURY bulbous, carved with lion mask openwork handles and four lion mask headed feet, the cover with Buddhist lion finial 15.5cm high excluding associated circular wood stand £100-200

27 ‡ A CHINESE SOAPSTONE FIGURE OF A LUOHAN, 19TH CENTURY the beige soapstone figure carved seated and holding a scroll in his left hand, wearing loose robes with an incised foliate border and scattered clouds 10.5cm high £600-800 ‡

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28 28 ~ A CHINESE IVORY AND PAINTED ‘MANDARIN’ FAN, CANTON, MID 19TH CENTURY the ivory monture with guards deeply carved with figures amid pavilions and foliage, the sticks carved to both sides of the gorge in low relief over a pierced linear ground with similar subjects, the paper leaf painted with gardens and pavilions, the figures with applied silk clothes, the faces of applied and painted ivory, to one side centred by a scene in a theatre, flanked by groups of courtiers, a group of female soldiers and a scholar on a white horse, the other side with further groups of courtiers and another equestrian figure, 27.5cm high, in probably original black lacquer fitted box gilded with vignettes of figures in gardens and foliate panels and borders, box 34cm long (2) £600-900

29 ~ A CHINESE TORTOISESHELL BRISE FAN, PROBABLY CANTON, SECOND HALF 19TH CENTURY 29 each guard gilded with a lion mask suspending a drop of flowers, a butterfly, a vase and a tassel, the sticks finely pierced with scrollwork panels, geometric borders and three shaped cartouches, gilded to both sides with Buddhist lions flanking a vignette of two figures at a table, gilt-metal loop suspending a brown silk knotted cord terminating in two tassels 19.5cm high excluding loop £300-500

30 ~ A CHINESE TORTOISESHELL BRISE FAN, CANTON, MID 19TH CENTURY the guards deeply carved with roses below figures and pavilions amidst foliage, the sticks carved to both sides in low relief on a pierced linear ground with similar motifs, the stamped metal loop with paste terminals suspending a knotted silk cord terminating in 30 three differently coloured tassels 23cm high excluding loop £400-600

31 ~ A CHINESE IVORY AND PAINTED FAN, PROBABLY CANTON, LATE 19TH CENTURY with shaped plain ivory monture excepting a roundel carved with the initials MS to one guard, the paper leaf painted with flowers, butterflies and birds, 27.5cm high excluding metal loop with mother-of-pearl washers, in its probably original black lacquer box, the lid gilded with figures in a garden, the interior lid painted on silk with a pheasant, flowers and rocks (2) £200-300 31 9 MB112-118 Part One.qxp_Layout 1 11/05/2018 09:38 Page 10

32 34

32~ 34 ~ A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY square-ended, the sticks carved to one side in low relief against a the sticks carved to one side over a finely pierced linear ground finely pierced linear ground with a roundel initialled J.D.H. flanked with a landscape oval flanked by urn motifs surrounded by by bracketed cartouches surrounded by birds and trailing flowers, trailing flowers and birds, the guards carved with flowerheads on the solid guards carved with birds and flowers on a patterned a patterned ground, with an associated cream Duvelleroy ground and panels of pavilions and foliage, paste mounted pivot stamped later box pin guard 27cm long 20.5cm high £400-600 £300-500 35 ~ 33 ~ A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY A CHINESE IVORY BRISE FAN, PROBABLY CANTON, SECOND the sticks detailed to one side with birds and flowers trailing over HALF 19TH CENTURY a finely pierced scrollwork ground, the central oval initialled EAK the sticks carved in low relief to one side on a finely pierced linear on a fine linear ground flanked by urn motifs, the solid guards ground with a panel centred by a vacant cartouche surrounded by carved with flowerheads on a patterned ground figures amidst garden pavilions below a border of fruits and an 26cm high arcade containing dragons, phoenixes and further figures, each £400-600 guard carved to the inner side with figures and to the outer with a further dragon and phoenix 19cm long £300-500

33 35

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38 38 ~ A CHINESE IVORY WORK BOX, CANTON, MID 19TH CENTURY of cut-cornered rectangular bowed outline, with metal drop loop handles and key escutcheons to front, the whole covered in deeply carved panels between scroll foliate borders with figures, pavilions, boats and bridges amid foliage, with florally carved apron between the grotesque mask headed paw feet, the interior with a lift-out tray with red silk pin cushion and complete with the following carved components: two lidded compartments, two needle cases, a pair of small jars and covers, a clamp with red silk pin cushion, a clamp with spool, a long rotating spool, four thread containers (one missing lid), a cylindrical thread dispenser, an elliptical thread holder, eight thread crosses, a thimble, and a quantity of various bodkins, with a key 30cm long For another very similar work box (or sewing casket) see Gorringe’s, Lewes, 28 November 2017, lot 257 £3000-5000 36 36 A CHINESE BLACK LACQUER BRISE FAN, PROBABLY CANTON MID 19TH CENTURY each side gilded and painted with a small landscape oval centring scenes of equestrian figures and attendants on foot amidst buildings and trees below an arcade of various bird figures and above a band of diaperwork 19.5cm high £300-400 39

37 39 ~ A JAPANESE IMARI CHARGER, MEIJI PERIOD (1868-1912) A JAPANESE IVORY NETSUKE, BY RANSEN, KYOTO, EDO PERIOD, fluted, centrally painted with a vase of flowers against a ground MID 19TH CENTURY gilled with ho-o birds and flowers, 47cm diameter; together with carved as a chick hatching from its egg, signed to oval reserve a Japanese Imari large bowl, Meiji period, painted with panels of 3.6cm long shishi against an elaborate ground, 31cm diameter, some damage £600-900 (2) £150-200

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LOTS 40 TO 257: THE PETER E. MÜLLER COLLECTION OF JAPANESE MASK NETSUKE, CURATED BY MAX RUTHERSTON

Peter E. Müller is a distinguished Swiss businessman, who had a highly successful career as European Managing Director of the employment agency Adecco. As described below by fellow Swiss netsuke collector Willi Bosshard, he has been an avid collector of netsuke, as well as a great Japanophile. His collection of katabori netsuke was sold some years ago, at which point he concentrated on the mask netsuke presented in this sale, which came from a wide number of sources around the world. I had the pleasure of working with him on the publication of the collection in a book intended for private circulation. In the event only 20 copies were printed, one of which is offered towards the end of the sale. Peter has also collected prints and an important library. I knew Peter as a confident and affable client: suave, intelligent and amusing. Sadly dementia has taken a terrible toll, but he is lovingly tended by his wife Ruth and daughters Franziska and Maya. Max Rutherston, London, April 2018

Willi Bosshard writes: ‘I got to know Peter in Vevey in 1985 on an introduction from Barry Davies, agreeing to meet at the famous Kronenhalle in Zurich. We hit it off immediately and, contrary to Swiss formality, were on first name terms from the first. We shared a love for those beautiful traditional Japanese miniature works of art named netsuke as well as the finer pleasures of the table, not least the ones of Bacchus. I had only three netsuke with me – in those days there was no problem to travel with ivory pieces in one’s pocket! – and Peter brought a whole tray of his “darlings”, so we forgot the time. Only because he was well known there did they not kick us out when service ended at 3 pm. He certainly had a fine taste already, and he knew all the top dealers personally, though he had started collecting only a few years earlier. Consequently we became such close friends that for my 50th birthday celebration I asked if he would consent to be guest speaker, which he did, obliging with an eloquent and poignant address. One day in 1987, I had most of my netsuke out on our large dining table in Tokyo, naturally in their special felt trays, and I was busy updating my many inventory lists. Then the phone rang, and it was Peter, telling me that he was in town! Well there went my netsuke inventory update… I went to pick him up and the next hours were spent going over my collection which was already laid out on the table. Peter was overwhelmed, even though I had covered one half of the trays so as not to stun him too much. He was so absorbed that he did not want to go out for dinner; we ordered in tempura and continued our session.’ William G. (Willi) Bosshard, La Tour-de-Peilz, April 2018

Photography courtesy of Peter Schälchli, Zurich

40 41 41 detail

40 41 KARURA (GARUDA), BY KOKEISAI SANSHO, OSAKA, 1871-1926 A GURNING GHOUL, BY KOKEISAI SANSHO, EARLY 20TH pale boxwood, signed with the ka CENTURY 5.1cm high ō pale boxwood, signed with ka Peter E. Müller Japanese Mask Collection No.2 3.9cm high ō £2000-2500 Peter E. Müller Japanese Mask Collection No.220 £1500-2000

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42 43 44

42 44 SHISHIGUCHI, EARLY 19TH CENTURY A LARGE DOUBLE MASK OF OKAME AND HYOTTOKO, dark wood, unsigned EARLY 20TH CENTURY 5.1cm high wood with dark inlaid pupils, unsigned Peter E. Müller Japanese Mask Collection No.70 5.1cm high £700-900 A similar mask was in the sale of the Mang Collection, lot 295, described as a tonkotsu cover. In fact both are netsuke with the 43 mouth on both sides serving as himotoshi. KARASU-TENGU, BY JOGETSU, MID 19TH CENTURY Peter E. Müller Japanese Mask Collection No.211 dark wood, signed ‘Jogetsu to’ £400-500 3.8cm high Peter E. Müller Japanese Mask Collection No.219 45 £700-900 A DOUBLE MASK OF OKAME AND USOBUKI, 19TH CENTURY boxwood, unsigned 4.2cm high Peter E. Müller Japanese Mask Collection No.210 £350-450

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46 47 48

49 50 51

46 49 CHID , BY TETSURO, EARLY 20TH CENTURY KARURA (GARUDA), BY KANO TESSAI, CIRCA 1921-25 lacqueredŌ wood, signed ‘Tetsuro’ with ka lacquered wood, signed ‘Tessai to’ with ka , in its original box 4.8cm high ō signed and sealed by the artist ō Tetsuro was a talented student of Kano Tessai. 3.5cm high (3) Peter E. Müller Japanese Mask Collection No.3 The original box identifies this as a copy of a mask in the Shosoin £1000-1500 Imperial Repository, with the studio name Saisho Shoja, used in the last four years of the artist’s life. 47 KARURA (GARUDA), LATE 19TH CENTURY Peter E. Müller Japanese Mask Collection No.6 lacquered wood, unsigned £1500-2000 5.7cm high Although this artist’s work resembles that of Kano Tessai (see lot 50 49), it is distinguished by the use of a rounded himotoshi bar. KONGO-RIKISHI, BY KYOSAI, 19TH CENTURY lacquered wood, signed ‘Kyosai’ Peter E. Müller Japanese Mask Collection No.4 5cm high £900-1200 Peter E. Müller Japanese Mask Collection No.7 48 £1000-1500 KARURA (GARUDA), LATE 19TH CENTURY lacquered wood, unsigned 51 5.1cm high KONRON, 19TH CENTURY lacquered wood, the eyes inlaid in what is probably dark buffalo See note to previous lot horn, unsigned Peter E. Müller Japanese Mask Collection No.5 4.1cm high £800-1000 Peter E. Müller Japanese Mask Collection No.8 £1000-1500

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52 53 54

52 54 OKINA, 19TH CENTURY CHID , 20TH CENTURY lacquered wood, unsigned pottery,Ō stamped “made in Japan” 4.2cm high 4.9cm high This has common characteristics with the work of Ryuzan. Peter E. Müller Japanese Mask Collection No.1 Peter E. Müller Japanese Mask Collection No.22 £100-150 £500-700 55 53 A DOUBLE MASK OF OKAME AND SHOJO, ATTRIBUTED TO A LAUGHING MAN, BY GYOKO, 19TH CENTURY SHUGETSU OR SHUMIN, 19TH CENTURY pale boxwood, with brushed signature ‘Gyoko’ (Mitsuyoshi) boxwood, unsigned 6.7cm high 4.2cm high Peter E. Müller Japanese Mask Collection No.13 Peter E. Müller Japanese Mask Collection No.208 £600-800 £500-700

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56 57 58

59 60 61 56 59 KONGO-RIKISHI, BY KANO TESSAI, CIRCA 1900-25 HEISHITORI, BY HARA SHUGETSU, 19TH CENTURY lacquered wood, signed ‘Tessai’ with ka , in its original box pale boxwood, signed ‘todaiji zo gigaku men shugetsu saku’ signed and sealed by the artist ō 3.5cm high 4.9cm high Peter E. Müller Japanese Mask Collection No.15 (3) £600-800 The original box identifies this as a copy of a mask in the Shosoin Imperial Repository. 60 Peter E. Müller Japanese Mask Collection No.9 HEISHITORI, ATTRIBUTED TO HOZAN, EARLY 20TH CENTURY £1500-2000 pale boxwood, unsigned 4.3cm high 57 The attribution is based on comparison with other masks in the A LONG NOSED MAN, 19TH CENTURY collection. pale boxwood, unsigned with ka Peter E. Müller Japanese Mask Collection No.16 4.8cm high ō £800-1000 Peter E. Müller Japanese Mask Collection No.12 £1000-1500 61 RANRY - , 20TH CENTURY 58 lacqueredŌ Ō wood, unsigned HEISHITORI, BY SHOKA, 19TH CENTURY 4cm high lacquered wood, signed ‘Shoka to’ Peter E. Müller Japanese Mask Collection No.17 4.9cm high £600-800 As indicated in the inscription on the mask in the next lot, they are both copies of one of the ancient masks of the Todaiji at Nara. Peter E. Müller Japanese Mask Collection No.14 £900-1200

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62 BUDDHA, BY KANO TESSAI, CIRCA 1900-25 lacquered wood, signed ‘Tessai to’ with ka , in its original box 3.2cm high ō (3) Peter E. Müller Japanese Mask Collection No.11 £900-1200

63 GOJO, BY KANO TESSAI, CIRCA 1900-25 lacquered wood, signed ‘Tessai to’ with ka , in its original box signed and sealed by the artist ō 3.6cm high (3) The original box identifies this as a copy of a mask in the Shosoin Imperial Repository. Peter E. Müller Japanese Mask Collection No.10 £1200-1500

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64 65 66

67 68 69

64 67 OKINA, DEME FAMILY, 19TH CENTURY SHOJO, BY MATSUKI H KEI, LATE 19TH CENTURY pale boxwood, signed ‘Deme saku’ tsuishu lacquer, signed Ō‘H kei’ 5.4cm high 4.5cm high ō Peter E. Müller Japanese Mask Collection No.28 The artist is a master of carving in solid red lacquer. £400-500 Peter E. Müller Japanese Mask Collection No.32 £2000-2500 65 OKINA, BY KANO TESSAI, CIRCA 1900-25 68 pale boxwood, signed ‘Tessai to’ with ka SHOJO, BY KEIZAN, 20TH CENTURY 3.5cm high ō lacquered wood, signed ‘Keizan saku’ A rare unlacquered example by the artist. 4.9cm high Peter E. Müller Japanese Mask Collection No.29 Peter E. Müller Japanese Mask Collection No.33 £700-900 £500-700

66 69 SANKA-JO, DEME FAMILY, 19TH CENTURY SHOJO, BY SHIGEMITSU, 19TH CENTURY wood, two pieces joined with strings, signed ‘Deme’ tsuishu lacquer, signed ‘Shigemitsu’ 4.8cm high 4.1cm high Peter E. Müller Japanese Mask Collection No.30 Since old Japanese horizontal inscriptions can be read in either £400-500 direction, the signature might equally be Mitsushige. Peter E. Müller Japanese Mask Collection No.35 £600-800

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70 71 72

73 74

70 73 HANNYA, 18TH CENTURY MIGAKI-ONNA OR HAKAKIME, BY KANO TESSAI, LATE 19TH stained fruitwood, unsigned CENTURY 5.5cm high lacquered wood, signed ‘Tessai dojin to’ with ka Peter E. Müller Japanese Mask Collection No.42 3.9cm high ō £400-500 Peter E. Müller Japanese Mask Collection No.38 £1000-1500 71 NAMANARI, 19TH CENTURY 74 ~ pale boxwood, with red lacquer signature tablet Genzan, probably A SMILING FEMALE, DEME FAMILY, 19TH CENTURY added pale boxwood with inlaid ebony eyebrows, the hair incised and 4.5cm high stained, signed ‘Deme’ Peter E. Müller Japanese Mask Collection No.43 4.3cm high £600-800 Peter E. Müller Japanese Mask Collection No.39 £500-700 72 HANNYA, 19TH CENTURY stained boxwood with gold lacquered eyes, unsigned 6.7cm high Peter E. Müller Japanese Mask Collection No.41 £1500-2000

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75 75 A FULL SIZE NOH MASK OF Z -ONNA, BY MITSUHIDE, CIRCA 1780-1850 cypress wood with pigments, inscribedŌ behind ‘Deme Fujiwara Mitsuhide’ (for the artist), titled ‘ikkoku ichijin’ and with the name of the commissioning patron ‘heisei suiharashi chikayasu’, with paulownia box 20.9cm high (3) Provenance: Steven Marvin, Hawaii Exhibited: Rutherston & Bandini, Japanese Masks, London, 2012, No.13 Peter E. Müller Japanese Mask Collection No.40 £3000-4000

76 77

76 77 NAMANARI, BY DEME UMAN, 19TH CENTURY NAMANARI, 19TH CENTURY wood, signed ‘Deme Uman’ pale boxwood, signed ‘Jinno’ or ‘Ninno’ 2.3cm high 5.3cm high Peter E. Müller Japanese Mask Collection No.44 Peter E. Müller Japanese Mask Collection No.45 £350-450 £800-1000

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78 79 80

81 82 83

78 81 KIIYOHIME, EARLY 19TH CENTURY NAMANARI, BY KIMICHIKA, 19TH CENTURY kurogaki (persimmon wood) carved with a clapper forming the boxwood, signed ‘Kimichika’ himotoshi bar, the eyes inlaid in silver, unsigned 5.7cm high 5.2cm high Peter E. Müller Japanese Mask Collection No.52 Peter E. Müller Japanese Mask Collection No.46 £1500-2000 £800-1000 82 79 SHINJA, BY MATSUKI H KEI, LATE 19TH CENTURY JA, BY HARUMITSU, 19TH CENTURY tsuishu lacquer, signed ‘HŌ kei’ stained boxwood, signed ‘Harumitsu’ 5.cm high ō 5.4cm high Peter E. Müller Japanese Mask Collection No.49 Peter E. Müller Japanese Mask Collection No.47 £2000-2500 £400-500 83 80 SHINJA, BY NAITO TOYOMASA, 19TH CENTURY JA, DEME FAMILY, 18TH CENTURY boxwood, signed ‘Toyomasa’ dark wood, signed ‘Deme’ 4.4cm high 4.7cm high Judging by the rounded second character of the signature, this is Peter E. Müller Japanese Mask Collection No.48 by one of the pupils of the Tamba master Toyomasa I, perhaps £700-900 Hidari Toyomasa. Peter E. Müller Japanese Mask Collection No.53 £4000-6000

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84 85 86

87 88 89

84 87 NASORI, 19TH CENTURY OKINA, BY RYUMIN, EARLY 20TH CENTURY lacquered wood, inscribed nasori on the himotoshi bar dark stained boxwood, signed ‘Ryumin saku’ 4.3cm high 5cm high Provenance: Raymond Bushell, San Francisco Ryumin and Hozan have characteristics in common. Peter E. Müller Japanese Mask Collection No.19 Peter E. Müller Japanese Mask Collection No.25 £600-800 £600-800

85 88 GENJORAKU, BY SOSAI, 20TH CENTURY OKINA, BY SHUGETSU, 19TH CENTURY tsuishu lacquer, the eye pupils inlaid in shell, signed ‘Sosai’ pale boxwood, the himotoshi bar carved as silk cords, signed 5.9cm high ‘Shugetsu saku’ The artist belonged to the So school of 20th century carvers. 4.8cm high A similar mask is in the Garrett Collection, Baltimore, illustrated in Peter E. Müller Japanese Mask Collection No.26 Davey and Tripp’s catalogue, p.271. £600-800 Peter E. Müller Japanese Mask Collection No.21 £600-800 89 OKINA, BY HOZAN, EARLY 20TH CENTURY 86 stained boxwood, signed ‘Hozan saku’ EMI, 19TH CENTURY 5.3cm high silver lacquered boxwood with red and gold details, unsigned Peter E. Müller Japanese Mask Collection No.27 4.8cm high £700-900 Peter E. Müller Japanese Mask Collection No.20 £500-700

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90 91

90 SHOJO, BY KYOTO MASANAO, CIRCA 1780 boxwood with incised and black lacquered hair and brows, signed ‘Masanao’ 4.2cm high One of only four masks recorded by this most important of netsuke carvers. Peter E. Müller Japanese Mask Collection No.34 £4000-6000

91 KANNON, BY NAITO KOSEKI, 1913 dark stained boxwood, unsigned, with a label inscribed by the commissioner 6.8cm high This is the only Gy d mask in the collection, made to the order of a British collectorō inō 1913. There is a large head of a nio by Koseki in the British Museum. Provenance: sale, Glendining, London, January 1916, lot 23; G. Davies (until at least 1931) Literature: Meinertzhagen Card Index, p.393, listed, but not illustrated, with the comment ‘remarkable for it’s [sic] chaste 91 label Buddhistic style’ Peter E. Müller Japanese Mask Collection No.18 £3000-4000

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92 93 94

95 96 97

92 95 NAMANARI, 19TH CENTURY SHIKAMI, DEME FAMILY, 19TH CENTURY pale boxwood, signed ‘un’ with ka dark stained boxwood, signed ‘Deme saku’ 4.5cm high ō 3.3cm high Peter E. Müller Japanese Mask Collection No.54 Peter E. Müller Japanese Mask Collection No.58 £1500-2000 £700-900

93 96 SHISHIGUCHI, BY KOMIN, 19TH CENTURY KUROHIGE, 19TH CENTURY tsuishu lacquer, signed ‘Komin’ amber, unsigned 5cm high 5.6cm high The signature might equally be read Minko, Minyu or Yumin. Amber netsuke, especially masks, are quite rare. Provenance: Harry Seymour Trower, lot 451 in his sale, 1 April Peter E. Müller Japanese Mask Collection No.57 1913; J.B. Gaskell, lot 857 in his sale, March 1926 £1200-1500 Literature: Meinertzhagen Card Index, p.386, illustrated Peter E. Müller Japanese Mask Collection No.55 97 SHIKAMI, BY K MON, LATE 18TH CENTURY £1500-2000 worn gilt lacqueredŌ boxwood, signed ‘K mon’ 3.9cm high ō 94 SHINJA, 19TH CENTURY Peter E. Müller Japanese Mask Collection No.59 dark stained boxwood, unsigned £1000-1500 5.8cm high Peter E. Müller Japanese Mask Collection No.56 £800-1000

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98 99 100

101 102 103

98 101 AKUJO, BY S MIN, 19TH CENTURY SHISHIGUCHI, 19TH CENTURY dark wood, signedŌ ‘S min’ boxwood, unsigned 3.7cm high ō 3.8cm high Peter E. Müller Japanese Mask Collection No.60 Peter E. Müller Japanese Mask Collection No.63 £500-700 £500-700

99 102 SHISHIGUCHI, 19TH CENTURY SHISHIGUCHI, BY S MIN, 19TH CENTURY boxwood with red lacquer on the tongue and lips as well as below boxwood, signed ‘SŌmin’ the eyes, faint traces of what may have been a signature 5.5cm high ō 5cm high Peter E. Müller Japanese Mask Collection No.64 Peter E. Müller Japanese Mask Collection No.61 £900-1200 £700-900 103 100 SHIKAMI, 19TH CENTURY SHIKAMI, 19TH CENTURY pale boxwood, unsigned stained boxwood with gold lacquer teeth and eyes, unsigned 4.5cm high 4.6cm high Peter E. Müller Japanese Mask Collection No.65 Peter E. Müller Japanese Mask Collection No.62 £700-900 £700-900

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104 105 106

107 108

104 107 SHISHIGUCHI, ATTRIBUTED TO HOZAN, EARLY 20TH CENTURY KO-BESHIMI, BY TENJO, 19TH CENTURY lightly stained boxwood, replaced signature tablet wood with traces of lacquer, imitating an old worn noh mask, 5cm high signed ‘Tenjo’ Peter E. Müller Japanese Mask Collection No.66 4.5cm high £1000-1500 Peter E. Müller Japanese Mask Collection No.78 £400-500 105 SARU-BESHIMI, BY S SHIN, 20TH CENTURY 108 tsuishu lacquer, signedŌ ‘S shin to’ SHISHIGUCHI, EARLY 19TH CENTURY 4.7cm high ō wood, unsigned A similar mask is in the Garrett Collection, Baltimore, illustrated in 4.9cm high Davey and Tripp’s catalogue, p.257. Peter E. Müller Japanese Mask Collection No.67 Peter E. Müller Japanese Mask Collection No.76 £500-700 £600-800

106 AN AGED BESHIMI, BY MASAHARU, 19TH CENTURY gold lacquered wood, signed ‘Masaharu’ 4.1cm high Peter E. Müller Japanese Mask Collection No.75 £400-500

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109 110 111

112 113 114

109 112 SHIKAMI, BY RYUZAN, LATE 19TH CENTURY BESHIMI, 19TH CENTURY stained boxwood, signed ‘Ryuzan’ dark wood with inlaid silver eyes, unsigned 4.6cm high 4cm high Peter E. Müller Japanese Mask Collection No.68 Peter E. Müller Japanese Mask Collection No.72 £600-800 £500-700

110 113 SHISHIGUCHI, 19TH CENTURY BESHIMI, BY DEME UMAN, 19TH CENTURY pale boxwood, unsigned polished wood with gilt copper eyes, signed ‘Deme Uman tenka 3.8cm high ichi’ Peter E. Müller Japanese Mask Collection No.69 4.2cm high £500-700 Peter E. Müller Japanese Mask Collection No.73 £500-700 111 BESHIMI, 19TH CENTURY 114 pale boxwood, unsigned DEMON, BY SOICHI, 20TH CENTURY 4.1cm high tsuishu lacquer, signed ‘Soichi to’ Peter E. Müller Japanese Mask Collection No.71 5.3cm high £500-700 A comic reversible mask, which presents a different face when turned upside down. Peter E. Müller Japanese Mask Collection No.74 £400-500

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115 116 117

118 119

115 118 BUAKU, BY HOZAN, EARLY 20TH CENTURY BUAKU, BY HOZAN, EARLY 20TH CENTURY dark stained boxwood, signed ‘Hozan saku’ boxwood, signed ‘nana-ju-issai Hozan saku’ with ka , indicating 3.6cm high the artist’s age as 71 ō Peter E. Müller Japanese Mask Collection No.84 4cm high £800-1000 Peter E. Müller Japanese Mask Collection No.80 £600-800 116 A LARGE BUAKU, 20TH CENTURY 119 gold lacquered wood, unsigned BUAKU, 19TH CENTURY 6.2cm high wood, unsigned Peter E. Müller Japanese Mask Collection No.83 4.5cm high £700-900 Peter E. Müller Japanese Mask Collection No.81 £400-500 117 BUAKU, BY TADATOSHI, 19TH CENTURY polished boxwood, signed in ‘ukibori’ in a sunken reserve ‘Tadatoshi’ 3.7cm high One of the few netsuke in the collection by an artist known principally for netsuke other than masks. Peter E. Müller Japanese Mask Collection No.82 £600-800

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120 121 122

123 124 125

120 123 KITSUNE, 19TH CENTURY SARU, 19TH CENTURY pale boxwood, unsigned lacquered wood, signed with seal ‘H ’ 4.5cm high 4.4cm high ō Peter E. Müller Japanese Mask Collection No.86 Peter E. Müller Japanese Mask Collection No.88 £500-700 £400-500

121 124 KITSUNE, 19TH CENTURY A SMALL SARU, BY MASANAO, 19TH CENTURY lacquered wood, unsigned boxwood with eyes inlaid in mid toned horn, signed ‘Masanao’ 3.8cm high 3cm high Peter E. Müller Japanese Mask Collection No.85 Peter E. Müller Japanese Mask Collection No.92 £1000-1500 £300-400

122 125 KITSUNE, 19TH CENTURY SARU, 19TH CENTURY boxwood, unsigned porcelain, probably Kutani, unsigned 3.8cm high 4.4cm high Peter E. Müller Japanese Mask Collection No.87 Peter E. Müller Japanese Mask Collection No.90 £400-500 £400-500

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126 127 128

129 130 131

126 129 SARU, 19TH CENTURY USOBUKI, BY SUKENOBU, EARLY 20TH CENTURY wood with double inlaid buffalo horn eyes, signed ‘Chi’ with ka wood, signed ‘Sukenobu’ 4.3cm high ō 4.9cm high Peter E. Müller Japanese Mask Collection No.91 Peter E. Müller Japanese Mask Collection No.95 £600-800 £450-550

127 130 SARU, 19TH CENTURY OTO, BY HIDARI ISSAN, 19TH CENTURY boxwood, unsigned pale boxwood with black lacquered hair, signed ‘Hidari Issan’ 4.5cm high 4.6cm high Probably scorched in a fire, a common occurrence in Japan. Peter E. Müller Japanese Mask Collection No.97 Peter E. Müller Japanese Mask Collection No.93 £700-900 £600-800 131 128 OKAME, BY GYOKUSHIN, 19TH CENTURY USOBUKI, BY NAOYA, 20TH CENTURY silver and black lacquered wood, signed ‘Gyokushin’ copper with gilt eyes and solid gold bar behind, signed ‘Naoya’ 4.3cm high with a stamped mark The artist is possibly Miki Gyokushin. There are two lacquered 3.4cm high combs by him in the Casals Collection, Osaka. There are good Peter E. Müller Japanese Mask Collection No.94 reasons to think he may have been a pupil of Ikeda Taishin. £350-450 Peter E. Müller Japanese Mask Collection No.111 £400-500

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132 133 134

135 136 137

132 135 OTO, BY BAZAN, 19TH CENTURY OTO, BY S KYU, EARLY 20TH CENTURY lacquered wood, signed ‘Bazan’ pale boxwood,Ō signed ‘S kyu’ 5.7cm high 3.8cm high ō A rare mask by the artist. Peter E. Müller Japanese Mask Collection No.103 Peter E. Müller Japanese Mask Collection No.100 £500-700 £700-900 136 133 OTO, BY GYOKKO, MID 19TH CENTURY A LARGE OTO, 19TH CENTURY pale boxwood, signed ‘Gyokko’ polished dark fruitwood, possibly plum, unsigned 4.4cm high 6.1cm high Peter E. Müller Japanese Mask Collection No.104 Peter E. Müller Japanese Mask Collection No.101 £800-1000 £800-1000 137 134 OKAME, BY SHUMIN, 19TH CENTURY OTO, BY GYOKKO, MID 19TH CENTURY boxwood, signed ‘Shumin’ lightly stained boxwood, signed ‘Gyokko’ 4.6cm high 3.8cm high Peter E. Müller Japanese Mask Collection No.105 Peter E. Müller Japanese Mask Collection No.102 £300-400 £600-800

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138 139 140

141 142 143

138 141 OTO, 19TH CENTURY OKAME, BY KUNIMITSU, EARLY 19TH CENTURY pale boxwood, unsigned boxwood, signed ‘Kunimitsu’ 4.4cm high 4.3cm high Peter E. Müller Japanese Mask Collection No.98 Peter E. Müller Japanese Mask Collection No.107 £350-450 £250-350

139 142 OTO, BY KANO TESSAI, CIRCA 1865-1875 OKAME, 20TH CENTURY boxwood, signed ‘Tessai’ with ka gold and black lacquered wood, unsigned 5.6cm high ō 4.8cm high A rare early work by this important carver. Peter E. Müller Japanese Mask Collection No.112 Peter E. Müller Japanese Mask Collection No.99 £350-450 £1000-1500 143 140 OKAME, BY SHIBATA (IKEDA) SHINSAI, 19TH CENTURY OKAME, 19TH CENTURY silver and black lacquered wood, signed ‘Shinsa’ pale wood, unsigned 4.4cm high 4.8cm high The artist was the son of the great Shibata Zeshin. Peter E. Müller Japanese Mask Collection No.106 Peter E. Müller Japanese Mask Collection No.113 £300-400 £300-400

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144 OKAME, LATE 19TH CENTURY tsuishu lacquer, the himotoshi bar with carved asanoha pattern, unsigned 4.3cm high Peter E. Müller Japanese Mask Collection No.114 £500-700

144

145 OKAME, 19TH CENTURY silver and black lacquered wood, unsigned 4.6cm high Peter E. Müller Japanese Mask Collection No.115 £300-400

145

146 OKAME, BY GYOKKO, MID 19TH CENTURY wood, signed ‘Gyokko’ 5.6cm high Peter E. Müller Japanese Mask Collection No.117 £200-300

