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

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1.      A CHINESE BLUE AND WHITE PORCELAIN CHARGER, KANGXI (1662-1722)
circular with barbed rim, painted with a central panel of birds and flowering peony against a diaper pattern ground reserved with panels enclosing landscapes alternating with flowers
38cm diameter £600-900
2.      A KRAAK PORCELAIN STORAGE JAR AND COVER, WANLI (1573-1620)
the ovoid body painted in underglaze blue with panels of flowers and rockwork, the shoulder and domed cover with further foliate panels, all against a ruyi-studded strap and key-fret ground, with probably 18th century South East Asian metal rim mounts, hinge, clasp and finial
40cm high £2000-3000
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.      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 £150-250
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 fourteen covers, and thirteen spoons
(83)
£500-700
6.      TWO CHINESE FAMILLE ROSE PORCELAIN SNUFF BOTTLES, 20TH CENTURY
double gourd ovoid, each moulded in high relief with figures against a turquoise ground, apocryphal iron red Qianlong seal marks
7cm high, rim chip to one £150-250
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.      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
11.     **A CHINESE PORCELAIN 'BOY AND CHICKEN' CUP, QIANLONG SEAL MARK AND PERIOD (1736-1795)
the steep rounded sides resting on a countersunk base, famille rose painted with a continuous scene of a boy approaching a rooster in a garden with flowering peony issuing from rockwork, with an inscription of an Imperial poem by the Qianlong Emperor and dated with the bingshen year corresponding to 1776
5.5cm high

Provenance: Christie's, London, 19 June 2001, lot 97 £2000-3000
12.     A CHINESE FAMILLE ROSE BOX AND COVER, CANTON, 19TH CENTURY
rectangular, the cover painted with a seated official and attendants, the body with two divisions to the interior, the exterior painted with panels of birds in flowering branches reserved against a solid gilt ground filled with bats and flowers
18.5cm long £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 £200-300
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.     **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
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, Hebei, 1991, p.180, No.262, where it is dated middle Qing dynasty. £2500-3500
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.     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
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.     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
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
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 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
32.     ˜A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY
square-ended, the sticks carved to one side in low relief against a finely pierced linear ground with a roundel initialled J.D.H. flanked by bracketed cartouches surrounded by birds and trailing flowers, the solid guards carved with birds and flowers on a patterned ground and panels of pavilions and foliage, paste mounted pivot pin
20.5cm high £300-500
33.     ˜A CHINESE IVORY BRISE FAN, PROBABLY CANTON, SECOND HALF 19TH CENTURY
the sticks carved in low relief to one side on a finely pierced linear ground with a panel centred by a vacant cartouche surrounded by figures amidst garden pavilions below a border of fruits and an arcade containing dragons, phoenixes and further figures, each guard carved to the inner side with figures and to the outer with a further dragon and phoenix
19cm long £300-500
34.     ˜A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY
the sticks carved to one side over a finely pierced linear ground with a landscape oval flanked by urn motifs surrounded by trailing flowers and birds, the guards carved with flowerheads on a patterned ground, with an associated cream Duvelleroy stamped later box
guard 27cm long
£400-600
35.     ˜A CHINESE IVORY BRISE FAN, CANTON, EARLY 19TH CENTURY
the sticks detailed to one side with birds and flowers trailing over a finely pierced scrollwork ground, the central oval initialled EAK on a fine linear ground flanked by urn motifs, the solid guards carved with flowerheads on a patterned ground
26cm high
£400-600
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
37.     A JAPANESE IMARI CHARGER, MEIJI PERIOD (1868-1912)
fluted, centrally painted with a vase of flowers against a ground gilled with ho-o birds and flowers, 47cm diameter; together with a Japanese Imari large bowl, Meiji period, painted with panels of shishi against an elaborate ground, 31cm diameter, some damage
(2) £150-200
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
39.     ˜A JAPANESE IVORY NETSUKE, BY RANSEN, KYOTO, EDO PERIOD, MID 19TH CENTURY
carved as a chick hatching from its egg, signed to oval reserve
3.6cm long £600-900
40.     A JAPANESE MASK NETSUKE OF KARURA (GARUDA), BY KOKEISAI SANSHO, OSAKA, 1871-1926
pale boxwood, signed with the kaô
5.1cm high

Peter E. Müller Japanese Mask Collection No.2 £2000-2500
41.     A JAPANESE MASK NETSUKE OF A GURNING GHOUL, BY KOKEISAI SANSHO, EARLY 20TH CENTURY
pale boxwood, signed with kaoō
3.9cm high

Peter E. Müller Japanese Mask Collection No.220 £1500-2000
42.     A JAPANESE MASK NETSUKE OF SHISHIGUCHI, EARLY 19TH CENTURY
dark wood, unsigned
5.1cm high

Peter E. Müller Japanese Mask Collection No.70 £700-900
43.     A JAPANESE MASK NETSUKE OF KARASU-TENGU, BY JOGETSU, MID 19TH CENTURY
dark wood, signed 'Jogetsu to'
3.8cm high

Peter E. Müller Japanese Mask Collection No.219 £700-900
44.     A LARGE JAPANESE DOUBLE MASK NETSUKE OF OKAME AND HYOTTOKO, EARLY 20TH CENTURY
wood with dark inlaid pupils, unsigned
5.1cm high

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 mouth on both sides serving as himotoshi.

Peter E. Müller Japanese Mask Collection No.211 £400-500
45.     A JAPANESE DOUBLE MASK NETSUKE OF OKAME AND USOBUKI, 19TH CENTURY
boxwood, unsigned
4.2cm high

Peter E. Müller Japanese Mask Collection No.210 £350-450
46.     A JAPANESE MASK NETSUKE OF CHIDÔ, BY TETSURO, EARLY 20TH CENTURY
lacquered wood, signed 'Tetsuro' with kaô
4.8cm high

Tetsuro was a talented student of Kano Tessai.

Peter E. Müller Japanese Mask Collection No.3 £1000-1500
47.     A JAPANESE MASK NETSUKE OF KARURA (GARUDA), LATE 19TH CENTURY
lacquered wood, unsigned
5.7cm high

Although this artist's work resembles that of Kano Tessai (see lot 6?????), it is distinguished by the use of a rounded himotoshi bar.

Peter E. Müller Japanese Mask Collection No.4 £900-1200
48.     A JAPANESE MASK NETSUKE OF KARURA (GARUDA), LATE 19TH CENTURY
lacquered wood, unsigned
5.1cm high

See note to previous lot

Peter E. Müller Japanese Mask Collection No.5 £800-1000
49.     A JAPANESE MASK NETSUKE OF KARURA (GARUDA), BY KANO TESSAI, CIRCA 1921-25
lacquered wood, signed 'Tessai to' with kaô, in its original box signed and sealed by the artist
3.5cm high
(3)

The original box identifies this as a copy of a mask in the Shosoin Imperial Repository, with the studio name Saisho Shoja, used in the last four years of the artist's life.

Peter E. Müller Japanese Mask Collection No.6 £1500-2000
50.     A JAPANESE MASK NETSUKE OF KONGO-RIKISHI, BY KYOSAI, 19TH CENTURY
lacquered wood, signed 'Kyosai'
5cm high

Peter E. Müller Japanese Mask Collection No.7 £1000-1500
51.     A JAPANESE MASK NETSUKE OF KONRON, 19TH CENTURY
lacquered wood, the eyes inlaid in what is probably dark buffalo horn, unsigned
4.1cm high

Peter E. Müller Japanese Mask Collection No.8 £1000-1500
52.     A JAPANESE MASK NETSUKE OF OKINA, 19TH CENTURY
lacquered wood, unsigned
4.2cm high

This has common characteristics with the work of Ryuzan.

Peter E. Müller Japanese Mask Collection No.22 £500-700
53.     A JAPANESE MASK NETSUKE OF A LAUGHING MAN, BY GYOKO, 19TH CENTURY
pale boxwood, with brushed signature 'Gyoko' (Mitsuyoshi)
6.7cm high

Peter E. Müller Japanese Mask Collection No.13 £600-800
54.     A JAPANESE MASK NETSUKE, CHIDÔ, 20TH CENTURY
pottery, stamped "made in Japan"
4.9cm high

Peter E. Müller Japanese Mask Collection No.1 £100-150
55.     A JAPANESE DOUBLE MASK NETSUKE OF OKAME AND SHOJO, ATTRIBUTED TO SHUGETSU OR SHUMIN, 19TH CENTURY
boxwood, unsigned
4.2cm high

Peter E. Müller Japanese Mask Collection No.208 £500-700
56.     A JAPANESE MASK NETSUKE OF KONGO-RIKISHI, BY KANO TESSAI, CIRCA 1900-25
lacquered wood, signed 'Tessai' with kaô, in its original box signed and sealed by the artist
4.9cm 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.9 £1500-2000
57.     A JAPANESE MASK NETSUKE OF A LONG NOSED MAN, 19TH CENTURY
pale boxwood, unsigned with kaô
4.8cm high

Peter E. Müller Japanese Mask Collection No.12 £1000-1500
58.     A JAPANESE MASK NETSUKE OF HEISHITORI, BY SHOKA, 19TH CENTURY
lacquered wood, signed 'Shoka to'
4.9cm high

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
59.     A JAPANESE MASK NETSUKE OF HEISHITORI, BY HARA SHUGETSU, 19TH CENTURY
pale boxwood, signed 'todaiji zo gigaku men shugetsu saku'
3.5cm high

Peter E. Müller Japanese Mask Collection No.15 £600-800
60.     A JAPANESE MASK NETSUKE OF HEISHITORI, ATTRIBUTED TO HOZAN, EARLY 20TH CENTURY
pale boxwood, unsigned
4.3cm high

The attribution is based on comparison with other masks in the collection.

Peter E. Müller Japanese Mask Collection No.16 £800-1000
61.     A JAPANESE MASK NETSUKE OF RANRYÔ-Ô, 20TH CENTURY
lacquered wood, unsigned
4cm high

Peter E. Müller Japanese Mask Collection No.17 £600-800
62.     A JAPANESE MASK NETSUKE OF BUDDHA, BY KANO TESSAI, CIRCA 1900-25
lacquered wood, signed 'Tessai to' with kaô, in its original box
3.2cm high
(3)

Peter E. Müller Japanese Mask Collection No.11 £900-1200
63.     A JAPANESE MASK NETSUKE OF GOJO, BY KANO TESSAI, CIRCA 1900-25
lacquered wood, signed 'Tessai to' with kaô, in its original box signed and sealed by the artist
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
64.     A JAPANESE MASK NETSUKE OF OKINA, DEME FAMILY, 19TH CENTURY
pale boxwood, signed 'Deme saku'
5.4cm high

Peter E. Müller Japanese Mask Collection No.28 £400-500
65.     A JAPANESE MASK NETSUKE OF OKINA, BY KANO TESSAI, CIRCA 1900-25
pale boxwood, signed 'Tessai to' with kaô
3.5cm high

A rare unlacquered example by the artist.

Peter E. Müller Japanese Mask Collection No.29 £700-900
66.     A JAPANESE MASK NETSUKE OF SANKA-JO, DEME FAMILY, 19TH CENTURY
wood, two pieces joined with strings, signed 'Deme'
4.8cm high

Peter E. Müller Japanese Mask Collection No.30 £400-500
67.     A JAPANESE MASK NETSUKE OF SHOJO, BY MATSUKI HÔKEI, LATE 19TH CENTURY
tsuishu lacquer, signed 'Hôkei'
4.5cm high

The artist is a master of carving in solid red lacquer.

Peter E. Müller Japanese Mask Collection No.32 £2000-2500
68.     A JAPANESE MASK NETSUKE OF SHOJO, BY KEIZAN, 20TH CENTURY
lacquered wood, signed 'Keizan saku'
4.9cm high

Peter E. Müller Japanese Mask Collection No.33 £500-700
69.     A JAPANESE MASK NETSUKE OF SHOJO, BY SHIGEMITSU, 19TH CENTURY
tsuishu lacquer, signed 'Shigemitsu'
4.1cm high

Since old Japanese horizontal inscriptions can be read in either direction, the signature might equally be Mitsushige.

Peter E. Müller Japanese Mask Collection No.35 £600-800
70.     A JAPANESE MASK NETSUKE OF HANNYA, 18TH CENTURY
stained fruitwood, unsigned
5.5cm high

Peter E. Müller Japanese Mask Collection No.42
£400-500
71.     A JAPANESE MASK NETSUKE OF NAMANARI, 19TH CENTURY
pale boxwood, with red lacquer signature tablet Genzan, probably added
4.5cm high

Peter E. Müller Japanese Mask Collection No.43 £600-800
72.     A JAPANESE MASK NETSUKE OF HANNYA, 19TH CENTURY
stained boxwood with gold lacquered eyes, unsigned
6.7cm high

Peter E. Müller Japanese Mask Collection No.41 £1500-2000
73.     A JAPANESE MASK NETSUKE OF MIGAKI-ONNA OR HAKAKIME, BY KANO TESSAI, LATE 19TH CENTURY
lacquered wood, signed 'Tessai dojin to' with kaô
3.9cm high

Peter E. Müller Japanese Mask Collection No.38 £1000-1500
74.     ˜A JAPANESE MASK NETSUKE OF A SMILING FEMALE, DEME FAMILY, 19TH CENTURY
pale boxwood with inlaid ebony eyebrows, the hair incised and stained, signed 'Deme'
4.3cm high

Peter E. Müller Japanese Mask Collection No.39 £500-700
75.     A FULL SIZE JAPANESE NOH MASK OF ZÔ-ONNA, BY MITSUHIDE, CIRCA 1780-1850
cypress wood with pigments, inscribed 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.     A JAPANESE MASK NETSUKE OF NAMANARI, BY DEME UMAN, 19TH CENTURY
wood, signed 'Deme Uman'
2.3cm high

Peter E. Müller Japanese Mask Collection No.44 £350-450
77.     A JAPANESE MASK NETSUKE OF NAMANARI, 19TH CENTURY
pale boxwood, signed 'Jinno' or 'Ninno'
5.3cm high

Peter E. Müller Japanese Mask Collection No.45 £800-1000
78.     A JAPANESE MASK NETSUKE OF KIIYOHIME, EARLY 19TH CENTURY
kurogaki (persimmon wood) carved with a clapper forming the himotoshi bar, the eyes inlaid in silver, unsigned
5.2cm high

Peter E. Müller Japanese Mask Collection No.46 £800-1000
79.     A JAPANESE MASK NETSUKE OF JA, BY HARUMITSU, 19TH CENTURY
stained boxwood, signed 'Harumitsu'
5.4cm high

Peter E. Müller Japanese Mask Collection No.47 £400-500
80.     A JAPANESE MASK NETSUKE OF JA, DEME FAMILY, 18TH CENTURY
dark wood, signed 'Deme'
4.7cm high

Peter E. Müller Japanese Mask Collection No.48 £700-900
81.     A JAPANESE MASK NETSUKE OF NAMANARI, BY KIMICHIKA, 19TH CENTURY
boxwood, signed 'Kimichika'
5.7cm high

Peter E. Müller Japanese Mask Collection No.52 £1500-2000
82.     A JAPANESE MASK NETSUKE OF SHINJA, BY MATSUKI HÔKEI, LATE 19TH CENTURY
tsuishu lacquer, signed 'Hôkei'
5.cm high

Peter E. Müller Japanese Mask Collection No.49 £2000-2500
83.     A JAPANESE MASK NETSUKE OF SHINJA, BY NAITO TOYOMASA, 19TH CENTURY
boxwood, signed 'Toyomasa'
4.4cm high

Judging by the rounded second character of the signature, this is by one of the pupils of the Tamba master Toyomasa I, perhaps Hidari Toyomasa.

Peter E. Müller Japanese Mask Collection No.53 £4000-6000
84.     A JAPANESE MASK NETSUKE OF NASORI, 19TH CENTURY
lacquered wood, inscribed nasori on the himotoshi bar
4.3cm high

Provenance: Raymond Bushell, San Francisco

Peter E. Müller Japanese Mask Collection No.19 £600-800
85.     A JAPANESE MASK NETSUKE OF GENJORAKU, BY SOSAI, 20TH CENTURY
tsuishu lacquer, the eye pupils inlaid in shell, signed 'Sosai'
5.9cm high

The artist belonged to the So school of 20th century carvers. A similar mask is in the Garrett Collection, Baltimore, illustrated in Davey and Tripp's catalogue, p.271.

Peter E. Müller Japanese Mask Collection No.21 £600-800
86.     A JAPANESE MASK NETSUKE OF EMI, 19TH CENTURY
silver lacquered boxwood with red and gold details, unsigned
4.8cm high

Peter E. Müller Japanese Mask Collection No.20 £500-700
87.     A JAPANESE MASK NETSUKE OF OKINA, BY RYUMIN, EARLY 20TH CENTURY
dark stained boxwood, signed 'Ryumin saku'
5cm high

Ryumin and Hozan have characteristics in common.

Peter E. Müller Japanese Mask Collection No.25 £600-800
88.     A JAPANESE MASK NETSUKE OF OKINA, BY SHUGETSU, 19TH CENTURY
pale boxwood, the himotoshi bar carved as silk cords, signed 'Shugetsu saku'
4.8cm high

Peter E. Müller Japanese Mask Collection No.26 £600-800
89.     A JAPANESE MASK NETSUKE OF OKINA, BY HOZAN, EARLY 20TH CENTURY
stained boxwood, signed 'Hozan saku'
5.3cm high

Peter E. Müller Japanese Mask Collection No.27 £700-900
90.     A JAPANESE MASK NETSUKE OF 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.     A JAPANESE MASK NETSUKE OF KANNON, BY NAITO KOSEKI, 1913
dark stained boxwood, unsigned, with a label inscribed by the commissioner
6.8cm high

This is the only Gyôdô mask in the collection, made to the order of a British collector in 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 Buddhistic style'

Peter E. Müller Japanese Mask Collection No.18 £3000-4000
92.     A JAPANESE MASK NETSUKE OF NAMANARI, 19TH CENTURY
pale boxwood, signed 'un' with kaô
4.5cm high

Peter E. Müller Japanese Mask Collection No.54 £1500-2000
93.     A JAPANESE MASK NETSUKE OF SHISHIGUCHI, BY KOMIN, 19TH CENTURY
tsuishu lacquer, signed 'Komin'
5cm high

The signature might equally be read Minko, Minyu or Yumin.

Provenance: Harry Seymour Trower, lot 451 in his sale, 1 April 1913; J.B. Gaskell, lot 857 in his sale, March 1926

Literature: Meinertzhagen Card Index, p.386, illustrated

Peter E. Müller Japanese Mask Collection No.55 £1500-2000
94.     A JAPANESE MASK NETSUKE OF SHINJA, 19TH CENTURY
dark stained boxwood, unsigned
5.8cm high

Peter E. Müller Japanese Mask Collection No.56 £800-1000
95.     A JAPANESE MASK NETSUKE OF SHIKAMI, DEME FAMILY, 19TH CENTURY
dark stained boxwood, signed 'Deme saku'
3.3cm high

Peter E. Müller Japanese Mask Collection No.58 £700-900
96.     A JAPANESE MASK NETSUKE OF KUROHIGE, 19TH CENTURY
amber, unsigned
5.6cm high

Amber netsuke, especially masks, are quite rare

Peter E. Müller Japanese Mask Collection No.57 £1200-1500
97.     A JAPANESE MASK NETSUKE OF SHIKAMI, BY KÔMON, LATE 18TH CENTURY
worn gilt lacquered boxwood, signed 'Kômon'
3.9cm high

Peter E. Müller Japanese Mask Collection No.59 £1000-1500
98.     A JAPANESE MASK NETSUKE OF AKUJO, BY SÔMIN, 19TH CENTURY
dark wood, signed 'Sômin'
3.7cm high

Peter E. Müller Japanese Mask Collection No.60 £500-700
99.     A JAPANESE MASK NETSUKE OF SHISHIGUCHI, 19TH CENTURY
boxwood with red lacquer on the tongue and lips as well as below the eyes, faint traces of what may have been a signature
5cm high

Peter E. Müller Japanese Mask Collection No.61 £700-900
100.    A JAPANESE MASK NETSUKE OF SHIKAMI, 19TH CENTURY
stained boxwood with gold lacquer teeth and eyes, unsigned
4.6cm high

Peter E. Müller Japanese Mask Collection No.62 £700-900
101.    A JAPANESE MASK NETSUKE OF SHISHIGUCHI, 19TH CENTURY
boxwood, unsigned
3.8cm high

Peter E. Müller Japanese Mask Collection No.63 £500-700
102.    A JAPANESE MASK NETSUKE OF SHISHIGUCHI, BY SÔMIN, 19TH CENTURY
boxwood, signed 'Sômin'
5.5cm high

Peter E. Müller Japanese Mask Collection No.64 £900-1200
103.    A JAPANESE MASK NETSUKE OF SHIKAMI, 19TH CENTURY
pale boxwood, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.65 £700-900
104.    A JAPANESE MASK NETSUKE OF SHISHIGUCHI, ATTRIBUTED TO HOZAN, EARLY 20TH CENTURY
lightly stained boxwood, replaced signature tablet
5cm high

Peter E. Müller Japanese Mask Collection No.66 £1000-1500
105.    A JAPANESE MASK NETSUKE OF SARU-BESHIMI, BY SÔSHIN, 20TH CENTURY
tsuishu lacquer, signed 'Sôshin to'
4.7cm high

A similar mask is in the Garrett Collection, Baltimore, illustrated in Davey and Tripp's catalogue, p.257.

Peter E. Müller Japanese Mask Collection No.76 £600-800
106.    A JAPANESE MASK NETSUKE OF 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
107.    A JAPANESE MASK NETSUKE OF KO-BESHIMI, BY TENJO, 19TH CENTURY
wood with traces of lacquer, imitating an old worn noh mask, signed 'Tenjo'
4.5cm high

Peter E. Müller Japanese Mask Collection No.78 £400-500
108.    A JAPANESE MASK NETSUKE OF SHISHIGUCHI, EARLY 19TH CENTURY
wood, unsigned
4.9cm high

Peter E. Müller Japanese Mask Collection No.67 £500-700
109.    A JAPANESE MASK NETSUKE OF SHIKAMI, BY RYUZAN, LATE 19TH CENTURY
stained boxwood, signed 'Ryuzan'
4.6cm high

Peter E. Müller Japanese Mask Collection No.68 £600-800
110.    A JAPANESE MASK NETSUKE OF SHISHIGUCHI, 19TH CENTURY
pale boxwood, unsigned
3.8cm high

Peter E. Müller Japanese Mask Collection No.69 £500-700
111.    A JAPANESE MASK NETSUKE OF BESHIMI, 19TH CENTURY
pale boxwood, unsigned
4.1cm high

Peter E. Müller Japanese Mask Collection No.71 £500-700
112.    A JAPANESE MASK NETSUKE OF BESHIMI, 19TH CENTURY
dark wood with inlaid silver eyes, unsigned
4cm high

Peter E. Müller Japanese Mask Collection No.72 £500-700
113.    A JAPANESE MASK NETSUKE OF BESHIMI, BY DEME UMAN, 19TH CENTURY
polished wood with gilt copper eyes, signed 'Deme Uman tenka ichi'
4.2cm high

Peter E. Müller Japanese Mask Collection No.73 £500-700
114.    A JAPANESE MASK NETSUKE OF DEMON, BY SOICHI, 20TH CENTURY
tsuishu lacquer, signed 'Soichi to'
5.3cm high

A comic reversible mask, which presents a different face when turned upside down.