146

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147 147 148

149 150

147 149 OKAME AND ANOTHER OF HANAHIKI, BY SEKISEN, 20TH OKAME, 19TH CENTURY CENTURY wood, unsigned both pottery, impressed seal ‘Sekisen’ 4.5cm high 4.2 and 4.8cm high Peter E. Müller Japanese Mask Collection No.119 (2) £300-400 Peter E. Müller Japanese Mask Collection No.116 and 186 £200-300 150 OKAME, BY SHUKOKU, 19TH CENTURY 148 boxwood, signed ‘Shukoku’ A LARGE OKAME, BY SHUMIN, 19TH CENTURY 4.9cm high polished fruitwood, signed ‘Shumin saku’ Peter E. Müller Japanese Mask Collection No.120 8.6cm high £250-350 Peter E. Müller Japanese Mask Collection No.118 £350-450

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151 152 153

154 155

151 154 OKAME, BY SHUZAN, 19TH CENTURY A DEMON, CIRCLE OF RYUZAN, LATE 19TH CENTURY boxwood, signed ‘Shuzan’ boxwood, signed with ka 5cm high 4.8cm high ō Peter E. Müller Japanese Mask Collection No.121 The attribution is based on comparison with several signed £300-400 netsuke in the collection. Peter E. Müller Japanese Mask Collection No.146 152 £600-800 OKAME, 19TH CENTURY boxwood, signed with ka 155 4.9cm high ō A LARGE OKAME, BY HARA SHUGETSU, 19TH CENTURY Peter E. Müller Japanese Mask Collection No.122 polished dark stained fruitwood, one himotoshi with inlaid ring in £300-400 green stained stag antler, signed ‘Hara Shugetsu Shizan saku’ 7.1cm high 153 A rare signature, perhaps to distinguish himself from his father, OKAME, BY SHUZAN, 19TH CENTURY also a carver of mask netsuke. boxwood, signed ‘Shuzan’ Peter E. Müller Japanese Mask Collection No.124 5.1cm high £700-900 Peter E. Müller Japanese Mask Collection No.123 £150-200

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156 157 158

159 160 161

156 159 A LARGE ONI, 18TH CENTURY A MASK OF ONI, 19TH CENTURY wood with traces of red pigment in the mouth, unsigned wood, unsigned 6.7cm high 4.1cm high Peter E. Müller Japanese Mask Collection No.127 As this has no himotoshi, it is not a netsuke. £2000-2500 Peter E. Müller Japanese Mask Collection No.130 £700-900 157 ONI, 19TH CENTURY 160 boxwood, lacquered behind, with eyes of reverse painted glass, ONI, BY SHUZAN, 19TH CENTURY unsigned boxwood, signed ‘Shuzan’ 4.1cm high 5.1cm high Peter E. Müller Japanese Mask Collection No.128 Peter E. Müller Japanese Mask Collection No.131 £800-1000 £600-800

158 161 ONI, BY HOKKA (HOKKE), 1919 ONI, 20TH CENTURY lacquered wood, signed ‘Hokka’ and inscribed with cyclical date stag antler with inlaid dark horn eyes, unsigned 4.7cm high 4.4cm high Peter E. Müller Japanese Mask Collection No.129 Peter E. Müller Japanese Mask Collection No.132 £300-400 £200-300

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162 163 164

165 166 167

162 165 ONI, BY HARUAKI (SHUNMEI), 19TH CENTURY ONI, LATE 18TH CENTURY iron with silvered rings around the pupils and gilt fangs, signed wood with inlaid metal eyes, unsigned on a cheek ‘Haruaki’ 4.8cm high 5cm high Peter E. Müller Japanese Mask Collection No.138 Peter E. Müller Japanese Mask Collection No.133 £350-450 £1000-1500 166 163 ONI, 19TH CENTURY ONI, LATE 19TH CENTURY blue glazed porcelain, unsigned stag antler, the himotoshi bar carved as tied silk cords, unsigned 4.6cm high 4.2cm high Peter E. Müller Japanese Mask Collection No.140 Peter E. Müller Japanese Mask Collection No.134 £350-450 £700-900 167 164 BAKEMONO, BY GARAKUSAI, 19TH CENTURY ONI WITH OKAME BEHIND, LATE 18TH CENTURY wood, signed ‘Garakusai zo’ boxwood, unsigned 4.4cm high 4.5cm high Peter E. Müller Japanese Mask Collection No.141 The subject alludes to the annual new year cleansing ritual oni- £600-800 yarai setsubun. Peter E. Müller Japanese Mask Collection No.137 £500-700

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168 169 170

171 172 173

168 171 A DOLEFUL MAN, 19TH CENTURY A DEMON, 19TH CENTURY boxwood with traces of scorching, unsigned lacquered wood with reverse painted glass eyes, unsigned 4.5cm high 3.7cm high Peter E. Müller Japanese Mask Collection No.147 Peter E. Müller Japanese Mask Collection No.145 £300-400 £700-900

169 172 ONI, 19TH CENTURY TENJIN, BY MITSUSHIGE, 19TH CENTURY wood, unsigned wood with traces of scorching, signed ‘Mitsushige to’ 4.1cm high 4.3cm high Peter E. Müller Japanese Mask Collection No.142 Peter E. Müller Japanese Mask Collection No.148 £500-700 £400-500

170 173 A FEMALE DEMON, BY GYOKUMITSU, 19TH CENTURY ONI, 19TH CENTURY wood, signed ‘Gyokumitsu’ shitan wood with inlaid metal pupils, unsigned 4.6cm high 4.2cm high Peter E. Müller Japanese Mask Collection No.144 Peter E. Müller Japanese Mask Collection No.149 £400-500 £500-700

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174 175 176

177 178 179

174 177 KARASU-TENGU, BY SOMIN, 19TH CENTURY KARASU-TENGU, 19TH CENTURY tsuishu lacquer, signed ‘Somin to’ boxwood, unsigned 5.2cm high 4.5cm high Peter E. Müller Japanese Mask Collection No.151 Peter E. Müller Japanese Mask Collection No.156 £2000-2500 £700-900

175 178 KARASU-TENGU, BY SEKIHO, 20TH CENTURY KARASU-TENGU, 19TH CENTURY pottery, signed ‘Sekiho’ green lacquered wood, unsigned 4.5cm 5.9cm high Peter E. Müller Japanese Mask Collection No.152 Peter E. Müller Japanese Mask Collection No.157 £200-300 £500-700

176 179 A LARGE KARASU-TENGU, LATE 19TH CENTURY A SMALL KONOHA-TENGU, 19TH CENTURY Pale boxwood, unsigned boxwood, the cloth around its nose forming the himotoshi bar, 5.4cm high unsigned Peter E. Müller Japanese Mask Collection No.154 3cm high £700-900 Peter E. Müller Japanese Mask Collection No.158 £350-450

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180 181 182

183 184 185

180 183 EBISU, BY KANO TESSAI, CIRCA 1900 DAIKOKU, BY KANO TESSAI, CIRCA 1900 boxwood with black stained cap and red lips, signed ‘Tessai’ with boxwood with black stained cap and red lips, signed ‘Tessai to’ ka with ka 3.2cmō high 3cm highō Peter E. Müller Japanese Mask Collection No.160 Peter E. Müller Japanese Mask Collection No.164 £800-1000 £800-1000

181 184 DAIKOKU, LATE 19TH CENTURY HOTEI, BY SHUGETSU, 19TH CENTURY stained fruitwood, unsigned boxwood, signed ‘Shugetsu’ 4.2cm high 4.4cm high Peter E. Müller Japanese Mask Collection No.162 Peter E. Müller Japanese Mask Collection No.165 £350-450 £400-500

182 185 EBISU, LATE 19TH CENTURY DAIKOKU, BY FUKUSAI, 20TH CENTURY porcelain, probably Hirado, unsigned stag antler, signed ‘Fukusai’ 4.1cm high 4.5cm high Peter E. Müller Japanese Mask Collection No.163 Peter E. Müller Japanese Mask Collection No.166 £300-400 £300-400

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186 187 188

189 190 191

186 189 DAIKOKU, BY DEME JOMAN, 19TH CENTURY USOBUKI, CIRCLE OF RYUZAN, LATE 19TH CENTURY wood, signed ‘Deme Joman’ gold lacquered wood, signed with a ka 4.2cm high 3.4cm high ō Peter E. Müller Japanese Mask Collection No.167 Peter E. Müller Japanese Mask Collection No.170 £400-500 £400-500

187 190 SHISHI, 19TH CENTURY USOBUKI, BY RYUZAN, LATE 19TH CENTURY lacquered wood, unsigned boxwood, signed ‘Ryuzan’ 3.4cm high 4.3cm high Peter E. Müller Japanese Mask Collection No.168 Peter E. Müller Japanese Mask Collection No.172 £350-450 £400-500

188 191 SHISHI, LATE 19TH CENTURY USOBUKI, 19TH CENTURY wood, with signature ‘Tomokazu’ red lacquered wood with black and gold details, with added 3.6cm high signature ‘Kajikawa’ Peter E. Müller Japanese Mask Collection No.169 4cm high £400-500 Peter E. Müller Japanese Mask Collection No.173 £700-900

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192 193 194

195 196 197

192 195 USOBUKI, BY GYOKUZAN, 19TH CENTURY AN OCTOPUS, LATE 19TH CENTURY walnut with dark horn eyes ringed with metal, signed ‘Gyokuzan’ boxwood with eyes inlaid in dark buffalo horn, inscribed tako 3.2cm high [octopus] In the style of Hidari Issan whose pupil he must have been. 5cm high Peter E. Müller Japanese Mask Collection No.174 Peter E. Müller Japanese Mask Collection No.177 £200-300 £600-800

193 196 USOBUKI, BY GYOKUYUKI, 20TH CENTURY USOBUKI, 19TH CENTURY wood, signed ‘Gyokuyuki’ wood, unsigned 3.6cm high 3.9cm high Peter E. Müller Japanese Mask Collection No.175 Peter E. Müller Japanese Mask Collection No.178 £200-300 £400-500

194 197 AN OCTOPUS, 19TH CENTURY A GRIMACING MAN, 19TH CENTURY worn lacquered wood, unsigned fruitwood, unsigned 4.6cm high 4.2cm high Peter E. Müller Japanese Mask Collection No.176 Peter E. Müller Japanese Mask Collection No.179 £700-1000 £400-500

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198

198 HEIKE-GANI, EARLY 20TH CENTURY pale boxwood, unsigned 4.3cm high In the style of Kokeisai Sansho. According to legend, the strangely shaped crabs of Akamagaseki are the remains of Heike warriors killed by the Minamoto. See Davey and Tripp’s catalogue of the Garrett collection, p.277. Peter E. Müller Japanese Mask Collection No.206 £800-1200

199

199 A HIRSUTE DEMON, BY HOZAN, EARLY 20TH CENTURY dark stained polished boxwood, signed ‘nana-ju-issai Hozan’ with ka , giving the age of the artist as 71 5.1cm highō Peter E. Müller Japanese Mask Collection No.205 £1500-2500

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200 201 part 202

203 204

200 202 A FROWNING MAN, 19TH CENTURY A FROWNING MAN, LATE 19TH CENTURY boxwood, unsigned pale boxwood, unsigned 4cm high 3.8cm high Peter E. Müller Japanese Mask Collection No.181 Peter E. Müller Japanese Mask Collection No.184 £400-500 £400-500

201 203 TWO MASKS OF A FROWNING MAN, 19TH CENTURY A WIDE MOUTHED MAN, 19TH CENTURY probably by the same hand, wood, unsigned wood, unsigned 4.5 and 4.6cm high 3.9cm high The first functions as a mask both ways up. Peter E. Müller Japanese Mask Collection No.188 Peter E. Müller Japanese Mask Collection No.183 £500-700 £500-600 204 A LARGE FROWNING OGRE, 19TH CENTURY wood, unsigned 6.3cm high Peter E. Müller Japanese Mask Collection No.189 £600-800

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205 206 207

208 209 210

205 208 A MASK OF A GRIMACING MAN, 20TH CENTURY ONO NO KOMACHI, 19TH CENTURY wood, scratched monogram boxwood, unsigned 4.5cm high 4.5cm high Possibly a European copy of a Japanese mask. Peter E. Müller Japanese Mask Collection No.195 Peter E. Müller Japanese Mask Collection No.190 £300-400 £100-150 209 206 A MOROSE MAN, 20TH CENTURY A MOROSE MAN, 20TH CENTURY gold lacquered wood, unsigned gold lacquered wood, unsigned 5cm high 5cm high Peter E. Müller Japanese Mask Collection No.193 Peter E. Müller Japanese Mask Collection No.191 £500-700 £500-700 210 207 A SMILING MAN, BY DEME UMAN, EARLY 19TH CENTURY A GRINNING MAN, 19TH CENTURY boxwood, signed ‘Deme Uman’ wood, scratched signature ‘Kogyoku’, possibly added 4.2cm high 4.5cm high Peter E. Müller Japanese Mask Collection No.196 Peter E. Müller Japanese Mask Collection No.192 £300-400 £300-400

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2 11 212 213

214 215 216

2 11 214 A MOROSE MAN, 19TH CENTURY A MALE MASK, BY DEME JOMAN, EARLY 19TH CENTURY boxwood, signed with ka wood, signed ‘Deme Joman’ 4.1cm high ō 3.9cm high This is signed with a distinctive complex ka which will no doubt Peter E. Müller Japanese Mask Collection No.200 be identified sooner or later. ō £350-450 Peter E. Müller Japanese Mask Collection No.180 £400-500 215 A LAUGHING DEMON, BY DEME EIMAN, 18TH CENTURY 212 boxwood, signed ‘Deme Eiman’ A CLUSTER OF NOH AND KYOGEN MASKS, LATE 19TH CENTURY 5.1cm high stained wood with stag antler inlays, unsigned Peter E. Müller Japanese Mask Collection No.201 4.5cm high £500-700 Peter E. Müller Japanese Mask Collection No.197 £400-600 216 CHOJO, 19TH CENTURY 213 red and black lacquered wood, unsigned TWO GROTESQUES, 20TH CENTURY 4.4cm high corozo nut, one with eyes inlaid in bone and dark horn, unsigned Peter E. Müller Japanese Mask Collection No.202 4.7 and 5.5cm high £300-400 (2) Peter E. Müller Japanese Mask Collection No.182 £350-450

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217 218 219 part

220 221 222

217 220 A JAPANESE MASK NETSUKE TENGU-SOMEN, 19TH CENTURY BAKEMONO, 19TH CENTURY lacquered iron, unsigned wood, unsigned 5.1cm high 4.3cm high Peter E. Müller Japanese Mask Collection No.203 Peter E. Müller Japanese Mask Collection No.207 £400-500 £500-700

218 221 A JAPANESE NETSUKE OF A CLUSTER OF MASKS, BY HARUAKI, SHIKAMI, EARLY 20TH CENTURY LATE 19TH CENTURY lacquered wood, unsigned shibuichi with some gilt eyes and copper lips, signed ‘Haruaki’ 3.6cm high 4.1cm high Peter E. Müller Japanese Mask Collection No.223 Peter E. Müller Japanese Mask Collection No.221 £800-1000 £400-500 222 219 OKAME, LATE 19TH CENTURY TWO MASKS OF OTO, 19TH CENTURY stag antler, unsigned wood, one covered in worn lacquer, the other double-sided with a 4.7cm high male mask behind, unsigned Peter E. Müller Japanese Mask Collection No.230 4.2 and 5.3cm high (2) £500-700 £300-400

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223 224 225

226 227 228

223 226 A DEMON, LATE 19TH CENTURY A GOGGLE EYED GHOUL WITH FANGS, 19TH CENTURY black lacquered wood with gilt eyes, unsigned dark stained wood, unsigned 5.2cm high 5.3cm high Peter E. Müller Japanese Mask Collection No.222 £350-450 £1200-1500 227 224 A GRIMACING GHOUL, 19TH CENTURY A LARGE REVERSIBLE MASK OF HIRSUTE MEN, LATE 18TH clear lacquered wood, unsigned CENTURY 5.2cm high polished wood, unsigned £200-300 6.8cm high Peter E. Müller Japanese Mask Collection No.209 228 A JAPANESE NETSUKE OF A MASK WRAPPED IN A CLOTH, £900-1200 19TH CENTURY ash tray style netsuke, wood, with green stained stag antler peg, 225 unsigned A SIMIAN MAN, 19TH CENTURY 4.2cm high wood, unsigned (2) 4.4cm high £100-150 £400-500

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229 230 231

229 OTO, 19TH CENTURY black wood, unsigned 6.2cm high £200-300

230 A LAUGHING OLD MAN, 20TH CENTURY wood, unsigned 4.5cm high £200-300

231 A GRINNING MAN, LATE 19TH CENTURY wood with prominent grain, unsigned 5.4cm high Judging by the way the reverse is carved, this is from the circle of Ryuzan. £350-400

232 A FULL SIZE REPLICA NOH MASK OF A WOMAN, 20TH CENTURY soft wood with pigments, unsigned 22.9cm high £300-400

232

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233 233

233 235 A KISERUZUTSU (PIPE CASE), LATE 19TH CENTURY BARRY DAVIES ORIENTAL ART lacquered with a panoply of masks in relief, unsigned exhibition catalogues: Japanese Lacquer, Nambokucho to Zeshin 21.8cm high (Dean collection); Netsuke through Three Centuries ; Netsuke and Peter E. Müller Japanese Mask Collection No.212 Inro from European Collections; The Netsuke Collection of W.G. Bosshard £1500-2000 (4) 234 £100-150 ROLF AND SYLVIA SCHMOLL handwritten catalogue of the mask netsuke in the Müller 236 collection, each mask with its own page, photographed and FOUR ESSENTIAL BOOKS ON NETSUKE described in Mrs. Schmoll’s precise hand, in small faux leather R. Bushell, Netsuke Familiar and Unfamiliar; his Collectors’ lever arch files Netsuke; R. Barker & L. Smith, Netsuke (British Museum); J. Hutt, (4) Japanese Netsuke (V&A Museum) (4) £300-400 £80-120

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237 MAX RUTHERSTON Japanese masks, Peter E. Müller, privately printed book of the collection (2017), one of only 20 printed, and the only one for sale £300-400

238 ESKENAZI exhibition catalogues of lacquer: The Charles A Greenfield collection of Japanese lacquer (hardback); 237 Japanese netsuke, inro and lacquer-ware (hardback); Japanese inro from private collections; together with M. Fairley, Contemporary Lacquer by Tomizo Saratani (4) £80-120

239 SYDNEY L. MOSS LTD. exhibition catalogues: Zodiac Beasts And Distant Cousins; Myth, Reality and Magical Transformation; Japanese Netsuke: Serious Art; Meetings with Remarkable Netsuke; Odd Men Out; Outside the Box; More Things in Heaven and Earth; such stuff as dreams are made on; One hundred years of beatitude; they are all fire and every one doth shine (10) The first is scarce. 239 part £250-300

240 BRITISH NETSUKE COLLECTIONS N.K. Davey, Netsuke (Hindson Collection, 1974), dedicated by the author; G. Cohen, In search of Netsuke & Inro; handbook of the London Netsuke Fair and Convention (1990); R. Barker & L. Smith, Netsuke; V. Harris, Netsuke (Hull Grundy collection) (5) The last two on netsuke in the British Museum. £120-150

241 IRVING GOULD Gould Collection of Netsuke In box £200-300 241

242 F. PERZY SKY JapanischeŃ Masken N und Ky gen, 1925 (2) ō ō In German, an authoritative early book on theatrical masks. £250-300

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243 247

243 247 GEORGE LAZARNICK (Ed.) GEORGE LAZARNICK (Ed.) MCI, The Meinertzhagen Card Index Netsuke and Inro Artists and How to Read Their Signatures (2) (2) Pristine copy £500-700 £500-700 248 244 MITSUHIRO’S TAKARABUKURO U.S. COLLECTIONS AND EXHIBITIONS English translation (2001); Eskenazi catalogue of the J. Carré V. Atchley & N. Davey, The Virginia Atchley Collection; Edwards & collection; D. Eijer, Kagamibuta; F.M. Jonas, Netsuké Krebs, Netsuke (Peabody Museum, Salem); M. Welch & S. (4) Chappell, Netsuke (Minneapolis exhibition, 1999); J. Earle, £40-60 Netsuke, Fantasy and Reality (Boston exhibition, 2001) (4) 249 £80-120 BOOKS ON CONTEMPORARY NETSUKE M. Kinsey, Living Masters of Netsuke; R. Bushell, The Art of 245 Netsuke Carving (Masatoshi); Eskenazi, catalogues of netsuke by JOSEPH KURSTIN M. Birch and M. Webb; D. Wright, George Weil Masterworks of Netsuke; Netsuke, Story Carvings of Old Japan, (6) dedicated by the author; Okada & Neill, Real and Imaginery £100-150 Beings (Kurstin collection); R. Bushell, Netsuke Familiar and Unfamiliar; together with two catalogues of Bernard Hurtig 250 (6) BOOKS ON MUSEUM COLLECTIONS OF NETSUKE £50-70 Davey& Tripp, The Garrett Collection; H. Arakawa, The Go Collection of Netsuke; P. Jirka-Schmitz, The World of Netsuke 246 (Werdelmann collection); Edwards & Krebs, Netsuke (Peabody ESKENAZI Museum, Salem) exhibition catalogues of netsuke: including the Carré, (4) Veranneman, Lazarnick, Greene collections as well as exhibitions The first notable for its collection of mask netsuke. of netsuke £100-150 (9) The first three hard back. £200-300

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251 part 255

251 255 A SET OF NETSUKE JOURNALS 1973-2013, LARGELY BOUND V.-F. WEBER Under its 3 different titles, 12 vols. of the Journal of the Ko-ji H -ten, first edition in original state, with separate volume of International Netsuke Collectors’ Society collected in 3 wood and correctionsō and appendices leather bindings, vols. 1-25 of the subsequent titles bound 4 years (3) together, including photographic reproduction of the scarce issue £300-400 7/2 (1987). Incomplete loose issues vols. 26 (2006) to 33 (2013), and with the loose index for vols. 13-20 256 (9 bound volumes, 33 loose journals) GERMAN BOOKS ON NETSUKE £1200-1500 P. Jirka-Schmitz,The World of Netsuke (Werdelmann collection); also her Netsuke Düsseldorf 1990 exhibition of a German 252 collection); O.H. Noetzel, Yakimono Netsuke; T. Klefisch, Netsuke, M.-T. COULLERY & M.S. NEWSTEAD Inro u.a. Sagemono (Cologne exhibition 1982-83) Baur Collection, Geneva, Netsuke (4) £200-300 £120-150

253 257 BOOKS ON CONTEMPORARY NETSUKE FRENCH BOOKS ON NETSUKE R. Bushell, The Arte of Netsuke Carving (Masatoshi); M. Kinsey, A. Ducros, Netsuke & Sagemono 2, as well as his Paris Edo, Contemporary Netsuke; Princess H. Takamado, Contemporary catalogue for the 1994 Paris Convention; F. Storno, Le Netzké Errant Netsuke (2003); H. Arakawa, Netsuke, Takumi and Share (3) (4) The first and last dedicated by the authors. £40-60 £80-100

254 BOOKS ON INRO Champoud Collection, Inro (publ. Kyoto Shoin); Werlich & Germann, Inro, Gürtelschmuck aus Japan (Trumpf Collection); Lawrence & Brozman, Japanese Inro; Barry Davies, Inro, One Hundred Selected Masterpieces; G. Cohen, In search of Netsuke & Inro (5) £100-150

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258

258 AN EARLY PARCEL-GILT IRON DORJE, TIBET, CIRCA 15TH CENTURY OR EARLIER the eight prongs at each end, gathered in bulbous form with bud finial, the segmented handle with twin registers of kirtimukha heads 24.5cm long Provenance: Private collection, London; formerly in a Dutch collection. For a closely related early iron dorje, see Bonhams, New York, 13th March 2017, lot 3054 £4000-6000

259 A BUDDHIST RITUAL DAGGER (PHURBU), TIBET, 19TH CENTURY bronze, with three sided blade issuing from a makara, the handle in the form of a vajra, the with triple head of Mahakala and further half-vajra at the top 36cm long £300-400

260 AN IRON RITUAL DAGGER (PHURBU), TIBET, 15TH/16TH CENTURY with three sided blade issuing from a makara, the handle with twin knot motifs, the finial in the form of a head of Mahakala 26cm long £400-600

259 260

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261 A SILVER FIGURE OF BUDDHA, TIBET, CIRCA 18TH CENTURY seated in padmasana on a double lotus throne, his hands in dhyana mudra, with tightly curled hair with domed usnisa and bud finial, his robes with gold inlay, his face cold gilded with polychrome detailing, 16.5cm high Provenance: Private collection, London; formerly in a Dutch collection. £6000-8000

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262

262 265 A PAIR OF PARCEL GILT BRONZE THANG-KA POLE ENDS, TIBET, A THANG-KA DEPICTING VAJRAPANI, TIBET, 18TH CENTURY 19TH CENTURY pigment on cloth, the fierce red deity depicted on a lotus base, of domed form decorated with a dragon in relief, the sockets with stepping on prostrate corpses and scorpions, surrounded by a stylised tree design, surmounted by a lotus border flaming aureole, four diminutive figures of dakinis in each corner, 11cm long; 11cm diam. framed £800-1200 63 x 46.5cm within mount £2000-3000 263 A CARVED WOOD PRINTING BLOCK, TIBET, EARLY 20TH 266 CENTURY A THANG-KA DEPICTING AN ARHAT, TIBET, 18TH CENTURY depicting a dharmapala (defender of the law) riding on his lion, pigment on cloth, the central figure seated in a landscape, with fierce expression, billowing robes, holding a standard surrounded by two figures of lamas above, Mahakala and 35 x 22 x 1.8cm Dhritarashtra below, further smaller lama figures near the central £60-80 figure, mantras in Tibetan on the reverse, green silk surround 59 x 39cm excluding mount 264 £200-300 A PAINTING DEPICTING THE MULTI-LIMBED FORM OF AVALOKITESVARA, NEPAL, 19TH CENTURY 267 gouache with gold on paper, the Buddhist deity standing on a A THANGKA DEPICTING RATNASAMBHAVA, TIBET, prostrate figure of Mahakala on an elaborate gilt throne in a 20TH CENTURY landscape, a further prostrate figure above two tiers of deities pigment with gold on cloth, the Buddha seated on an elaborate within arched niches, framed throne supported by a pair of white lions with richly upholstered 43.5 x 33.5cm back in a landscape festooned with lotuses, a triratna emblem £250-350 above, mantras in lantsa and Tibetan script on the reverse 66 x 47cm £120-150

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264 265

266 267

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268 270 A COLLECTION OF TIBETAN MINIATURE PAINTINGS (TSAKLIS), A BRASS FIGURE OF DURGA MAHISASURAMARDINI, MOSTLY 19TH CENTURY WESTERN DECCAN, CIRCA 18TH CENTURY comprising sixteen square paintings on cloth and four others on on tiered base, the eight armed goddess depicted slaying the paper, depicting various tantric and Buddhist deities and buffalo demon, grasping its head and wielding her trident in her emblems, most inscribed on the reverse in cursive Tibetan script primary hands, her other hands holding her various attributes 10.5 x 7.7cm 12.5cm high (20) For a related figure of Durga Mahisasuramardini from Provenance: Private Collection, London Maharashtra in the Museum of Folk, Tribal and Neglected Art, see £150-250 Subashini Aryan, Unknown Masterpieces of Indian Folk and Tribal Art, Gurgaon 2005, p.28, no.24. £60-80

269 271

269 271 A SMALL BRONZE FIGURE OF LOKESVARA, KASHMIR, A RARE PALLAVA BRONZE FIGURE OF SIVA, TAMIL NADU, CIRCA 6TH/7TH CENTURY SOUTH INDIA, 7TH/8TH CENTURY standing with his raised right had in abhaya mudra, his left standing on a domed base with projections for prabha (now holding the stem of a lotus which flowers at his shoulder, wearing missing), the four-armed deity holding various attributes, with three leaf crown and flowing headdress, projection for halo earrings, pointed headdress and flaring hair forming a triangle attachment (?) at the back, mounted 15.5cm high 11.5cm high Provenance: Private collection, London. Acquired in New York in Provenance: Private collection, London. Acquired Adrian Maynard, the mid-1970s London, mid-1980s The tall slender figure and shape of the crown suggest an early £1800-2200 date for this image of Siva. The stylised triangular shape of the crown radiating from the god’s head is particularly characteristic of his fierce form, Bhairava, although in this case the features are not distinct. £1000-1500

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274 272 272 274 FOUR SMALL BRONZE IMAGES, INDIA, 19TH CENTURY FOUR COPPER-GILT PLAQUES, PUNJAB, 19TH CENTURY depicting Rama, Manasa, Hanuman and Radha respectively with convex repousse relief decoration, probably from a screen, 13cm high and smaller comprising two larger and one smaller convex roundels depicting a £250-350 Sikh ruler on a European chair with attendant, Krishna on a swing, and Hanuman carrying the magic herb, the fourth of quatrefoil form, depicting Krishna in a shrine flanked by female devotees 14cm diam. and smaller £200-300

273 275 part 275 part

273 275 A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, KHANDOBA AND HIS HORSE, WESTERN DECCAN, 18TH/19TH WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY CENTURY the eight armed goddess stepping on the demon and pulling his bronze, the two figures from different original images, the god hair with her primary left hand, stabbing him with her trident in with legs apart, with long hair and tall headdress, holding a sword her right, her remaining hands holding various weapons and (now missing) in his right hand, the horse standing on a raised attributes, on raised square base rectangular base, wearing saddle and trappings 14cm high 15cm high (Khandoba); 19cm high (horse) £150-250 £150-250

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276 A LARGE VIJAYANAGARA BRONZE FIGURE OF VISHNU, SOUTH INDIA, CIRCA 16TH CENTURY standing in tribhanga on oval base, the four-armed Hindu deity with his primary right hand in abhaya mudra, his left resting on his gada, his upper hands raised, holding cakra and sankha, wearing elaborate belt with kirtimukha buckle, his tall crown with bud finial, his hair cascading in ringlets on his shoulders, a wheel-like halo attached behind 44cm high Provenance: Private collection, East Anglia. Acquired by the vendor as a gift from her husband in the 1960s. The criteria for dating early South Indian bronze images are subtle and far from clear cut. In many senses, this superb bronze displays the characteristic features of the Chola period (9th-13th century), and there was no abrupt change of stylistic direction when the Vijayanagar dynasty became dominant in the region. Nevertheless there are several indications of a later date, such as the more expressive face, the stocky, muscular build and the very detailed treatment of the jewellery and ornaments and their incised outlining. The relaxed pose with legs flexed is more commonly associated with depictions of Siva, while Vishnu, the preserver, is generally depicted, when in his primary form, in static full frontal images which emphasise his regal aura. £20000-30000

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279 279 A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, SOUTH INDIA, 18TH/19TH CENTURY on raised rectangular base, the eight-armed goddess pulling at the demon by the hair as it issues from the buffalo body, the decapitated head lying below, her right foot resting on her lion, her remaining hands holding various weapons and attributes 16cm high £500-700

277

277 A BRONZE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY of waisted rectangular form, the four-armed manifestation of Siva, stepping to his left, wearing tall sandals, wielding sword, shield, bow and arrow within an architectural niche with kirtimukha above, flanked by diminutive figures of Daksha and Sati, large carrying handle at the back 27.5 x 18 x 7cm approximately Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him. Sati who was Daksha s daughter as well as being Siva’s wife was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha’s head to avenge his wife. Other gods pleaded for Daksha’s life but although 280 Siva decided to spare him his severed head could not be found so the head of a goat was substituted instead. £500-700

278 278 280 A BRONZE FIGURE OF VISHNU ON GARUDA, TAMIL NADU, A SMALL PALA STYLE BRASS FIGURE OF PADMAPANI, EASTERN SOUTH INDIA, 19TH CENTURY INDIA OR TIBET, 11TH/12TH CENTURY cast in two sections, the four-armed Hindu god standing on a standing in tribhanga on a lotus base, wearing three-leaf crown lotus, his primary hands in varada mudra and resting on his gada 6.5cm high (now missing), the platform carried by the crouching winged Provenance: Private collection, London figure of his vehicle, Garuda, his hands outstretched 23cm high £400-600 £700-900

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281 A LARGE BRASS SHRINE DEPICTING VIRABHADRA, WESTERN DECCAN, 16TH/17TH CENTURY cast in three sections, the four-armed form of Siva standing on a flared base, holding sword and shield in his primary hands, wearing sandals, dhoti with dagger tucked in the belt and tall headdress with sivalingam in front, originally flanked by figures of Daksha and Sati (now missing), sheltering under a five-headed cobra resting on the leafy prabha with kirtimukha at the top 44cm high (entire shrine) See lot 277 for a note about the story of Virabhadra. £2000-3000

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282

282 284 A JAIN BRONZE SHRINE DEPICTING ADINATHA, THE FIRST TWO BRONZE FIGURES OF KRISHNA, BENGAL, 19TH CENTURY TIRTHANKARA, GUJARAT, WESTERN INDIA, DATED SAMVAT OR EARLIER 1519/1463 AD the larger in the form of Venugopala, standing with ankles inlaid with silver and copper, the central figure seated in crossed, playing the flute, the other as Balakrishna, the infant padmasana on a lion throne, flanked by a pair of standing jinas deity crawling on the ground and chauri bearers, a further pair of seated jinas above, sheltered 19cm (excluding base) and smaller by a parasol supported by a pair of elephants, the arched prabha (2) surmounted by a water-pot, dedicatory devanagari inscription and Provenance: Private Collection, London date at the back 18.5cm high £100-150 £1500-2000 285 A BRASS SHRINE, SOUTH INDIA, 19TH CENTURY 283 in two sections, probably made for a Vishnu trio, the platform with A VIRABHADRA PLAQUE, WESTERN DECCAN, 19TH CENTURY three spaces for deities (now missing), the prabha in the form of a copper repousse relief, of rectangular form, depicting the four- makaratorana framing a tree, with five-headed cobra and armed form of Siva flanked by Daksha and Sati, kirtimukha above 19 x 12cm 23cm See lot 277 for a note about the story of Virabhadra. Provenance: Private Collection, London £120-150 £80-120

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286 287 286 287 A LARGE BRONZE FIGURE OF RAMA, SOUTH INDIA, 16TH/17TH A BRONZE FIGURE OF KRISHNA VENUGOPALA, BENGAL, CENTURY EASTERN INDIA, CIRCA 18TH CENTURY standing in tribhanga on a circular lotus base resting on a tapered the youthful deity standing with ankles crossed, playing the flute square plinth with carrying loops, his left hand raised, his right at (now missing), wearing large beaded earrings and tall tiered his side, originally carrying his bow (now missing), his quiver headdress, later wood stand hanging from his right shoulder, inscription in telugu at the 27cm high bottom For a closely related Krishna figure in the Victoria and Albert 39cm high Museum, see IS 81 1960 There is a smaller and slightly earlier depiction of the same £1800-2200 subject in the Ashmolean Museum, Oxford (EA2013.98.a) £2500-3500

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288 288 290 A BRONZE FIGURE OF NANDI BULL, WESTERN DECCAN, CIRCA A SMALL BRONZE FIGURE OF A LION, PROBABLY DECCAN, 17TH CENTURY SOUTHERN INDIA, 16TH/17TH CENTURY the vehicle of Siva standing on a separately cast raised plinth, originally from a flintstriker wearing necklaces blanket and trappings, a lingam pendant 5 x 5 x 1.5cm hanging from his neck Provenance: Private Collection, London 25cm high £80-120 £1000-1500

289 291 289 291 A BRONZE FIGURE OF NANDI, WESTERN DECCAN, INDIA, CIRCA A BRASS FIGURE OF DIPALAKSHMI, SOUTH INDIA, 19TH 18TH CENTURY CENTURY crouching on raised rectangular cushion base, the bull vehicle of the goddess standing in tribhanga on a raised lotus base, her Siva wearing a lingam hanging from his neck, with pointed horns hands outstretched, wearing kuchhaband, disc earrings and long and small hump, a loop attachment at the back for cobra canopy ponytail, with unrelated brass bowl (now missing) 27.5cm high 10cm high £250-350 £120-180

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292 294 292 294 A SCHIST STELE DEPICTING SIVA VINADHARA, WESTERN A KUSHAN RED SANDSTONE SIVA LINGAM, PROBABLY DECCAN, 10TH/11TH CENTURY KAUSAMBI, NORTHERN INDIA, 2ND/3RD CENTURY the four-armed deity playing the vina, his upper hands holding of rounded columnar form, flattened at the back, carved with a trisula and damaru, a diminutive figure of his vehicle the bull face of Siva with third eye on his forehead, smiling expression, Nandi in relief below wearing earrings and hair gathered in a topknot, mounted 39cm high 23.5cm high Provenance: Private collection, Germany, acquired 1960-66 in Provenance: Private collection, London. Acquired in New York in India by the vendor while working in development assistance. the mid-1970s £400-600 £2000-3000

293

293 A MOTTLED PINK SANDSTONE COPING STONE FRAGMENT, MATHURA REGION, NORTHERN INDIA, 1ST CENTURY A.D. of long vaulted form, a narrow carved frieze on one side depicting a lion flanked by a pair of swags, a border of alternating bell and bud motifs above 17cm high; 77cm long Property from a deceased estate, sold by order of the executors; acquired Sotheby’s London, 13 June 1988, lot 279. For two similar fragments from the Nasli and Alice Heeramaneck collection in the Los Angeles County Museum of Art, see M.81.90.21a-b. Other examples can be found in the Ashmolean Museum, Oxford (inv.1983.24; see James Harle and Andrew Topsfield, Indian Art in the Ashmolean Museum, Oxford 1987, no.10, p.9), and the Dayton Art Institute (69.8; see S. Czuma, Kushan Sculpture: Images from Early India, Cleveland 1985, no.6). £700-900

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295 A MONUMENTAL KUSHAN HEAD OF A JINA, MATHURA REGION, NORTHERN INDIA, CIRCA 2ND CENTURY A.D. pink sandstone, with plump lips, elongated earlobes and prominent eyes, mounted 29cm high Provenance: Private Collection, London Acquired from the Swedish dealer and collector Max Willborg (1933-2001) in 1975. For a closely related head of Buddha in the Los Angeles County Museum of Art (M 69.13.9), see Pratapaditya Pal, Indian Sculpture, Vol I, Berkeley 1986, p.184, no.S60 £3000-5000

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296 A LARGE DARK GREY STONE HEAD OF A MALE DEITY, PROBABLY VISHNU, GURJARA-PRATIHARA, WESTERN INDIA, CIRCA 11TH CENTURY the tall faceted headdress fringed with a crown of repeated vyala heads, with almond-shaped eyes and wearing disc earrings 33cm high Provenance: Private collection, Southern England. In the possession of the vendor’s mother before 1980. A common feature of the Pratihara period is the combination of faceted headdress with richly carved ornamentation. Typical is a fine Surya bust in the Archaeological Museum, Thanesar, with kirtimukha vomiting jewelled swags. For a similar black stone head on a Vishnu stele dated 1147 from Rajasthan in the National Museum, New Delhi, see George Michell (ed.), In the Image of Man, p.197, pl.345. See also the bust of a yogini in the Victoria and Albert Museum, IS.9-1969. £2500-3500

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298 298 A CLAY VOTIVE PLAQUE, PAGAN, BURMA, CIRCA 12TH CENTURY of arched form, the impressed relief depicting Buddha within a shrine, flanked by figures of Moggolana and Sariputta, a group of small stupas above 15 x 15.5 x 4.5cm £300-400

299 299 A DVARAVATI TERRACOTTA BUST OF BUDDHA, THAILAND, 7TH/8TH CENTURY wearing robes gathered at his waist, with elongated earlobes and tightly curled hair, mounted 28.5cm high Provenance: From the collection of the late Dr. J. S. Gordon, London. Acquired from Manuel Castilho, London 1999. A folder of documentation including the original invoice, dated 15 March 1999, is sold with this lot. £800-1200

297 297 A KUSHAN MOTTLED PINK SANDSTONE FRAGMENTARY RAILING COLUMN, MATHURA REGION, NORTHERN INDIA, 2ND/3RD CENTURY the faceted front with two lotus medallions, a further half medallion at the top with a mythical lion, carved in relief, the back with plain facets, the sides with cigar-shaped sockets for railing slats, mounted 64cm high 300 300 Property from a deceased estate, sold by order of the executors; A DVARAVATI TERRACOTTA HEAD OF BUDDHA, THAILAND, acquired Sotheby’s London, 13 June 1988, lot 279. 7TH/8TH CENTURY For a related fragment in the Dayton Art Institute, Ohio, carved on with tightly curled hair the ears with elongated lobes, the face the front with a salabhanjika figure, see S.Czuma, Kushan with full lips, mounted on stand Sculpture: Images from Early India, Cleveland 1985, no.32, p.96. 14.5cm high £700-900 Provenance: Private Collection, London £500-800

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301 A MONUMENTAL CHAM STONE HEAD OF A DVARAPALA, DA NANG REGION, VIETNAM, 10TH CENTURY grey sandstone, with bulging eyes and raised eyebrows, his long hair arranged in plaits gathered in a bun, wearing tiara and pendent earrings, mounted 53cm high Provenance: Private Collection, London. Formerly collection of Yves Prunier, Paris until 1990s. The Hindu kingdom of Champa, which occupied most of the Southern half of modern Vietnam, reached its greatest power and prosperity between 8th-10th centuries before their territory was gradually reduced from the North by the Vietnamese. Little remains of the great riches of this civilisation, a great deal of which was lost in relatively recent times. For a related head of a ‘ferocious dvarapala’ in the Da Nang Museum, see Emmanuel Guillon, Cham Art, London 2001, no.104, p.118f £4000-6000

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302 304 302 304 A BRONZE FIGURE OF BUDDHA, LAOS, 16TH/17TH CENTURY A BLACK-LACQUERED WOOD FIGURE OF BUDDHA, BURMA, seated in sattvasana on a raised throne with pierce leafy 18TH CENTURY decoration, his hands in bhumisparsa and dhyana mudra, with the crowned figure seated in padmasana on a raised pedestal, his elongated slender face and tall flame usnisa, traces of gilt hands in bhumisparsa and dhyana mudra, wearing crown and 37cm high elaborate robes, the pedestal with stylised foliate motifs, the £700-900 decoration in low relief 47cm high £400-600

303 305 303 305 AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, A BRONZE FIGURE OF BUDDHA, BURMA, 17TH/18TH CENTURY 16TH/17TH CENTURY seated in sattvasana on a raised pierced throne, his hands in seated in sattvasana, his hands in dhyana mudra, with elongated bhumisparsa and dhyana mudra, with elongated earlobes and tall earlobes bud shaped usnisa, twin loops for cobra canopy (now missing) at 13.5cm high the back £300-400 15cm high £400-600

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306 AN AYUTHIA BRONZE HEAD OF BUDDHA, THAILAND, 16TH/17TH CENTURY with tightly curled hair, elongated earlobes and mother-of-pearl inlaid eyes, traces of gilt and lacquer, mounted 25cm high Provenance: Private Collection, London. Acquired Auction Atrium, Kensington, 9 June 2011, lot 17837 £1200-1800

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307

307 A KHMER PALANQUIN HOOK, CAMBODIA, CIRCA 12TH CENTURY bronze and iron, the central socket formed of protruding tiered leafy forms, supported by twin figures of Garuda on either side, the hook element below in the form of a multi-headed cobra, the top finial with four busts of Vishnu(?) each with hands in namaskara mudra, mounted 25cm high Provenance: Private Collection, London. Acquired Auction Atrium, 9 June 2011, lot 17967. £800-1200

309

309 ‡ A QAJAR ILLUMINATED PANEL, PERSIA, 19TH CENTURY gouache with gold on paper, of long rectangular form, with painted arabesque and stylised flower and leaf designs, framed 60 x 9cm (main panel) Provenance: European private collection £600-800 ‡

310 ‡ 308 THE HOLY FAMILY, QAJAR, PERSIA, LATE 18TH CENTURY 308 gouache with gold on paper, laid on an album page, Mary, the A SOLID CAST BRONZE FIGURE OF BUDAI, LAOS OR THAILAND, infant Jesus and Joseph depicted by the window of a European PROBABLY CIRCA 18TH CENTURY palace, the scene surrounded by five concentric intricately painted seated in sattvasana with hands clasping his ample waist, with floral and geometric borders, stamped on the reverse with title smiling expression and long drooping ears, mounted Nizam al-Mulk and dated AH 1204 or 1206 (1790 or 1792 AD) 9cm high 12 x 7cm (image); 21.5 x 13.5cm Provenance: Private Collection, London Provenance: European private collection £300-500 £1000-1500 ‡

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3 11 312 313

3 11 313 ‡ A MUGHAL CALLIGRAPHIC FOLIO, NORTHERN INDIA, 17TH A PAIR OF QAJAR CALLIGRAPHIC FOLIOS, PERSIA, BOTH DATED CENTURY AH 1298/1880-1 AD bearing a signature Fakir Abd ur Rashid gouache with gold on black ink and gold on paper, containing dedicatory inscriptions to paper, framed Nasiruddin Shah Qajar (r.1848-1896), framed 16.2 x 9cm main panel 33 x 21cm each (main panel) The signature may indicate that this is the work of the Persian Provenance: Private European Collection scribe Abd al-Rashid al-Daylami who worked at the court of Shah £1500-2000 ‡ Jahan £500-700 314 A MINIATURE QUR ’AN, OTTOMAN EMPIRE, 19TH CENTURY 312 ‡ red ink on octagonal pages, copied by Muhammad bin Salim bin A DOUBLE PAGE OF CALLIGRAPHY, QAJAR, DATED MONTH OF Muhammad al-Qadir(?) [...], three opening pages, red-leather RAJAB (JANUARY) AH 1278/1861 AD binding and box with gold decoration, later leather outer box ink on paper, laid on an album page, each inscribed ‘Shams al-[?]’ 3 x 3 x 1cm approximately 45.5 x 30cm (folio) Provenance: Private European collection Provenance: Private European collection £400-600 £800-1200 ‡

314

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315 317

315 317 A LEATHER BOUND EDITION OF THE QUR’AN, KASHMIR, 19TH A DIWAN OF PERSIAN POETRY, SAFAVID, PERSIA, DATED AH CENTURY 1013/1604 AD ink with gouache and gold, with illuminated end pages, each folio two columns of nastaliq script to the page, polychrome and gold with seventeen lines of script in single column, replaced (?) pages illuminations mostly repainted in the Qajar period, eighty folios, in a later hand at either end, embossed russet leather binding, embossed 19th century red leather binding 22 x 11.5cm (folios) 24.2 x 16cm (folios) £300-500 Provenance: Private European collection £800-1200

316 318

316 318 A QUR’AN SECTION, CHINA, 17TH/18TH CENTURY A QAJAR BOOK OF PRAYERS, PERSIA, 19TH CENTURY five lines of sini script to the page, comprising Juz 12 of the black ink with polychrome and gold illumination, significant words Qur’an, opening and closing double pages with illuminations, in blue, red and gold, a single column of naksh script to the page, sixty two pages, each leaf of triple layered thin paper embossed red leather binding 23 x 17.3cm 20 x 13cm (folios) Provenance: Private European collection Provenance: Private European collection £600-800 £800-1200

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319 A LONG SCROLL OF PIOUS VERSES FROM THE QUR’AN, IRAN OR CENTRAL ASIA, CIRCA 1900 ink with gouache and gold, with elaborate illuminated heading, followed by eighteen lines of naksh script 206 x 28cm £1000-1500

320 FOUR INDIAN MANUSCRIPT FOLIOS, INDIA, CIRCA 18TH CENTURY ink and gouache on paper, comprising three folios from a treatise on animals (?), written in nastaliq script, separately inserted illustrations, and a Hindu folio written in devanagari script, the illustration depicting Krishna with the gopis 28 x 16cm approximately each (Islamic folios); 15 x 28.5cm (Hindu folio) £80-120

321 A CALLIGRAPHIC SCROLL, PERSIA, EARLY 20TH CENTURY ink on paper, comprising a sura heading, lined with old folios from a book of poetry 16.5 x 94cm £120-150

322 one of four

322 ‡ FOUR QAJAR PAINTINGS OF FEMALE DANCERS, PERSIA, 19TH CENTURY gouache on paper, each figure dancing on a rug, richly attired with colourful costume and jewellery 24 x 18.5cm and smaller Provenance: European private collection £1200-1500 ‡

319

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323

324

325

326

323 ‡ 325 ‡ A QAJAR LACQUER PEN BOX, PERSIA, DATED AH 1260/1844 AD A QAJAR LACQUER PEN BOX, PERSIA, 19TH CENTURY of cigar-shaped form, the inner tray sliding out from cover, the of cigar-shaped form, the inner tray sliding out from cover, the convex top and flared sides painted with princely figures and rural convex top and flared sides painted with foliate medallions each characters in a verdant landscape, the interior painted black, the containing a portrait of a prince, princess or elder amidst inner and outer underside painted with scrolling foliage on bright landscape with hunting scenes, the interior painted black, the red ground, inscribed Ya Shah Najaf 1260 [?] inner and outer underside painted with scrolling foliage on bright 4 x 23 x 4cm red ground, Provenance: European private collection 4.5 x 23.5 x 4cm Shah Najaf is one of the best known lacquer artists of the Qajar Provenance: European private collection period. His name was Najaf Ali or Aga Najaf but he signed his £800-1200 ‡ work Ya Shah-i Najaf (‘O King of Najaf’). He often depicted Christian scenes in his painting. 326 ‡ £1000-1500 ‡ A QAJAR LACQUER BOX OF JEWELLER’S SCALES, PERSIA, 19TH CENTURY 324 of rectangular form, with hinged lid and catch, the interior with A QAJAR LACQUER PEN BOX, PERSIA, 19TH CENTURY shaped compartments containing scales and weights, richly of cigar shaped form, painted with a design of roses in black on painted inside and out with flowers and birds, the lid with border ochre ground, with removable sliding tray of calligraphic cartouches, 22cm long 5 x 25 x 15cm £400-600 Provenance: Private European collection £1500-2000 ‡

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327 329 one of four 327 ‡ 329 ‡ A QAJAR LACQUER MIRROR CASE, PERSIA, 19TH CENTURY FOUR FOLIOS FROM A BOOK OF PERSIAN POETRY PROBABLY of rectangular form, with hinged door opening to reveal glass BY SA’DI, QAJAR, PERSIA, 19TH CENTURY (now missing), painted with three scenes depicting a princess, the gouache with ink on paper, mounted, each with two columns of two outer panels showing her with a baby, attendants and an shikasteh script in rectangular illuminated panel, one in the form elder, with brass mounts, the interior inscribed No.84 Zeman of a tent, another a domed pavilion, 16.5 x 10cm approximately 21 x 14.5 x 1.5cm each (folio) £800-1200 ‡ Provenance: Private European collection £1000-1500 ‡

328 330 one of four 328 ‡ 330 ‡ A QAJAR LACQUER MIRROR CASE, PERSIA, 19TH CENTURY FOUR QAJAR PAINTINGS OF FEMALE MUSICIANS, PERSIA, 19TH of rectangular form, with removable panel covering the glass, the CENTURY panel and reverse painted with three scenes depicting a princess gouache on paper, each woman seated on a rug, playing a in various settings, different instrument 25 x17.5 x 1cm 22 x 18cm approximately each Provenance: Private European collection Provenance: European private collection £600-800 ‡ £1200-1500 ‡

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331 333 one of four 331 ‡ 333 ‡ A FLOWER VASE, QAJAR, PERSIA, 19TH CENTURY PERSIAN KINGS AND PRINCES, QAJAR, PERSIA, 19TH CENTURY gouache with gold on paper, laid on an album page, the fluted four gouache portraits on paper, laid on card, one depicting Aga vessel filled with a profusion of flowers with birds and butterflies, Muhammad Khan Qajar (r.1789-1797) seated on a rug, one other indistinct stamp on the reverse includes the name Jafar Hasan depicted seated on a rug, the two others standing Quli (?) 26 x 14.5cm 26 x 17cm (image) Provenance: European private collection Provenance: European private collection £2000-3000 ‡ £700-900 ‡

332 part 334 of of three 332 ‡ 334 ‡ A PAIR OF WATERCOLOURS DEPICTING THE ROSE AND THREE QAJAR PAINTINGS OF FLOWERING TREES, PERSIA, NIGHTINGALE (GUL-O-BULBUL), QAJAR, PERSIA, 19TH CENTURY DATED AH 1252, 1254, 1277/1836, 1838, 1860 AD gouache with ink on paper, gilt edged border, framed watercolour on paper, laid on album pages, two with birds and 16.5 x 9cm approximately each (image) butterflies around the branches, each inscribed ‘Lutfali’ Provenance: European private collection 16 x 10.5 and smaller (image) £1000-1500 ‡ Provenance: European private collection £1800-2200 ‡

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335

336 337

335 ‡ 336 ‡ TWO PORTRAITS OF MAIDENS, LATE ZAND PERIOD, PERSIA, A LION ATTACKING A STAG, QAJAR, PERSIA, FIRST HALF 1 9TH ONE DATED AH 1191/1777/8 AD CENTURY ink and wash on paper, the dated painting inscribed “Ya Sadeq al- ink drawing on paper, laid on an album page, mounted Wa’d” (a reference to the late Zandi/early Qajar artist Muhammad 15.5 x 23.5cm (image); 22 x 30cm folio Sadeq), laid on later inscribed album pages with gold and Provenance: European private collection polychrome floral painted borders, mounted and framed 17 x 11.5; 14.5 x 8.5cm (image) £700-900 ‡ Provenance: Private European collection; Christie’s London, lot 337 ‡ 101, 26.4.1994. A PRINCELY COUPLE WITH ATTENDANT, QAJAR, PERSIA, DATED The inscription on the album pages state that they were AH 1254/1838 AD assembled for the governor of Khorasan and Sistan and custodian inscribed Aliquli, watercolour on paper, framed of the Sacred Shrine at Mashhad without naming him, and that 16.5 x 21cm the borders were executed by Ahmad Mozahib-Bashi in 1311 Provenance: Private European collection AH/1893-4 AD. £800-1200 ‡ £800-1200 ‡

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338 ‡ A BATTLE SCENE FROM FIRDAUSI’S SHAHNAMA, SAFAVID, PERSIA, CIRCA 16TH CENTURY gouache with ink and gold on paper, laid on an album page, the nastaliq script arranged in five panels around the edge, the border painted in gold with birds, plants and clouds 15.5 x 10cm approximately (image); 38 x 27cm folio Provenance: European private collection £1800-2200 ‡

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339 one of two 341 one of two 339 ‡ 341 TWO DRAWINGS OF SEATED MALE FIGURES, QAJAR, PERSIA, TWO LEAVES OF INDIAN DRAWINGS, RAJASTHAN, EARLY 19TH 19TH CENTURY CENTURY ink and gold with touches of colour on paper, laid on album ink on paper, one depicting two drunken girls under a tree, pages, depicting an older man and a youth respectively, each Saraswati on her peacock on the reverse surrounded by studies of seated amongst flowers, scudding clouds above, the inner and floral bouquets, the other laid on card, with studies of horses, outer borders profusely painted in gold with plants and wild soldiers and a camel and rider animals 21 x 15cm; 22 x 32cm 9 x 5.5cm approximately each (main image); 26.5 x 17cm (folio) £200-300 Provenance: European private collection £800-1200 ‡

340 342 340 342 A SCENE FROM THE LIFE OF KRISHNA, PROBAB LY MEWAR, TIGERS HUNTING DEER IN A FOREST, BUNDI OR KOTAH, INDIA, RAJASTHAN, FIRST HALF 19TH CENTURY 19TH CENTURY OR LATER ink sketch on paper with pigment and gold, depicting Krishna as black ink with russet pigment on three attached sections of paper, an infant and as a young man with Radha, in a large palace framed courtyard with a herd of cattle, a forest beyond the walls 46 x 66.5cm 25 x 32.5cm £250-350 £400-600

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343 345 343 345 A PORTRAIT OF A RULER, JODHPUR, RAJASTHAN, INDIA, EARLY PORTRAIT OF A RULER ON HORSEBACK, NAGAUR OR JODHPUR, 19TH CENTURY RAJASTHAN, CIRCA 1800 gouache with silver and gold on paper, the male figure wearing gouache with gold on paper, the young man depicted on a large yellow coat with saffron pathka and turban, carrying two swords, rearing horse, accompanied by four male attendants in a stylised a shield and dagger, landscape with trees in the background, plain red border 29.5 x 18.5cm 28 x 19cm £800-1200 £800-1200

344 346 344 ‡ 346 AN INDIAN WOMAN, QAJAR, PERSIA, 19TH CENTURY A PORTRAIT OF A RULER, PROBABLY KOTAH, RAJASTHAN, gouache with gold on paper, laid on an album page, the woman INDIA, FIRST HALF 19TH CENTURY seated on a charpoy in a landscape, with three concentric floral gouache with gold on paper, the princely figure seated on a rug borders, the outer on salmon pink ground, depicting hyacinths, with cushions on a terrace, holding a flower poppies and narcissi 19 x 12cm 29.5 x 19cm (folio) £700-900 Provenance: European private collection £700-1000 ‡ 85 MB112-118 Part One.qxp_Layout 1 10/05/2018 17:04 Page 86

347

348 349 350

347 349 THREE MINIATURE PAINTINGS, PROBABLY FROM A RAGAMALA A GATHERING WITH KRISHNA, RADHA AND BALARAMA, SERIES, RAJASTHAN, 19TH CENTURY PROBABLY BIKANER, INDIA, 18TH CENTURY gouache with gold and silver on paper, depicting a prince leading gouache with gold on paper, the eleven figures depicted seated a maiden to his bedchamber, a maiden dancing outside her and engaged in conversation, ink inscription in nastaliq on the bedchamber, and Brahma with a female devotee, each with a reverse panel of devanagari script on ochre ground at the top, framed 18.5 x 12cm (folio) 21.5 x 15cm approximately each £180-220 Property from a deceased estate, sold by order of the executors. £400-600 350 TWO SCENES WITH KRISHNA, PROBABLY BIKANER, INDIA, 348 18TH CENTURY MYTHICAL BATTLE SCENES, PROBABLY BIKANER, INDIA, gouache with gold on paper, the double folio illustrated on both 18TH CENTURY sides with Krishna and his consort outside a palace, surrounded gouache with gold on paper, the double folio showing scenes on by their followers, inscription on one side in Islamic script both sides, probably from the Bhagavad Gita 17.5 x 22cm 18 x 23cm (folio) £350-450 £250-350

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351 353 one of four 351 353 SIVA SEATED ON A TERRACE, RAJASTHAN, PROBABLY JAIPUR, INDIAN CHARACTERS, COMPANY SCHOOL, PATNA, MID-19TH 19TH CENTURY CENTURY gouache with gold on card, set into separate border mount, the four watercolours with gold on blue-tinted English paper, comprising youthful deity depicted seated on a carpet wearing a floral turban, three women: a fruit-seller, a flour seller(?) and a woman wearing his trident by his side, a few details enhanced with gesso(?) relief, shawl, and a man making a necklace(?), each mounted 24 x 15cm (image) 18 x 11.5cm approximately each £700-900 £300-500

352 354 one of eight 352 354 THE SIKH RULER RANJIT SINGH CONVERSING WITH A EIGHT COMPANY SCHOOL PAINTINGS OF INDIAN CHARACTERS, NOBLEMAN, PUNJAB, MID-19TH CENTURY PROBABLY SOUTH INDIA, FIRST HALF 19TH CENTURY ink on paper with touches of watercolour, the subject seated on watercolour on English paper, each labelled in English, his characteristic throne with footstool, wearing jewellery and comprising ‘a Pewter Turner’, ‘a Maker of Earthen Potts [sic]’, ‘a turban, mounted Dooly Bearers [sic]’, ‘a Hobleboble or Pipe Maker’, ‘Making Glass 26.5 x 24cm (leaf) Rings for the Wrists’, ‘a Bannian or Seller of Drye Goods’, ‘a Man £600-800 with Cobra [...] Snakes making the Dance’, and ‘a Letter of the Paun Leaf Chewed by Every Native’, each mounted 21 x 18cm approximately each £400-600 87 MB112-118 Part One.qxp_Layout 1 11/05/2018 09:52 Page 88

355 one of two 358 part 355 358 TWO COMPANY SCHOOL PAINTINGS OF INDIAN TRADES, INDIAN CHARACTERS, COMPANY SCHOOL, PATNA, PROBABLY PATNA, 19TH CENTURY 19TH CENTURY watercolour on English paper, depicting a huqqa seller and a two watercolours on English paper, one laid on an additional butcher, mounted sheet of brown paper, depicting a fruit picker and a weaver 18 x 11cm approximately each respectively, mounted £250-350 16.5 x 12.5cm; 14.3 x 9.5cm (images) £120-150

356 359 356 359 A MUSLIM AT PRAYER, COMPANY SCHOOL, PROBABLY TWO OFFICIAL’S SEALS, MUGHAL INDIA, DATED AH 1240(?)/A.D. LUCKNOW, FIRST HALF 19TH CENTURY 1824-5; AH 1177/A.D. 1763-4 watercolour on watermarked Whatman paper, mounted copper and brass, each of conical form, the earlier with faceted 13.2 x 12.5cm sides, loop attachment at the top, the stamp plate reverse £100-150 inscribed in nastaliq script 4cm, 4.5cm high 357 The inscriptions read: ‘mohr-e niyabat-e karim al-din khadem-e FOUR MISCELLANEOUS INDIAN PAINTINGS, 19TH-20TH shar’ qadi al-mu’tasim bi-fadl allah al-matin 1177 sana 4’; “The CENTURIES seal of deputyship of Karim al-Din, servant of the law, the judge gouache on paper, comprising Krishna as herdsman, playing the who holds steadfast onto the strong favour of God, 1177 (regnal) flute; an oval portrait of King Edward VII and two circular year 4”. The other reads ‘mohr-e niyabat-e salah al-din khadim al- paintings, one depicting the Jagannath trio, the other a jina on shar’ qadi’ al-mu’tasim bi-habl allah al-matin 1240 (?)’; “The seal lotus medallion of deputyship of Salah al-Din, servant of the law, the judge who 22.5 x 25cm and smaller holds steadfast onto the strong rope of God 1240 (?)”. (4) £250-350 Provenance: Private Collection, London £80-120

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360

361 362

363

360 ‡ 362 ‡ A QAJAR IRON PENBOX, PERSIA, 19TH CENTURY A QAJAR ENGRAVED BRASS TABLE TOP, PERSIA, 19TH CENTURY of long oval form, the gold damascened decoration, with drinking, of circular form, the radiating design comprising a series of foliate and hunting scenes, silver damascened foliate decoration cartouches containing labelled portraits of Persian kings and floral underneath, with removable sliding tray motifs amidst scrolling floral arabesques, pelmet rim underneath 3 x 21 x 3cm with engraved and pierced foliate decoration Provenance: European private collection 8cm high; 52cm diam. £700-1000 ‡ Provenance: Private European collection £600-900 ‡ 361 ‡ A LARGE SAFAVID TINNED COPPER BOWL, PERSIA, CIRCA 17TH 363 CENTURY A WHITE METAL BOWL, MALAYSIA, 19TH CENTURY of shallow form, with raised concave neck, the body engraved of shallow form, decorated with repousse registers of with medallions containing animals and arabesque motifs, a band geometrical, foliate and lozenge designs, a stylised floral roundel of pious shi’ite inscriptions in nastaliq on the neck with scrolling at the centre, on three hemispherical feet foliate borders above and below 8cm high; 24cm diam. 15cm high; 35cm max diam. There are several related vessels in the Victoria and Albert Provenance: Private European collection Museum, London. For example IS.259&A-1950 £800-1200 ‡ £120-150

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364

364 ‡ 365 A SILVER-GILT CUP, OTTOMAN EMPIRE, 17TH/18TH CENTURY A COLLECTION OF METALWORK, INDIA AND TIBET, with hemispherical bowl on flared foot, a line of Georgian script 17TH CENTURY AND LATER engraved on the outer rim, a register of floral cypress motifs comprising two Deccani bronze tripod stands, probably for below, the interior with raised floral boss huqqas, a Sinhalese brass box with silver inlay, a small brass oil 6.5cm high; 7.8cm diam. lamp, a boteh shaped huqqa, a Tibetan copper gilt ritual vase, an Provenance: European private collection. Acquired Sotheby’s, Islamic brass pestle and a brass puja pot, London, 30 April 1998, lot 21. 9 x 18 x 7.5cm (box) and smaller (9) The inscription in Georgian has been translated: “From bro ther Shemis to lady/sister Astandris”. The form of this vessel is based Provenance: Private Collection, London on Yuan prototypes; for two ceramic coffee cups from Kütahya in £80-120 the Sadberk Hanim Museum, Istanbul, see Hülya Bilgi and Idil Zanbak Vermeersch, Kütahya: Sadberk Hanim Museum Kütahya 366 Tiles and Ceramics Collection, Istanbul 2018, nos.57 & 58, p.78. A KOFTGARI CIGARETTE BOX, PUNJAB, INDIA (NOW PAKISTAN), £800-1200 ‡ CIRCA 1900 iron with silver and gold damascened foliate and arabesque decoration, with hinged lid and wood lining 5.5 x 17.5 x 10cm £150-250