Peter E. Müller Japanese Mask Collection No.74 £400-500
115.    A JAPANESE MASK NETSUKE OF BUAKU, BY HOZAN, EARLY 20TH CENTURY
dark stained boxwood, signed 'Hozan saku'
3.6cm high

Peter E. Müller Japanese Mask Collection No.84 £800-1000
116.    A JAPANESE MASK NETSUKE OF A LARGE BUAKU, 20TH CENTURY
gold lacquered wood, unsigned
6.2cm high

Peter E. Müller Japanese Mask Collection No.83 £700-900
117.    A JAPANESE MASK NETSUKE OF 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
118.    A JAPANESE MASK NETSUKE OF BUAKU, BY HOZAN, EARLY 20TH CENTURY
boxwood, signed 'nana-ju-issai Hozan saku' with kaô, indicating the artist's age as 71
4cm high

Peter E. Müller Japanese Mask Collection No.80 £600-800
119.    A JAPANESE MASK NETSUKE OF BUAKU, 19TH CENTURY
wood, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.81 £400-500
120.    A JAPANESE MASK NETSUKE OF KITSUNE, 19TH CENTURY
pale boxwood, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.86 £500-700
121.    A JAPANESE MASK NETSUKE OF KITSUNE, 19TH CENTURY
lacquered wood, unsigned
3.8cm high

Peter E. Müller Japanese Mask Collection No.85 £1000-1500
122.    A JAPANESE MASK NETSUKE OF KITSUNE, 19TH CENTURY
boxwood, unsigned
3.8cm high

Peter E. Müller Japanese Mask Collection No.87 £400-500
123.    A JAPANESE MASK NETSUKE OF SARU, 19TH CENTURY
lacquered wood, signed with seal 'Hô'
4.4cm high

Peter E. Müller Japanese Mask Collection No.88 £400-500
124.    A JAPANESE MASK NETSUKE OF A SMALL SARU, BY MASANAO, 19TH CENTURY
boxwood with eyes inlaid in mid toned horn, signed 'Masanao'
3cm high

Peter E. Müller Japanese Mask Collection No.92 £300-400
125.    A JAPANESE MASK NETSUKE OF SARU, 19TH CENTURY
porcelain, probably Kutani, unsigned
4.4cm high

Peter E. Müller Japanese Mask Collection No.90 £400-500
126.    A JAPANESE MASK NETSUKE OF SARU, 19TH CENTURY
wood with double inlaid buffalo horn eyes, signed 'Chi' with kaô
4.3cm high

Peter E. Müller Japanese Mask Collection No.91 £600-800
127.    A JAPANESE MASK NETSUKE OF SARU, 19TH CENTURY
boxwood, unsigned
4.5cm high

Probably scorched in a fire, a common occurrence in Japan.

Peter E. Müller Japanese Mask Collection No.93 £600-800
128.    A JAPANESE MASK NETSUKE OF USOBUKI, BY NAOYA, 20TH CENTURY
copper with gilt eyes and solid gold bar behind, signed 'Naoya' with a stamped mark
3.4cm high

Peter E. Müller Japanese Mask Collection No.94 £350-450
129.    A JAPANESE MASK NETSUKE OF USOBUKI, BY SUKENOBU, EARLY 20TH CENTURY
wood, signed 'Sukenobu'
4.9cm high

Peter E. Müller Japanese Mask Collection No.95 £450-550
130.    A JAPANESE MASK NETSUKE OF OTO, BY HIDARI ISSAN, 19TH CENTURY
pale boxwood with black lacquered hair, signed 'Hidari Issan'
4.6cm high

Peter E. Müller Japanese Mask Collection No.97 £700-900
131.    A JAPANESE MASK NETSUKE OF OKAME, BY GYOKUSHIN, 19TH CENTURY
silver and black lacquered wood, signed 'Gyokushin'
4.3cm high

The artist is possibly Miki Gyokushin. There are two lacquered combs by him in the Casals Collection, Osaka. There are good reasons to think he may have been a pupil of Ikeda Taishin.

Peter E. Müller Japanese Mask Collection No.111 £400-500
132.    A JAPANESE MASK NETSUKE OF OTO, BY BAZAN, 19TH CENTURY
lacquered wood, signed 'Bazan'
5.7cm high

A rare mask by the artist.

Peter E. Müller Japanese Mask Collection No.100 £700-900
133.    A JAPANESE MASK NETSUKE OF A LARGE OTO, 19TH CENTURY
polished dark fruitwood, possibly plum, unsigned
6.1cm high

Peter E. Müller Japanese Mask Collection No.101 £800-1000
134.    A JAPANESE MASK NETSUKE OF OTO, BY GYOKKO, MID 19TH CENTURY
lightly stained boxwood, signed 'Gyokko'
3.8cm high

Peter E. Müller Japanese Mask Collection No.102 £600-800
135.    A JAPANESE MASK NETSUKE OF OTO, BY SÔKYU, EARLY 20TH CENTURY
pale boxwood, signed 'Sôkyu'
3.8cm high

Peter E. Müller Japanese Mask Collection No.103 £500-700
136.    A JAPANESE MASK NETSUKE OF OTO, BY GYOKKO, MID 19TH CENTURY
pale boxwood, signed 'Gyokko'
4.4cm high

Peter E. Müller Japanese Mask Collection No.104 £800-1000
137.    A JAPANESE MASK NETSUKE OF OKAME, BY SHUMIN, 19TH CENTURY
boxwood, signed 'Shumin'
4.6cm high

Peter E. Müller Japanese Mask Collection No.105 £300-400
138.    A JAPANESE MASK NETSUKE OF OTO, 19TH CENTURY
pale boxwood, unsigned
4.4cm high

Peter E. Müller Japanese Mask Collection No.98 £350-450
139.    A JAPANESE MASK NETSUKE OF OTO, BY KANO TESSAI, CIRCA 1865-1875
boxwood, signed 'Tessai' with kaô
5.6cm high

A rare early work by this important carver.

Peter E. Müller Japanese Mask Collection No.99 £1000-1500
140.    A JAPANESE MASK NETSUKE OF OKAME, 19TH CENTURY
pale wood, unsigned
4.8cm high

Peter E. Müller Japanese Mask Collection No.106 £300-400
141.    A JAPANESE MASK NETSUKE OF OKAME, BY KUNIMITSU, EARLY 19TH CENTURY
boxwood, signed 'Kunimitsu'
4.3cm high

Peter E. Müller Japanese Mask Collection No.107 £250-350
142.    A JAPANESE MASK NETSUKE OF OKAME, 20TH CENTURY
gold and black lacquered wood, unsigned
4.8cm high

Peter E. Müller Japanese Mask Collection No.112 £350-450
143.    A JAPANESE MASK NETSUKE OF OKAME, BY SHIBATA (IKEDA) SHINSAI, 19TH CENTURY
silver and black lacquered wood, signed 'Shinsa'
4.4cm high

The artist was the son of the great Shibata Zeshin.

Peter E. Müller Japanese Mask Collection No.113 £300-400
144.    A JAPANESE MASK NETSUKE OF 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
145.    A JAPANESE MASK NETSUKE OF OKAME, 19TH CENTURY
silver and black lacquered wood, unsigned
4.6cm high

Peter E. Müller Japanese Mask Collection No.115 £300-400
146.    A JAPANESE MASK NETSUKE OF OKAME, BY GYOKKO, MID 19TH CENTURY
wood, signed 'Gyokko'
5.6cm high

Peter E. Müller Japanese Mask Collection No.117 £200-300
147.    A JAPANESE MASK NETSUKE OF OKAME AND ANOTHER OF HANAHIKI, BY SEKISEN, 20TH CENTURY
both pottery, impressed seal 'Sekisen'
4.2 and 4.8cm high
(2)

Peter E. Müller Japanese Mask Collection No.116 and 186 £200-300
148.    A JAPANESE MASK NETSUKE OF A LARGE OKAME, BY SHUMIN, 19TH CENTURY
polished fruitwood, signed 'Shumin saku'
8.6cm high

Peter E. Müller Japanese Mask Collection No.118 £350-450
149.    A JAPANESE MASK NETSUKE OF OKAME, 19TH CENTURY
wood, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.119 £300-400
150.    A JAPANESE MASK NETSUKE OF OKAME, BY SHUKOKU, 19TH CENTURY
boxwood, signed 'Shukoku'
4.9cm high

Peter E. Müller Japanese Mask Collection No.120 £250-350
151.    A JAPANESE MASK NETSUKE OF OKAME, BY SHUZAN, 19TH CENTURY
boxwood, signed 'Shuzan'
5cm high

Peter E. Müller Japanese Mask Collection No.121 £300-400
152.    A JAPANESE MASK NETSUKE OF OKAME, 19TH CENTURY
boxwood, signed with kaô
4.9cm high

Peter E. Müller Japanese Mask Collection No.122 £300-400
153.    A JAPANESE MASK NETSUKE OF OKAME, BY SHUZAN, 19TH CENTURY
boxwood, signed 'Shuzan'
5.1cm high

Peter E. Müller Japanese Mask Collection No.123 £150-200
154.    A JAPANESE MASK NETSUKE OF A DEMON, CIRCLE OF RYUZAN, LATE 19TH CENTURY
boxwood, signed with kaô
4.8cm high

The attribution is based on comparison with several signed netsuke in the collection.

Peter E. Müller Japanese Mask Collection No.146 £600-800
155.    A JAPANESE MASK NETSUKE OF A LARGE OKAME, BY HARA SHUGETSU, 19TH CENTURY
polished dark stained fruitwood, one himotoshi with inlaid ring in green stained stag antler, signed 'Hara Shugetsu Shizan saku'
7.1cm high

A rare signature, perhaps to distinguish himself from his father, also a carver of mask netsuke.

Peter E. Müller Japanese Mask Collection No.124 £700-900
156.    A JAPANESE MASK NETSUKE OF A LARGE ONI, 18TH CENTURY
wood with traces of red pigment in the mouth, unsigned
6.7cm high

Peter E. Müller Japanese Mask Collection No.127 £2000-2500
157.    A JAPANESE MASK NETSUKE OF ONI, 19TH CENTURY
boxwood, lacquered behind, with eyes of reverse painted glass, unsigned
4.1cm high

Peter E. Müller Japanese Mask Collection No.128 £800-1000
158.    A JAPANESE MASK NETSUKE OF ONI, BY HOKKA (HOKKE), 1919
lacquered wood, signed 'Hokka' and inscribed with cyclical date
4.7cm high

Peter E. Müller Japanese Mask Collection No.129 £300-400
159.    A JAPANESE MASK OF ONI, 19TH CENTURY
wood, unsigned
4.1cm high

As this has no himotoshi, it is not a netsuke.

Peter E. Müller Japanese Mask Collection No.130 £700-900
160.    A JAPANESE MASK NETSUKE OF ONI, BY SHUZAN, 19TH CENTURY
boxwood, signed 'Shuzan'
5.1cm high

Peter E. Müller Japanese Mask Collection No.131 £600-800
161.    A JAPANESE MASK NETSUKE OF ONI, 20TH CENTURY
stag antler with inlaid dark horn eyes, unsigned
4.4cm high

Peter E. Müller Japanese Mask Collection No.132 £200-300
162.    A JAPANESE MASK NETSUKE OF ONI, BY HARUAKI (SHUNMEI), 19TH CENTURY
iron with silvered rings around the pupils and gilt fangs, signed on a cheek 'Haruaki'
5cm high

Peter E. Müller Japanese Mask Collection No.133 £1000-1500
163.    A JAPANESE MASK NETSUKE OF ONI, LATE 19TH CENTURY
stag antler, the himotoshi bar carved as tied silk cords, unsigned
4.2cm high

Peter E. Müller Japanese Mask Collection No.134 £700-900
164.    A JAPANESE MASK NETSUKE OF ONI WITH OKAME BEHIND, LATE 18TH CENTURY
boxwood, unsigned
4.5cm high

The subject alludes to the annual new year cleansing ritual oni-yarai setsubun.