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367

368 369 370

367 370 A TINNED COPPER BOWL, DECCAN OR PERSIA, 17TH CENTURY A SMALL COPPER BOWL, DECCAN, SOUTHERN INDIA, CIRCA on flared footring, with everted rim, engraved with geometrical 17TH CENTURY and arabesque motifs under a line of nastaliq of shallow form, a register of nastaliq script around the outer rim, 9cm high; 15.4cm diameter traces of tinning £250-350 5cm high; 16cm max diameter This lot is sold to benefit the Neem Tree Trust (UK Registered 368 Charity No. 1099077) A SAFAVID TINNED COPPER BOWL, PERSIA, 17TH CENTURY £300-400 engraved with two forms of script, the central medallion with alternating cypress and fish motifs 371 6.5cm high; 18.4cm diameter A SINHALESE BRONZE LIMEBOX, SRI LANKA, 19TH CENTURY £600-800 of circular form, with hinged opening, decorated with elaborate scrolling decoration, the spoon attached with a chain 369 16.5cm max diameter of box A KHORASSAN BRONZE EWER, EASTERN PERSIA, 13TH CENTURY There are several related examples in the Victoria and Albert of pear-shaped form, on splay foot, with finial in the form of an oil Museum (eg. IS.234-1897) lamp, with hinged lid, the sides with engraved decoration, the underside with recessed rosette £150-250 19.5cm high Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950. For a similar ewer, sold at Bonhams London, see October 6, 2015, lot 40 £600-800

371

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372 A JADE TAWIZ, PERSIA OR INDIA, 19TH OR EARLY 20TH CENTURY of oval form, engraved with two lines of shi’ite pious invocations in nastaliq script within a floral cartouche 4.5 x 6.7 x 0.4cm £200-300 372

374

374 ‡ A QAJAR ENAMELLED BRASS QALIAN BOTTLE, PERSIA, 19TH CENTURY of drop-shaped form, the domed upper portion with polychrome and gilt repeated rose motifs alternating with oval portrait medallions, 15.5cm high 373 Provenance: Private European collection £700-1000 ‡

373 ‡ 375 A KOFTGARI INKWELL, PUNJAB, INDIA, LATE 19TH A PAIR OF BRONZE ANKLETS, CENTRAL INDIA, CIRCA 19TH CENTURY CENTURY each in two hinged sections, with lozenge and beadwork relief decoration iron with gold inlaid stylised foliate decoration, 16, 15cm diam. standing on twin horn-shaped legs with hinged £200-300 prop, with globe shaped rotating reservoir, ratchet pen rest and candle holder on top, 18.5cm high Provenance: European private collection £800-1200 ‡

375

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376 three of twelve

376 A COLLECTION OF TWELVE JAVANESE SHADOW PUPPETS (WAYANG KLITIK), INDONESIA, 19TH CENTURY polychrome-painted wood with leather attachments, each in the form of a figure, comprising a lion-headed deity, a European figure wearing a coat, and ten others, each with grotesque faces, 49cm long and smaller (12) £800-1200

377 A CARVED COCONUT SHELL, JAVA, PROBABLY LATE 19TH CENTURY the sides with a register of mythical figures in low relief, the underneath with sunflower medallion 13cm high approximately £100-150

378 A CARRYING BASKET FOR A FIGHTING COCK, BALI, INDONESIA, 20TH CENTURY woven palm-leaf, with small handle at the top and opening along one side 52cm high £120-150

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379 381

379 381 FOUR SMALL BETEL BOXES, BURMA, 19TH, 20TH CENTURIES A PAINTED WOOD FIGURE OF A MONKEY, POSSIBLY HANUMAN, lacquered split bamboo with engraved decoration, two with linear INDIA, 19TH CENTURY chainlink design on black and green ground, another with two seated on a rectangular base, holding a fruit in his right hand inner trays and geometrical design on the exterior, the other 17cm including base decorated with mythical figures and animals £180-220 6cm high; 5.3cm diam. and smaller £100-150

380 382

380 ~ 382 AN EBONY MODEL OF A KANDYAN ROYAL COUPLE, SRI LANKA, A GILDED AND LACQUERED WOOD FIGURE OF GARUDA, EARLY 20TH CENTURY THAILAND, 19TH CENTURY both wearing traditional headdress, the male with pot belly and probably a leg from a piece of furniture, with beak, wings and large hat, the figures standing on rectangular base inscribed claw feet, his arms raised as support, the eyes and mouth with ‘D.D.Wimaralatna’ underneath, traces of red pigment 20cm high 23cm high £200-300 £180-220

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384 383

385

386 387

383 386 TWO SMALL BETEL BOXES, BURMA, 20TH CENTURY A COSMETIC BOX (BI-IT), BURMA, MID-19TH CENTURY of cylindrical form, each with slip over cover and convex top, of cylindrical form, lacquered split bamboo, with slip over cover, lacquered split bamboo, the red ground painted black and the red ground polychrome-painted and engraved with dense engraved, the larger with figural and vegetal decoration, the stylised figural and vegetal decoration smaller with abstract linear design and two removable trays 24cm high; 27cm diam. 15cm high; 16.5cm diam. and smaller For a related example of a bi-it in the Victoria and Albert Museum, £250-350 London, see inv. no. IM.199-1927 £250-350 384 A BETEL BOX, BURMA, 20TH CENTURY 387 lacquered split bamboo, of cylindrical form, with slip over cover, LARGE SHAN BETEL BOX, BURMA, FIRST HALF 19TH CENTURY the red ground with black and green engraved decoration and lacquered split bamboo, of cylindrical form, with engraved figural inscriptions in burmese, the interior with two removable trays and linear decoration, highlighted in silver and gold, in four 14cm high; 16.cm diam. sections £180-220 24cm high; 26cm diam. £250-350 385 A BETEL BOX, BURMA, 20TH CENTURY 388 ~ lacquered split bamboo, of cylindrical form, with slip over cover, A SADELI-WORK BOX, BOMBAY, INDIA, 19TH CENTURY the red ground with yellow painted lattice design, the interior with sandalwood and other woods, with ivory veneered and two removable trays, inscription in burmese on underside micromosaic overlaid decoration, of sarcophagus form, the 11.5cm high; 12.7cm diam. interior with mirror, removable tray with lidded compartments £120-150 and velvet lining 11 x 32 x 23cm £120-150

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390

389 391

389 392 A LARGE BOWL, BURMA, CIRCA 1900 A JAPANESE MASK AND THREE JAVANESE KRIS HOLDERS, lacquered split bamboo, the exterior painted and engraved with 19TH/20TH CENTURY profuse polychrome stylised foliate and linear designs, the interior the former a noh or kyogen mask lacquered composition, the in plain red latter three of polychrome-painted carved wood, in the form of 15.5cm high; 28cm diam mythical beasts, £100-150 28.5cm (mask); 63cm and smaller (kris holders) £100-150 390 A RICE WINNOWING BOWL, BURMA, 20TH CENTURY 393 red lacquered woven bamboo of wide circular form with raised A QAJAR STAR TILE, PROBABLY TEHRAN, LATE 19TH CENTURY edge and recessed central roundel, the underneath with eight underglaze-painted fritware, with eight points and bevelled border small supports set with glazed ceramic fragments edges with scrolling leafy tendril design, the main panel with a 61cm diameter; 7cm high picture of a young prince running from a palace £120-150 27 x 27cm approximately £120-150 391 A LACQUER BOWL, BURMA, 20TH CENTURY 394 lacquered split bamboo, with black fluted sides and red interior, A QAJAR RELIEF TILE DEPICTING A YOUNG PRINCE ON standing on rim foot HORSEBACK, PROBABLY TEHRAN, PERSIA, LATE 19TH CENTURY 16.5cm high; 21cm diam. underglaze painted fritware, the subject depicted in verdant £120-150 landscape, a palace and hills in the background, scrolling floral border above, framed 26 x 19cm £150-200

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396 one of two

397

395 398 one of three 399

395 398 A KASHAN LUSTRE JUG, PERSIA, 13TH/14TH CENTURY A GLAZED POTTERY BOWL, ILKHANID PERIOD, PERSIA, CIRCA 1300 glazed fritware, the body of flattened spherical form, on rim foot, fritware, underglaze painted in black and cobalt blue with sides decorated with star shaped figural and arabesque panels in radiating lotus design on the exterior, the interior with radiating relief, the cylindrical neck similarly decorated, the interior with a panels filled with various abstract designs around a central line of kufic script medallion, standing on rim foot, 9cm high; 20cm diameter; 23cm high together with two Nishapur bowls, Persia, 10th/11th century, slip- Provenance: Private Collection, London. Acquired André Cohen, painted earthenware, each on flat turned foot, one with splash Paris, 1950. painted and sgraffito stylised foliate design, the other pseudo- kufic decoration, 8cm high; 17.5cm diam. and smaller A closely-related example was recently offered at Sotheby’s (3) London, 20 October 2016, lot 226 Provenance: Private Collection, London. Acquired Andre Cohen, £2000-3000 Paris, 1950. 396 See a related bowl in the Ashmolean Museum, Oxford, TWO BAMIYAN BOWLS, EASTERN PERSIA OR AFGHANISTAN, No.EA1978.1638 12TH CENTURY £600-800 turquoise glaze fritware, one with straight sides and sgraffito interior, the other with underglaze painted interior 399 8cm high approximately each; 17.5; 18cm diam. A KASHAN TURQUOISE GLAZED ROSEWATER SPRINKLER, (2) PERSIA, 13TH/14TH CENTURY Provenance: Private Collection, London. Acquired André Cohen, glazed fritware, the fluted sides with arcading on the shoulder, the Paris, 1950. top with pierced sprinkler finial 23.2cm high £300-400 Provenance: Private Collection, London. Acquired André Cohen, 397 Paris, 1950. A KASHAN LUSTRE BOWL, PERSIA, CIRCA 13TH CENTURY £1000-1500 fritware, of shallow concave form on small rim foot, painted with a seated figure amongst scrolling arabesques, 400 4.5cm high; 19.5cm diam. A RAQQA LUSTRE JUG, SYRIA, 12TH/13TH CENTURY Provenance: Private Collection, London. Acquired André Cohen, of pear-shaped form, on small splayed foot, the sides decorated Paris, 1950. with a row of calligraphic rounds, two bands of calligraphy above, the upper underglaze painted in cobalt blue £400-600 15.3cm high Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950. £400-600

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401 402 403

401 ‡ 404 ‡ A SAFAVID LUSTRE BOWL, PERSIA, 17TH CENTURY A KIRMAN POTTERY PILGRIM FLASK, SAFAVID, PERSIA, 17TH glazed fritware, the interior with cypress and lotus tondo, CENTURY surrounded by a radiating design of lotuses within arched niches, moulded underglaze painted fritware, a radiating floral medallion the exterior painted on lavender ground with repeated quatrefoil on either side painted in pink and green, surrounded by scrolling medallions interspersed with lotuses blue and white floral decoration in Chinese style, neck with later 7.5cm high; 17.5cm diam. brass insert Provenance: Private European collection 22cm high £1500-2000 ‡ Provenance: European private collection £2000-2500 ‡ 402 ‡ A SAFAVID LAVENDER GROUND LUSTRE BOTTLE, PERSIA, 17TH 405 ‡ CENTURY TWO DAMASCUS TILES, OTTOMAN SYRIA, 18TH CENTURY glazed fritwear, of bulbous form, with rim foot and flared neck, the underglaze painted fritware, depicting a youth holding a leafy body decorated with registers of scrolling arabesques and sprig and scent bottle(?) and a maiden holding a bottle and wine- interlocking flowering plants cup, each within a lobed medallion on striped ground, stylised 12.5cm high clouds in each corner Provenance: European private collection 22cm square £600-800 ‡ Provenance: European private collection These unusual tiles are from a small group, examples of which 403 ‡ have occasionally appeared on the art market over the last few A SMALL SAFAVID LUSTRE BOTTLE, PERSIA, 17TH CENTURY decades. None remain in situ. The style of the figures closely glazed fritware, of bulbous form, with rim foot and flared neck, the resembles 17th century ‘Kubachi’ ceramics from Persia, although sides with leaf and flower decoration, the colours, technique and composition suggest 18th century 10cm high Syrian origin. There are three tiles of this type in the Victoria and Provenance: European private collection Albert Museum, 386 1880, 531 1900 & 530 1900. £600-800 ‡ £800-1200 ‡

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404

405

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406

406 ‡ 408 ‡ A SMALL KASHAN LUSTRE TILE, PERSIA, CIRCA 13TH CENTURY A LARGE QAJAR RELIEF TILE, PROBABLY TEHERAN, PERSIA, of hexagonal form, with central star motif on scrolling foliate SECOND HALF 19TH CENTURY ground, divided into six lozenge shapes, each containing sceptre polychrome underglaze painted fritware, depicting a prince on head design, horseback holding a falcon, palaces and mountains in the 7.2cm max. diam. background, floral border with birds above, framed Provenance: European private collection 34 x 27cm £800-1200 ‡ Provenance: European private collection £2500-3500 ‡ 407 ‡ A SAFAVID BLUE AND WHITE DISH, PERSIA, 17TH CENTURY 409 ‡ underglaze-painted fritware, of elongated octagonal form, the A QAJAR BLUE AND WHITE POTTERY QALIAN BOTTLE, PERSIA, centre decorated with a pair of deer amidst scrolling flowers, the 19TH CENTURY border with repeated stylised leaf motifs, further decoration and of bulbous form, with ridged and flared neck, painted with faux Chinese characters on the underside exuberant floral bouquets in two shades of blue outlined in grey 3 x 21 x 15.5cm 25cm high Provenance: European private collection Provenance: Private European collection £700-900 ‡ £600-800 ‡

410 ‡ AN AUBERGINE GLASS EWER, PERSIA, 19TH CENTURY the body with blown relief lozenge design, with rippled handle and collar, slender scrolling spout and flared neck 19cm high Provenance: Private European collection There are a number of similar vessels in the Victoria and Albert Museum, London, for example 105-1877 £700-900 ‡

407

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408

409 410 101 MB112-118 Part One.qxp_Layout 1 10/05/2018 17:05 Page 102

411 detail

411 ‡ 413 ‡ A WOVEN WOOL PANEL, PERSIA OR KASHMIR, FIRST HALF 19TH A WOVEN WOOL SHAWL, KASHMIR FOR THE PERSIAN MARKET, CENTURY EARLY 19TH CENTURY of square form, the polychrome stripe design with meandering of long rectangular form, the design composed of repeated and repeated flower and leaf motifs meandering columns of vines with stylised tulip flowers formed 148 x 134cm of paired botehs, amidst dense floral decoration on white ground, Provenance: European private collection an embroidered label in one corner, the plain striped end borders with tasselled ends, one end with further red embroidered £700-1000 ‡ inscription probably including the date AH 1232/1817 AD 300 x 121cm 412 A BATIK LONG-CLOTH (KAIN PANJANG), PEKALONGAN, Provenance: European private collection CENTRAL JAVA, FIRST HALF 20TH CENTURY £1000-1500 ‡ dyed cotton, of long rectangular form, the design comprising a row of floral bouquets on linear patterned ground, divided 414 diagonally across the middle into two sections oriented opposite AN UZBEK BROCADE COAT (CHAPAN), CENTRAL ASIA, LATE ways up, indistinct maker’s name printed twice in one corner 19TH/EARLY 20TH CENTURY 244 x 102cm the gilt thread woven leafy palmette motifs on salmon pink Batiks of this type are associated with the Eurasian ‘Indische’ ground, lined with bright red, vermilion and saffron ikat lining community in colonial central Java. For a similar design on a kain 120cm long panjang by Eliza van Zuylen, see Inger McCabe Elliott, Batik: £400-600 Fabled Cloth of Java, New York 1984, p.110f. £150-250

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413 detail

414 103 MB112-118 Part One.qxp_Layout 1 10/05/2018 17:05 Page 104

415 A WOVEN SILK SHAWL, LAOS, 19TH CENTURY of long rectangular form, the plain crimson ground with off-white and polychrome woven multiple registers of geometrical semi-abstract motifs, tasselled ends, modern blue cloth mount 216 x 41cm (excluding mount) £350-450

416 detail 416 A PRINTED AND RESIST DYED COTTON HANGING, COROMANDEL COAST FOR THE INDONESIAN MARKET, 19TH CENTURY of rectangular form, with central arched niche containing a flowering tree of life, flanked by four smaller niches on either side, registers of mounted elephants and further floral niches at the bottom, the top with a band of star shaped rosettes, the whole surrounded by a narrow scrolling floral border 210 x 120cm £350-450

417 ‡ AN EARLY QAJAR VELVET PANEL, PERSIA, FIRST HALF 19TH CENTURY of rectangular form, profusely embroidered with gilt metal thread on crimson ground, the central arabesque medallion amidst flower and bird motifs, surrounded by a border of lotuses and scrolling leaf designs, the outer edge with repeated ‘sceptre-head’ motifs, framed 69 x 50cm Provenance: European private collection £1000-1500 ‡ 415

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417

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418 420 detail

418 420 A SMALL PANEL, PROBABLY FROM A SKIRT HEM, CRETE, 18TH A GOLD PAINTED BORDER PANEL, PROBABLY DECCAN, CENTURY SOUTHERN INDIA, CIRCA 18TH CENTURY plain cotton, embroidered with red, green and blue silk, the from a pichhavai, of rectangular form, the gold decoration on red decoration comprising three stylised flowering plants on a cotton ground forming a scrolling carnation and acanthus frieze, scrolling foliate border, with birds flying above, framed mounted on stretchers 23 x 35cm 14 x 87cm (excluding mount) Property from a deceased estate, sold by order of the executors; Provenance: Private Collection, London acquired from Millner Manolatos, London, circa 2005. £200-300 For related longer Cretan skirt borders in the Textile Museum, Washington, D.C., inv. 81.51 & 52, see S.B.Krody, Embroidery of the Greek Islands and Epirus Region, London, 2006 £200-300

419 421 detail 419 421 ‡ A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, A WOVEN SILK BROCADE PANEL, LATE SAFAVID OR ZAND, INDONESIA, 19TH CENTURY PERSIA, 18TH CENTURY woven cotton, the buff ground woven in russet and indigo in the with a reticulated design of orange, green and gilt thread form of registers of stylished ship motifs divided by stylised bouquets on olive ground, linear tasselled borders at either end, flower borders old dealer’s(?) label attached in one corner 64 x 61cm approximately 232 x 63cm Tampans were produced mostly by the women of Lampung, a Provenance: European private collection region rich from the cultivation of pepper. Almost all families For a closely related panel of dress fabric, on orange ground, in would have possessed a few of these cloths which were used for the Victoria and Albert Museum, London, see inv. no. 16-1890 display at family ceremonies such as marriage. £600-800 ‡ £250-350

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422 detail

422 AN UZBEK SUSANI, CENTRAL ASIA, CIRCA 1900 of rectangular form, the plain field with polychrome embroidered foliate borders on either side, the ends with similarly decorated mihrab arches, later printed silk ‘ikat’ lining 187 x 109cm £400-600

423 A SILK DOUBLE IKAT SARI (PATOLA), GUJARAT, INDIA, 19TH CENTURY of long rectangular form, the field with trellis design of stylised rosettes, triple border of flower and heart motifs at either end, the whole surrounded by plain striped border, tasselled ends, 200 x 80cm approximately £200-300

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European Works of Art Lots 424 to 749 Thursday 7th June 2018 at 11am MB112-118 Part Two.qxp_Layout 1 10/05/2018 17:00 Page 109

European Works of Art Lots 424 to 749 Thursday 7th June 2018 at 11am 424 A SITZENDORFF EQUESTRIAN FIGURE OF ‘NAPOLEON CROSSING THE ALPS’, 20TH CENTURY after the painting by Jacques-Louis David, the General gesturing the way forward as his cape blows dramatically in the same direction and his famous war mount, Marengo, rears beneath him, the naturalistic rocky base on a gilt bordered white rectangular plinth, blue crowned S mark 40.5cm high Napoleon Crossing the Alps (also known as Napoleon at the Saint Bernard Pass or Bonaparte Crossing the Alps) is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon painted by Jacques-Louis David (1748-1825) between 1801 and 1805. Initially commissioned by the King of Spain, the ‘heroic’ composition celebrates the journey that Bonaparte and his army made across the Alps through the Great St. Bernard Pass in May 1800. £300-500

425 A MEISSEN FIGURE OF A SHEPHERDESS, LATE 18TH CENTURY after a model by Johann Joachim Kändler (1706-1775), modelled as a young woman standing with an apron full of flowers, holding a flower posy in her left hand and a recorder in her right, a recumbent sheep looking up from her feet, indistinct blue painted mark to rear, incised 2789 to base 14.5cm high £250-350

426 A MEISSEN FIGURE OF A BOY WITH FLOWERS, LATE 18TH CENTURY / EARLY 19TH CENTURY after a model by Johann Joachim Kändler (1706-1775), modelled standing against a tree stump holding a hat full of flowers in his left hand and a flower posy in his right, incised A.19 to rear, 13.5cm high; together with a Meissen figure of a boy eating grapes, circa 1900, modelled seated, underglaze blue crossed 424 swords, incised and impressed numerals, 12cm high, hand missing (2) £200-300

426

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427 429 430

427 429 A BERLIN FIGURE OF A BACCHANTE FEEDING A GOAT, CIRCA A MEISSEN GROUP OF THE OLD WOMAN IN LOVE, LATE 19TH 1775 CENTURY modelled by Wilhelm Christian Meyer (1726-1786), the scantily the young swindler supposedly paying court by kissing the hand clad nymph seated on a tree stump, a vine draped across her lap of the seated old woman as he peers avariciously into her from which she proffers the goat a bunch of grapes, mound base strongbox, shaped oval base, underglaze blue crossed swords with gilt detailed Rococo scrolls, incised C.M., underglaze blue mark, incised model No.A46, impressed numbers sceptre mark 14.5cm high, some restoration 20cm high £250-350 This maenad with the goat emblematic of lust is one from a series of five bacchic followers produced by K.P.M. Three other figures 430 from the series, all in the Kunstgewerbemuseum Berlin, are A MEISSEN GROUP OF ICE SKATERS, MID 19TH CENTURY illustrated by Erich Köllmann and Margarete Jarchow, Berliner after an 18th century model, the behatted gentleman kneeling to Porzellan, Munich, 1987, Vol. II, Figs.177, 178 & 180. For other tie the skate to his companion’s shoe, gilt edged scroll moulded examples see Georg Lenz, Berliner Porzellan, Die Manufaktur base, blue crossed swords mark, incised model No.36, further Friedrichs Des Grossen 1763-1786, Berlin, 1913, Vol.II, pl.109. incised numerals and painted initial R £300-400 14.5cm high, some restoration £300-400

428 431 428 431 A PARIS GROUP OF A SLEEPNG PUTTO, EARLY 19TH CENTURY A PETER WELDON CREAMWARE ELEPHANT OBELISK, the winged child, drapery and cylindrical bolster in biscuit, his STAFFORDSHIRE, 1990s orange glazed porcelain bed formed as a Neo-classical ‘lit bateau’ in 18th century style, standing four-square on a moulded 12cm wide rectangular base, the beast and its burden applied with a variety £200-300 of foliage 59.5cm high £120-180

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432 433

432 A MEISSEN BOWL, COVER & STAND, LATE 19TH CENTURY circular, each applied in high relief with flowers and lemons painted with scattered insects, the underside of the lobed stand applied with blue forget-me-nots, the cover with branch handle, underglaze blue crossed swords marks stand 23cm diameter £250-350

433 A SCHOELCHER (PARIS) CABINET PLATE, EARLY 19TH CENTURY painted with strawberries inside a gilt foliate border, stencilled mark 22cm diameter £250-350

434 A MEISSEN OUTSIDE DECORATED TOPOGRAPHICAL PLATE, 1840s painted with a titled view of Hamburg, depicting the harbour busy with sail and two paddle steamers, the fuchsia border with gilt bands, cancelled crossed swords marks in underglaze blue, incised marks and impressed numerals 25.5cm diameter 436 £80-120

435 436 THREE WORCESTER DISHES, CIRCA 1775-80 A RED FLASHED GLASS BEAKER, BOHEMIAN, SECOND HALF comprising a scalloped dessert plate decorated in the Giles 19TH CENTURY workshop, painted with a florally sprigged Classical urn, the ‘wet waisted nonagonal, engraved with a stag and a doe amidst blue’ ground border gilded with a band of anthemion within a vegetation flanking a coat of arms below a Prince’s coronet, with further band of fruit-laden vines, blue crescent mark, 21cm borders of acorns and oak leaves and further stylised leafage diameter, glued, a lobed dessert plate painted with a vignette of 12.5cm high fancy birds within a basketwork moulded border and gilt rim, The arms are those of Kinski of Bohemia (J.B. Rietstap, Armorial 20cm diameter, and a lozenge shaped dish painted with fruits, the Général, Vol.1, p.1093), created Barons in 1316, Counts in Bohemia blue ground border highlighted with caillouté gilding, blue in 1628 and Princes of the Holy Roman Empire in 1746, one of the crescent mark, 23.5cm long most illustrious families of the Hapsburg domains. £100-150 £300-400

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440 441 440 A NAST (PARIS) CABINET CUP AND SAUCER, CIRCA 1825 green ground, the cup painted with a band of Neo-classical 437 scrollwork between formal leaf borders, gilt painted mark Provenance: Armin B. Allen, New York, with paper label 437 A NAST (PARIS) TWO-HANDLED CUP AND STAND, EARLY 19TH £300-500 CENTURY gilt ground, the cup painted each side with a classical figure 441 flanked by putti, the stand painted in the centre with a human face A LA COURTILLE (PARIS) CUP AND SAUCER, EARLY 19TH inside a border painted with panels of muses alternating with CENTURY panels of seated griffins flanking a gilt portrait medallion, gilt painted in black monochrome with profile portraits against an script mark orange ground and gilt anthemion border, underglaze blue painted arrows mark £600-800 £150-250

442

439 438 439 443 one of four 438 442 A BARR, FLIGHT & BARR (WORCESTER) SPILL VASE, CIRCA 1810- AN ENGLISH PORCELAIN SAUCE TUREEN, COVER AND STAND, 1813 PROBABLY COALPORT, CIRCA 1810 cylindrical, pink ground, painted en grisaille with a classical two-handled oval body, painted with strawberries against a grey maiden holding a tambourine aloft, set with gilt satyr mask ground, painted pattern No.728, stand 18.5cm wide; together with handles, impressed mask an English cup and saucer, circa 1815, gilt-ground, decorated with 12.5cm high lily-of-the-valley £200-300 (5) £80-120 439 TWO ENGLISH PORCELAIN CACHEPOTS AND STANDS, 443 PROBABLY COALPORT, CIRCA 1810 A GROUP OF FOUR SPODE BREAKFAST CUPS AND SAUCERS, in sizes, each painted with grisaille landscape vignettes, pattern EARLY 19TH CENTURY No.382 painted in green monochrome with flower sprays, red painted largest 13.5cm high, some damage mark £200-300 £80-120

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444 445 part 444

444 A PORCELAIN COFFEE CAN AND SAUCER, PROBABLY PARIS, 19TH CENTURY the cup painted with a mummy’s head flanked by wyverns, the saucer with panels of musical instruments against a burnt orange ground simulating hardstone, gilt ‘R’ mark to can; together with another coffee can and saucer, probably Paris, early 19th century, painted with puce drapery, lion masks and laurel; and another coffee can and saucer, painted with puce portrait portrait medallions (6) £300-500

445 A PARIS PORCELAIN COFFEE CAN, EARLY 19TH CENTURY painted with a classical woman in a chariot being drawn by two lions; together with a Paris porcelain sugar bowl and cover, white and gilt; two English porcelain plates, printed en grisaille with classical figures inside a gilt finishing vine border; and a gilt- ground cup and saucer (7) 446 £200-300

446 A PAIR OF PORCELAIN CANDLESTICKS, PROBABLY GERMAN, CIRCA 1830 Rococo Revival, baluster stems and shaped triangular bases, moulded with puce feather-edged scrollwork picked out in green and gilt, scattered flowers and insects between 23.5cm high, one stem restored £120-180 447 part 448 part 447 A DERBY COFFEE CAN AND TWO SAUCERS, CIRCA 1815 448 painted with pink roses, red painted mark; together with a pair of A BROWN-WESTHEAD, MOORE & CO. PART TEA SET, CIRCA 1870 Minton coffee cups and saucers, circa 1870, turquoise ground; and comprising: thirteen cups, fourteen saucers and two cake plates, a small Derby spill vase, circa 1815, painted with arabesques, green ground with gilt rims, the cups with pink interiors and rope- 11cm high twist handles and feet, P.O.D.R. lozenge for 1869, red painted No. (8) C8459 some losses £100-150 (29) £100-150

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451

450

450 A DOCCIA COFFEE CUP AND SAUCER, MID 18TH CENTURY each with applied prune branches to the white glaze Provenance: The Henry and Martha Isaacson Collection, Seattle (with paper label No. 107); Armin B. Allen, New York (with paper label) £300-500

451 A PAIR OF DOCCIA COFFEE CUPS AND SAUCERS, MID 18TH CENTURY white glazed and applied with brown twig handles £500-700 449 part 452 A LIMOGES CASKET, DECORATED IN THE ATELIER OF CAMILLE 449 LE TALLEC, PARIS, CIRCA 1962 A GROUP OF ENGLISH POTTERY, 19TH CENTURY of shaped lozenge outline, finely painted with flowers surrounded comprising: a large Ridgway ‘Tuscan’ pattern jug, 32cm high, by richly gilt scrollwork, gilt-metal rim mounts, underside with Le another large painted pottery jug, two yellow-ground printed jugs Tallec marks and date cipher and a saucer 18cm long (5) £150-250 £200-300 453 A LIMBACH (THURINGIA PORCELAIN) PEAR SHAPED COFFEE POT AND COVER, CIRCA 1770 painted with flower sprays inside basket moulded borders, puce painted mark, 23cm high; together with a porcelain coffee cup and two saucers, possibly Cozzi, circa 1770, painted with purple flower springs (5) £200-300

454 AN EARTHENWARE LETTER HOLDER, PROBABLY FRENCH OR PORTUGUESE, LATE 19TH CENTURY Palissy type, in the form of a partially open clam shell supported on a green mound base applied with coral and further shells 17cm high £100-150 452 453 part 454

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456 455 456

455 AN ENGLISH PORCELAIN JARDINIERE AND STAND, PROBABLY COALPORT, CIRCA 1810 the yellow ground painted with a panel of flowers inside a gilt frame 13cm high, stand repaired £100-150

456 AN ENGLISH PORCELAIN TWO-HANDLED CUP AND SAUCER, CIRCA 1810 yellow ground and wrythen moulded, painted en grisaille with figure panels; together with an English porcelain inkstand, circa 1810, yellow-ground, drum shaped, gilt details, 8.5cm high £200-300

457 A COALPORT LETTER RACK, CIRCA 1825 pink ground, painted with a view of Willey Park, Shropshire, printed ‘Society of Arts’ mark 16cm long, minor restoration The house, as well as the surrouding park, were established between 1811-1820 by Lewis Wyatt (1777-1853) for Cecil Weld- Forester (1767-1828, created 1st Baron Forester 1821). The house remains remarkably unchanged to this day, still the seat of the Barons Forester. £400-600 457 458 A PAIR OF STAFFORDSHIRE POTTERY PIGEON TUREENS AND COVERS, 19TH CENTURY their feathers picked out in grey and black 21cm long £200-300

459 A PAIR OF WALTON PEARLWARE SHEEP GROUPS, CIRCA 1820 each standing before a flowering tree, 19cm high, some restoration; together with a Staffordshire pottery figural spill vase, mid 19th century, of a youth of companion beside a tree, 16.5cm high; and a Stevenson & Hancock (Derby) group of lambs, late 19th/early 20th century, red painted mark, 11cm high, restored (4) £100-150 458

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460 A PAIR OF MINTON AESTHETIC MOVEMENT BONE-CHINA MOON-FLASKS, CIRCA 1870 rounded discoidal, bleu-céleste ground, both with one side painted with a differing peacock in a blossoming cherry, the other side with differing cranes surrounded by lilies and lotus blossom, the gilt ruyi sceptre shaped handles and rims with black detailing 26cm high (2) For other examples of this vase shape, see Joan Jones, Minton, Shire Publication, 1995, pp.100/101. For a similar pair, see Bonhams, London, 20 September 2017, lot 97 £600-800

460

461 A ROCKINGHAM PORCELAIN MINIATURE TEAPOT & COVER, CIRCA 1835 the compressed body applied with flowers in high relief, puce printed mark, painted Cl.2, 7.5cm high, some restoration and chips; together with four further 461 miniature teapots and covers: a Canton famille rose example, a ‘clobbered’ gold ground Staffordshire example, a Dresden floral painted example and an English flower encrusted example (10) £250-350

462 A MINTON PORCELAIN TROMPE L’OEIL DISH, CIRCA 1830 the pierced circular dish apparently filled with chestnuts, on four scroll moulded supports 18cm diameter £250-350

463 AN ENGLISH PORCELAIN DEMI-LUNE BOUGH POT AND 462 463 part COVER, PROBABLY CHAMBERLAIN’S WORCESTER, CIRCA 1810 painted with a white and gilt key pattern band, 23cm diameter; together with a gilt and marbled cup and saucer and a cachepot and stand painted with floral borders (a.f) (6) £150-250

464 A MEASHAM POTTERY ‘BARGE WARE’ TEAPOT, DATED 1887 treacle glaze, applied with moulded flowers and birds around the inscription ‘Hannah Arkinstall / A Present From / Her Mother / 1887’, the cover with teapot finial, 30.5cm high; together with another smaller example, late 19th century, similarly decorated and inscribed ‘Home Sweet Home’, 13.5cm high (4) 464 £120-180

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465 † A CASTELLI MAIOLICA CHARGER, WORKSHOP OF FRANCESCO GRUE, LATE 17TH CENTURY painted after Antonio Tempesta (1555-1630) with Alexander Attacking Tyre from the Sea from the Wars of Alexander the Great, the equestrian figure seen from the back directing a variety of troops towards the city walls, the rim painted with panels of trophies 41.1cm diameter The scene is taken from plate VII of XI from the series The Distinguished Deeds of Alexander the Great by Antonio Tempesta, published in Rome in 1608. Several dishes depicting this series are recorded. Two are published by Luciana Arbace, Maioliche di Castelli, La Raccolta Acerbo, 1978, pp.36-39, nos.35, 36. £2500-3500 †

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466 part

467 part

469

468

470 471

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466 A SET OF SIX ROYAL COPENHAGEN ‘FLORA DANICA’ DINNER PLATES, CIRCA 1985 painted with titled specimens within a gilt beaded border and serrated rim, shape No.3549, printed and painted factory marks 25.5cm diameter £1500-2000

467 A SET OF SIX ROYAL COPENHAGEN ‘FLORA DANICA’ RETICULATED DESSERT PLATES, 1980-85 painted with titled specimens within a pierced border and gilt serrated rim, shape No.3554, printed and painted factory marks 472 22.5cm diameter £1500-2000 472 A WEDGWOOD FAIRYLAND LUSTRE ‘KANG HSI’ SHAPE BOWL, CIRCA 1925 468 designed by Daisy Makeig-Jones (1881-1945), the exterior with the A ROYAL COPENHAGEN ‘FLORA DANICA’ VEGETABLE TUREEN ‘Woodland Bridge’ pattern, the interior with the ‘Woodland Elves’ AND COVER, 1985-89 pattern, printed gold Portland vase mark, numbered Z4968 circular, the cover applied with a branch and flower handle, 21cm diameter painted with the titled specimen ‘Lonicera Periclymenum L.’ inside a gilt rim, printed and painted factory marks £1000-1500 23.5cm diameter £500-700

469 A ROYAL COPENHAGEN ‘FLORA DANICA’ DISH, 1980-85 triangular, painted with the titled specimen ‘Anagallis coerulea Schreb.’ within a gilt beaded border and serrated rim, shape No.3508, printed and painted factory marks 23cm wide £200-300

470 A PAIR OF ROYAL COPENHAGEN ‘FLORA DANICA’ CUPS AND SAUCERS, 1969-74 each cup painted with a titled specimen, branch handles, the saucers with serrated rims, shape No.3597, painted and printed factory marks cups 7cm high £200-300 473 471 A ROYAL COPENHAGEN ‘FLORA DANICA’ COMPORT, 1980-85 473 circular, painted with the titled specimen ‘Geranium Molle L.’ AN EMILE GALLE FAIENCE CAT, CIRCA 1900 beneath a gilt beaded border and serrated rim, shape No.3588, modelled as a recumbent feline set with green glass eyes, the printed and painted factory marks yellow ground scattered with typical blue and white heart and dot 14.25cm high motifs, painted mark ‘E. Gallé / Fayencerie / de Nancy’ £200-300 30cm long, damage to ear It is very rare to find a Gallé cat modelled lying down, although sleeping variants are occasionally encountered. £600-900

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476 475 474 474 A CLARICE CLIFF BIZARRE ‘LOTUS’ SHAPE JUG, 1930s in Delecia Pansies pattern, single-handled, printed Bizarre marks 29cm high £150-250

475 A CLARICE CLIFF BIZARRE ‘LOTUS’ SHAPE JUG, 1930s in Delecia Citrus pattern, single-handled, printed Bizarre marks 29cm high £250-350

476 A CLARICE CLIFF BIZARRE JUG AND A VASE, 1930s both in Aurea pattern, the jug single-handled ‘Lotus’ shape, printed Bizarre 477 marks, the vase ‘Isis’ shape, printed Clarice Cliff mark 28.5cm highest (2) £150-250

477 A COLLECTION OF FOUR CLARICE CLIFF BIZARRE JUGS, 1930s all Delecia Pansies pattern, comprising: an ‘Athens’ shape jug, a ‘Coronet’ shape jug, a ‘Greek’ shape jug and a ‘Conical’ shape jug, printed Bizarre marks 22cm highest (4) £150-250

478 A COLLECTION OF CLARICE CLIFF BIZARRE WARES, 1930s 478 all Delecia Pansies pattern, comprising: a biscuit barrel and cover, a ‘Dover’ shape jardinière, a bowl and a saucer dish, printed Bizarre marks 20cm highest (4) £200-300

479 A COLLECTION OF CLARICE CLIFF BIZARRE WARES, 1930s comprising the following Crocus pattern: a large bowl, a small dish and a small ‘Hiawatha’ shape ashtray; and the following Gay Day pattern: a large ‘Havre’ shape bowl, a ‘Heath Fern’ shape pot and a large ‘Hiawatha’ ashtray, printed Bizarre marks 9.5cm highest (6) £150-250

479

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LOTS 480 TO 488: JUDAICA FROM THE COLLECTION OF DR RICHARD TELTSCHER Dr Richard Teltscher (1888-1974) was born into a prominent Jewish family in Nikolsburg, (now Mikulov) in Moravia. He trained as a lawyer in Vienna, before joining the family wine business in Mikulov, an area that remains a centre of Czech wine-making. Although not a religious man, he was fascinated by the history of Moravian Jewry. Having built-up a private collection of Judaica, he established the Central Jewish Museum for Moravia-Silesia. Opening in 1936, the ill-fated museum lasted only two years, the collection confiscated by the Nazis and taken to Prague, where it remains in the Jewish Museum today. Dr Teltscher fled to the Polish border and, through the intervention of the Chief Rabbi of Warsaw, managed to gain asylum in Britain. He joined his family in London, where he had previously arranged for important items from his private collection to be sent. Following the war, Richard Teltscher was involved in the wine trade and continued to devote his spare time to Judaica. After his death, his collection of rare books was lodged in the John Rylands Library at the University of Manchester. In 2008, his cultural contribution was recognised by the town of Mikulov with the award of a posthumous honour.

480

480 AN OTTOMAN PARCEL-GILT SILVER CASE, PROBABLY BALKAN OR GREEK, 18TH / 19TH CENTURY book shaped, the hinged spine with clip release to centre, chased beaded and geometric borders throughout, the front with openwork linear panels and scroll chased ground, applied with foliate lozenge motifs between, the reverse chased with a hexagram (Star of David) motif centred by a vase of flowers, with angular hinged loops to sides and suspension rings to base 16.5cm long Doctor Teltscher always felt that this piece, with the chased hexagram, was an item of Judaica, a box to protect a book, perhaps a Tanakh, Psalms or Festival Prayer book case. Whilst the form is similar to cartridge boxes from the Aegean/Balkan region, it is rather too narrow and lacks the necessary belt loop to be for cartridges. £400-600

481 A BRASS SABBATH CANDELABRUM, GERMAN, 19TH CENTURY with Prussian eagle finial flanked by four vase shaped sconces on openwork scroll support centred by a Lion of Judah figure, knopped stem with leaf borders, broad circular base with four lion masks 52cm high £150-200 481

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484

484 A PARCEL-GILT SILVER TORAH CROWN, UNMARKED, PROBABLY BOHEMIAN OR MORAVIAN, 18TH / 19TH CENTURY oval, beaded borders, with a circlet of openwork leaves below three bands and enclosed ends 482 chased with shells and strapwork foliage on a matted ground, with brass detachable liner 482 20cm long A PAIR OF BRASS SABBATH CANDELABRA, GERMAN, 19TH CENTURY each with central Prussian eagle finial flanked by four urn-shaped sconces on This form of enclosed crown is usually openwork supports featuring opposing Lion of Judah figures, the knopped stems associated with the former Hapsburg domains, and broad circular bases with foliate scroll and shell borders the form inspired by the Austrian Imperial crown 52cm high made in Prague in 1602. £250-350 £300-400

485

485 A SILVER TORAH POINTER, RUSSIAN OR POLISH, 19TH CENTURY octagonally faceted, with suspension ring to bulbous terminal, the knopped (damaged) tapering stem ending in a hand shaped pointer, maker’s mark indecipherable, stamped ‘84’ 30cm long £80-120

486 A BRASS HANUKKAH LAMP, PERHAPS ITALIAN 18TH / 19TH CENTURY the triangular openwork backplate cast with a scene of the Judgment of Paris below an angel 20cm high 483 486 A Hanukkah lamp of the same unusual pattern is held by the Jewish Museum, New York, 483 Accession No. F 5388. Also see Susan TWO BRASS HANUKKAH LAMPS, PROBABLY GERMAN, 19TH CENTURY Braunstein, Five Centuries of Hanukkah Lamps one with backplate pierced with a six-pointed star motif in a roundel surmounted by from the Jewish Museum: A Catalogue vases, the eight reservoirs with hinged cover, on paw feet, 39.5cm high, the other Raisonné, New Haven and London, 2004, p.111 with arched backplate with heart, punched and pierced decoration, the hinged side £150-250 panels of bird profile, 28cm high £300-400

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487 487 A JUDAICA GLASS DECANTER, PROBABLY BOHEMIAN, 19TH CENTURY the body etched and gilded with Biblical scenes between bands of Hebrew script 24cm high £150-250 490

490 A RUSSIAN ICON OF THE ‘TROERUCHITSA’ (THREE-HANDED) MOTHER OF GOD, 19TH CENTURY set against a gilt ground, the Virgin holding the Christ Child with her right hand, resting her left hand on her chest, the third hand emerging from under the drapes of her omophorion, egg tempera, gold leaf and gesso on wood panel 35.5cm high A copy of the ‘Panagia Tricherousa’ (now kept at the Serbian Chilandari Monastery on Mount Athos) was sent to Russia in 1661, where it became a familiar format for Russian icons. £500-600

488 488 THREE SILVER SPICE TOWERS (BESAMIM HOLDERS), PROBABLY POLISH OR MORAVIAN, 19TH / EARLY 20TH CENTURY one with circular pedestal and filigree panelled box with door below the bell and spire topped by a pennant, the others in two sections, with filigree spherical containers, each on three wirework supports, with pennant-topped rods 30cm tallest (3) £300-500

491 489 491 A FLORAL SILKWORK PICTURE, ENGLISH, SECOND QUARTER A BRONZE DOOR KNOCKER, PROBABLY FRENCH, 18TH / 19TH 19TH CENTURY CENTURY depicting flowers and feathers arranged in a basket surrounded the knocker cast as female mask surrounded by rocaille, with leaf by a border of pressed gilt card, in a glazed gilt gesso frame capped hinge, the striking boss flanked by further rocaille and frame 60.5 x 69.5cm scrolls, mounted on an angled rectangular wood later stand £100-150 25.5cm high Provenance: Kugel, Paris, according to receipt of 8 September 1994 £600-800

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492

492 AN OPPOSING PAIR OF PLASTER FIGURES OF SPHINXES, IN EARLY 18TH CENTURY STYLE the Baroque beasts modelled in lively semi-recumbent pose, each with head turned to side, back feet clutching scrolls set around its rear and front legs on a rectangular base 41cm long £400-600

493 A PAIR OF PATINATED AND PARCEL-GILT PLASTER WALL SCONCES, PROBABLY ITALIAN, LATE 19TH CENTURY 493 each formed as an oak wreathed classical mask below a border of egg and dart moulding 24cm high (2) £300-500

494 A PAIR OF GILT-BRONZE BLACKAMOOR FIGURE CANDLESTICKS, PROBABLY ITALIAN 19TH CENTURY with milled and welled circular bases, each stem as a dark patinated figure in gilt feather skirt and headdress balancing with one hand the sconce on his head 25cm high £250-350

495 A PAIR OF WHITE MARBLE AND ORMOLU CANDLESTICKS, PROBABLY FRENCH EARLY 19TH CENTURY with milled, beaded and stiff leaf ormolu borders, domed marble bases, the knopped marble stems with central linear decorated pierced scroll ormolu band, the ormolu sconces with detachable nozzles 22.5cm high 494 £300-500

496 ~ A WALNUT FLORAL MARQUETRY KNIFE BOX, DUTCH, 19TH CENTURY the slope-fronted box with later converted oak stationery compartment interior, with ivory key escutcheon and gilt- metal Neo-classical handles 34.5cm high £80-120

495 496

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497 A PAIR OF GIALLO ANTICO MARBLE ‘GRAND TOUR’ MODELS OF TEMPLE RUINS, ITALIAN, 19TH CENTURY finely carved as the Roman forum temples of Vespasian and of Castor and Pollux, on black marble bases Vespasian 29cm high, Castor and Pollux 33.7cm high (2) £1500-2500

498 497 498 ~ AN INDO-PORTUGUESE IVORY FIGURE OF CHRIST AS THE GOOD SHEPHERD, GOA, 18TH CENTURY the Holy Child carved in typical pose with eyes closed and crossed legs, holding a lamb on his right knee, his other hand to his face, his elbow resting on a gourd on his left thigh 10.2cm high excluding later perspex stand Provenance: a Greek Private Collection since the 1940s £400-600

499 ~ A SPANISH COLONIAL BONE FIGURE OF THE CHRIST CHILD, PROBABLY PHILIPPINES, MANILA, 17TH / 18TH CENTURY the Diviño Nino carved with his right hand raised in blessing, his left on his stomach, set with glass eyes, with stained detailing to face and loosely curling long hair 14cm high excluding later wood stand During the 17th through to the 19th century, many Christian subject ivories were worked in the Philippines by a mixed community of originally emigré Chinese sculptors. From the 16th century, Spanish traders and missionaries had fostered a trade in Christian ivories from the artisans of Southern Fujian Province in China. The trade spread to the Philippines: by 1639 some 30,000 Chinese were living in Manila, many of them craftsmen and traders, known as ‘sangleyes’, in the Parián (meaning market place) area of the city, an enclave just outside the city walls. The present lot is unusual since it is carved in bone (or marine ivory), rather than the predominant elephant ivory of such figures, but the subject, pose, glass eyes and the style of carving (particularly the hair and face) corresponds closely with analogous figures from the Philippines under Spanish rule. Provenance: a Greek Private Collection since the 1940s £2000-3000

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500 A BOXWOOD ‘VANITAS’ MODEL OF A HUMAN SKULL, PROBABLY GERMAN EARLY 19TH CENTURY finely detailed carving 5.5cm long £300-500

501 ~ AN IVORY ‘VANITAS’ MODEL OF A HUMAN SKULL, PROBABLY GERMAN 18TH CENTURY with finely detailed carving 5cm long £500-800

500 501

502

502 A RELIEF IMPRESSED AND TURNED WOOD GAMING COUNTER, WORKSHOP OF MARTIN BRUNNER (1659-1725), NUREMBERG, CIRCA 1700 obverse with a bust of Queen Anne, reverse with busts of William and Mary (chip to edge), 5.5cm diameter; together with a large bronze ring, probably Roman, set with a probably later larva cameo of a standing Venus (2) The technique employed to create such gaming or draughts counters is comparable to the methods used in die-casting bronze medals. Firstly the turned wood was softened by steam, then scenes and subjects were impressed with metal dies. The work was promoted by a catalogue of medals issued by the Nuremberg silversmith and coin dealer, Freiderick Kleinert in collaboration with Caspar Lauffer, the master of the Nuremberg mint. £120-180

503 ALFRED BOUCHER (1850 - 1934): LA FANEUSE (THE HAYMAKER) a French white marble figure, circa 1900, the young female worker modelled leaning by her elbow on a bronze pitchfork, circular base signed ‘A. BOUCHER’ 93.5cm high Related Literature: J. Piette, Alfred Boucher 1850-1934: L’oevre sculpté, catalogue raisonné, Mare Martin, 2013, pp. 190-195, no. A39 £1800-2200

503

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504 505

504 TWO KUTCH SILVER SUGAR BOWLS, GUJARAT, WESTERN INDIA, CIRCA 1900 the first of spherical form on scrolling feet, decorated with chased hunting scenes, the hinged lid with elephant finial, the other of lobed form with chased floral decoration in Chinese style, on three scrolling legs 10.5cm tallest, 406gr £180-220

505 A SMALL BURMESE SILVER BOX, LATE 19TH / EARLY 20TH CENTURY of elongated octagonal form, the lid and sides with chased relief figural and scrolling decoration 8cm long £150-250

506 AN ENAMEL-SET SILVER-GILT CASKET, PROBABLY DUTCH EAST INDIES, BATAVIA, LATE 17TH / EARLY 18TH CENTURY chased all over with scroll foliage, the 506 charmingly naive enamel panels bordered by silver filigree, the canted lid set with Acteon Surprising Diana and Attendants Bathing and four floral panels above a later clasp, the front and back with Apollo in his Chariot and a scene perhaps depicting Prometheus Unbound, both flanked by cornucopiae, the sides with further mythological scenes beneath the scroll foliate drop loop handles, on bun feet, the interior later red velvet lined 18.5cm wide £1000-2000

507 A JAPANESE SILVER BOWL AND COVER, KUROSAWA, RETAILED BY HUHN & KOMOR, YOKOHAMA, EARLY 20TH CENTURY circular, the double-skinned body and cover chased with a continuous scene of flowering cherry branches seen over water, underside stamped ‘KUHN & KOMOR’ below their trademark and ‘Made by Kurosawa’ in Kyujitai 13cm diameter £1000-1500 507 127 MB112-118 Part Two.qxp_Layout 1 10/05/2018 17:01 Page 128

510 510 A SOUTH AMERICAN SILVER-MOUNTED GOURD FLASK, UNMARKED, PROBABLY ARGENTINE, 19TH CENTURY 508 perhaps for tereré, on spreading foot, the elongated gourd with three straps between the end mounts all 508 chased with scrolls and diaperwork panels on a A LARGE SWEDISH SILVER BEAKER, ELIAS NOREUS, ÖSTHAMMAR, 1761 matted ground, with long chains to the shoulder and flared cylindrical, decorated below the moulded rim with a border of insect to the fluted domed cover (cover chain detached), and leaf motifs and a band of scrolls and rocaille on a matted ground, circular aperture to cover probably for a straw initialled AHS, the foot with a lobed border, interior with traces of gilding, 23.5cm high base set with a Swedish Charles XI 4 Mark coin, Anders Strommer, £400-600 Stockholm, 1694 21.5cm high, 575gr (18oz) £800-1200

5 11 509 5 11 A SILVER LIDDED CREAM JUG, Y. BOROVSHCHIKOV, 509 ST. PETERSBURG, 1780s A FRENCH SILVER SAUCEPAN, PARIS, 1819-1838 plain baluster, on three cast flower supports, similar plain circular, moulded rim, turned-wood screw-in handle, no maker’s mark, finial to the hinged lid, scroll handle, gilt interior, underside with faded stamp ‘MAISON N...?’ French swan import mark 33cm overall width, 341gr (10oz) of silver 14.5cm, 294gr (9oz) £300-500 £500-800

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512 513

512 A PAIR OF FRENCH SILVER SECOND-COURSE PLATES, ALEXIS DANY, PARIS, 1786-1787 shaped circular, each engraved below the applied moulded border with a coat-of-arms and coronet 30cm diameter, 1600gr (51oz) £600-800

513 A FRENCH SILVER SERVING PLATE, PARIS, 1770 shaped circular, the border engraved at a later date with a coat-of-arms, supporters and coronet below an applied reeded border, scratch weight: ‘6m 2o 5gr’ 36.5cm diameter, 1480gr (47oz) £600-800

514 A SILVER TAZZA, MAKER’S MARK FM STRUCK TWICE ONLY, POSSIBLY BELGIAN, CIRCA 1740 514 octagonal, the surface flat-chased at the centre and border with Rococo shells and scrolls 21.5cm diameter, 371gr (12oz) £800-1200

515 AN UNUSUAL FRENCH SILVER CHOCOLATE POT IN STEEL FRAME, PROBABLY CLAUDE DUCHESNE, PARIS, 1743 baluster, the lid with hinged finial and scroll thumbpiece, in unusual steel tripod frame with spring fitting and turned wood handle, the body also with 1744-50 discharge mark, the cover unmarked 23cm high, 423gr (13oz) of silver £1200-1800

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516

516 A LARGE GERMAN SILVER COW CREAMER, LUDWIG 517 NERESHEIMER & CO., HANAU, CIRCA 1924 typically modelled, the lid to her back applied with a fly, pseudo marks and import marks for Israel Segalov, London, 1924 26.5cm long, 665gr (21oz) £700-1000

517 A GERMAN SILVER-GILT OWL AND OWLET GROUP, PROBABLY HANAU, MID 19TH CENTURY in 16th century style, on shaped oval base, richly chased with creatures in undergrowth, the feathered owl and two owlets with detachable heads, pseudo hallmarks 12.5cm high, 231gr (7oz) £600-900

518 A PAIR OF GERMAN SILVER SWAN FORM SWEETMEAT BASKETS, PROBABLY HANAU, CIRCA 1895 cast as if swimming, import marked for H.C. Freeman, London, 518 1897 16.5cm long, 588gr (18oz 18dwt) excluding their clear glass liners £500-800

519 A PAIR OF GERMAN SILVER FIGURES, PROBABLY LUDWIG NERESHEIMER & CO., HANAU, 20TH CENTURY cast as an 18th century gentleman with long cane and his companion with a basket of flowers, pseudo marks, French import marks 14.5cm high, 661gr (21oz) £300-500

520 A PORTUGUESE SILVER BOWL, MAKER’S MARK MR CONJOINED, LISBON, EARLY 18TH CENTURY circular, on spreading foot, plain bowl 11.3cm, 204gr (7oz) £100-150

519

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522 521 522

521 A SILVER JARDINIERE, MAKER’S MARK ed BELOW A HELMETED HEAD, PROBABLY GERMAN, EARLY 20TH CENTURY on four cast foliate and mask supports, the ample shaped oval body decorated in relief with rococo cartouches, flowers and foliage enclosing musical instruments, import marked London Assay Office, 1943 53cm long, 2542gr (81oz) £1200-1800

522 A PAIR OF SILVER VASES, MAKER’S MARK ed BELOW A HELMETED HEAD, PROBABLY GERMAN, EARLY 20TH CENTURY en suite with the preceding lot, each on three foliate scroll and mask supports, the baluster bodies decorated with rococo cartouches and floral and foliate sprays, import marked London Assay Office, 1943 27cm high, 818gr (26oz) £400-600

523 A SIX-PIECE SILVER SERVING SET, MAKER’S MARK ed BELOW 523 A HELMETED HEAD, PROBABLY GERMAN, EARLY 20TH CENTURY comprising: a pair of sauceboats on stands, a pair of circular second course dishes and a pair of oval meat dishes, embossed with flowers and foliage within applied scrolling borders, import marked London Assay Office, 1943 sauceboats 24.5cm wide, dishes 30cm diameter, meat dishes 51cm long, 4564gr (146oz) £1500-2500

524 ~ A CZECHOSLOVAKIAN THREE-PIECE SILVER TEA SET ON TRAY, FRANZ BIBUS & SOHN, MORAVSKA TREBOVA, 1929-1942 moulded squat baluster tea set and oval tray, each piece engraved HP, 800 standard 1147gr (36oz) including ivory insulators to teapot £300-500

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525 A FRENCH SILVER-GILT DRESSING TABLE SET, GUSTAVE KELLER, PARIS, CIRCA 1900 each piece with moulded rim and engraved with a continental coat of arms below a noble’s coronet, comprising: four etched glass toilet bottles in sizes, with silver-gilt covers, complete with glass stoppers, three similarly etched glass jars in sizes, with silver- gilt covers, a trefoil arched easel mirror, a pair of dwarf candlesticks with detachable nozzles, a shaped oblong pin tray, four hand brushes in sizes, two clothes brushes in sizes, a hand mirror, a shoe horn and a pair of glove stretchers, 950 standard, all fitted in its original walnut case with armorial engraved plaque to lid and flush hinged brass handles, with brass lock plate engraved ‘GUSTAVE KELLER ORFEVRE FABRICANT 22 RUE JOUBERT PARIS’ weighable silver 898gr (28oz) (20) The arms are those of van den Bergh of Flanders (J.B. Rietstap, Armorial Général, Vol.1, p.337) £1500-2500 525

526 A PAIR OF GERMAN SILVER-MOUNTED GLASS DECANTERS ON SILVER COASTERS, HALLER & RATHENAU, BERLIN, 1854-63 one blue and one green bottle with scrolling openwork and vine leaf embellished mounts, the cork-mounted stoppers with trailing vine and grape finials, the coasters with everted vine embellished rims and turned-wood bases, the detachable openwork climbing vine supports with bayonet fittings, maker’s mark, town mark and second wardens mark for L. Th. Wendelboe 42cm high overall £1500-2500

526

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527 AN ITALIAN SILVER SUGAR VASE AND COVER, EMANUELE CABER, MILAN, CIRCA 1820 the triform base with openwork formal leaf border above cast shell and paw feet, the stem cast as three entwined Renaissance dolphins supporting a baluster bowl with everted milled rim, the domed cover with further milled borders and a figural finial cast as a young black man sitting on a bunch of fruiting branches (perhaps coffee branches) 23cm high, 766gr (24oz) Emanuele Caber (1762-1850) operated premises under the sign of the ‘Golden Deer’ in the San Michele al Gallo quarter of Milan, using the circular maker’s mark ‘C under a deer’ from 1812. V. Donaver - R. Dabene, Argenti italiani dell’Ottocento, Milan, 1989, Vol.2, p.121. £1500-2000

528 AN ITALIAN SILVER COFFEE POT, EMMANUELE CABER, MILAN, CIRCA 1820 with milled borders, the ovoid body on pedestal foot, with slender waisted neck, the lid with ovate finial, the spout issuing from a cast ram’s head 30cm high, 682gr (22oz) including ebonised handle 527 Emanuele Caber (1762-1850) operated premises under the sign of the ‘Golden Deer’ in the San Michele al Gallo quarter of Milan, using the circular maker’s mark ‘C under a deer’ from 1812. V. Donaver - R. Dabene, Argenti italiani dell’Ottocento, Milan, 1989, Vol.2, p.121. A number of coffee pots of similar form by Emanuele Caber are known: see Christie’s, Rome, 7 December 2005, lot 261, Christie’s, New York, 19 October 2004, lot 929 and Christie’s, London, 16 November 2010, lot 369. £1200-1800

529 A PAIR OF AUSTRIAN SILVER CANDELABRA, HERMANN SÜDFELD & CO., VIENNA, CIRCA 1900 square bases and fluted tapering stems below a ribbed urn shaped sconce, the screw-in branches each of four double scroll arms and central light with screw-in drip-pans and sconces, 800 standard 46cm high, 2455gr (79oz) £600-900

530 A PAIR OF DUTCH SILVER VASES, 1891 pierced with patera studded trelliswork below tassel and medallion hung foliate swags, paw feet on slender splayed supports, handles formed as stylised greyhounds, Dutch 934 standard export mark, date letter and pseudo marks and import marked for Samuel Boyce Landeck, London, 1891 13cm high, 513gr (16oz) excluding clear glass liners 528 £200-300

530 529

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531

531 ~ A MATCHED SET OF VICTORIAN TABLE SILVER, VARIOUS MAKERS, LONDON, 1838-77 Victoria pattern, comprising: 533 six tablespoons 534 twelve table forks twelve dessert spoons 535 twelve dessert forks twelve teaspoons 536 two sauce ladles, two salt spoons and a mustard spoon; together with the following ivory handled cutlery, all with 533 stainless steel blades: twelve table knives, twelve dessert knives, A SET OF SIX IRISH GEORGE III SILVER TABLESPOONS, ONE a pair of meat carvers, a pair of poultry carvers and a steel MICHAEL KEATING, FIVE JOHN DALRYMPLE, DUBLIN, 1788 weighable silver 3997gr (128oz) the stems and pointed terminals bright-cut on one side, further (88) engraved with a crest £1200-1800 378gr (12oz) £150-250

534 A SET OF SIX GEORGE III SILVER DESSERT SPOONS, THOMAS CHAWNER, LONDON, 1776 AND CIRCA Old English wrigglework pattern, plain terminals 200gr (6oz 8dwt) £100-150

535 A SET OF TWELVE IRISH GEORGE III SILVER DESSERT SPOONS, MICHAEL KEATING, DUBLIN, 1794 532 the stems bright-cut on one side below pointed terminals, each further engraved with the crest of White of Ireland 305gr (9oz 16dwt) 532 £200-300 WILLIAM IV AND VICTORIAN TABLE SILVER, LONDON, 1831-1839 Kings Honeysuckle pattern, comprising: five crested dessert forks, 536 Jonathan Hayne, 1831; and twelve dessert spoons with plain A SET OF SIX SCOTTISH GEORGE III SILVER TEASPOONS, ALEX terminals, six Hayne & Cater, 1838, six Mary Chawner for ZIEGLER, EDINBURGH, CIRCA 1775 Chawner & Co., 1839 all bright-cut on one side, the pointed terminals engraved with the 1106gr (35oz) initials G over MM and variously numbered 1, 2, 4, 5, 11 and 12 (16) 74gr (2oz 7dwt) £350-450 £40-80

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537

537 ~ A FRENCH SILVER-GILT DESSERT SERVICE, EUGENE QUEILLE, RETAILED BY MAISON MARTIAL BERNARD, PARIS, SECOND HALF 19TH CENTURY the reeded handles with shells and foliage to terminal, base and mid-point, each engraved with the monogram HG, comprising: eighteen spoons eighteen forks eighteen knives with ivory handles and silver-gilt blades eighteen knives with ivory handles and steel blades a pair of serving spoons and a pair of sifter ladles 950 standard, all in the original leather case, the red baize fittings with two trays, brass lock inscribed ‘MARTIAL BERNARD / Rue de 540 la Paix No.1’ 540 2201gr (70oz) excluding knives A SET OF TWENTY-THREE GEORGE III SILVER TABLE FORKS, (76 pieces) ELEY & FEARN, LONDON, 1815/16 The Queillé family were Parisian manufacturing silversmiths Fiddle Thread and Shell pattern, the terminals engraved with a specialising in table silver throughout the 19th century; the mark crest on the present lot used 1847-1895. The illustrious jewellers Martial 2320gr (74oz) Bernard had been established at 1 Rue de la Paix in 1826, £700-900 becoming suppliers to the Royal Court and the Duc d’Orléans, leaving these premises in 1890. £1000-1500

538 A SET OF ELEVEN VICTORIAN SILVER TABLESPOONS, HAYNE & 538 CATER, LONDON, 1842 Hanoverian Thread pattern, crested 956gr (30oz) £300-400

539 ~ A SET OF TWELVE SILVER FISH FORKS, TWELVE FISH KNIVES AND A PAIR OF FISH SERVERS, ATKIN BROTHERS, SHEFFIELD, 1927/39 with ivory handles (26) £150-250

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543

543 A SET OF VICTORIAN SCOTTISH TABLE SILVER, J. & W. MARSHALL, EDINBURGH, 1868 Kings pattern, single struck, the terminals engraved with the crest and motto of the Clan Grant (‘STAND FAST’ above a burning hill) comprising: thirty-one table forks nine dessert spoons seventeen dessert forks 541 two teaspoons a butter knife 541 two serving spoons A GERMAN SILVER THREE-PIECE TRAVELLING SET, AUGSBURG, together with the following, matching, some engraved with the 1723-1735 crest and motto of the Clan Grant: six dessert spoons and twenty- comprising a knife and a fork with steel blade and prongs three teaspoons, various makers, Edinburgh, 1824-1869, one respectively and a spoon, the handles decorated in Regence style teaspoon, Sheffield, 1904 with flat-chased strapwork and applied profile roundels, in fitted 4398gr (141oz) leather case with tooled decoration (91) the spoon 50gr (1oz 12dwt) £1500-2000 £200-300

542 544 542 544 A SET OF TWELVE FRENCH SILVER-GILT AND MOTHER-OF-PEARL A SET OF SIX GILT-METAL AND BLOODSTONE DESSERT KNIVES FRUIT KNIVES, MAISON GAVET, PARIS, CIRCA 1820 AND SIX FORKS, ATKIN BROTHERS, SHEFFIELD, 20TH CENTURY the plain nacre handles with moulded terminals and inset with a Modern Grecian pattern handles vacant shield, in probably original fitted case, 800 standard, nine £200-300 Francois Charles Gavet and two indecipherable, 1809-19, one C.G. Gavet, 1819-1838 £300-400