Peter E. Müller Japanese Mask Collection No.137 £500-700
165.    A JAPANESE MASK NETSUKE OF ONI, LATE 18TH CENTURY
wood with inlaid metal eyes, unsigned
4.8cm high

Peter E. Müller Japanese Mask Collection No.138 £350-450
166.    A JAPANESE MASK NETSUKE OF ONI, 19TH CENTURY
blue glazed porcelain, unsigned
4.6cm high

Peter E. Müller Japanese Mask Collection No.140 £350-450
167.    A JAPANESE MASK NETSUKE OF BAKEMONO, BY GARAKUSAI, 19TH CENTURY
wood, signed 'Garakusai zo'
4.4cm high

Peter E. Müller Japanese Mask Collection No.141 £600-800
168.    A JAPANESE MASK NETSUKE OF A DOLEFUL MAN, 19TH CENTURY
boxwood with traces of scorching, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.147 £300-400
169.    A JAPANESE MASK NETSUKE OF ONI, 19TH CENTURY
wood, unsigned
4.1cm high

Peter E. Müller Japanese Mask Collection No.142 £500-700
170.    A JAPANESE MASK NETSUKE OF A FEMALE DEMON, BY GYOKUMITSU, 19TH CENTURY
wood, signed 'Gyokumitsu'
4.6cm high

Peter E. Müller Japanese Mask Collection No.144 £400-500
171.    A JAPANESE MASK NETSUKE OF A DEMON, 19TH CENTURY
lacquered wood with reverse painted glass eyes, unsigned
3.7cm high

Peter E. Müller Japanese Mask Collection No.145 £700-900
172.    A JAPANESE MASK NETSUKE OF TENJIN, BY MITSUSHIGE, 19TH CENTURY
wood with traces of scorching, signed 'Mitsushige to'
4.3cm high

Peter E. Müller Japanese Mask Collection No.148 £400-500
173.    A JAPANESE MASK NETSUKE OF ONI, 19TH CENTURY
shitan wood with inlaid metal pupils, unsigned
4.2cm high

Peter E. Müller Japanese Mask Collection No.149 £500-700
174.    A JAPANESE MASK NETSUKE OF KARASU-TENGU, BY SOMIN, 19TH CENTURY
tsuishu lacquer, signed 'Somin to'
5.2cm high

Peter E. Müller Japanese Mask Collection No.151 £2000-2500
175.    A JAPANESE MASK NETSUKE OF KARASU-TENGU, BY SEKIHO, 20TH CENTURY
pottery, signed 'Sekiho'
4.5cm

Peter E. Müller Japanese Mask Collection No.152 £200-300
176.    A JAPANESE MASK NETSUKE OF A LARGE KARASU-TENGU, LATE 19TH CENTURY
Pale boxwood, unsigned
5.4cm high

Peter E. Müller Japanese Mask Collection No.154 £700-900
177.    A JAPANESE MASK NETSUKE OF KARASU-TENGU, 19TH CENTURY
boxwood, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.156 £700-900
178.    A JAPANESE MASK NETSUKE OF KARASU-TENGU, 19TH CENTURY
green lacquered wood, unsigned
5.9cm high

Peter E. Müller Japanese Mask Collection No.157 £500-700
179.    A JAPANESE MASK NETSUKE OF A SMALL KONOHA-TENGU, 19TH CENTURY
boxwood, the cloth around its nose forming the himotoshi bar, unsigned
3cm high

Peter E. Müller Japanese Mask Collection No.158 £350-450
180.    A JAPANESE MASK NETSUKE OF EBISU, BY KANO TESSAI, CIRCA 1900
boxwood with black stained cap and red lips, signed 'Tessai' with kaô
3.2cm high

Peter E. Müller Japanese Mask Collection No.160 £800-1000
181.    A JAPANESE MASK NETSUKE OF DAIKOKU, LATE 19TH CENTURY
stained fruitwood, unsigned
4.2cm high

Peter E. Müller Japanese Mask Collection No.162 £350-450
182.    A JAPANESE MASK NETSUKE OF EBISU, LATE 19TH CENTURY
porcelain, probably Hirado, unsigned
4.1cm high

Peter E. Müller Japanese Mask Collection No.163 £300-400
183.    A JAPANESE MASK NETSUKE OF DAIKOKU, BY KANO TESSAI, CIRCA 1900
boxwood with black stained cap and red lips, signed 'Tessai to' with kaô
3cm high

Peter E. Müller Japanese Mask Collection No.164 £800-1000
184.    A JAPANESE MASK NETSUKE OF HOTEI, BY SHUGETSU, 19TH CENTURY
boxwood, signed 'Shugetsu'
4.4cm high

Peter E. Müller Japanese Mask Collection No.165 £400-500
185.    A JAPANESE MASK NETSUKE OF DAIKOKU, BY FUKUSAI, 20TH CENTURY
stag antler, signed 'Fukusai'
4.5cm high

Peter E. Müller Japanese Mask Collection No.166 £300-400
186.    A JAPANESE MASK NETSUKE OF DAIKOKU, BY DEME JOMAN, 19TH CENTURY
wood, signed 'Deme Joman'
4.2cm high

Peter E. Müller Japanese Mask Collection No.167 £400-500
187.    A JAPANESE MASK NETSUKE OF SHISHI, 19TH CENTURY
lacquered wood, unsigned
3.4cm high

Peter E. Müller Japanese Mask Collection No.168 £350-450
188.    A JAPANESE MASK NETSUKE OF SHISHI, LATE 19TH CENTURY
wood, with signature 'Tomokazu'
3.6cm high

Peter E. Müller Japanese Mask Collection No.169 £400-500
189.    A JAPANESE MASK NETSUKE OF USOBUKI, CIRCLE OF RYUZAN, LATE 19TH CENTURY
gold lacquered wood, signed with a kaô
3.4cm high

Peter E. Müller Japanese Mask Collection No.170 £400-500
190.    A JAPANESE MASK NETSUKE OF USOBUKI, BY RYUZAN, LATE 19TH CENTURY
boxwood, signed 'Ryuzan'
4.3cm high

Peter E. Müller Japanese Mask Collection No.172 £400-500
191.    A JAPANESE MASK NETSUKE OF USOBUKI, 19TH CENTURY
red lacquered wood with black and gold details, with added signature 'Kajikawa'
4cm high

Peter E. Müller Japanese Mask Collection No.173 £700-900
192.    A JAPANESE MASK NETSUKE OF USOBUKI, BY GYOKUZAN, 19TH CENTURY
walnut with dark horn eyes ringed with metal, signed 'Gyokuzan'
3.2cm high

In the style of Hidari Issan whose pupil he must have been.

Peter E. Müller Japanese Mask Collection No.174 £200-300
193.    A JAPANESE MASK NETSUKE OF USOBUKI, BY GYOKUYUKI, 20TH CENTURY
wood, signed 'Gyokuyuki'
3.6cm high

Peter E. Müller Japanese Mask Collection No.175 £200-300
194.    A JAPANESE MASK NETSUKE OF AN OCTOPUS, 19TH CENTURY
worn lacquered wood, unsigned
4.6cm high

Peter E. Müller Japanese Mask Collection No.176 £700-1000
195.    A JAPANESE MASK NETSUKE OF AN OCTOPUS, LATE 19TH CENTURY
boxwood with eyes inlaid in dark buffalo horn, inscribed tako [octopus]
5cm high

Peter E. Müller Japanese Mask Collection No.177 £600-800
196.    A JAPANESE MASK NETSUKE OF USOBUKI, 19TH CENTURY
wood, unsigned
3.9cm high

Peter E. Müller Japanese Mask Collection No.178 £400-500
197.    A JAPANESE MASK NETSUKE OF A GRIMACING MAN, 19TH CENTURY
fruitwood, unsigned
4.2cm high

Peter E. Müller Japanese Mask Collection No.179 £400-500
198.    A JAPANESE MASK NETSUKE OF 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.    A JAPANESE MASK NETSUKE OF A HIRSUTE DEMON, BY HOZAN, EARLY 20TH CENTURY
dark stained polished boxwood, signed 'nana-ju-issai Hozan' with kaô, giving the age of the artist as 71
5.1cm high

Peter E. Müller Japanese Mask Collection No.205 £1500-2500
200.    A JAPANESE MASK NETSUKE OF A FROWNING MAN, 19TH CENTURY
boxwood, unsigned
4cm high

Peter E. Müller Japanese Mask Collection No.181 £400-500
201.    TWO JAPANESE NETSUKE MASKS OF A FROWNING MAN, 19TH CENTURY
probably by the same hand, wood, unsigned
4.5 and 4.6cm high
(2)

The first functions as a mask both ways up.

Peter E. Müller Japanese Mask Collection No.183 £500-600
202.    A JAPANESE MASK NETSUKE OF A FROWNING MAN, LATE 19TH CENTURY
pale boxwood, unsigned
3.8cm high

Peter E. Müller Japanese Mask Collection No.184 £400-500
203.    A JAPANESE MASK NETSUKE OF A WIDE MOUTHED MAN, 19TH CENTURY
wood, unsigned
3.9cm high

Peter E. Müller Japanese Mask Collection No.188 £500-700
204.    A JAPANESE MASK NETSUKE OF A LARGE FROWNING OGRE, 19TH CENTURY
wood, unsigned
6.3cm high

Peter E. Müller Japanese Mask Collection No.189 £600-800
205.    A MASK OF A GRIMACING MAN, 20TH CENTURY
wood, scratched monogram
4.5cm high

Possibly a European copy of a Japanese mask.

Peter E. Müller Japanese Mask Collection No.190 £100-150
206.    A JAPANESE MASK NETSUKE OF A MOROSE MAN, 20TH CENTURY
gold lacquered wood, unsigned
5cm high

Peter E. Müller Japanese Mask Collection No.191 £500-700
207.    A JAPANESE MASK NETSUKE OF A GRINNING MAN, 19TH CENTURY
wood, scratched signature 'Kogyoku', possibly added
4.5cm high

Peter E. Müller Japanese Mask Collection No.192 £300-400
208.    A JAPANESE MASK NETSUKE OF ONO NO KOMACHI, 19TH CENTURY
boxwood, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.195 £300-400
209.    A JAPANESE MASK NETSUKE OF A MOROSE MAN, 20TH CENTURY
gold lacquered wood, unsigned
5cm high

Peter E. Müller Japanese Mask Collection No.193 £500-700
210.    A JAPANESE MASK NETSUKE OF A SMILING MAN, BY DEME UMAN, EARLY 19TH CENTURY
boxwood, signed 'Deme Uman'
4.2cm high

Peter E. Müller Japanese Mask Collection No.196 £300-400
211.    A JAPANESE MASK NETSUKE OF A MOROSE MAN, 19TH CENTURY
boxwood, signed with kaô
4.1cm high

This is signed with a distinctive complex kaô which will no doubt be identified sooner or later.

Peter E. Müller Japanese Mask Collection No.180 £400-500
212.    A JAPANESE NETSUKE OF A CLUSTER OF NOH AND KYOGEN MASKS, LATE 19TH CENTURY
stained wood with stag antler inlays, unsigned
4.5cm high

Peter E. Müller Japanese Mask Collection No.197 £400-600
213.    TWO JAPANESE GROTESQUE NETSUKE MASKS, 20TH CENTURY
corozo nut, one with eyes inlaid in bone and dark horn, unsigned
4.7 and 5.5cm high
(2)

Peter E. Müller Japanese Mask Collection No.182 £350-450
214.    A JAPANESE MASK NETSUKE OF A MALE MASK, BY DEME JOMAN, EARLY 19TH CENTURY
wood, signed 'Deme Joman'
3.9cm high

Peter E. Müller Japanese Mask Collection No.200 £350-450
215.    A JAPANESE MASK NETSUKE OF A LAUGHING DEMON, BY DEME EIMAN, 18TH CENTURY
boxwood, signed 'Deme Eiman'
5.1cm high

Peter E. Müller Japanese Mask Collection No.201 £500-700
216.    A JAPANESE MASK NETSUKE OF CHOJO, 19TH CENTURY
red and black lacquered wood, unsigned
4.4cm high

Peter E. Müller Japanese Mask Collection No.202 £300-400
217.    A JAPANESE MASK NETSUKE TENGU-SOMEN, 19TH CENTURY
lacquered iron, unsigned
5.1cm high

Peter E. Müller Japanese Mask Collection No.203 £400-500
218.    A JAPANESE NETSUKE OF A CLUSTER OF MASKS, BY HARUAKI, LATE 19TH CENTURY
shibuichi with some gilt eyes and copper lips, signed 'Haruaki'
4.1cm high