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545

545 A SET OF VICTORIAN TABLE SILVER, HAYNE & CATER, LONDON, 1855-1860 Kings Honeysuckle pattern, mainly crested, comprising: ten tablespoons 549 twenty-one table forks twelve dessert spoons fifteen dessert forks 549 six teaspoons A SET OF FIVE GEORGE III SCOTTISH SILVER TABLESPOONS, five salt spoons JAMES HEWITT, EDINBURGH, 1784 5278gr (169oz) Celtic Pointed pattern, plain; together with five assorted Scottish (69) silver tablespoons, same pattern, all initialled except one, various £1800-2200 makers, Edinburgh, 1790-1809 603gr (19oz) 546 (10) TWELVE GEORGE II TABLE KNIVES AND TWELVE CHEESE £200-300 KNIVES, MARKS RUBBED, LONDON, CIRCA 1745 the loaded reeded silver handles each terminating in a shell, some of the steel blades etched: ‘KINGDON’ £600-800

547 546 FOUR TABLE KNIVES AND FOUR CHEESE KNIVES, S.J. PHILLIPS LTD., LONDON, 2010 plain silver handles, stainless steel blades £150-200

548 547 A SET OF SIX TABLE KNIVES AND SIX DESSERT KNIVES, STANIFORTH, PARKIN & CO., SHEFFIELD, LATE 18TH CENTURY the handles with silver curved fluting terminals and reed mounts between reeded mother-of-pearl panels, unmarked, the steel blades stamped ‘Shemel’ 548 (12) £250-350

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550 550 A SET OF GEORGE V TABLE SILVER, MAPPIN & WEBB LTD., SHEFFIELD, 1918 the pointed terminals struck with ribbon-tied husk and pendant cartouches within strapped reeded borders, engraved with a monogram, comprising: eight tablespoons twenty-four table forks twenty-three table knives with steel or stainless steel blades twelve dessert spoons eleven dessert forks ten dessert knives with stainless steel blades 552 twelve soup spoons 552 twelve fish knives A SET OF SIX WILLIAM IV SILVER TABLESPOONS, WILLIAM twelve fish forks CHAWNER, LONDON, 1833 twelve fruit knives Kings pattern, the terminals engraved with a crest; together with twelve fruit forks the following Kings Honeysuckle pattern: four tablespoons, three and a pair of fish servers, a soup ladle, a serving spoon, two fruit dessert spoons and three dessert forks, all crested, and nine table serving spoons, a crumb scoop, a pair of meat carvers, a pair of forks without crest, Jonathan Hayne, London, 1822/29 poultry carvers and a steel, Patent Office Design Registry 2274gr (73oz) No.547092 (25) weighable silver 7755gr (249oz) £700-1000 (170) £2500-3500

551 ~ A VICTORIAN SILVER CEREMONIAL TROWEL, CHAWNER & CO., LONDON, 1877 the silver trowel engraved with an inscription surrounded by a floral border, the handle mount cast with a cornucopia and leafage, underside inscribed by the retailer ‘D.C. RAIT & SONS / 553 GLASGOW’, the turned ivory handle with a band of stiff leaves 553 and lobed terminal A SET OF ITALIAN SILVER-HANDLED KNIVES, 20TH CENTURY 43cm long the reeded and foliate handles engraved with initials AC below a The inscription reads: Presented to the Hon Lord Provost Collins count’s coronet, comprising twelve table knives and eleven on the occasion of his laying the last cope stone of the Queen’s dessert knives, all with stainless steel blades, and a pair salad Dock by John Jackson, Contractor, Glasgow, March 20th 1880. servers (with damaged horn bowl and tines), all stamped ‘800’ Work started on the Queen’s Dock in 1872 and it was opened in (25) 1877, when the Anchor liner, ‘Victoria’, entered the tidal basin, £180-220 though the last copestone was not laid 1880. With the decline in shipping traffic in Glasgow Harbour, it was closed and filled-in with rubble from the demolished St Enoch Station in November 1977. The Scottish Exhibition and Conference Centre has since been built on the site. £180-220

551

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554 A GEORGE III SILVER-GILT DESSERT SERVICE, LONDON, 1794/95 Old English pattern with crested terminals, later feather edged, complete for twenty, comprising: dessert spoons, Northcote & Bourne dessert forks, eleven the same, the remainder Smith & Fearn fruit knives, engraved with the same crest, silver-gilt blades and loaded reed and wrigglework pattern silver-gilt handles, with assorted marks of John Tatum senior and junior and Moses Brent 1688gr (54oz) excluding the knives (60) £2000-3000 554 555 A SET OF FOUR GEORGE II SILVER HANOVERIAN PATTERN TABLESPOONS, MAKER’S MARK POORLY STRUCK, LONDON, 1736 one side of the terminals engraved with the initials ‘I*M,’ the other with a coat-of-arms and crest, helm and foliate mantle 300gr (9oz 12dwt) The arms are those of De Costa of London (otherwise Da Costa). This Jewish family, of Portuguese origin, settled in the Netherlands and elsewhere, hence perhaps the rather Continental look of the arms. £200-250 555

556 ROYAL: AN ASSEMBLED SILVER-GILT CHRISTENING SET, LONDON, CIRCA 1776 TO 1833 Hourglass pattern, the terminals engraved with the initial MA below a royal crown for Princess Mary Adelaide of Cambridge and M below a royal crown for Princess May of Teck, comprising: a dessert spoon additionally engraved with the date 1783, bottom marked, maker’s mark of George Smith of London, circa 1776, a dessert knife with loaded handle and steel blade stamped ‘W [crown] R/Garrard’ and a dessert fork, both Mary Chawner, London, 1829 and 1833 respectively the spoon and fork 113gr (3oz 12dwt) (3) This set once formed part of a composite silver-gilt Royal Christening suite. The set, mostly Thomas Heming, London, 1776, started with Princess Mary (1776-1857), later the Duchess of Gloucester, the eleventh child of George III. Pieces were added (the majority R.J. & S. Garrard, London, 1833) when Princess Mary gave the set to her niece and god-daughter, Princess Mary Adelaide, later the Duchess of Teck (1833-1897). Princess Mary Adelaide in turn gave the set to her daughter Princess May of Teck, later Queen Mary (1867-1953), the wife of George V and the 556 grandmother of our present monarch. The complete set was sold at Sotheby’s, London, 24 April 1986, lot 148. £300-500

557 A GEORGE IV SILVER VEGETABLE SPOON, WILLIAM BATEMAN, LONDON, 1830 Old English pattern, plain terminal 30.5cm long, 128gr (4oz 2dwt) 557 £120-180

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560

560 A SET OF VICTORIAN TABLE SILVER, GEORGE ADAMS FOR CHAWNER & CO., LONDON, 1855-73 Grecian pattern, single struck, comprising: four tablespoons sixteen table forks eighteen dessert spoons eighteen dessert forks eighteen teaspoons 3554gr (114oz) (74) £1200-1800

561 558 ASSORTED OLD ENGLISH PATTERN TABLE SILVER engraved with the crest of Kenyon of London, comprising: a three- 558 piece silver-gilt Christening set, R. & S. Garrard & Co., London, A SET OF GEORGE IV TABLE SILVER, WILLIAM CHAWNER, 1910, five table forks, London, 1788/1813, and four teaspoons, LONDON, 1823/24/28 London & Dublin, 1807-1869; together with the following assorted Old English Thread pattern, engraved with a crest, comprising: table silver: a Scottish Fiddle pattern toddy ladle, initial H, Francis nine tablespoons, seventeen table forks, one dessert spoon and Howden, Edinburgh, 1818, two American serving forks and two four dessert forks; together with a set of nine silver dessert forks, butter knives Eley & Fearn, London, 1799, same pattern, differing crest 638gr (20oz) 2637gr (84oz) (17) (40) £200-300 £800-1200 562 559 A SET OF TWELVE GEORGE V DESSERT KNIVES AND TWELVE TEN GEORGIAN SILVER TABLESPOONS, ALL LONDON FORKS, ATKIN BROTHERS, SHEFFIELD, 1921 comprising: one Hanoverian Rat-tail pattern, initialled B/W*M, with silver tines and blades and mother-of-pearl handles, in maker’s mark indecipherable, 1726, five Old English pattern, four original fitted oak case with vacant brass oval to lid initialled, 1793-1812 and three Fiddle pattern, initialled, 1808/11 (24) 603gr (19oz) £200-300 £250-350

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563 A SET OF VICTORIAN TABLE SILVER, HENRY WILKINSON & CO., SHEFFIELD, 1868/69 Fiddle Thread & Shell pattern, engraved with the initial M within a garter, comprising: four tablespoons twelve table forks twelve dessert spoons seven dessert forks ten teaspoons and a gravy spoon 3744gr (120oz) (46) £1200-1800

564 A SET OF TABLE SILVER, VINERS LTD., SHEFFIELD, 1932-39 Sandringham pattern, plain terminals, comprising: twelve tablespoons six table forks twelve dessert spoons 563 twelve dessert forks six soup spoons six teaspoons six coffee spoons 3429gr (110oz) (60) £1000-1500

565 A SET OF TABLE SILVER, ATKIN BROTHERS (SILVERSMITHS) LTD., SHEFFIELD, 1939-1941 Chippendale pattern, comprising: six tablespoons twelve table forks twelve dessert spoons eleven dessert forks twelve soup spoons eight teaspoons two sauce ladles 564 and a pair of sugar tongs, Patent Office Design Registry No.623774 3777gr (121oz) (64) £1200-1800

565

566 A SET OF EIGHTEEN VICTORIAN DESSERT KNIVES AND EIGHTEEN DESSERT FORKS, ELKINGTON & CO., BIRMINGHAM, 1875 with fern-engraved silver blades and prongs and plain mother-of-pearl handles, in contemporary coromandel veneered case, the burgundy- coloured interior with later retailer’s label: ‘From Fortnum & Mason’s Gift Department’ £300-500 566

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570 ASSORTED ENGLISH SILVER, COMPRISING: an Edwardian tea caddy, in George III bright-cut style, oval, Nathan & Hayes of Birmingham, Chester, 1905, 11cm long, an oval sauceboat with waved rim and three feet, Viners Ltd., Sheffield, 1957, 15cm long, a sugar bowl, plain circular, base set with an 1815 George III Bank Token coin for 3s 6d, John Edward Wilmot, Birmingham, 1899, 9cm diameter, and a cased pair of berry spoons, with typical Victorian decoration to the originally Georgian tablespoons, bottom marked, Thomas Northcote, London, 1781 470gr (15oz) including wood finial to caddy (5) 567 £120-180

567 AN EDWARDIAN SILVER TEAPOT, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1901 moulded oval George III style, with wrigglework borders, presentation inscribed 25cm long, 609gr (19oz) including composition wood handle and finial £150-250

568 A PAIR OF GEORGE V SILVER SAUCEBOATS, STOKES & IRELAND LTD. OF BIRMINGHAM, CHESTER, 1915 oval, each with waved rim, C-scroll handle and three shell-headed pad feet 15.5cm long, 341gr (10oz 18dwt) £100-150 571 571 A GEORGE V SILVER SWEETMEAT DISH, BARKER BROTHERS SILVER LTD., BIRMINGHAM, 1929 the shaped circular dish on rim base and four paw and scroll panel feet, inscribed, the rim applied with slender leafy scrolls and drops 24cm diameter, 497gr (16oz) The inscription reads: Henley Golf Club / Captain’s Prize / 1930 / A.W.B. Brakspear. £120-180

572 A GEORGE V SILVER VASE, GOLDSMITHS & SILVERSMITHS CO. 569 LTD., LONDON, 1911 569 octagonally faceted trumpet shaped and scroll pierced at the flared rim, A SET OF FOUR SILVER BUN PEPPERS, TESSIERS LTD., LONDON, 13.5cm high; together with two silver trophy cups, 1959/60/68 each with two handles, neither inscribed, London, 1926 and 1939, in George I style, plain girdled baluster, pellet pierced covers 18cm and 14cm high respectively 7.5cm high, 239gr (7oz) 389gr (12oz) (3) £100-150 £80-120

573 A GEORGE V SILVER-MOUNTED EAST AFRICAN CAPE BUFFALO HOOF INKWELL, ROBERT PRINGLE & SONS, LONDON, 1932 the plain lid inscribed ‘Rumuruti / R.N. / Febru ary 1932’ hinging to reveal a gilt well with glass liner 16cm long Rumuruti in Kenya’s Rift Valley is presumably where the buffalo was shot, its hoof subsequently mounted as a hunting trophy inkwell. £120-180

573

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574 ~ AN EDWARDIAN SILVER-GILT DRESSING TABLE SET, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1907 each pearl finished and centred by an applied bunch of flowers surrounded by ribbon-tied floral swags on an engine-turned ground, comprising: three oval trays in sizes, two oval boxes with hinged lids in sizes, a circular jar with screw-on cover, a small circular jar and cover, a hand mirror, a pair of hand brushes, two further brushes, a tortoiseshell comb, a seven-piece manicure set, a shoe horn, a button hook and a pair of glove stretchers, all in a later Garrard blue velvet lined case largest tray 32cm long, weighable silver 1591gr (51oz) (23) £1500-2500

575 ~ A LEATHER CASED DRESSING TABLE SET, THE GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1910/11 the hammer-finished silver initialled BN in an oval, comprising: seven glass jars in sizes with silver covers and a loose silver cover (glass lacking), a hand mirror, a pair of hair brushes, a pair of clothes brushes, and a set of four implements in case (one implement lacking), 574 together with a leather travelling inkwell, a leather tray and a leather blotting pad case with ivory pencil and nib pen, original green leather case gilt initialled BN, green watered silk lined fitted interior case 46cm long (qty) £150-250

575

576 AN EDWARDIAN SILVER COFFEE JUG, CRICHTON BROTHERS, LONDON, 1910 in plain octagonal Queen Anne style, girdled baluster, the underside stamped: ‘CRICHTON BROS. / NEW YORK & LONDON’, Britannia standard 22cm high, 724gr (23oz) including fibre handle and finial £300-500

576

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577 578

577 A GEORGE VI SILVER HIP FLASK, J.B. CHATTERLEY & SONS LTD., BIRMINGHAM, 1942 curved oblong form, the front engine-turned, with bayonet fitting hinged cap 13.5cm high, 224gr (7oz) £80-120

578 AN EDWARDIAN SILVER FOUR-PIECE TEA AND COFFEE SET, FORDHAM & FAULKNER, SHEFFIELD, 1909 elongated octagonal outline, engraved with initials and crest for Violet Manners, comprising a teapot, a coffee pot, a milk jug and a sugar bowl coffee pot 23.5cm high, 1870gr (60oz) including wood finials and composition handles Provenance: Violet Manners, Duchess of Rutland (1856- 1937). Known as Queen of The Souls (the artistic and intellectual loose association of friends), she painted and sculpted, despite no formal training and is best known 579 for her depictions of family and their circle. Much admired as a beauty (as was her daughter Lady Diana Cooper), she was painted by G.F.Watts amongst others. Thence by descent. £600-800

579 A SET FOUR GEORGE V SILVER CANDLESTICKS, THOMAS A. SCOTT, SHEFFIELD, 1910 pointed oval outline, plain excepting moulded borders, the flared stems terminating in urn-shaped scones and complete with detachable nozzles 30.5cm high, loaded £600-800

580 A GEORGE V SILVER THREE-PIECE TEA SET, COOPER BROTHERS & SONS LTD., SHEFFIELD, 1921 oblong, part lobed pattern, on bun feet teapot 30.5cm long, 1365gr (43oz) including fibre handle £400-600

580

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581

581 A GEORGE V SILVER BACHELOR’S TEAPOT, J. PARKES & CO., LONDON, 1923 of bullet form, engraved to the shoulder and flush- hinged lid with foliate diaper strapwork, underside inscribed J. Parkes & Co. / 12 Vigo St W 19.5cm long, 363gr (11oz) including wood handle and finial £150-200

582 A PAIR OF VICTORIAN ELECTROPLATE FIGURAL STANDS, ELKINGTON & CO., BIRMINGHAM, LATE 19TH 582 CENTURY each as a differing Tudor style soldier clutching a post terminating in a brazier basket, the circular pedestals with beaded and ovolo borders and applied with foliate scroll brackets 49cm high £800-1200

583 A THREE-PIECE SILVER TEA AND COFFEE SET, WALKER & HALL, SHEFFIELD, 1908/10 the oblong bodies with a band of alternate lobes and flutes below a gadroon rim, bun feet, comprising a teapot, a coffee pot and a two-handled sugar bowl coffee pot 24cm high, 2097gr (67oz) including composition handles and finials to pots £600-800

584 A VICTORIAN SILVER HOT WATER JUG, CARRINGTON & 583 CO., LONDON, 1890 cylindrical and part lobed, 16cm high; together with two silver milk jugs, both London, one plain oblong, Horace Woodward & Co. Ltd., 1911, 11cm high, the other plain baluster, J. Parke & Co., 1922, 8cm high 587gr (18oz) including wood handle and finial to hot water jug (3) £200-300

584

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585 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, COLEN HEWER CHESHIRE OF BIRMINGHAM, CHESTER, 1905 shaped oblong glazed aperture, surrounding mount stamped in relief with chrysanthemum blosssoms and matted ground reserves, oak easel back 33.5cm high £800-1200

586 A PAIR OF EDWARDIAN SILVER PHOTOGRAPH FRAMES, CHARLES S. GREEN & CO., BIRMINGHAM, 1905 oblong, each with asymmetrically placed glazed circular aperture surrounded by the mount stamped with a rustic scene of a couple seated by an old water mill and wheel above a Shakespearean quote on a banner ‘more water glideth by than wots the miller of’ (Titus Andronicus ii 1), oak easel backs 21.5cm high £1500-2000

585

587

587 586 A WOOD AND SILVER-MOUNTED PHOTOGRAPH FRAME, THE MOUNTS WILLIAM COMYNS & SONS, LONDON, 1884 the wood easel frame of spreading ogee form probably later, oval glazed aperture, applied with three mounts pierced with eighteenth century gentlemen and scrolling foliage 23cm high £150-250

588 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1903 each with a glazed rectangular aperture and silver border stamped in Art Nouveau taste with stylised floral tendrils on a rippled ground centred to the top by a vacant shaped oval cartouche, easel backs re-covered in burgundy watered silk 24.5cm high £500-700 588

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589 A LARGE PAIR OF EDWARDIAN SILVER- MOUNTED PHOTOGRAPH FRAMES, A. & J. ZIMMERMAN, BIRMINGHAM, 1903 with bevel glazed heart-shaped apertures, the surrounding mounts stamped in Art Nouveau taste with scrolling bands and entwining stylised flowers on a pebbled ground within corded rims, each centred to the top by a vacant oval, the flowerheads later decorated in blue and green enamel paint, P.O.D.R. number for 1903, later mahogany easel backs 45.5cm high £3000-4000

590 A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM COMYNS & SONS, LONDON, 1887 shaped rectangular glazed aperture, the surrounding mount stamped and pierced with a variety of Neo-classical figures and motifs inhabiting scrolling foliage, centred by a mask of Pan to the top and a vacant oval to the bottom, with later mahogany easel back 31cm high £800-1200

589

591

591 A VICTORIAN SILVER-MOUNTED DOUBLE PHOTOGRAPH FRAME, WALKER & HALL, BIRMINGHAM, 1899 oblong, with a pair of oval glazed apertures, the surrounding mount stamped with scrolls and foliage on a matted ground and a pair of vacant shaped cartouches, blue velvet easel backed 17.5cm long £150-250 590

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592 592 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1905 shaped oblong, rectangular glazed aperture, the mount stamped 593 in Art Nouveau taste with stylised flowers and tendrils on a matted ground, central vacant oval, oak easel back 33cm high £250-350

593 A VICTORIAN SILVER-MOUNTED DRESSING TABLE MIRROR, HENRY MATTHEWS, BIRMINGHAM, 1899 oblong, the stamped mount centred to the top with an 18th century style vignette of a lute player serenading two ladies flanked by rocaille, scrolls and flowers on a matted ground and a further vignette to the bottom of a peacock in a garden, later glass plate and with renovated red velvet lined easel back 43cm high £600-800

594 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, J. & R. GRIFFIN OF BIRMINGHAM, CHESTER, 1905/07 rectangular, the mounts stamped in Art Nouveau taste with stylised irises and scrolling bands on a pebbled ground within 594 beaded rims, the flowerheads later decorated in blue and green enamel paint, each frame centred by a vacant oval, later oak easel back 31cm high £1800-2200

595 A PAIR OF EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAMES, E. MANDER & SON, BIRMINGHAM, 1902/03 shaped outline, glazed circular aperture, the mounts stamped in Art Nouveau taste with trailing poppies, each with four flowerheads later decorated in blue and green enamel paint flanking the central vacant roundel, P.O.D.R. numbers for 1902, with later oak easel backs 17cm high £1800-2200 595

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596 597 596 AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, J. AITKIN & SON, BIRMINGHAM, 1904 shaped oblong bevel glazed aperture, the surrounding openwork mount stamped in relief featuring a squirrel amidst berried foliage, oak easel back 24cm high £800-1200

597 AN AMERICAN SILVER DOUBLE PHOTOGRAPH FRAME, GORHAM MANUFACTURING CO., PROVIDENCE RI, EARLY 20TH CENTURY rectangular, engraved with initials C.P.B, with green velvet easel back 24cm long £120-180

598 A SILVER-MOUNTED EASEL MIRROR, WILLIAM COMYNS & SONS, LONDON, 1891 with heart-shaped bevelled plate, the silver surround stamped and pierced with mythical birds, putti, young mermen and a grotesque mask amid scroll foliage and rocaille and a heart-shaped vacant cartouche 26cm high 598 £100-200

600 599 599 600 A PAIR OF VICTORIAN SILVER DESK CANDLESTICKS, A SET OF SIX VICTORIAN SILVER SALT CELLARS, C.S. HARRIS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1898 LONDON, 1888 square gadrooned bases and stop fluted Corinthian column in George II style, each on three hoof supports, the compressed stems, with detachable nozzles circular bodies chased with foliage and flowers below shaped 17.5cm high, loaded gadroon lips £200-300 8cm diameter, 651gr (21oz) excluding blue glass liners £500-700

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604 605 606

604 A VICTORIAN SILVER STRAWBERRY DISH, RETAILER’S MARK OF F.B. THOMAS & CO., LONDON, 1893 circular, fluted sides, the underside struck: ‘THOMAS / 153 NEW BOND St’ below a crown and Prince of Wales feathers 6.7cm diameter, 287gr (9oz) £120-180

605 A VICTORIAN SILVER WAITER, BENJAMIN PRESTON, LONDON, 1843 engraved ‘Souvenir’ surrounded by flowers and scrolls, with applied shell and scroll rim, on three cast openwork scroll feet 19cm diameter, 353gr (11oz) £150-250

606 A VICTORIAN SILVER SALVER, HOLLAND, ALDWINCKLE & SLATER, LONDON, 1888 with bright-cut engraving surrounding the presentation inscription, the applied rim cast with alternating oval patera and a 602 601 bust of a young man with feathered cap, the openwork pales between hung with husk swags 601 20.5cm diameter, 384gr (12oz) A VICTORIAN SILVER TEAPOT, EDWARD BARNARD & SONS, The presentation inscription reads: Presented to Herbert Neve LONDON, 1894 Esqr. on the occasion of his Marriage with the best Wishes of the oval, part lobbed pattern tenants on The Hemsted Estate April 17th 1890 26.5cm long, 561gr (18oz) including composition handle and finial Herbert Neve (1860-1935) (son of Richard Neve of Pullington £150-200 House, Benenden, steward to Lord Cranbrook on the Hemsted Estate), married Elizabeth Burra (1866-1897), sister of the artist 602 Edward Burra. A VICTORIAN SILVER HOT WATER JUG, THE GOLDSMITHS & £150-200 SILVERSMITHS CO., SHEFFIELD, 1884 baluster, short pedestal foot, part lobbed pattern, engraved with 607 the crest of Neve ASSORTED CONDIMENT SILVER, COMPRISING: 28cm high, 539gr (17oz) including composition handle and finial a set of four Victorian salt cellars and two salt spoons, circular, £150-200 waved beaded rims, each on three ball feet, Horace Woodward & Co., London, 1889, 4.2cm diameter, a pair of Victorian 603 pepperettes, baluster, with scrolls, lobes and foliage, T.H. A GEORGE V SILVER WAITER, TESSIERS LTD., LONDON, 1931 Hazlewood & Co., Birmingham, 1898, 7cm high, and a German engraved with a crest, moulded rim, on three volute feet, 16cm caster, elongated inverted baluster, with alternate lobes and flutes diameter; together with a silver two-handled bowl, maker’s mark hung with ribbon-tied flower swags, pedestal foot, B. rubbed, Birmingham, 1911, applied to the waved rim with scrolls, Neresheimer & Söhne, Hanau, import marked Berthold Muller, on short pedestal foot, 18cm long across handles Chester, 1904, 14cm high 572gr (18oz) 251gr (8oz) (2) (9) £150-250 £100-150

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608 A SET OF SIX GEORGE V SILVER LIQUEUR TOTS, MAPPIN & WEBB LTD., BIRMINGHAM, 1914 of tyg beaker form, in original fitted case, 4.5cm high; together with a Victorian silver salt cellar, three footed cauldron form, with blue glass liner, Charles Stuart Harris, London, date letter rubbed, circa 1890, 5.5cm diameter; and the following electroplate: a helmet shaped milk jug and a cased set of Kings pattern dessert spoons with berry pattern bowls (14) £100-150

609 † ASSORTED ENGLISH PLATED WARES, COMPRISING: a pair of Georgian Sheffield Plate entrée dishes, covers and one handle, oblong, applied reeded and foliate rims, circa 1825; an oval electroplate entrée dish, cover and handle, with beaded rims, circa 1900; a Victorian electroplate baluster coffee pot, late 19th century; a pair of plated sauceboats on three pad feet; and a circular electroplate dish warmer, early 20th century (7) £70-100 †

6 11

6 11 A VICTORIAN SILVER NOVELTY FIGURAL CIGAR LIGHTER, ROBERT HENNELL & SONS, LONDON, 1880 modelled as a seated terrier with large collar below his detachable head, clutching a pipe in his mouth, flanked by a Georgian style mug and a battered top hat, all on a naturalistic mound, P.O.D.R. lozenge for 7 December 1877, also a barbed ‘H’ mark probably for the retailer Hancocks & Co. green and black granite base 17.2cm The manufacturing silversmiths Robert Hennell & Sons produced a wide range of naturalistic and figural novelty wares, many retailed by Hancocks & Co. From the 1860s the quality of the modelling becomes noteworthy, under the auspices of James Barclay Hennell, who may well have modelled items himself. Dogs with pipes in their mouths are a familiar 610 theme in Victorian art; examples can be found in Staffordshire pottery. The inspiration for such figures probably stems from paintings by Sir Henry Edwin Landseer such as ‘A Quiet Pipe’, used in Pear’s Soap advertising and 610 ‘Low Life’, where a similar Bull Terrier in large collar is depicted sitting A WILLIAM IV SILVER CANDLESTICK, beside a pewter mug. The present rare lot is an usual example where the CRESWICK & CO., SHEFFIELD, 1835/36 pipe has a function, in this case issuing the flame of the lighter. shell pattern, square base, knopped stem £800-1200 and waisted sconce, complete with detachable nozzle, engraved with the crest of Bagot of Blithfield, silver covered base 28cm high, loaded £150-250

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613 ~ A WILLIAM IV SILVER THREE- PIECE TEA SET, PEARCE & BURROWS, LONDON, 1836 compressed ogee, chased with matted acanthus flanking lobes and engraved with a crest, on cast rocaille and scroll feet, the teapot with cast convolvulus flower finial, the milk jug and sugar bowl with gilt interiors teapot 27cm long, 1467gr (47oz) including ivory insulators to teapot The crest is that of Carrington of Bugsworth Hall, Bugsworth (latterly Buxworth), Derbyshire. £800-1200

614 A GEORGE III SILVER MUSTARD POT, EMES & BARNARD, LONDON, 1810 bellied oblong below a band of horizontal lobes, gadroon rim, the crested domed lid with ball finial and shell thumbpiece, handle to end, on rim foot, glass liner, 11cm long; together with another silver mustard pot, cup shaped, domed lid, fixed blue glass liner, Edward Barnard & Sons Ltd., London, 1919, 6cm wide; and a silver mustard 613 spoon, Fiddle pattern, crested, William Eaton, London, 1819 weighable silver 173gr (5oz 11dwt) (3) £80-120

612 615 614 part

612 615 TWO GEORGE III SILVER MUSTARD POTS, LONDON A GEORGE IV SILVER MUSTARD POT, ABSTAINANDO KING, both oval and bright-cut, one pierced with two rows of urns and LONGON, 1828 engraved laurel swags between, the lid with crested oval, beaded drum-shaped, applied reed and ovolo borders, shell thumbpiece rims, Joseph Bradley, 1786, the other with solid sides engraved to the almost flat hinged lid with ribbon-tied swags, the lid with a vacant shield, reeded rims, 9.7cm over handle, 90gr (3oz) excluding blue glass liner Robert Hennell, 1793 Joseph William Story, who entered his first mark in 1803 and later each 10cm long, 194gr (6oz) excluding two blue glass liners in partnership with William Elliott, was apprenticed to (2) Abstainando King (1764-1833) in 1795. £180-220 £150-200

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616

616 A PAIR OF GEORGE III SILVER SALT CELLARS, BOULTON & FOTHERGILL, BIRMINGHAM, 1775 oval, each pierced with two rows of arched pales below a bound reeded rim and above a band of lobes, the short pedestal feet engraved with the initial C below a baron’s coronet, 12cm across leafy scroll handles; together with a pair of Georgian silver salt spoons, mid 18th century, Old English pattern with shell bowls, crested, indecipherable maker’s mark only bottom struck twice 211gr (6oz) excluding one clear glass liner (4) 619 Matthew Boulton and John Fothergill’s partnership at the Soho Manufactory lasted from 1762-1782. Much of the silver was to 619 special commission. In the 1770s James Wyatt supplied a number A SCOTTISH GEORGE IV SILVER WINE FUNNEL, GEORGE of designs, although much of the partnership’s Neo-classical MCHATTIE, EDINBURGH, 1819 output is probably more directly attributable to the firm’s chief of typical two-part form, the funnel with applied ribs, the strainer designer at this time, Francis Eginton (1737-1805). Eginton later with shell clip, reeded rims, 13.5cm high; together with a silver became better known for his glass painting, an art he revived after wine funnel stand, moulded rim, initialled B below an earl’s leaving the manufactory in 1784. For a related design of Boulton coronet, indecipherable maker’s and Edinburgh town marks only, & Fothergill salts with solid sides, see Stair Galleries, New York, probably late 18th century, 9cm diameter 13 September 2009, lot 658 162gr (5oz) (2) £400-600 £300-400 617 A GEORGE III SCOTTISH SILVER SUGAR BOWL, WILLIAM DICK & THOMAS MCPHERSON, EDINBURGH, 1809 the circular body engraved with a crest above a band of lobes, applied gadroon and shell rim, on ball feet, gilt interior, 19cm long across handles; together with another silver sugar bowl, Walker & Hall, Birmingham, 1902, circular, chased with scroll foliage on a matted ground, with engraved scroll initials, 10.5cm diameter; and a silver inkwell, Frederick Charles Welch of Liverpool, London, 1908, circular, hinged lid above an ogee body, 10cm diameter 659gr (21oz) excluding electroplate liner to inkwell (3) £200-300 617 618 A GEORGE III SILVER-GILT BOTTLE STAND, SOLOMON HOUGHAM, LONDON, 1800 circular, applied running leaf border, the centre engraved with a crest below the initial W, loaded wood underside 12cm diameter £150-250

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622

622 ~ A GEORGE III SILVER HOT WATER JUG, MAKER’S MARK ATTRIBUTED TO DAVID WHYTE, LONDON, 1768 baluster, gadroon foot, beaded lip, gadroon bordered lid with wrythen cone finial, the Victorian silver scroll handle addition 620 marked for J. & A. Savory, London, 1844 28.5cm high, 805gr (25oz) including ivory insulators £300-400

620 A GEORGE III SILVER COFFEE BIGGIN ON STAND WITH BURNER, JOHN EDWARDS, LONDON, 1803 oval, gadroon borders, the pot engraved to both sides with scrolling initials within a shield surrounded by drapery mantling, domed lid with acorn finial, fibre handle, stand with cabriole legs on paw feet, plain burner and cover 32cm high, 1321gr (42oz) £500-800

621 A GEORGE III SILVER TEA CADDY AND COVER, DANIEL SMITH & ROBERT SHARP, LONDON, 1761 bombé form, with gadroon rims, applied with shells at base, on four shell and scroll feet, one side engraved with a vacant Rococo foliate cartouche 13cm high, 231gr (7oz) £300-400