Peter E. Müller Japanese Mask Collection No.221 £400-500
219.    TWO JAPANESE NETSUKE MASKS OF OTO, 19TH CENTURY
wood, one covered in worn lacquer, the other double-sided with a male mask behind, unsigned
4.2 and 5.3cm high
(2) £300-400
220.    A JAPANESE MASK NETSUKE OF BAKEMONO, 19TH CENTURY
wood, unsigned
4.3cm high

Peter E. Müller Japanese Mask Collection No.207 £500-700
221.    A JAPANESE MASK NETSUKE OF SHIKAMI, EARLY 20TH CENTURY
lacquered wood, unsigned
3.6cm high

Peter E. Müller Japanese Mask Collection No.223 £800-1000
222.    A JAPANESE MASK NETSUKE OF OKAME, LATE 19TH CENTURY
stag antler, unsigned
4.7cm high

Peter E. Müller Japanese Mask Collection No.230 £500-700
223.    A JAPANESE MASK NETSUKE OF A DEMON, LATE 19TH CENTURY
black lacquered wood with gilt eyes, unsigned
5.2cm high

Peter E. Müller Japanese Mask Collection No.222 £1200-1500
224.    A JAPANESE MASK NETSUKE OF A LARGE REVERSIBLE MASK OF HIRSUTE MEN, LATE 18TH CENTURY
polished wood, unsigned
6.8cm high

Peter E. Müller Japanese Mask Collection No.209 £900-1200
225.    A JAPANESE MASK NETSUKE OF A SIMIAN MAN, 19TH CENTURY
wood, unsigned
4.4cm high £400-500
226.    A JAPANESE MASK NETSUKE OF A GOGGLE EYED GHOUL WITH FANGS, 19TH CENTURY
dark stained wood, unsigned
5.3cm high £350-450
227.    A JAPANESE MASK NETSUKE OF A GRIMACING GHOUL, 19TH CENTURY
clear lacquered wood, unsigned
5.2cm high £200-300
228.    A JAPANESE NETSUKE OF A MASK WRAPPED IN A CLOTH, 19TH CENTURY
ash tray style netsuke, wood, with green stained stag antler peg, unsigned
4.2cm high
(2) £100-150
229.    A JAPANESE MASK NETSUKE OF OTO, 19TH CENTURY
black wood, unsigned
6.2cm high £200-300
230.    A JAPANESE MASK NETSUKE OF A LAUGHING OLD MAN, 20TH CENTURY
wood, unsigned
4.5cm high £200-300
231.    A JAPANESE MASK NETSUKE OF 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 JAPANESE NOH MASK OF A WOMAN, 20TH CENTURY
soft wood with pigments, unsigned
22.9cm high £300-400
233.    A JAPANESE KISERUZUTSU (PIPE CASE), LATE 19TH CENTURY
lacquered with a panoply of masks in relief, unsigned
21.8cm high

Peter E. Müller Japanese Mask Collection No.212 £1500-2000
234.    ROLF AND SYLVIA SCHMOLL
handwritten catalogue of the mask netsuke in the Müller collection, each mask with its own page, photographed and described in Mrs. Schmoll's precise hand, in small faux leather lever arch files
(4) £300-400
235.    BARRY DAVIES ORIENTAL ART
exhibition catalogues: Japanese Lacquer, Nambokucho to Zeshin (Dean collection); Netsuke through Three Centuries ; Netsuke and Inro from European Collections; The Netsuke Collection of W.G. Bosshard
(4) £100-150
236.    FOUR ESSENTIAL BOOKS ON NETSUKE
R. Bushell, Netsuke Familiar and Unfamiliar; his Collectors' Netsuke; R. Barker & L. Smith, Netsuke (British Museum); J. Hutt, Japanese Netsuke (V&A Museum)
(4) £80-120
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); 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. £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
242.    F. PERZYŃ?SKY
Japanische Masken Nō? und Kyō?gen, 1925
(2)

In German, an authoritative early book on theatrical masks. £100-150
243.    GEORGE LAZARNICK (Ed.)
MCI, The Meinertzhagen Card Index
(2)

Pristine copy £500-700
244.    U.S. COLLECTIONS AND EXHIBITIONS
V. Atchley & N. Davey, The Virginia Atchley Collection; Edwards & Krebs, Netsuke (Peabody Museum, Salem); M. Welch & S. Chappell, Netsuke (Minneapolis exhibition, 1999); J. Earle, Netsuke, Fantasy and Reality (Boston exhibition, 2001)
(4) £80-120
245.    JOSEPH KURSTIN
Masterworks of Netsuke; Netsuke, Story Carvings of Old Japan, dedicated by the author; Okada & Neill, Real and Imaginery Beings (Kurstin collection); R. Bushell, Netsuke Familiar and Unfamiliar; together with two catalogues of Bernard Hurtig
(6) £50-70
246.    ESKENAZI
exhibition catalogues of netsuke: including the Carré, Veranneman, Lazarnick, Greene collections as well as exhibitions of netsuke
(9)

The first three hard back. £200-300
247.    GEORGE LAZARNICK (Ed.)
Netsuke and Inro Artists and How to Read Their Signatures
(2) £500-700
248.    MITSUHIRO'S TAKARABUKURO
English translation (2001); Eskenazi catalogue of the J. Carré collection; D. Eijer, Kagamibuta; F.M. Jonas, Netsuké
(4) £40-60
249.    BOOKS ON CONTEMPORARY NETSUKE
M. Kinsey, Living Masters of Netsuke; R. Bushell, The Art of Netsuke Carving (Masatoshi); Eskenazi, catalogues of netsuke by M. Birch and M. Webb; D. Wright, George Weil
(6) £100-150
250.    BOOKS ON MUSEUM COLLECTIONS OF NETSUKE
Davey& Tripp, The Garrett Collection; H. Arakawa, The Go Collection of Netsuke; P. Jirka-Schmitz, The World of Netsuke (Werdelmann collection); Edwards & Krebs, Netsuke (Peabody Museum, Salem)
(4)

The first notable for its collection of mask netsuke. £100-150
251.    A SET OF NETSUKE JOURNALS 1973-2013, LARGELY BOUND
Under its 3 different titles, 12 vols. of the Journal of the International Netsuke Collectors' Society collected in 3 wood and leather bindings, vols. 1-25 of the subsequent titles bound 4 years together, including photographic reproduction of the scarce issue 7/2 (1987). Incomplete loose issues vols. 26 (2006) to 33 (2013), and with the loose index for vols. 13-20
(9 bound volumes, 33 loose journals) £1200-1500
252.    M.-T. COULLERY & M.S. NEWSTEAD
Baur Collection, Geneva, Netsuke £200-300
253.    BOOKS ON CONTEMPORARY NETSUKE
R. Bushell, The Arte of Netsuke Carving (Masatoshi); M. Kinsey, Contemporary Netsuke; Princess H. Takamado, Contemporary Netsuke (2003); H. Arakawa, Netsuke, Takumi and Share
(4) £40-60
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) £250-300
255.    V.-F. WEBER
Ko-ji Hô-ten, first edition in original state, with separate volume of corrections and appendices
(3) £300-400
256.    GERMAN BOOKS ON NETSUKE
P. Jirka-Schmitz,The World of Netsuke (Werdelmann collection); also her Netsuke Düsseldorf 1990 exhibition of a German collection); O.H. Noetzel, Yakimono Netsuke; T. Klefisch, Netsuke, Inro u.a. Sagemono (Cologne exhibition 1982-83)
(4) £120-150
257.    FRENCH BOOKS ON NETSUKE
A. Ducros, Netsuke & Sagemono 2, as well as his Paris Edo, catalogue for the 1994 Paris Convention; F. Storno, Le Netzké Errant
(3)

The first and last dedicated by the authors. £80-100
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
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
262.    A PAIR OF PARCEL GILT BRONZE THANG-KA POLE ENDS, TIBET, 19TH CENTURY
of domed form decorated with a dragon in relief, the sockets with stylised tree design, surmounted by a lotus border
11cm long; 11cm diam. £800-1200
263.    A CARVED WOOD PRINTING BLOCK, TIBET, EARLY 20TH CENTURY
depicting a dharmapala (defender of the law) riding on his lion, with fierce expression, billowing robes, holding a standard
35 x 22 x 1.8cm £60-80
264.    A PAINTING DEPICTING THE MULTI-LIMBED FORM OF AVALOKITESVARA, NEPAL, 19TH CENTURY
gouache with gold on paper, the Buddhist deity standing on a prostrate figure of Mahakala on an elaborate gilt throne in a landscape, a further prostrate figure above two tiers of deities within arched niches, framed
43.5 x 33.5cm
£250-350
265.    A THANG-KA DEPICTING VAJRAPANI, TIBET, 18TH CENTURY
pigment on cloth, the fierce red deity depicted on a lotus base, stepping on prostrate corpses and scorpions, surrounded by a flaming aureole, four diminutive figures of dakinis in each corner, framed
63 x 46.5cm within mount £2000-3000
266.    A THANG-KA DEPICTING AN ARHAT, TIBET, 18TH CENTURY
pigment on cloth, the central figure seated in a landscape, surrounded by two figures of lamas above, Mahakala and Dhritarashtra below, further smaller lama figures near the central figure, mantras in Tibetan on the reverse, green silk surround
59 x 39cm excluding mount £200-300
267.    A THANGKA DEPICTING RATNASAMBHAVA, TIBET, 20TH CENTURY
pigment with gold on cloth, the Buddha seated on an elaborate throne supported by a pair of white lions with richly upholstered back in a landscape festooned with lotuses, a triratna emblem above, mantras in lantsa and Tibetan script on the reverse
66 x 47cm £120-150
268.    A COLLECTION OF TIBETAN MINIATURE PAINTINGS (TSAKLIS), MOSTLY 19TH CENTURY
comprising sixteen square paintings on cloth and four others on paper, depicting various tantric and Buddhist deities and emblems, most inscribed on the reverse in cursive Tibetan script
10.5 x 7.7cm
(20)

Provenance: Private Collection, London
£150-250
269.    A SMALL BRONZE FIGURE OF LOKESVARA, KASHMIR, CIRCA 6TH/7TH CENTURY
standing with his raised right had in abhaya mudra, his left holding the stem of a lotus which flowers at his shoulder, wearing three leaf crown and flowing headdress, projection for halo attachment (?) at the back, mounted
11.5cm high

Provenance: Private collection, London. Acquired Adrian Maynard, London, mid-1980s.
£1800-2200
270.    A BRASS FIGURE OF DURGA MAHISASURAMARDINI, WESTERN DECCAN, CIRCA 18TH CENTURY
on tiered base, the eight armed goddess depicted slaying the buffalo demon, grasping its head and wielding her trident in her primary hands, her other hands holding her various attributes
12.5cm high

For a related figure of Durga Mahisasuramardini from Maharashtra in the Museum of Folk, Tribal and Neglected Art, see Subashini Aryan, Unknown Masterpieces of Indian Folk and Tribal Art, Gurgaon 2005, p.28, no.24.
£60-80
271.    A RARE PALLAVA BRONZE FIGURE OF SIVA, TAMIL NADU, SOUTH INDIA, 7TH/8TH CENTURY
standing on a domed base with projections for prabha (now missing), the four-armed deity holding various attributes, with earrings, pointed headdress and flaring hair forming a triangle
15.5cm high