621

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623 A GEORGE III SILVER TEA TUB (CADDY), THOMAS HEMING, LONDON, 1766 square, imitating a wooden Chinese tea chest, engraved to the sides in the workshop of Robert Clee with simulated planks and twice repeated Chinese pictograms for ‘Yi’ (righteous, patriotic and justice) and ‘Chang’ (prosperous, glorious and good) within borders of scroll foliage on a linear ground, the flush-hinged lid with cast flower sprig finial and similarly bordered 9.4cm wide, 410gr (13oz) For an another caddy with the same engraving (including the border details), but with a differing finial, marked Aaron Lestourgeon, 1768, see the Ashmolean Museum, Oxford, No.WA1955.46 and another similar sold Sotheby’s, New York, 16 April 2005, lot 274, marked Parker & Wakelin four times, circa 1770. Examples of this model of caddy or canister (called a ‘tea tub’ at the time) appear between about 1765 and 1773, many with Lestourgeon’s maker’s mark. Helen Clifford, in her book Silver in London: The Parker and Wakelin Partnership 1760-1776, (Yale University Press, 2004) reconstructs the fascinating system of outworkers who produced these caddies for Parker & Wakelin. The bodies were formed from sheet by Ansill and Gilbert or by Aldridge and Woodnorth for £1 8s. each, the former also supplying three sizes of sprig finial. Aaron and William Lestourgeon then fitted the locks and lined the interiors in lead for 5s. each. The borders and characters were subsequently engraved in Robert Clee’s workshop, opposite Parker & Wakelin’s shop in Panton Street, before delivery to the retailer. It would seem the process, from start to finish, took under three weeks. Apparently they were 623 retailed by Parker & Wakelin for about £9. The same procedure would have been followed for the supply of these caddies to another leading goldsmiths of the day, Thomas Heming, who had been appointed Principal Goldsmith to the King in 1760. ‘The career of one specialist silver engraver, Robert Clee (c.1710- 1773), has been studied in depth by Robert Barker. In addition to silver, Clee engraved a number of signed trade cards, including 624 those of the chemist Richard Sidall and the goldsmith Thomas A SET OF FOUR GEORGE III SILVER SALT CELLARS, STEPHEN Heming. Barker has demonstrated that Clee’s establishment, ADAMS, LONDON, 1801 which included both apprentices and outworkers, provided the plain elongated octagonal bodies on pedestal feet of extensive engraving services for the prominent London retailers conforming outline, applied with reeded rims and angular Parker and Wakelin as well as for Thomas Heming. Although it is handles; together with four silver salt spoons, with shell bowls, impossible to distinguish among the various engravers he late 18th century and later employed, it seems likely that much of the best silver engraving salts 13cm long, 403gr (13oz) carried out during this period passed through Clee’s workshop.’ (8) (Beth Carver Wees, English, Irish & Scottish Silver and the Sterling £180-220 and Francine Clark Art Institute, New York, 1997, pp. 338-340) Interestingly Robert Clee’s will (National Archives, PROB 11/987) stipulates: ‘I give and bequeath to Mr Parker Mr Wakelin and Thomas Heming Esquire a Diamond Ring Each of the value of Ten pounds to be made by themselves’. £2000-3000

624

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625 AN IRISH SILVER COFFEE POT, GEORGE HODDER, CORK, CIRCA 1760 the baluster body engraved with a contemporary coat of arms within Rococo foliage and above a small banner engraved ‘LE. E. 1763’, the domed and reeded lid with wyrthen knop, cast Rococo spout, underside engraved with scratch weight and initials ‘31oz”0 / CL’, maker’s mark and ‘STERLING’ mark 973gr (31oz) including wood handle £3000-4000

625

626 A PAIR OF GEORGE III SILVER CANDLESTICKS, WILLIAM & JAMES PRIEST, LONDON, 1770 cast shell pattern, with corded borders, each shaped square base engraved with a woman’s coat of arms within Rococo foliage, complete with their detachable nozzles 26cm high, 1296gr (41oz 13dwt) The arms are those of Blagden (female) of Keevil, Wiltshire, probably for Eleanor Blagden (d.1785). The clothier, Roger Blagden, built Blagden House in Keevil in the late 16th century. The property remained in the family for several generations, the house remodelled by Edward Blagdon (d.1730) in 1710. His son, also Edward, died without issue in 1748, the estate passing to his sisters, both unmarried, Anne who died in 1773 and the above Eleanor. The estate then went via cousins to the Chamberlaine family. Eleanor may not have lived at the house in Keevil, as her will describes her as a spinster of Devizes, mentioning a number of other properties, including one in Petty France, Westminster. £1500-2000

626

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627 A GEORGE III SILVER COFFEE POT, MAKER’S MARK I.A, LONDON, 1769 baluster, later chased with bands of Rococo scroll foliage on a matted ground, shaped cartouche engraved with a crest 29cm high, 982gr (31oz) including wood handle £700-1000

629

628

628 A GEORGE II SILVER PAP BOAT, MAKER’S MARK ?M BELOW A 627 PELLET, LONDON, 1736 of typical oval form, engraved with a later inscription 12cm long, 62gr (2oz) The inscription reads: ‘Transferr’d by the Great Grand-Sires Eldest Child E.S. Born 1742 / TO THE / Great Grandsons Eldest Son Richard Catcott Smith Born 6th June 1820’ Richard Catcott Smith, son of Henry Smith, an attorney of Bristol and his wife, Anne, was baptised at Christ Church, Bristol, Gloucestershire on 28 December 1820. He died at St. Helier, Jersey on 8 February 1862. £100-150

629 A GEORGE II SILVER PAP BOAT, GEORGE GREENHILL JONES, LONDON, 1739 typical form 9.7cm long, 40gr (1oz) £80-120

630 A GEORGE II SILVER BASKET, S. HERBERT & CO., LONDON, 1758 shaped oval, on four cast and pierced shell feet below a cast openwork apron of behatted and mustachioed Chinoiserie masks, scrolls, rocaille and diaper piercing at intervals, the diaper pierced sides below an applied cast openwork rim of further Chinoiserie masks and scroll rocaille, swing handle with bare-headed chinoiserie heads 36.1cm wide, 1476gr (47oz) £1500-2500

630

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631 634

631 634 A PAIR OF QUEEN ANNE SILVER TRENCHER SALT CELLARS, A PAIR OF GEORGE II SILVER TRENCHER SALT CELLARS, JAMES JOHN JACKSON, LONDON, 1720 STONE, LONDON, 1728 moulded circular form of moulded cut-cornered rectangular form, the underside 8cm diameter, 188gr (6oz) engraved with the initials F over IA, also later engraved with the £400-600 date 1728 8cm wide, 115gr (3oz 13dwt) £250-350

632 635

632 635 A PAIR OF GEORGE II SILVER TRENCHER SALT CELLARS, A PAIR OF QUEEN ANNE TRENCHER SALT CELLARS, THOMAS EDWARD WOOD, LONDON, 1726 MERRY, LONDON, 1712 moulded rectangular with incurved corners, one side of each of moulded cut-cornered rectangular form engraved with a crest 8.5cm wide, 148gr (4oz 15dwt) 7.7cm wide, 148gr (4oz 15dwt) £250-350 £250-350

633 633 AN IRISH SILVER SALT CELLAR, ROBERT CALDERWOOD, DUBLIN, 636 CIRCA 1755 636 cauldron form, applied with flower and fruit garlands hung A GEORGE II SILVER SAUCEBOAT, JOHN POLLOCK, LONDON, between the lion mask headed paw feet, gadroon rim, interior 1748 with traces of gilding, underside engraved with the crest of Bagot the oval body engraved with a coat of arms within a Rococo of Blithfield and scratch weight ‘6.8’; together with another silver cartouche below the waved rim, on three cast pad feet, with C- salt cellar to match, Robert Garrard, London, 1804, matching in all scroll handle respects except without scratch weight 18.5cm long, 372gr (11oz) 8.5cm wide, 361gr (11oz) £150-250 (2) £250-350

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640

640 637 A SILVER SNUFF BOX, MAKER’S MARK ?a, LONDON, CIRCA 1710 637 oval, the lid engraved ‘Susa Page / Bradninch / TWO GEORGE I SILVER BUN PEPPERS, WILLIAM FLEMING, LONDON, 1718 1741’ above leafy fronds, with stand-away typical girdled baluster form, one with pellet pieced cover, underside initialled hinge, the underside engraved with marriage K/P*M, the other with scroll pierced cover, underside initialled I.W, gilt interior, triangle initials ‘P / J x S / 1725’, Britannia Britannia standard standard rubbed marks, incuse mark WA to 8cm high, 130gr (4oz) interior base rim £400-600 7.5cm long The Susannah Page of the lid is most likely to have been the daughter of John and Susannah Page, whose initials appear on the underside of the box and who were probably married in 1725. Certainly their daughter was baptised at Upton Pyne, near Bradninch, on 2 April 1726. £200-300

638

638 A GEORGE III SILVER SNUFF BOX, UNMARKED, CIRCA 1790 oval, double lidded with central flush hinge, covered with diaperwork bright-cut engraving, one lid with an oval cartouche containing the crest of Bagot of Blithfield 9.5cm long Provenance: The Barons Bagot of Bagot’s Bromley, probably William Bagot, 1st Baron (1728-1798) or his son, also William, 2nd Baron (1773-1856); thence by family descent. £300-400

641

641 A PARCEL-GILT SILVER POMANDER (VINAIGRETTE), PROBABLY GERMAN, CIRCA 1710 cylindrical urn form, with screw-on base and 639 pierced detachable cover, lobed and engraved 639 acanthus leaf borders, the underside pricked at A PAIR OF GEORGE III SILVER WINE LABELS (BOTTLE TICKETS), BENJAMIN SMITH, a later date ‘PHW / 1794’ LONDON, 1808 4.2cm high each die-stamped as a vine wreath with fringed drapery at the centre, pierced for For another pomander of similar form, see PORT and MADERIA, contemporary chains Lempertz, Cologne, 18 November 2016, lot 317 133gr (4oz) £300-400 £500-700

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643 642

642 A VICTORIAN SILVER NOVELTY NUTMEG GRATER, TAYLOR & PERRY, BIRMINGHAM, 1838 modelled as a stylised nutmeg kernel, interior with hinged silver- mounted steel rasp 4cm long £1000-1500 644 643 A PAIR OF VICTORIAN SILVER NOVELTY PILL BOXES, SPINK & SON, LONDON, 1895 each realistically modelled as a brazil nut, gilt interiors 5cm long £400-600

644 TWO SILVER FIGURES OF PIGS, HANCOCKS & CO., LONDON, 2004 in sizes, each sow finely modelled and detailed 10.5cm and 7cm long, 205gr (6oz 11dwt) £120-180

645 A VICTORIAN GAMING COUNTER SET, WILLMOT & BELL, LONDON, 1895 the rectangular red morocco case with silver-mounted shaped corners and applied initial W, the blue silk and velvet lined interior containing three sets of mother-of-pearl tokens stained in red, white or blue and initialled W, each set of ninety-nine pieces 645 36.5cm long £300-500

646 A VICTORIAN SILVER-MOUNTED RAM’S HORN SNUFF MULL, RAWLINGS & SUMMERS, LONDON, 1851 the silver lid (detached) set with a foiled Cairngorm and chased with scrolled foliage around an inscribed cartouche, silver rim mount, the horn mounted with a nickel scroll foliate foot and plain terminal 23cm long £100-150

646

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650 652

651 653

647 650 TWO VICTORIAN RAM’S HORN SNUFF MULLS, MID 19TH CENTURY A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK one with electroplate mounts, the lid with deer finial and gadroon ASZ? IN CYRILLIC, ASSAY MASTER ANDREY KOVALSKIY, borders, the terminal in the form of an inkwell, with feather foot, MOSCOW, 1846 24cm long, the other with metal mounts, the lid set with an agate, rectangular, the hinged lid with a view of the equestrian statue of the terminal thistle form, 30cm long; together with a Victorian Peter the Great, the base with a harbour scene, hatched sides, gilt electroplated Britannia metal spoon warmer, second half 19th interior, 875 standard century, nautilus shell shaped and decorated with Renaissance 8.3cm wide dolphins and other marine motifs, 18cm long £250-350 (3) £80-120 651 A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER’S MARK GG IN CYRILLIC, ASSAY MASTER NIKOLAI DUBROVIN, MOSCOW, 1838 rectangular, the hinged lid with a cityscape, the base similarly decorated with a bridge over a river between buildings, the sides with various houses, gilt interior, 875 standard 7.5cm wide £250-350 648 652 648 AN AUSTRO-HUNGARIAN SILVER AND NIELLO SNUFF BOX, A SILVER SNUFF BOX, MID 18TH CENTURY MAKER’S MARK LK, PRAGUE, 1846 cartouche shaped, chased with Diana and attendants within rocaille rectangular, the hinged lid decorated with a vignette of a goat and ornament, the base with shells and flowers, the border struck ‘RIO’ country lass within formal borders, sides and base, gilt interior, and with a 1814-1956 Dutch control mark, 7.4cm wide; together with 812 standard a silver snuff box, German or Dutch, cartouche shaped, engraved 8.5cm wide and chased with a cherub in an architectural setting with fountains, £200-300 the underside with a shepherd, gilt interior, maker’s mark badly struck, possibly AVE, the rim struck ‘58’, 7.5cm wide 653 (2) A RUSSIAN SILVER AND NIELLO SNUFF BOX, FEDOR MAKSIMOV, Provenance: The Hoffenreich Collection of Snuff Boxes, Vienna ASSAY MASTER ANDREY KOVALSKIY, MOSCOW, 1845 rectangular, the lid and base decorated with architectural views £200-300 within rococo cartouches, hatched sides, gilt interior, 875 standard 7.7cm wide 649 AN AUSTRIAN SILVER SNUFF BOX, MAKER’S MARK T.S, VIENNA, £250-350 1856 oblong, engine-turned, the lid with engraved scroll foliate border including a vacant cartouche, the underside with central vacant cartouche, 812 standard 9cm long £80-120

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658 657

657 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL SMALL CASKET, NIKOLAI ALEKSEEV, MOSCOW, CIRCA 1890 rectangular, with raised section lid and hinged angular loop handles, enamelled with scroll foliage and flowerheads on a matted ground within turquoise beaded and geometric borders, Dutch import mark, 916 standard 10.5cm long with handles down £500-700

658 655 654 A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL SMALL CASKET, ALEXANDER BELOV, MOSCOW, CIRCA 1910 654 rectangular, with lightly domed lid centred by a vacant roundel, A RUSSIAN SILVER-GILT AND ENAMEL PILL BOX, NIKOLAI covered in enamelled turquoise pellets surrounding shaped STRULEV, MOSCOW, 1899-1908 panels of foliate scrolls on a matted ground, on bracket feet, 875 circular cushion form, the lid with a roundel enamelled en plein of standard a flower spray on a pink ground, surrounded by cloisonné 8.5cm long enamelled white pellet borders and scroll foliage on a matted £400-600 ground, 875 standard 5.2cm diameter £300-500

655 A RUSSIAN SILVER-GILT AND ENAMEL SNUFF BOX, MAKER’S MARK DO (IN CYRILLIC) UNRECORDED, ST PETERSBURG, CIRCA 1900 circular cushion form, the lid and base enamelled with a six- pointed star motif, the whole covered in scrolls and stylised foliage, 875 standard 6cm diameter £300-500

656 A RUSSIAN SILVER AND CLOISONNE ENAMEL FRAME, MAKER’S MARK IK (IN CYRILLIC), ST PETERSBURG, LATE 19TH CENTURY the oval aperture filled with degraded wax, possibly originally an icon, bordered by turquoise beading and a band of stylised foliage in further blue, red, white and green enamels, with traces of gilding, wood backing, 875 standard 10.5cm high £100-150

656

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660 659

659 A SILVER-GILT AND LAPIS LAZULI CASKET, PERHAPS ITALIAN, LATE 19TH CENTURY rectangular with domed lid, ball feet, the reeded cagework mounts enclosing panels of lapis, hinged clasp 11cm wide £800-1200

660 A GEORGE III GOLD SNUFF BOX, WILLIAM TANNER, LONDON, 1814 oblong, concave sides, with all-over linear decoration, the lid engraved with the initials JB on a rectangular cartouche, the base 661 with vacant cartouche, 18 carat, with a later black cloth case 96gr, 7.3cm long £2500-3500

661 A GOLD BOX, RAMSDEN & ROED LTD., LONDON, 1954 rectangular, all over reeded decoration, sprung hinged lid opened by an almost flush rectangular button, 9 carat, with a black leather sleeve, 139gr, 8.7cm long £1500-2500

662 A GOLD ‘CASTLE TOP’ PILL BOX, S.J. ROSE & SON, LONDON, 1988 rectangular, the lid cast with a view of Newstead Abbey, the underside engine-turned, the sides with linear decoration, cast foliate rims, 9 carat 4.8cm long, 63.7gr £700-900 662

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664 A SMALL VICTORIAN BOX AND COVER COVERED IN SEALING WAX IMPRESSIONS, MADE BY JULIA DYSART, LONDONDERRY, 1842 rectangular, the box of card covered in a collection of motto and other sentimental seal impressions, including one inscribed ‘Bellarena’, the underside inscribed, the interior containing a similarly inscribed card, 8.5cm long; together with a burr wood snuff box and a lacquered foiled bois durci snuff box, second quarter 19th century, both oblong, the burr wood example with nacre cartouche, bois durci example with gilt-metal foliate thumbpiece and shield cartouche, 9cm and 11cm respectively; and a small glass seal, oval, engraved with two lines of music (4) The inscription reads: ‘For Miss Tyndal with / Julia Dysart’s affectn love / May 10th 1842 / Londonderry’ Despite unusually scant recordings of Julia Dysart, John Culme, though extraordinary detective skills, using a variety of death notices, census records and other arcane means, has managed to trace her life as follows: Julia Dysart (1816?-1902) was one of a number of children born to 665 664 John Dysart (1775-1864), a JP and three times mayor of Londonderry and his wife Esther (née Kennedy, 1783?-1862). Around the same time Julia was bestowing her affections on Miss Tyndal, with the gift of this box, another person was cruelly misleading her about his. Samuel Montgomery was a member of the local gentry and a cleric and in ‘About 1843 he proposed to a handsome, dark-eyed, vivacious girl, a Miss Julia Dysart who lived in Moville. She accepted him . . . The fear overtook him and he backed out. For a parson of his generation this was a most serious matter and eventually, in order to avoid legal action for breach of promise, he had to pay the Dysarts £1,200 . . .’ (Brian Montgomery, A Field Marshal in the Family, London, 1973, reprinted Barnsley, 2010, p. 21). Rev. Samuel Montgomery (d. 1874) was the uncle of Field Marshal Bernard Law Montgomery, 1st Viscount Montgomery of Alamein. Shortly after this in December 1846, her sister, Annie, was married by the Lord Bishop in St Columb’s Cathedral, Londonderry, to William Hewitt Griffin. The couple, together with Julia, went to Canada, but Annie died in February 1853 and was buried in Pentland Cemetery, Lennox and Addington County, Ontario. Julia then married her sister’s husband and had a son by him, Henry ‘Harry’ Hewitt Griffin (1855?-1918). Her husband (later recorded as Major William Hewitt Griffin B.A. T.C.D., J.P., &c., Assistant Adjutant-General) sadly died in Canada in 1866 and was buried next to his first wife. The widowed Julia and her son returned to England, where by 1891 they are recorded as living at ‘St Oswald’s’, Norroy Road, Putney, London, where she died in 1902. Her son, H.H. Griffin, was editor of Bicycling News in 1885, sometime director of the New Beeston Cycle Co. and editor of The Wheelman and Motor Car Weekly. £100-150 663 665 THREE BURR WOOD SNUFF BOXES, ENGLISH, SECOND 663 QUARTER 19TH CENTURY A FRENCH ORMOLU AND PORCELAIN MANTEL CLOCK, ALFRED all oblong, one with gilt-metal thumbpiece and vacant shield to DUMAS, PARIS, CIRCA 1870 lid, one with gilt-metal thumbpiece and shield to lid initialled JD eight day bell striking movement stamped A.D, the porcelain dial and one with plated thumbpiece and side panels painted in 16th century Limoges enamel style, the 11.5cm longest ormolu case with eclectic Classical borders and caryatid pilasters (3) surmounted by a seated figure of Caliope, on winged paw feet 26cm high £80-120 Alfred Dumas, 44 Rue Bonaparte, Paris, is cited in the 1874 Paris Exhibition catalogue as making many of the detachable parts for his carriage and other clocks. £400-600

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666 A FRENCH PARCEL-GILT BRONZE MANTEL CLOCK, CIRCA 1820 the timepiece movement with silk suspension, signed Butte and numbered 1061, the circular rose-turned dial with Roman numerals, the canted rectangular case cast with Roman military symbols and surmounted by a gilt antique helmet flanked by trophies hung with oak wreaths, the rectangular base with ribbon- tied plumes, on pad feet 27cm high £400-600

666

667

667 A FRENCH GILT-BRASS REPEATING CARRIAGE CLOCK, ACHILLE BROCOT, PARIS, LATE 19TH CENTURY the movement stamped with AB monogram in a star, striking the hour and half hour on a gong, hour repeating, white enamel dial with hour Roman numerals and five minute Arabic numerals, worn retailer’s signature below, corniche case with bevelled glass panels, with key 16.5cm high with handle raised £200-300

668 668 AN ORMOLU-MOUNTED BLACK MARBLE PORTICO CLOCK, FRENCH, CIRCA 1800 drum movement with silk suspension striking on a bell, white enamel dial with Roman numeral hours, with eagle finial and six flanking vases of flowers, each pair of supporting columns centred by a canephore-mounted pilaster, the rectangular plinth mounted with lions and a rosette and palmettes motif, spreading ormolu feet, on a wood stand (originally intended for a glass dome) 47.5cm high excluding wood stand £400-600

669 A FRENCH WALNUT BRACKET CLOCK, SECOND QUARTER 19TH CENTURY eight-day bell striking movement, white dial with Roman numerals, the glass-fronted cover released from the ogee bracket by an acorn pull-piece 40cm high £300-500

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670

670 671 A SWISS SILVER AND ENAMEL MINIATURE CLOCK, GENEVA CLOCK CO., RETAILED BY ASPREY & CO. LTD., LONDON, CIRCA 1925 rectangular, white enamel dial with Arabic numerals and signed Asprey, eight day lever escapement movement with integral key, with pink guilloché enamel to front and sides, on bracket feet, signed to movement JTC in double lozenge and numbered 57043, underside similarly signed and numbered 10862, import marked Guignard & Golay, London, 1925, in its original gilt-tooled morocco leather case 4.2cm high £1000-1200

671 A FRENCH SILVER REPEATING CARRIAGE CLOCK, PARIS, CIRCA 1905 the eight-day movement striking the hour and half hour on a gong, hour repeating, white enamel dial with blue Arabic numerals and signed for the retailer ‘Goldsmiths & Silversmiths Company...’, the solid silver Corniche case, handle and base plate all import marked London, 1905, with bevelled glass, with its leather carrying case 16.5cm high with handle raised Although Edwardian silver ‘boudoir’ clocks are relatively common, it is rare to find a carriage clock with a solid silver rather than plated brass case. £800-1200

672 AN AUSTRO-HUNGARIAN SILVER AND ENAMEL DESK TIMEPIECE, UNMARKED, VIENNA, LATE 19TH CENTURY the oval clock with watch movement surmounted by a figure of a stag, the case enamelled to interior and reverse with tavern scenes, the figural stem modelled as young Renaissance hunter resting on his spear and holding a bird aloft, the domed base painted with further tavern scenes, on three grotesque mask feet 21.5cm high £800-1200

672

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673

673 AN AUSTRO-HUNGARIAN ENAMELLED SILVER DESK TIMEPIECE, 674 EARLY 20TH CENTURY the engraved stepped rectangular base decorated in multicoloured basse-taille enamel, set with a panel of lapis lazuli supporting two split pearl-mounted hippocampi and a triton chained to a silver-mounted rock crystal snail shell fitted with the watch movement, movement signed Anton Hiebner in Wien, struck with an 1901-1921 Austrian control mark and two post-1893 French import marks 9.5cm long £800-1200

674 A GEM-SET SILVER TIMEPIECE, AUSTRO-HUNGARIAN, CIRCA 1910 the engraved openwork base set with moonstone and amethyst formal foliage below a lapis lazuli set plinth, the central glazed timepiece in circular basse-taille enamelled case, the watch movement signed Breguet No. 4631, supported by two columns surmounted by baskets overflowing with gemstone and split pearl foliage, similar central basket finial 19cm high £2000-3000

675 ~ A GEM-SET IVORY LIGHTERMAN FIGURE TIMEPIECE, AUSTRO- HUNGARIAN, EARLY 20TH CENTURY on cut-cornered square basse-taille enamel, silver-gilt and lapis lazuli base, the ruby and sapphire studded carved ivory figure holding a halberd in one hand and a lantern in the other, the watch timepiece with split-pearl bezel hung around his neck 24.5cm high £1500-2500

675

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676 AN AUSTRO-HUNGARIAN SILVER AND ENAMEL NEF, RUDOLF LINKE, VIENNA, 1885-1903 with traces of gilding, the three-masted superstructure with fanciful rigging, sails, flags, figures, a cannon, a tented pavilion and an anchor, the hull painted with scenes of Neptune and Amphitrite in their hippocampi- drawn boat surrounded by their escorts, on a silver triton support, the lobed base with panels of Diana and Endymion and figures emblematic of the virtues 65cm high £4000-6000

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677

677 ~ AN IVORY, SILVER-GILT AND ROCK CRYSTAL GROUP, PROBABLY GERMAN, CIRCA 1900 depicting a tableau of chess players in 18th century style, the carved ivory figures of a seated lady and gentleman whose play is watched by a lady standing, the furniture in silver, the rock crystal rectangular base with cast mounts with Greek key pattern between scrolled foliate supports and alternate cabochon amethysts and carbuncles 24cm wide 678 £2000-3000

678 ~ A SILVER-GILT, ENAMEL, IVORY AND GEM-SET FIGURE, AUSTRO- HUNGARIAN, EARLY 20TH CENTURY the canted rectangular base set with lapis lazuli above basse-taille enamel flowers, the carved ivory figure of a youth studded with circular-cut rubies and sapphires standing by a silver-gilt table supporting a basket of emerald, sapphire, ruby and amethyst flowers and dove-like baroque pearls 20cm high £1500-2500

679 AN AGATE AND GEM-SET SILVER-GILT BOWL, AUSTRO-HUNGARIAN, EARLY 20TH CENTURY the oval banded agate bowl surmounted by a figure of Diana and two chained baying hounds, with trailing enamelled oak and and pearl acorns between, the domed foot with basse-taille enamel foliage and butterflies 12cm long £700-1000

679

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685 ~ FERDINAND PREISS (1882-1943): GIRL WITH BOX a German ivory figure, Berlin, circa 1930, carved as a young girl cradling to her chest her precious box, the box painted in blue, green and gilt, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 15.5cm high Related literature: Alberto Shayo, Ferdinand Preiss Art Deco Sculptor, Woodbridge, 2005, p.277 £1200-1800

686 ~ FERDINAND PREISS (1882-1943): BOY WITH BIRD a German ivory figure, Berlin, circa 1930, carved a young boy gazing quietly at the small bird perched on his 680 forearm, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 680 ~ 15cm high A SET OF FIVE CARVED IVORY CHARLES DICKENS CHARACTER FIGURES Related literature: Bryan Catley, Art Deco and Other AND A PAIR OF BUSTS, GERMAN, LATE 19TH CENTURY Figures, Woodbridge, 1981, p.277 after the illustrations by ‘Kyd’ (Joseph Clayton Clarke 1857-1937), each on £1200-1800 bulbous rosewood or ebonised wood stands with inset ivory banners, the figures titled ‘SERJT BUZFUZ’, ‘JINGLE’, ‘Ms. STINGINS’ [sic] for Mr 687 ~ Stiggins, ‘TOOTS’ and ‘QUILP’, the busts ‘JINGLE’ and ‘BUMBLE’ FERDINAND PREISS (1882-1943): FISHER BOY 13.5cm highest including stand a German ivory figure, Berlin, circa 1930, carved as a (7) young boy pulling the hook from his silvery painted fish, £150-250 signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 681 ~ 15.5cm high overall, rod lacking A BAND OF SIX IVORY ITINERANT GERMAN MUSICIANS, PROBABLY Related literature: Bryan Catley, Art Deco and Other SOUTH GERMAN OR SAXON, LATE 19TH CENTURY Figures, Woodbridge, 1981, p.266 and Alberto Shayo, carved as a drummer, a bagpiper, a horn player, a clarinetist, a flautist and Ferdinand Preiss Art Deco Sculptor, Woodbridge, 2005, their conductor, each standing on a silver socle with wreath and scroll p.125 foliate borders, silver marks for Richard Garten of Dresden, Reichmarks and 800 standard marks £1200-1800 16.5cm high £1000-1500

682 ~ A PAIR OF FRENCH IVORY FIGURES, PROBABLY DIEPPE, CIRCA 1895 carved as an Incroyable and his attendant Merveilleuse, each on turned ivory plinth 24cm and 25cm high £500-700

683 ~ A PAIR OF IVORY FIGURES OF CAVALIERS, PROBABLY GERMAN, LATE 19TH CENTURY each carved figure on a scroll-bordered ivory plinth 24cm high £700-1000

684 ~ FERDINAND PREISS (1882-1943): FISHER BOY a German ivory figure, Berlin, circa 1930, carved as a young boy pulling the hook from his silvery painted fish, his rod resting in the crook of his arm, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth 21.5cm high overall Related literature: Bryan Catley, Art Deco and Other Figures, Woodbridge, 1981, p.266 and Alberto Shayo, Ferdinand Preiss Art Deco Sculptor, Woodbridge, 2005, p.125 £1200-1800

687

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681

682 684

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688 688 ~ A PAIR OF GERMAN IVORY FIGURES OF ‘MALABAR MUSICIANS’, PROBABLY DRESDEN, MID 19TH CENTURY after mid 18th century models by Friedrich Elias Meyer (circa 1723-1785) for Meissen, each wearing a distinctive conical straw hat, the woman playing a hurdy-gurdy, the man a lute, set on ivory inlaid octagonal waisted socles 689 22cm high £1200-1800

689 ~ AN IVORY FIGURE OF ARMINIUS, GERMAN, LATE 19TH CENTURY the figure carved blowing his horn to call the Cherusci to arms, wearing his winged helmet and animal skins, on an ebonised wood turned cylindrical pedestal 36cm high overall, ivory 24.4cm high Known in German as Hermann der Cherusker, Arminius betrayed his former Roman masters by rallying the German tribes, leading them to a famous victory over three legions at the Battle of the Teutoburg Forest in 9AD. The Unification of Germany saw him become a symbol of solidarity in the newly created nation of the later 19th century. £1500-2000

690 ~ AN IVORY TANKARD, GERMAN, CIRCA 1880 carved with a bacchic procession above foliate strapwork and lobes, the short pedestal foot with further strapwork, the spout with fruit and grotesque mask, the cover with a Cupid finial, the scroll handle with bearded herm section and metal hinge 35cm high For another similar tankard from the Collection of William and Francis Green, see Bonhams, Los Angeles, 8 December 2014, lot 1191 £3000-4000

690

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691

691 ~ AN IVORY BRISE FAN, PROBABLY GERMAN, CIRCA 1850 the leading guard carved in relief with figures of Cupid and emblems of Love and Hope within richly scrolling foliage and flowers, with a corded cream silk tassel 24.5cm long £120-180

692

692 A SMALL ENAMEL BOWL WITH SILVER-GILT DROP HANDLES, AUSTRO-HUNGARIAN, LATE 19TH CENTURY shaped oval, enamelled in imitation of 693 bloodstone, the fluted bowl painted in coloured enamels with grotesques each terminating in a 693 ~ mask, dolphin pattern handles A PAIR OF LARGE FRENCH IVORY FIGURES OF A CAVALIER AND HIS 8.5cm COMPANION, PROBABLY DIEPPE, LATE 19TH CENTURY £300-500 each fancifully carved, frilled and furbelowed, perhaps inspired by Dumas’ d’Artagnan and Constance de Bonacieux from The Three Musketeers, on ebonised shaped square short pedestal bases with scroll supports ivory cavalier 37cm high, 52cm high including base £3000-4000

694 AN AUSTRO-HUNGARIAN SILVER-MOUNTED ENAMEL BONBONNIERE, VIENNA, LATE 19TH CENTURY compressed oval, the base, sides, hinged lid and interior richly painted with vignettes of couples in romantic settings, formal borders 7cm wide £700-1000 694

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696

695

695 A PAIR OF AUSTRO-HUNGARIAN SILVER-GILT-MOUNTED ENAMEL VASES, RUDOLF LINKE, VIENNA, 1885-1903 painted with panels of 17th century style rustic feasting between borders of alternate female mask and vase lobed panels, the enamel and silver handles cast with helmeted herm sections 29.5cm high £2500-3500

696 AN AUSTRO-HUNGARIAN SILVER-GILT, ENAMEL AND ROCK CRYSTAL PERFUME BARREL, UNMARKED, ATTRIBUTED TO HERMANN RATZERSDORFER, VIENNA, LATE 19TH CENTURY the rock crystal barrel with stopper formed as a ronde bosse enamel bibulous king and supported by two medieval figures seated back-to-back on a cruciform base decorated with basse-taille enamelling, on king’s mask scroll feet 9.5cm high For a similar barrel, marked Hermann Ratzersdorfer, see Christie’s, London, 2 November 2016, lot 2. £2000-3000

697 A SILVER-GILT MOUNTED ROCK CRYSTAL VASE AND COVER, AUSTRO-HUNGARIAN, CIRCA 1900 the two-handled urn-shaped body carved with borders of lobes, flutes, entwined ribbon and stiff leaves, the pedestal with an enamelled girdle, the cover with similarly enamelled rim and figural finial of a young woman 22.5cm high £2000-3000

697

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698 699

698 AN AUSTRO-HUNGARIAN SILVER-GILT AND ENAMEL TURTLE-SHAPED BOX, UNMARKED, ATTRIBUTED TO HERMANN BOEHM, VIENNA, LATE 19TH CENTURY the silver feet, head and tail enriched with translucent enamel, the lid painted with ovals of Mercury teaching Cupid to read in the presence of Venus, Jupiter and Ganymede, Venus Pandemos and Psyche gazing on the sleeping Cupid, the underside with Diana and Endymion, the interior with further painted mythological scenes, all with blue scroll white ground borders between 17cm long For a similar turtle-form box, marked Hermann Böhm, see Sotheby’s, New York, 26 October 2010, lot 29. £2000-3000

699 ~ A SMALL SILVER-GILT, GEM-SET AND IVORY TANKARD, AUSTRO-HUNGARIAN, LATE 19TH CENTURY the gem studded and scroll chased lid with seated satyr finial, the handle cast as a tree branch in which sits a further satyr, the ivory sleeve carved with Diana on her stag-drawn chariot processing with her attendent nymphs through an oak grove, on a spreading silver and gem-set foot 10.5cm high For a tankard with the same mounts but differing ivory sleeve, see Christie’s, London, 3 December 2002, lot 116, where catalogued as mid 19th century. £800-1200

700 A ROCK CRYSTAL MINIATURE EWER WITH SILVER-GILT ENAMELLED MOUNTS, KARL BANK, VIENNA, CIRCA 1900 the domed foot, ovoid body and waisted neck all scroll engraved, the mounts with enamel borders, the scroll handle surmounted by a Renaissance sphinx 15.5cm high 700 £500-700

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702

703 part 703 part 702 A PORTRAIT MINIATURE OF THE KING OF ROME, FRENCH SCHOOL, 19TH CENTURY after the portrait by Baron Gérard (François Pascal Gérard 1770-1837), the young ‘Aiglon’ shown reclining on green cushions wearing a white shirt with red sash clutching a sceptre to his chest, painted in enamels, with pink counter enamel, in a milled and beaded gilt- metal frame with suspension ring oval 4cm Napoleon François Charles Joseph Bonaparte (1811- 1832), Prince Imperial, titular Emperor of the French as Napoleon II in 1815, was the son of Napoleon and his 701 second wife, Archduchess Marie Louise of Austria, known from birth as the King of Rome. 703 part £150-200 701 ~ 703 ~ A PORTRAIT MINIATURE OF A LADY, BY MARIE-HONORE RENAUD THREE CONTINENTAL PORTRAIT MINIATURES, ALL (BEFORE 1797- AFTER 1857), 1812 EARLY 19TH CENTURY with a large white feather to her headdress, wearing a high-necked white one of a lady with lace bonnet and dove blue dress, on chemise and blue silk dress, on ivory, gilt signature and date ivory, French School, circa 1825, with gilt-metal milled ‘23.7bre.1811’ to right, in milled gilt-metal mount and square wood frame mount and leafy suspension clip to the black tole square 7cm diameter frame, oval 10.5cm; one of a young lady with red shawl, A pupil of Louis-Francois Aubry, this artist also worked in enamels. For pearl necklace and gold ear loops, on ivory, French another example of his work on ivory at this date, see Binoche & School, circa 1805, plain gilt-metal mount with red- Giquello, Paris, 6th June 2012, Lot 72, also see Leo R. Schidlof, The painted ivory surround and tortoiseshell backed Miniature in Europe, Graz, 1964, p.671 (probably originally from the cover of a portrait box), £250-350 6.5cm diameter; and one of a young lady with white dress and black lace shawl, on ivory, probably Spanish School, circa 1805, plain gold mount and cloth surround, oval 5.2cm £200-300

704 ~ TWO PORTRAIT MINIATURES, BY ELIZABETH SUSAN (NEE LAW) LADY COLCHESTER (1799-1883), CIRCA 1850 of her son and husband respectively, on ivory, the Hon. Reginald Abbot (1842-1919, 3rd Baron Colchester) in a white dress with blue details, in a gilt-metal-mounted cloth-covered frame, Charles Admiral Lord Colchester (1798-1867, 2nd Baron Colchester) in a black coat and holding a letter, in gesso framed gilt mount under glass, each with inscribed details to reverse largest image 10.7cm high (2) £120-180

704

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705 ~ A GOLD, DIAMOND AND PORTRAIT MINIATURE PENDANT, LATE 18TH CENTURY the English School miniature, late 1770s, of a young lady painted with dressed hair and pale blue dress with white edging, on ivory, oval 2.3cm, surrounded by a border of foiled cushion shaped and circular diamonds in cut down collet silver settings, the gold reverse of arched outline (perhaps for a ring) with hinged suspension ring and later brooch fitting 4cm high overall £1500-2000

705

706 EIGHTEEN CARART GOLD, ENAMEL AND DIAMOND BROOCH, FRENCH, LATE 19TH CENTURY designed as an orchid decorated naturalistically in matte and translucent enamel with rose and circular diamond detailing, French assay mark, detachable brooch fitting, in a fitted later case stamped ‘Tessier’ Flowers feature in jewellery from earliest times, but the 19th century is arguably when they bloomed most prolifically. New species of flowering plants were pouring in from all over the world and jewellers began to focus on ever greater accuracy in their imitations of nature. By the end of the century many were suffering from ‘Orchidomania’ or ‘Orchidelirium’. New species of the exotic flower were sort after by obsessive collectors and became symbols of wealth and power. Joseph Chamberlain, Britain’s Secretary of State for the Colonies in 1895, was never seen in public without an orchid in his button hole. Plants were dispatched daily from London to his Highbury estate near Birmingham, where he nurtured them in his orchid house. The Parisian jewellers, Duval and le Turq created an exceptional series of orchid and butterfly jewels which were exhibited at the Paris Exposition Universelle in 1889 (D.Bennet & D.Mascetti, Understanding Jewellery, ACC Books Ltd, 2017, pl.344). At the same time Tiffany & Co.’s head designer, Paulding Farnham, designed twenty-five similarly enamelled orchid brooches. They were awarded the Gold Medal and sold out by the second day. Jay Gould, the American financier, who also collected real orchids, purchased a number of the Tiffany jewelled versions for his wife. Tiffany went on to design a further forty-one different varieties which sold in their London and Paris shops. Each enamelled orchid brooch was precisely modelled on an exotic variety using the latest reference book, or sketched straight from newly imported specimens. Ecstatic at their success, John Loring, 706 Tiffany’s design director, declared: ‘Nature sells!’ £1800-2200

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708 SARCAR, GENEVA: TWO GOLD POCKET WATCHES COMMEMORATING THE SHAH OF IRAN’S CORONATION, CIRCA 1967 both with manual wind 17 jewel movements signed Sarcar, the gilt satin dials with the Shah’s emblem and applied baton indexes and baton hands, the medallion form cases with broad bezel decorated with burnished stars on a frosted ground, milled edges, Swiss 18 carat gold marks, one with dial signed Sarcar, the reverse stamped with a scene from the coronation ceremony of the Empress kneeling before the Shah, with black tassel, black slip-case and its black box, the other with conjoined profiles of the Shah and the Empress Farah Diba to the reverse and with black tassel, black slip case and its fitted blue box, both boxes gilt stamped with the Shah’s emblem 3.1cm diameter A number of variants of these medallion form watches, all with the same bezel but differing backs, appear to have been produced as gifts from the Shah. For examples signed to dial and movement ‘Vacheron & Constantin’ see Sotheby’s, Geneva, 10 November 2015, lot 153, and Phillips, Geneva, 12 November 2016, lot 83. £800-1000

709 EIGHTEEN CARAT GOLD ‘TAURUS’ PENDANT, CIRCA 1988 designed as the head of a bull, London hallmarks for 1988, maker’s mark HL 43.5gr £1000-1200

710 TWO CHAINS both of rope design, the smaller chain with 9 carat gold import marks for 1997, length approximately 400mm, the larger chain length approximately 520mm 4.8gr and 16.2gr respectively £220-280

7 11 KNOT BRACELET signed Puig Doria length approximately 180mm, 13.4gr £250-300

712 A NINE CARAT GOLD FOB CHAIN / BRACELET 707 double graduated filed curb links, hallmark, maker’s mark WHW Ltd length185mm, approximately, 29gr 707 ROLEX, OYSTER PERPETUAL DAY-DATE, REF. 18038: £300-400 A GENTLEMAN’S EIGHTEEN CARAT GOLD BRACELET WATCH, CIRCA 1987 713 No.9545722, cal.3055 automatic twenty-seven jewel movement, SAPPHIRE AND DIAMOND RING, CIRCA 1979 champagne dial with applied gold Roman numerals, baton the circular sapphire within a border of single-cut diamonds, hands and outer minute track with luminescent indicators, hallmarked London, 1979, maker’s mark EJ aperture for day (in English) at twelve and magnified date size K aperture at three o’clock, Oyster case with fluted bezel and £200-300 screw-down back and crown, the President three-row block link bracelet with fold-over Crown clasp, dial, case, movement and 714 bracelet signed, case and bracelet with 18 carat Swiss gold EIGHTEEN CARAT GOLD, SAPPHIRE AND DIAMOND RING, 1880s convention marks, bracelet No.8385 the tapering band collet with a cushion shaped sapphire between 36mm diameter circular diamonds and similarly cut sapphires, hallmarked Chester, With Rolex chronometer papers and receipt from Tyme (Watches date letter indistinguishable, maker’s mark I.J. of Switzerland Ltd.), 1 Old Bond Street, London, dated 20 size Q February 1988. £600-800 £5000-7000

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715 716 GOLD HALF SOVEREIGN BRACELET, COMPOSITE NINE CARAT GOLD RETRO BRACELET, 1950s the articulated bracelet composed of a series of eight George III designed as an articulated row of geometric links, Birmingham half sovereigns dated 1797-1810, connected by oval chain links hallmarks for 1952, maker’s mark C & F length approximately 200mm, 27gr length approximately 190mm, 53.5gr £600-800 £1000-1200

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717 720 GARNET PENDANT, EARLY 19TH CENTURY GOLD AND DIAMOND LOCKET, LATE 19TH CENTURY the pear shaped garnet in a foil back setting suspended within a of heart design with a central circular diamond opening to reveal surround of oval garnets similarly set; together with a pair of a photograph compartment paste cluster buttons, late 18th century of whorl design with later £250-300 earring post fittings (one paste deficient) (3) 721 £200-300 PURPLE TASSIE TYPE GLASS INTAGLIO RING, CIRCA 1800 the oval amethyst coloured glass carved with a profile of a 718 bearded man after the Antique (gold shank sawn through, one CHRYSOBERYL BROOCH, PORTUGUESE, 18TH CENTURY piece provided, one small section lacking); together with a gold designed as a flowerhead with cushion shaped and calibré-cut mourning ring the blue enamel shank inscribed ‘In memory of ‘chrysolites’ in foiled closed back settings, later pin Geo.Hen.Earl of Litchfield. 1772’ (central stone deficient), size K½; diameter 32mm approximately two further gold mourning rings: one enamelled in black and £300-400 white inscribed ‘John.Townson.Esqr. OB.3.Mar.1797.AE 71’, hallmarked London 1796, size N ½, the other wide band with 719 white border enamel (original black enamel to centre now PEARL AND ENAMEL LOCKET, MID 19TH CENTURY deficient) engraved to the inside of the shank ‘Frances Penelope the oval black enamel locket decorated with a pearl wreath Thackthwaite Obt 21st May1793 at 28’, size W ½ opening to reveal two photographic compartments on a fine back (4) chain, length approximately 695mm excluding locket (locket length George Henry Lee, 3rd Earl of Lichfield (1718-1772) was a Member approximately 34mm from base of bale); together with a banded of Parliament for the county of Oxford in 1741-42, inheriting the agate brooch, circa 1867, designed as a cartouche and suspending title from his father in 1743. In 1760 he became the High Steward three plaque drops with granulated detail to the frames of the University of Oxford and in the same year Lord of the £300-400 Bedchamber to King George III, in which position he may have been witness to a brief episode in 1765 of the King’s mania (probably caused by porphyria). Having joined the Privy Council in 1762, Lord Lichfield assumed the role of Chancellor of the University of Oxford in the same year. £250-350 Illustrated on the opposite page

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722 AMETHYST PENDANT, MID 19TH CENTURY the embellished cruciform set with oval amethysts and granulated detailing length approximately 55mm (including bale) £800-1000

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723 GOLD LONG CHAIN, CIRCA 1840 each triple textured gold link decorated with granulation on an engraved barrel clasp length approximately 975mm, 44gr £800-1200

724 TWO DIAMOND BROOCHES, 18TH / 19TH CENTURY 721 one bow brooch set throughout with foil backed rose and lasque- cut diamonds in cut down collet settings, the other a composite brooch of ribbon, garland and floral design similarly set (two diamonds deficient, one supplied in detached claw setting) (2) £400-600

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726 727 MULTI COLOURED GEMSTONE NECKLACE spectacle set with oval blue topaz, citrine, amethyst, peridot and garnet length approximately 540mm £400-600

728 727 PAIR OF AMETHYST AND DIAMOND PENDENT EARRINGS, 1960s each oval shaped amethyst detachable drop decorated with graduated single- and brilliant-cut diamonds suspended from a circular amethyst surmount similarly decorated length of entire earring 50mm approximately £300-400 Illustrated on the opposite page

725 PAIR OF MULTI COLOURED GEMSTONE PENDENT EARRINGS each designed as an articulated cascade of oval stones including 729 citrines, garnets, amethysts and smoky quartz £200-300

726 MOONSTONE, AQUAMARINE, SAPPHIRE AND DIAMOND 729 LONGCHAIN ROCK CRYSTAL AND PASTE RING the filed curb link chain spectacle set with oval aquamarines the foiled pink paste cabochon centrally set between rose cut rock alternating with similarly shaped cabochon moonstones, accented crystal and granulated decoration, size I; together with a gold and with oval sapphires and brilliant-cut diamonds carnelian intaglio ring depicting the helmeted profile of Minerva, length approximately 740mm size K, damage to carnelian £1000-1200 £150-250

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730 733 AMETHYST AND DIAMOND RING, 1960s DIAMOND HAIR SLIDE the oval amethyst within an asymmetric surround set with single- of abstract leaf design, set with a row of brilliant-cut diamonds cut and cushion and baguette diamonds (one diamond deficient) and a line of marquise-cut stones size R½ length approximately 62mm £200-300 £600-800

731 734 DIAMOND RING BLACK OPAL DOUBLET AND DIAMOND RING, 1970s the two central brilliant-cut diamonds set asymmetrically within the oval black opal doublet within a surround of single-cut two undulating rows of brilliant- and single-cut stones diamonds in millegrain settings size N size O £600-800 £400-600

732 735 AMETHYST NECKLACE THREE STONE DIAMOND RING of negligeé design, set throughout with oval amethysts in collet claw set with three brilliant-cut diamonds settings size K adjustable length (not including pendant maximum length £400-600 approximately 42mm) 490mm-530mm approximately £1000-1200

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736 BALTIC AMBER NECKLACE, CIRCA 1920 the row of thirty one graduated knotted ovoid amber beads measuring from 19.6mm to 35mm approximately, together with a photograph of the vendor’s mother wearing the necklace taken in the early 1920s length approximately 890mm, 146gr all in Accompanied by a certificate from Gemmological Certification Services, London, No.78148-05, stating that the beads are natural Baltic amber with no indications of heating, dated 26 March 2018. £1200-1800

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737

737 OPAL NECKLACE, GERMAN, 1970s the asymmetric pendant mounted with three graduating opals in a bi-coloured wire surround to a similarly coloured back chain of hinged ball links length approximately 415-450mm (excluding pendant length 738 approximately 40mm) £1000-1200

738 AQUAMARINE AND TOURMALINE NECKLACE designed as a row of alternating oval aquamarines and similarly cut pink tourmalines length approximately 530mm £800-1000

739 JADE NECKLACE designed as a row of knotted beads measuring between 5mm-10mm approximately, length approximately 710mm; together with a pair of carved jade pendent earrings (3) £100-150 739 185 MB112-118 Part Two.qxp_Layout 1 11/05/2018 10:06 Page 186

740 GOLD, TURQUOISE, PEARL AND ENAMEL NECKLACE, NORTH INDIA, PROBABLY JAIPUR OR DEHLI, CIRCA 1860 designed to one side as a series of stylised blossoms ‘kundan’ set with turquoises, each motif with seed pearl and enamel bead surmount and articulated pendant, a central larger pendant featuring facing birds similarly set, the other side decorated with ‘meenakari’ enamelling in red, green, blue and white, on a golden cord with tassel terminals, two seed pearls deficient, in its contemporary leather case with cream velvet and silk lining, underside gilt stamped ‘HOWELL / JAMES & CO. / REGENT STREET’ length approximately 440mm to later bale clasp, 770mm to the start of the tassel terminals Provenance: the Cecil family of Hatfield House, Marquesses of Salisbury. Within the Cecil family this piece was always called ‘The Palmerston Necklace’ since it was reputedly given by the 3rd Viscount Palmerston (1784-1865) to a member of the Cecil family; thence by descent until given by Lady David Cecil (née Rachel McCarthy, 1909-1982) to the present vendor in the mid sixties. While most Indian jewellery favoured colourful stone combinations, the elegant and rare restraint of just turquoise and pearl to one side of this necklace probably indicates outside influence on the jeweller, perhaps a commission specifically for the British market. Although the use of the probably Persian mined turquoise to one side is unusual, the colourfully rich enamelling of the other side is typical of Mughal ornamentation. Comparable work is found on a hair ornament attributed to Delhi, circa 1850, published in S. Stronge, N. Smith and J.C. Harle, A Golden Treasury: Jewellery from the Indian Subcontinent, Exh. cat., Cartwright Hall, Bradford Art Galleries and Museums, 24 Sept.-27 Nov. 1988; Zamana Gallery, London, 13 April-25 June 1989, p.57. Howell, James & Co. was a successful and innovative Victorian luxury goods retailer, dealing in a broad range of goods including haberdashery, jewellery and clocks. As well as showing at the International Exhibitions of the period, they mounted variously themed ‘Exhibitions’ at their premises. These exhibitions were perhaps forerunners of those held rather later by another famous retailer, Liberty’s. It is possible Lord Palmerston may have purchased this necklace at an Indian themed exhibition held by Howell, James & Co. Located in Lower Regent Street, a visitor in 1865 described their main room as ‘arranged in the best style of modern shop-building: the carpeted floor soft to the tread and pleasing to the eye; and around the room are arranged time-pieces of every variety and design, and counters glazed like ferneries, but containing white velvet cases in which repose jewels of every kind and value’ (John Culme,The Directory of Gold & Silversmiths, Woodbridge, 1987, pp.241/2). £4000-6000

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741 743 LADY’S ENAMEL, GOLD AND DIAMOND FOB WATCH, SWISS, COLLECTION OF JEWELLERY LATE 19TH CENTURY comprising: a cultured pearl necklace with single-cut diamond the blue guilloché enamel case decorated with a bird and foliage clasp, length approximately 930mm; a pair of cultured pearl and set with rose diamonds opening to reveal a white face with Roman brilliant-cut diamond earrings, 1960s; a turquoise and diamond numerals suspended from an associated swirling pin brooch, cluster ring, 1960s, size P½; a sapphire and cultured pearl bombé cuvette signed ‘Ate Aubert à Lausanne’ and numbered 1414 ring, size J½; and a five stone step-cut amethyst mesh bracelet, £300-400 length approximately 191mm (6) 742 £700-900 SILVER-GILT AND CLOISONNE ENAMEL EGG PENDANT, RUSSIAN Partly illustrated on the following page LATE 19TH CENTURY the turquoise girdle flanked by geometric and stylised foliate 744 motifs in variously coloured enamels, suspension ring with TURQUOISE BROOCH, PROBABLY IRANIAN, 1970s maker’s mark YaR (in Cyrillic) and ‘84’ designed as a perched ‘Bird of Paradise’ decorated with oval and 28mm approximately long overall circular turquoise, two turquoise unset (provided), in velvet £80-120 presentation case £600-800

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745 PAIR OF CULTURED PEARL AND DIAMOND PENDENT EARRINGS, 1960s each detachable surmount set with single-cut, marquise shaped and baguette diamonds suspending a similarly set articulated drop terminating in a cultured pearl length of entire earring 66mm approximately £1200-1500

746 CULTURED PEARL, SAPPHIRE AND DIAMOND NECKLACE, 1950s the clasp of geometric design set throughout with brilliant- and single-cut diamonds, circular and calibré-cut sapphires on two rows of graduated knotted cultured pearls measuring from 6-9mm approximately (one row deficient) length approximately 553mm £700-900

747 PEARL, EMERALD, RUBY AND SAPPHIRE BRACELET, 1930s designed as an articulated chain accented with carved emerald, sapphire and ruby beads with pearl decoration (pearls untested) length approximately 195mm £1200-1500

748 EMERALD AND DIAMOND RING the oval emerald within a plaque surround of brilliant-cut diamonds and calibré-cut emeralds with shaped quatrefoil accents to the terminal points size N £2200-2500

749 SET OF THREE GEMSTONE ETERNITY RINGS, EARLY 20TH CENTURY each channel set with calibré-cut ruby, sapphire or emerald stones respectively size N/O £600-800

End of Sale Next Sale 21 November 2018 Closing for entries by end September

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Conditions of Business for Buyers

1. Introduction (a) The contractual relationship of Matthew Barton Ltd and Sellers (c) Without prejudice to Condition 4(b), any claim against MBL with prospective Buyers is governed by: and/or the Seller by a Bidder is limited to the Purchase Price for (i) these Conditions of Business for Buyers; the relevant lot. Neither MBL nor the Seller shall be liable for (ii) the Conditions of Business for Sellers displayed in the any indirect or consequential losses. saleroom and available from Matthew Barton Ltd; (d) Nothing in Condition 4 shall exclude or limit the liability of (iii) Matthew Barton Ltd’s Authenticity Guarantee; MBL or the Seller for death or personal injury caused by the (iv) any additional notices and terms printed in the sale negligent acts or omissions of MBL or the Seller catalogue, in each case as amended by any saleroom notice or 5. Bidding at Auction auctioneer's announcement. (b) As auctioneer, Matthew Barton Ltd acts as agent for the Seller. (a) MBL has absolute discretion to refuse admission to the auction. Occasionally, Matthew Barton Ltd may own or have a financial Before sale, Bidders must complete a Registration Form and interest in a lot. supply such information and references as MBL requires. Bidders are personally liable for their bid and are jointly and 2. Definitions severally liable with their principal, if bidding as agent (in which “Bidder” is any person making, attempting or considering case MBL’s prior and express consent must be obtained). making a bid, including Buyers;; (b) MBL advises Bidders to attend the auction, but MBL will “Buyer” is the person who makes the highest bid or offer endeavour to execute absentee written bids provided that accepted by the auctioneer, including a Buyer’s principal when they are, in MBL’s opinion, received in sufficient time and in bidding as agent; legible form. “Seller” is the person offering a lot for sale, including their agent (c) When available, written and telephone bidding is offered as a or executors; free service at the Bidder’s risk and subject to MBL’s other “MBL” means Matthew Barton Ltd., Auctioneers, 25 Blythe Road commitments; MBL is therefore not liable for failure to execute London W14 0PD, company number 6504692. such bids. Telephone bidding may be recorded. “Buyer’s Expenses” are any costs or expenses due to Matthew Barton Ltd. from the Buyer; 6. Import, Export and Copyright Restrictions “Buyer’s Premium” is the commission payable by the Buyer on the MBL and the Seller make no representations or warranties as to Hammer Price at the rates set out in the Guide for Prospective Buyers; whether any lot is subject to import, export or copyright “ Hammer Price” is the highest bid for the property accepted by restrictions. It is the Buyer's sole responsibility to obtain any the auctioneer at the auction or the post auction sale price; copyright clearance or any necessary import, export or other “ Purchase Price” is the Hammer Price plus applicable Buyer’s licence required by law, including licenses required under the Premium and Buyer’s Expenses; Convention on the International Trade in Endangered Species “Reserve Price” (where applicable) is the minimum Hammer (CITES). Price at which the Seller has agreed to sell the lot. 7. Conduct of the Auction T he Buyer’s Premium, Buyer’s Expenses and Hammer Price (a) The auctioneer has discretion to refuse bids, withdraw or re- are subject to VAT, where applicable. offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also 3. Examination of Lots take such other action as (s)he reasonably deems necessary. (a) MBL’s knowledge of lots is partly dependent on information (b) The auctioneer will commence and advance the bidding in provided by the Seller and MBL is unable to exercise exhaustive such increments as (s)he considers appropriate and is entitled due diligence on each lot. Each lot is available for examination to place bids on the Seller’s behalf up to the Reserve Price for before sale. Bidders are responsible for carrying out the lot, where applicable. examinations and research before sale to satisfy themselves (c) Subject to Condition 7(a), the contract between the Buyer and over the condition of lots and accuracy of descriptions. the Seller is concluded on the striking of the auctioneer's (b) All oral and/or written information provided to Bidders relating hammer. to lots, including descriptions in the catalogue, condition (d) Any post-auction sale of lots shall incorporate these reports or elsewhere are statements of MBL’s opinion and not Conditions of Business. representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be 8. Payment and Collection revised from time to time at MBL’s absolute discretion. (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction 4. Exclusions and limitations of liability to Buyers (the "Payment Date"). ( a) MBL shall refund the Purchase Price to the Buyer in (b) Title in a lot will not pass to the Buyer until MBL has received circumstances where it deems that the lot is a counterfeit, the Purchase Price in cleared funds. MBL will generally not subject to the terms of MBL’s Authenticity Guarantee. release a lot to a Buyer before payment. Earlier release shall (b) Subject to Condition 4(a), neither MBL nor the Seller:- not affect passing of title or the Buyer's obligation to pay the (i) is liable for any errors or omissions in any oral or written Purchase Price, as above. information provided to Bidders by MBL, whether negligent or (c) The refusal of any licence or permit required by law, as otherwise; outlined in Condition 6, shall not affect the Buyer’s obligation (ii) gives any guarantee or warranty to Bidders and any to pay for the lot, as per Condition 8(a). implied warranties and conditions are excluded (save in so far (d) The Buyer must arrange collection of lots within 10 working as such obligations cannot be excluded by English law), other days of the auction. Purchased lots are at the Buyer's risk from than the express warranties given by the Seller to the Buyer the earlier of (i) collection or (ii) 10 working days after the (for which the Seller is solely responsible) under the auction. Until risk passes, MBL will compensate the Buyer for Conditions of Business for Sellers; any loss or damage to the lot up to a maximum of the (iii) accepts responsibility to Bidders for acts or omissions Purchase Price actually paid by the Buyer. MBL’s assumption of (whether negligent or otherwise) by MBL in connection with risk is subjected to the exclusions detailed in Condition 5(d) of the conduct of auctions or for any matter relating to the sale of the Conditions of Business for Sellers. any lot. (e) All packing and handling of lots is at the Buyer's risk. MBL will

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not be liable for any acts or omissions of third party packers or (b) If a lot is paid for but uncollected within 6 months of the shippers auction, following 60 days written notice to the Buyer, MBL 9. Remedies for non-payment will re-sell the lot by auction or privately, with estimates and Without prejudice to any rights that the Seller may have, if the reserves at MBL’s discretion. The sale proceeds, less all MBL’s Buyer without prior agreement fails to make payment for the lot costs, will be forfeited unless collected by the Buyer within 2 within 5 working days of the auction, MBL may in its sole years of the original auction. discretion exercise 1 or more of the following remedies:- (a) Store the lot at its premises or elsewhere at the Buyer’s sole 11. Data Protection risk and expense; (a) MBL will use information supplied by Bidders or otherwise (b) Cancel the sale of the lot; obtained lawfully by MBL for the provision of auction related (c) Set off any amounts owed to the Buyer by MBL against any services, client administration, marketing and as otherwise amounts owed to MBL by the Buyer for the lot; required by law. (d) Reject future bids from the Buyer; (b) By agreeing to these Conditions of Business, the Bidder agrees (e) Charge interest at 4% per annum above HSBC Bank Plc base Rate from the Payment Date to the date that the Purchase Price to the processing of their personal information and to the is received in cleared funds; disclosure of such information to third parties worldwide for (f) Re-sell the lot by auction or privately, with estimates and the purposes outlined in Condition 11(a) and to Sellers as per reserves at MBL’s discretion, in which case the Buyer will be Condition 9(i). liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in 12. Miscellaneous such re-sale; (a) All images of lots, catalogue descriptions and all other (g) Exercise a lien over any Buyer’s Property in MBL’s possession, materials produced by MBL are the copyright of MBL. applying the sale proceeds to any amounts owed by the Buyer (b) These Conditions of Business are not assignable by any Buyer to MBL. MBL shall give the Buyer 14 days written notice before without MBL’s prior consent, but are binding on Bidders’ exercising such lien; successors, assignees and representatives. (h) Commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (c) The materials listed in Condition 1(a) set out the entire (i) Disclose the Buyer’s details to the Seller to enable the Seller to agreement between the parties. commence legal proceedings. (d) If any part of these Conditions of Business be held 10. Failure to collect purchases unenforceable, the remaining parts shall remain in full force (a) If the Buyer pays the Purchase Price but does not collect the lot and effect. within 20 working days of the auction, the lot will be stored at (e) These Conditions of Business shall be interpreted in the Buyer's expense and risk at MBL’s premises or in accordance with English Law, under the exclusive jurisdiction independent storage . of the English Courts, in favour of MBL.

Matthew Barton Ltd’s Authenticity Guarantee

If Matthew Barton Ltd sells an item of Property which is later (iii) there has been no material loss in value of the Property from shown to be a “Counterfeit”, subject to the terms below Matthew its value had it accorded with its catalogue description. Barton Ltd. will rescind the sale and return the Buyer the total amount paid by the Buyer to Matthew Barton Ltd. for that To claim under this guarantee the Buyer must:- Property, up to a maximum of the Purchase Price. (i) notify Matthew Barton Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the The Guarantee lasts for one (1) year after the date of the relevant authenticity or attribution of the Property, specifying the lot auction, is for the benefit of the Buyer only and is non-transferable. number, date of the auction at which it was purchased and the “Counterfeit” means an item of Property that in Matthew Barton Ltd’s reasons why it is believed to be Counterfeit; and reasonable opinion is an imitation created with the intent to deceive (i) return the Property to Matthew Barton Ltd in the same over the authorship, origin, date, age, period, culture or source, where condition as at the date of sale and be able to transfer good title the correct description of such matters is not included in the catalogue in the Property, free from any third party claims arising after the description for the Property. date of the sale. Property shall not be considered Counterfeit solely because of any Matthew Barton Ltd has discretion to waive any of the above damage and/or restoration and/or modification work (including, but requirements. Matthew Barton Ltd may require the Buyer to obtain at not limited to, recolouring, tooling or repatinating. the Buyer's cost the reports of two independent and recognised experts in the relevant field and acceptable to Matthew Barton Ltd. Please note that this guarantee does not apply if either:- Matthew Barton Ltd shall not be bound by any reports produced by (i) the catalogue description was in accordance with the generally the Buyer, and reserves the right to seek additional expert advice at its accepted opinions of scholars and experts at the date of the own expense. In the event Matthew Barton Ltd decides to rescind the sale, or the catalogue description indicated that there was a sale under this Guarantee, it may refund to the Buyer the reasonable conflict of such opinions; costs of up to two mutually approved independent expert reports, (ii) the only method of establishing at the date of the sale that the provided always that the costs of such reports have been approved in item was a Counterfeit would have been by means of advance and in writing by Matthew Barton Ltd. processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Matthew Barton Ltd’s reasonable opinion)

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;>:=A4> @;+A>=8A*2&AA-& "?4%A4> @;+A>=A&-2 Matthew Barton Ltd 25 Blythe Road London W14 0PD Tel: +44 (0) 20 7806 5545 Email: [email protected] www.matthewbartonltd.com