Provenance: Private collection, London. Acquired in New York in the mid-1970s

The tall slender figure and shape of the crown suggest an early date for this image of Siva. The stylised triangular shape of the radiating crown from the god's head is particularly characteristic of his fierce form, Bhairava, although in this case the features are not distinct. £1000-1500
272.    FOUR SMALL BRONZE IMAGES, INDIA, 19TH CENTURY
depicting Rama, Manasa, Hanuman and Radha respectively
13cm high and smaller £250-350
273.    A BRONZE FIGURE OF DURGA SLAYING THE BUFFALO DEMON, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY
the eight armed goddess stepping on the demon and pulling his hair with her primary left hand, stabbing him with her trident in her right, her remaining hands holding various weapons and attributes, on raised square base
14cm high £150-250
274.    FOUR COPPER-GILT PLAQUES, PUNJAB, 19TH CENTURY
with convex repousse relief decoration, probably from a screen, comprising two larger and one smaller convex roundels depicting a 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
275.    KHANDOBA AND HIS HORSE, WESTERN DECCAN, 18TH/19TH CENTURY
bronze, the two figures from different original images, the god with legs apart, with long hair and tall headdress, holding a sword (now missing) in his right hand, the horse standing on a raised rectangular base, wearing saddle and trappings
15cm high (Khandoba); 19cm high (horse) £150-250
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
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 Siva decided to spare him his severed head could not be found so the head of a goat was substituted instead.
£500-700
278.    A BRONZE FIGURE OF VISHNU ON GARUDA, TAMIL NADU, SOUTH INDIA, 19TH CENTURY
cast in two sections, the four-armed Hindu god standing on a lotus, his primary hands in varada mudra and resting on his gada (now missing), the platform carried by the crouching winged figure of his vehicle, Garuda, his hands outstretched
23cm high £700-900
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
280.    A SMALL PALA STYLE BRASS FIGURE OF PADMAPANI, EASTERN INDIA OR TIBET, 11TH/12TH CENTURY
standing in tribhanga on a lotus base, wearing three-leaf crown
6.5cm high

Provenance: Private collection, London £400-600
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
282.    A JAIN BRONZE SHRINE DEPICTING ADINATHA, THE FIRST TIRTHANKARA, GUJARAT, WESTERN INDIA, DATED SAMVAT 1519/1463 AD
inlaid with silver and copper, the central figure seated in padmasana on a lion throne, flanked by a pair of standing jinas and chauri bearers, a further pair of seated jinas above, sheltered by a parasol supported by a pair of elephants, the arched prabha surmounted by a water-pot, dedicatory devanagari inscription and date at the back
18.5cm high

For a similar shrine depicting Chandraprabha sold in these rooms, see lot 54, 25 May 2017. £1500-2000
283.    A VIRABHADRA PLAQUE, WESTERN DECCAN, 19TH CENTURY
copper repousse relief, of rectangular form, depicting the four-armed form of Siva flanked by Daksha and Sati,
19 x 12cm

See lot 277 for a note about the story of Virabhadra. £120-150
284.    TWO BRONZE FIGURES OF KRISHNA, BENGAL, 19TH CENTURY OR EARLIER
the larger in the form of Venugopala, standing with ankles crossed, playing the flute, the other as Balakrishna, the infant deity crawling on the ground
19cm (excluding base) and smaller
(2)

Provenance: Private Collection, London
£100-150
285.    A BRASS SHRINE, SOUTH INDIA, 19TH CENTURY
in two sections, probably made for a Vishnu trio, the platform with three spaces for deities (now missing), the prabha in the form of a makaratorana framing a tree, with five-headed cobra and kirtimukha above
23cm

Provenance: Private Collection, London
£80-120
286.    A LARGE BRONZE FIGURE OF RAMA, SOUTH INDIA, 16TH/17TH CENTURY
standing in tribhanga on a circular lotus base resting on a tapered square plinth with carrying loops, his left hand raised, his right at his side, originally carrying his bow (now missing), his quiver hanging from his right shoulder, inscription in telugu at the bottom
39cm high

There is a smaller and slightly earlier depiction of the same subject in the Ashmolean Museum, Oxford (EA2013.98.a) £2500-3500
287.    A BRONZE FIGURE OF KRISHNA VENUGOPALA, BENGAL, EASTERN INDIA, CIRCA 18TH CENTURY
the youthful deity standing with ankles crossed, playing the flute (now missing), wearing large beaded earrings and tall tiered headdress, later wood stand
27cm high

For a closely related Krishna figure in the Victoria and Albert Museum, see IS 81 1960
£1800-2200
288.    A BRONZE FIGURE OF NANDI BULL, WESTERN DECCAN, CIRCA 17TH CENTURY
the vehicle of Siva standing on a separately cast raised plinth, wearing necklaces blanket and trappings, a lingam pendant hanging from his neck
25cm high £1000-1500
289.    A BRONZE FIGURE OF NANDI, WESTERN DECCAN, INDIA, CIRCA 18TH CENTURY
crouching on raised rectangular cushion base, the bull vehicle of Siva wearing a lingam hanging from his neck, with pointed horns and small hump, a loop attachment at the back for cobra canopy (now missing)
10cm high £120-180
290.    A SMALL BRONZE FIGURE OF A LION, PROBABLY DECCAN, SOUTHERN INDIA, 16TH/17TH CENTURY
originally from a flintstriker
5 x 5 x 1.5cm

Provenance: Private Collection, London
£80-120
291.    A BRASS FIGURE OF DIPALAKSHMI, SOUTH INDIA, 19TH CENTURY
the goddess standing in tribhanga on a raised lotus base, her hands outstretched, wearing kuchhaband, disc earrings and long ponytail, with unrelated brass bowl
27.5cm high £250-350
292.    A SCHIST STELE DEPICTING SIVA VINADHARA, WESTERN DECCAN, 10TH/11TH CENTURY
the four-armed deity playing the vina, his upper hands holding trisula and damaru, a diminutive figure of his vehicle the bull Nandi in relief below
39cm high

Provenance: Private collection, Germany, acquired 1960-66 in India by the vendor while working in development assistance.
£400-600
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
294.    A KUSHAN RED SANDSTONE SIVA LINGAM, PROBABLY KAUSAMBI, NORTHERN INDIA, 2ND/3RD CENTURY
of rounded columnar form, flattened at the back, carved with a face of Siva with third eye on his forehead, smiling expression, wearing earrings and hair gathered in a topknot, mounted
23.5cm high

Provenance: Private collection, London. Acquired in New York in the mid-1970s £2000-3000
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
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
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

Property from a deceased estate, sold by order of the executors; acquired Sotheby's London, 13 June 1988, lot 279.

For a related fragment in the Dayton Art Institute, Ohio, carved on the front with a salabhanjika figure, see S.Czuma, Kushan Sculpture: Images from Early India, Cleveland 1985, no.32, p.96. £700-900
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.    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
300.    A DVARAVATI TERRACOTTA HEAD OF BUDDHA, THAILAND, 7TH/8TH CENTURY
with tightly curled hair the ears with elongated lobes, the face with full lips, mounted on stand
14.5cm high

Provenance: Private Collection, London £500-800
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
302.    A BRONZE FIGURE OF BUDDHA, LAOS, 16TH/17TH CENTURY
seated in sattvasana on a raised throne with pierce leafy decoration, his hands in bhumisparsa and dhyana mudra, with elongated slender face and tall flame usnisa, traces of gilt
37cm high £700-900
303.    AN AYUTHIA BRONZE FIGURE OF BUDDHA, THAILAND, 16TH/17TH CENTURY
seated in sattvasana, his hands in dhyana mudra, with elongated earlobes
13.5cm high £300-400
304.    A BLACK-LACQUERED WOOD FIGURE OF BUDDHA, BURMA, 18TH CENTURY
the crowned figure seated in padmasana on a raised pedestal, his hands in bhumisparsa and dhyana mudra, wearing crown and elaborate robes, the pedestal with stylised foliate motifs, the decoration in low relief
47cm high
£400-600
305.    A BRONZE FIGURE OF BUDDHA, BURMA, 17TH/18TH CENTURY
seated in sattvasana on a raised pierced throne, his hands in bhumisparsa and dhyana mudra, with elongated earlobes and tall bud shaped usnisa, twin loops for cobra canopy (now missing) at the back
15cm high £400-600
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
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
308.    A SOLID CAST BRONZE FIGURE OF BUDAI, LAOS OR THAILAND, PROBABLY CIRCA 18TH CENTURY
seated in sattvasana with hands clasping his ample waist, with smiling expression and long drooping ears, mounted
9cm high

Provenance: Private Collection, London
£300-500
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.    **THE HOLY FAMILY, QAJAR, PERSIA, LATE 18TH CENTURY
gouache with gold on paper, laid on an album page, Mary, the infant Jesus and Joseph depicted by the window of a European palace, the scene surrounded by five concentric intricately painted floral and geometric borders, stamped on the reverse with title Nizam al-Mulk and dated AH 1204 or 1206 (1790 or 1792 AD)
12 x 7cm (image); 21.5 x 13.5cm

Provenance: European private collection £1000-1500
311.    A MUGHAL CALLIGRAPHIC FOLIO, NORTHERN INDIA, 17TH CENTURY
bearing a signature Fakir Abd ur Rashid gouache with gold on paper, framed
16.2 x 9cm main panel

The signature may indicate that this is the work of the Persian scribe Abd al-Rashid al-Daylami who worked at the court of Shah Jahan £500-700
312.    **A DOUBLE PAGE OF CALLIGRAPHY, QAJAR, DATED MONTH OF RAJAB (JANUARY) AH 1278/1861 AD
ink on paper, laid on an album page, each inscribed 'Shams al-[?]'
45.5 x 30cm (folio)

Provenance: Private European collection £800-1200
313.    **A PAIR OF QAJAR CALLIGRAPHIC FOLIOS, PERSIA, BOTH DATED AH 1298/1880-1 AD
black ink and gold on paper, containing dedicatory inscriptions to Nasiruddin Shah Qajar (r.1848-1896), framed
33 x 21cm each (main panel)

Provenance: Private European Collection £1500-2000
314.    A MINIATURE QUR'AN, OTTOMAN EMPIRE, 19TH CENTURY
red ink on octagonal pages, copied by Muhammad bin Salim bin Muhammad al-Qadir(?) [...], three opening pages, red-leather binding and box with gold decoration, later leather outer box
3 x 3 x 1cm approximately

Provenance: Private European collection £400-600
315.    A LEATHER BOUND EDITION OF THE QUR'AN, KASHMIR, 19TH CENTURY
ink with gouache and gold, with illuminated end pages, each folio with seventeen lines of script in single column, replaced (?) pages in a later hand at either end, embossed russet leather binding,
22 x 11.5cm (folios) £300-500
316.    A QUR'AN SECTION, CHINA, 17TH/18TH CENTURY
five lines of sini script to the page, comprising Juz 12 of the Qur'an, opening and closing double pages with illuminations, sixty two pages, each leaf of triple layered thin paper
23 x 17.3cm

Provenance: Private European collection £600-800
317.    A DIWAN OF PERSIAN POETRY, SAFAVID, PERSIA, DATED AH 1013/1604 AD
two columns of nastaliq script to the page, polychrome and gold illuminations mostly repainted in the Qajar period, eighty folios, embossed 19th century red leather binding
24.2 x 16cm (folios)

Provenance: Private European collection

£800-1200
318.    A QAJAR BOOK OF PRAYERS, PERSIA, 19TH CENTURY
black ink with polychrome and gold illumination, significant words in blue, red and gold, a single column of naksh script to the page, embossed red leather binding
20 x 13cm (folios)

Provenance: Private European collection £800-1200
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.    **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
323.    **A QAJAR LACQUER PEN BOX, PERSIA, 19TH CENTURY
of cigar-shaped form, the inner tray sliding out from cover, the convex top and flared sides painted with princely figures and rural characters in a verdant landscape, the interior painted black, the inner and outer underside painted with scrolling foliage on bright red ground
4 x 23 x 4cm

Provenance: European private collection £1000-1500
324.    A QAJAR LACQUER PEN BOX, PERSIA, 19TH CENTURY
of cigar shaped form, painted with a design of roses in black on ochre ground, with removable sliding tray
22cm long £400-600
325.    **A QAJAR LACQUER PEN BOX, PERSIA, DATED AH1260/1844 AD
of cigar-shaped form, the inner tray sliding out from cover, the convex top and flared sides painted with foliate medallions each containing a portrait of a prince, princess or elder amidst landscape with hunting scenes, the top centred by a shaped cartouche painted with a priest before a church, the interior painted black, the inner and outer underside painted with scrolling foliage on bright red ground, inscribed 'Ya Shah Najaf 1260' [?]
4.5 x 23.5 x 4cm

Provenance: European private collection

Shah Najaf is one of the best known lacquer artists of the Qajar period. His name was Najaf Ali or Aga Najaf but he signed his work Ya Shah-i Najaf ('O King of Najaf'). He often depicted Christian scenes in his painting. £800-1200
326.    **A QAJAR LACQUER BOX OF JEWELLER'S SCALES, PERSIA, 19TH CENTURY
of rectangular form, with hinged lid and catch, the interior with shaped compartments containing scales and weights, richly painted inside and out with flowers and birds, the lid with border of calligraphic cartouches,
5 x 25 x 15cm

Provenance: Private European collection £1500-2000
327.    **A QAJAR LACQUER MIRROR CASE, PERSIA, 19TH CENTURY
of rectangular form, with hinged door opening to reveal glass (now missing), painted with three scenes depicting a princess, the two outer panels showing her with a baby, attendants and an elder, with brass mounts, the interior inscribed No.84 Zeman
21 x 14.5 x 1.5cm £800-1200
328.    **A QAJAR LACQUER MIRROR CASE, PERSIA, 19TH CENTURY
of rectangular form, with removable panel covering the glass, the panel and reverse painted with three scenes depicting a princess in various settings,
25 x17.5 x 1cm

Provenance: Private European collection £600-800
329.    **FOUR FOLIOS FROM A BOOK OF PERSIAN POETRY PROBABLY BY SA'DI, QAJAR, PERSIA, 19TH CENTURY
gouache with ink on paper, mounted, each with two columns of shikasteh script in rectangular illuminated panel, one in the form of a tent, another a domed pavilion, 16.5 x 10cm approximately each (folio)

Provenance: Private European collection £1000-1500
330.    **FOUR QAJAR PAINTINGS OF FEMALE MUSICIANS, PERSIA, 19TH CENTURY
gouache on paper, each woman seated on a rug, playing a different instrument
22 x 18cm approximately each

Provenance: European private collection
£1200-1500
331.    **A FLOWER VASE, QAJAR, PERSIA, 19TH CENTURY
gouache with gold on paper, laid on an album page, the fluted vessel filled with a profusion of flowers with birds and butterflies, indistinct stamp on the reverse includes the name Jafar Hasan Quli (?)
26 x 17cm (image)

Provenance: European private collection £700-900
332.    **A PAIR OF WATERCOLOURS DEPICTING THE ROSE AND NIGHTINGALE (GUL-O-BULBUL), QAJAR, PERSIA, 19TH CENTURY
gouache with ink on paper, gilt edged border, framed
16.5 x 9cm approximately each (image)

Provenance: European private collection £1000-1500
333.    **PERSIAN KINGS AND PRINCES, QAJAR, PERSIA, 19TH CENTURY
four gouache portraits on paper, laid on card, one depicting Aga Muhammad Khan Qajar (r.1789-1797) seated on a rug, one other depicted seated on a rug, the two others standing
26 x 14.5cm

Provenance: European private collection
£2000-3000
334.    **THREE QAJAR PAINTINGS OF FLOWERING TREES, PERSIA, DATED AH 1252, 1254, 1277/1836, 1838, 1860 AD
watercolour on paper, laid on album pages, two with birds and butterflies around the branches, each inscribed 'Lutfali'
16 x 10.5 and smaller (image)

Provenance: European private collection £1800-2200
335.    **TWO PORTRAITS OF MAIDENS, LATE ZAND PERIOD, PERSIA, ONE DATED AH 1191/1777/8 AD
ink and wash on paper, the dated painting inscribed "Ya Sadeq al-Wa'd" (a reference to the late Zandi/early Qajar artist Muhammad Sadeq), laid on later inscribed album pages with gold and polychrome floral painted borders, mounted and framed
17 x 11.5; 14.5 x 8.5cm (image)

Provenance: Private European collection; Christie's London, lot 101, 26.4.1994.

The inscription on the album pages state that they were assembled for the governor of Khorasan and Sistan and custodian of the Sacred Shrine at Mashhad without naming him, and that the borders were executed by Ahmad Mozahib-Bashi in 1311 AH/1893-4 AD. £800-1200
336.    **A LION ATTACKING A STAG, QAJAR, PERSIA, FIRST HALF 19TH CENTURY
ink drawing on paper, laid on an album page, mounted
15.5 x 23.5cm (image); 22 x 30cm folio

Provenance: European private collection
£700-900
337.    **A PRINCELY COUPLE WITH ATTENDANT, QAJAR, PERSIA, DATED AH 1254/1838 AD
inscribed Aliquli, watercolour on paper, framed
16.5 x 21cm

Provenance: Private European collection £800-1200
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
339.    **TWO DRAWINGS OF SEATED MALE FIGURES, QAJAR, PERSIA, 19TH CENTURY
ink and gold with touches of colour on paper, laid on album pages, depicting an older man and a youth respectively, each seated amongst flowers, scudding clouds above, the inner and outer borders profusely painted in gold with plants and wild animals
9 x 5.5cm approximately each (main image); 26.5 x 17cm (folio)

Provenance: European private collection
£800-1200
340.    A SCENE FROM THE LIFE OF KRISHNA, PROBABLY MEWAR, RAJASTHAN, FIRST HALF 19TH CENTURY
ink sketch on paper with pigment and gold, depicting Krishna as an infant and as a young man with Radha, in a large palace courtyard with a herd of cattle, a forest beyond the walls
25 x 32.5cm £400-600
341.    TWO LEAVES OF INDIAN DRAWINGS, RAJASTHAN, EARLY 19TH CENTURY
ink on paper, one depicting two drunken girls under a tree, Saraswati on her peacock on the reverse surrounded by studies of floral bouquets, the other laid on card, with studies of horses, soldiers and a camel and rider
21 x 15cm; 22 x 32cm £200-300
342.    TIGERS HUNTING DEER IN A FOREST, BUNDI OR KOTAH, INDIA, 19TH CENTURY OR LATER
black ink with russet pigment on three attached sections of paper, framed
46 x 66.5cm £250-350
343.    A PORTRAIT OF A RULER, JODHPUR, RAJASTHAN, INDIA, EARLY 19TH CENTURY
gouache with silver and gold on paper, the male figure wearing yellow coat with saffron pathka and turban, carrying two swords, a shield and dagger,
29.5 x 18.5cm £800-1200
344.    **AN INDIAN WOMAN, QAJAR, PERSIA, 19TH CENTURY
gouache with gold on paper, laid on an album page, the woman seated on a charpoy in a landscape, with three concentric floral borders, the outer on salmon pink ground, depicting hyacinths, poppies and narcissi
29.5 x 19cm (folio)

Provenance: European private collection
£700-1000
345.    PORTRAIT OF A RULER ON HORSEBACK, NAGAUR OR JODHPUR, RAJASTHAN, CIRCA 1800
gouache with gold on paper, the young man depicted on a large rearing horse, accompanied by four male attendants in a stylised landscape with trees in the background, plain red border
28 x 19cm £800-1200
346.    A PORTRAIT OF A RULER, PROBABLY KOTAH, RAJASTHAN, INDIA, FIRST HALF 19TH CENTURY
gouache with gold on paper, the princely figure seated on a rug with cushions on a terrace, holding a flower
19 x 12cm £700-900
347.    THREE MINIATURE PAINTINGS, PROBABLY FROM A RAGAMALA SERIES, RAJASTHAN, 19TH CENTURY
gouache with gold and silver on paper, depicting a prince leading a maiden to his bedchamber, a maiden dancing outside her bedchamber, and Brahma with a female devotee, each with a panel of devanagari script on ochre ground at the top, framed
21.5 x 15cm approximately each

Property from a deceased estate, sold by order of the executors.
£400-600
348.    MYTHICAL BATTLE SCENES, PROBABLY BIKANER, INDIA, 18TH CENTURY
gouache with gold on paper, the double folio showing scenes on both sides, probably from the Bhagavad Gita
18 x 23cm (folio) £250-350
349.    A GATHERING WITH KRISHNA, RADHA AND BALARAMA, PROBABLY BIKANER, INDIA, 18TH CENTURY
gouache with gold on paper, the eleven figures depicted seated and engaged in conversation, ink inscription in nastaliq on the reverse
18.5 x 12cm (folio)
£180-220
350.    TWO SCENES WITH KRISHNA, PROBABLY BIKANER, INDIA, 18TH CENTURY
gouache with gold on paper, the double folio illustrated on both sides with Krishna and his consort outside a palace, surrounded by their followers, inscription on one side in Islamic script
17.5 x 22cm £350-450
351.    SIVA SEATED ON A TERRACE, RAJASTHAN, PROBABLY JAIPUR, 19TH CENTURY
gouache with gold on card, set into separate border mount, the youthful deity depicted seated on a carpet wearing a floral turban, his trident by his side, a few details enhanced with gesso(?) relief,
24 x 15cm (image)
£700-900
352.    THE SIKH RULER RANJIT SINGH CONVERSING WITH A NOBLEMAN, PUNJAB, MID-19TH CENTURY
ink on paper with touches of watercolour, the subject seated on his characteristic throne with footstool, wearing jewellery and turban, mounted
26.5 x 24cm (leaf) £600-800
353.    INDIAN CHARACTERS, COMPANY SCHOOL, PATNA, MID-19TH CENTURY
four watercolours with gold on blue-tinted English paper, comprising three women: a fruit-seller, a flour seller(?) and a woman wearing shawl, and a man making a necklace(?), each mounted
18 x 11.5cm approximately each £300-500
354.    EIGHT COMPANY SCHOOL PAINTINGS OF INDIAN CHARACTERS, PROBABLY SOUTH INDIA, FIRST HALF 19TH CENTURY
watercolour on English paper, each labelled in English, comprising 'a Pewter Turner', 'a Maker of Earthen Potts [sic]', 'a Dooly Bearers [sic]', 'a Hobleboble or Pipe Maker', 'Making Glass Rings for the Wrists', 'a Bannian or Seller of Drye Goods', 'a Man 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
355.    TWO COMPANY SCHOOL PAINTINGS OF INDIAN TRADES, PROBABLY PATNA, 19TH CENTURY
watercolour on English paper, depicting a huqqa seller and a butcher, mounted
18 x 11cm approximately each £250-350
356.    A MUSLIM AT PRAYER, COMPANY SCHOOL, PROBABLY LUCKNOW, FIRST HALF 19TH CENTURY
watercolour on watermarked Whatman paper, mounted
13.2 x 12.5cm £100-150
357.    FOUR MISCELLANEOUS INDIAN PAINTINGS, 19TH-20TH CENTURIES
gouache on paper, comprising Krishna as herdsman, playing the flute; an oval portrait of King Edward VII and two circular paintings, one depicting the Jagannath trio, the other a jina on lotus medallion
22.5 x 25cm and smaller
(4)

Provenance: Private Collection, London
£80-120
358.    INDIAN CHARACTERS, COMPANY SCHOOL, PATNA, 19TH CENTURY
two watercolours on English paper, one laid on an additional sheet of brown paper, depicting a fruit picker and a weaver respectively, mounted
16.5 x 12.5cm; 14.3 x 9.5cm (images) £120-150
359.    TWO OFFICIAL'S SEALS, MUGHAL INDIA, DATED AH 1240(?)/A.D. 1824-5; AH 1177/A.D. 1763-4
copper and brass, each of conical form, the earlier with faceted sides, loop attachment at the top, the stamp plate reverse inscribed in nastaliq script
4cm, 4.5cm high

The inscriptions read: 'mohr-e niyabat-e karim al-din khadem-e shar' qadi al-mu'tasim bi-fadl allah al-matin 1177 sana 4'; "The seal of deputyship of Karim al-Din, servant of the law, the judge who holds steadfast onto the strong favour of God, 1177 (regnal) year 4". The other reads 'mohr-e niyabat-e salah al-din khadim al-shar' qadi' al-mu'tasim bi-habl allah al-matin 1240 (?)'; "The seal of deputyship of Salah al-Din, servant of the law, the judge who holds steadfast onto the strong rope of God 1240 (?)". £250-350
360.    **A QAJAR IRON PENBOX, PERSIA, 19TH CENTURY
of long oval form, the gold damascened decoration, with drinking, foliate and hunting scenes, silver damascened foliate decoration underneath, with removable sliding tray
3 x 21 x 3cm

Provenance: European private collection £700-1000
361.    **A LARGE SAFAVID TINNED COPPER BOWL, PERSIA, CIRCA 17TH CENTURY
of shallow form, with raised concave neck, the body engraved with medallions containing animals and arabesque motifs, a band of pious shi'ite inscriptions in nastaliq on the neck with scrolling foliate borders above and below
15cm high; 35cm max diam.

Provenance: Private European collection
£800-1200
362.    **A QAJAR ENGRAVED BRASS TABLE TOP, PERSIA, 19TH CENTURY
of circular form, the radiating design comprising a series of cartouches containing labelled portraits of Persian kings and floral motifs amidst scrolling floral arabesques, pelmet rim underneath with engraved and pierced foliate decoration
8cm high; 52cm diam.

Provenance: Private European collection £600-900
363.    A WHITE METAL BOWL, MALAYSIA, 19TH CENTURY
of shallow form, decorated with repousse registers of geometrical, foliate and lozenge designs, a stylised floral roundel at the centre, on three hemispherical feet
8cm high; 24cm diam.

There are several related vessels in the Victoria and Albert Museum, London. For example IS.259&A-1950 £120-150
364.    **A SILVER-GILT CUP, OTTOMAN EMPIRE, 17TH/18TH CENTURY
with hemispherical bowl on flared foot, a line of Georgian script engraved on the outer rim, a register of floral cypress motifs below, the interior with raised floral boss
6.5cm high; 7.8cm diam.

Provenance: European private collection. Acquired Sotheby's, London, 30 April 1998, lot 21.

The inscription in Georgian has been translated: "From brother Shemis to lady/sister Astandris". The form of this vessel is based on Yuan prototypes; for two ceramic coffee cups from Kütahya in the Sadberk Hanim Museum, Istanbul, see Hülya Bilgi and Idil Zanbak Vermeersch, Kütahya: Sadberk Hanim Museum Kütahya Tiles and Ceramics Collection, Istanbul 2018, nos.57 & 58, p.78. £800-1200
365.    A COLLECTION OF METALWORK, INDIA AND TIBET, 17TH CENTURY AND LATER
comprising two Deccani bronze tripod stands, probably for huqqas, a Sinhalese brass box with silver inlay, a small brass oil lamp, a boteh shaped huqqa, a Tibetan copper gilt ritual vase, an Islamic brass pestle and a brass puja pot,
9 x 18 x 7.5cm (box) and smaller
(9)
Provenance: Private Collection, London
£80-120
366.    A KOFTGARI CIGARETTE BOX, PUNJAB, INDIA (NOW PAKISTAN), 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
367.    A TINNED COPPER BOWL, DECCAN OR PERSIA, 17TH CENTURY
on flared footring, with everted rim, engraved with geometrical and arabesque motifs under a line of nastaliq
9cm high, 15.4cm diameter £250-350
368.    A SAFAVID TINNED COPPER BOWL, PERSIA, 17TH CENTURY
engraved with two forms of script, the central medallion with alternating cypress and fish motifs
6.5cm high, 18.4cm diameter £600-800
369.    A KHORASSAN BRONZE EWER, EASTERN PERSIA, 13TH CENTURY
of pear-shaped form, on splay foot, with finial in the form of an oil lamp, with hinged lid, the sides with engraved decoration, the underside with recessed rosette
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
370.    A SMALL COPPER BOWL, DECCAN, SOUTHERN INDIA, CIRCA 17TH CENTURY
of shallow form, a register of nastaliq script around the outer rim, traces of tinning
5cm high; 16cm max diam.

This lot is sold to benefit the Neem Tree Trust (UK Registered Charity No. 1099077) £300-400
371.    A SINHALESE BRONZE LIMEBOX, SRI LANKA, 19TH CENTURY
of circular form, with hinged opening, decorated with elaborate scrolling decoration, the spoon attached with a chain
16.5cm max diam. of box

There are several related examples in the Victoria and Albert Museum (eg.
IS.234-1897) £150-250
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
373.    **A KOFTGARI INKWELL, PUNJAB, INDIA, LATE 19TH CENTURY
iron with gold inlaid stylised foliate decoration, standing on twin horn-shaped legs with hinged prop, with globe shaped rotating reservoir, ratchet pen rest and candle holder on top,
18.5cm high

Provenance: European private collection £800-1200
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

Provenance: Private European collection £700-1000
375.    A PAIR OF BRONZE ANKLETS, CENTRAL INDIA, CIRCA 19TH CENTURY
each in two hinged sections, with lozenge and beadwork relief decoration
16, 15cm diam. £200-300
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
379.    FOUR SMALL BETEL BOXES, BURMA, 19TH, 20TH CENTURIES
lacquered split bamboo with engraved decoration, two with linear chainlink design on black and green ground, another with two inner trays and geometrical design on the exterior, the other decorated with mythical figures and animals
6cm high; 5.3cm diam. and smaller £100-150
380.    ˜AN EBONY MODEL OF A KANDYAN ROYAL COUPLE, SRI LANKA, EARLY 20TH CENTURY
both wearing traditional headdress, the male with pot belly and large hat, the figures standing on rectangular base inscribed 'D.D.Wimaralatna' underneath,
20cm high £200-300
381.    A PAINTED WOOD FIGURE OF A MONKEY, POSSIBLY HANUMAN, INDIA, 19TH CENTURY
seated on a rectangular base, holding a fruit in his right hand
17cm including base £180-220
382.    A GILDED AND LACQUERED WOOD FIGURE OF GARUDA, THAILAND, 19TH CENTURY
probably a leg from a piece of furniture, with beak, wings and claw feet, his arms raised as support, the eyes and mouth with traces of red pigment
23cm high £180-220
383.    TWO SMALL BETEL BOXES, BURMA, 20TH CENTURY
of cylindrical form, each with slip over cover and convex top, lacquered split bamboo, the red ground painted black and engraved, the larger with figural and vegetal decoration, the smaller with abstract linear design and two removable trays
15cm high; 16.5cm diam. and smaller £250-350
384.    A BETEL BOX, BURMA, 20TH CENTURY
lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with black and green engraved decoration and inscriptions in burmese, the interior with two removable trays
14cm high; 16.cm diam. £180-220
385.    A BETEL BOX, BURMA, 20TH CENTURY
lacquered split bamboo, of cylindrical form, with slip over cover, the red ground with yellow painted lattice design, the interior with two removable trays, inscription in burmese on underside
11.5cm high; 12.7cm diam. £120-150
386.    A COSMETIC BOX (BI-IT), BURMA, MID-19TH CENTURY
of cylindrical form, lacquered split bamboo, with slip over cover, the red ground polychrome-painted and engraved with dense stylised figural and vegetal decoration
24cm high; 27cm diam.

For a related example of a bi-it in the Victoria and Albert Museum, London, see inv. no. IM.199-1927 £250-350
387.    LARGE SHAN BETEL BOX, BURMA, FIRST HALF 19TH CENTURY
lacquered split bamboo, of cylindrical form, with engraved figural and linear decoration, highlighted in silver and gold, in four sections
24cm high, 26cm diameter £250-350
388.    ˜A SADELI-WORK BOX, BOMBAY, INDIA, 19TH CENTURY
sandalwood and other woods, with ivory veneered and micromosaic overlaid decoration, of sarcophagus form, the interior with mirror, removable tray with lidded compartments and velvet lining
11 x 32 x 23cm £120-150
389.    A LARGE BOWL, BURMA, CIRCA 1900
lacquered split bamboo, the exterior painted and engraved with profuse polychrome stylised foliate and linear designs, the interior in plain red
15.5cm high; 28cm diam £100-150
390.    A RICE WINNOWING BOWL, BURMA, 20TH CENTURY
red lacquered woven bamboo of wide circular form with raised edge and recessed central roundel, the underneath with eight small supports set with glazed ceramic fragments
61cm diameter, 7cm high £120-150
391.    A LACQUER BOWL, BURMA, 20TH CENTURY
lacquered split bamboo, with black fluted sides and red interior, standing on rim foot
16.5cm high, 21cm diameter £120-150
392.    A JAPANESE MASK AND THREE JAVANESE KRIS HOLDERS, 19TH/20TH CENTURY
the former a noh or kyogen mask lacquered composition, the latter three of polychrome-painted carved wood, in the form of mythical beasts,
28.5cm (mask); 63cm and smaller (kris holders) £100-150
393.    A QAJAR STAR TILE, PROBABLY TEHRAN, LATE 19TH CENTURY
underglaze-painted fritware, with eight points and bevelled border edges with scrolling leafy tendril design, the main panel with a picture of a young prince running from a palace
27 x 27cm approximately
£120-150
394.    A QAJAR RELIEF TILE DEPICTING A YOUNG PRINCE ON HORSEBACK, PROBABLY TEHRAN, PERSIA, LATE 19TH CENTURY
underglaze painted fritware, the subject depicted in verdant landscape, a palace and hills in the background, scrolling floral border above, framed
26 x 19cm

£150-200
395.    A KASHAN LUSTRE JUG, PERSIA, 13TH/14TH CENTURY
glazed fritware, the body of flattened spherical form, on rim foot, sides decorated with star shaped figural and arabesque panels in relief, the cylindrical neck similarly decorated, the interior with a line of kufic script
23cm high

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.

A closely-related example was recently offered at Sotheby's London, 20 October 2016, lot 226 £2000-3000
396.    TWO BAMIYAN BOWLS, EASTERN PERSIA OR AFGHANISTAN, 12TH CENTURY
turquoise glaze fritware, one with straight sides and sgraffito interior, the other with underglaze painted interior
8cm high approximately each; 17.5; 18cm diam.
(2)

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.
£300-400
397.    A KASHAN LUSTRE BOWL, PERSIA, CIRCA 13TH CENTURY
fritware, of shallow concave form on small rim foot, painted with a seated figure amongst scrolling arabesques,
4.5cm high; 19.5cm diam.

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.
£400-600
398.    A GLAZED POTTERY BOWL, ILKHANID PERIOD, PERSIA, CIRCA 1300
fritware, underglaze painted in black and cobalt blue with radiating lotus design on the exterior, the interior with radiating panels filled with various abstract designs around a central medallion, standing on rim foot, 9cm high; 20cm diameter; together with two Nishapur bowls, Persia, 10th/11th century, slip-painted earthenware, each on flat turned foot, one with splash painted and sgraffito stylised foliate design, the other pseudo-kufic decoration, 8cm high; 17.5cm diam. and smaller
(3)

Provenance: Private Collection, London. Acquired Andre Cohen, Paris, 1950.

See a related bowl in the Ashmolean Museum, Oxford, No.EA1978.1638
£600-800
399.    A KASHAN TURQUOISE GLAZED ROSEWATER SPRINKLER, PERSIA, 13TH/14TH CENTURY
glazed fritware, the fluted sides with arcading on the shoulder, the top with pierced sprinkler finial
23.2cm high

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.
£1000-1500
400.    A RAQQA LUSTRE JUG, SYRIA, 12TH/13TH CENTURY
of pear-shaped form, on small splayed foot, the sides decorated with a row of calligraphic rounds, two bands of calligraphy above, the upper underglaze painted in cobalt blue
15.3cm high

Provenance: Private Collection, London. Acquired André Cohen, Paris, 1950.
£400-600
401.    **A SAFAVID LUSTRE BOWL, PERSIA, 17TH CENTURY
glazed fritware, the interior with cypress and lotus tondo, surrounded by a radiating design of lotuses within arched niches, the exterior painted on lavender ground with repeated quatrefoil medallions interspersed with lotuses
7.5cm high; 17.5cm diam.

Provenance: Private European collection £1500-2000
402.    **A SAFAVID LAVENDER GROUND LUSTRE BOTTLE, PERSIA, 17TH CENTURY
glazed fritwear, of bulbous form, with rim foot and flared neck, the body decorated with registers of scrolling arabesques and interlocking flowering plants
12.5cm high

Provenance: European private collection
£600-800
403.    **A SMALL SAFAVID LUSTRE BOTTLE, PERSIA, 17TH CENTURY
glazed fritware, of bulbous form, with rim foot and flared neck, the sides with leaf and flower decoration,
10cm high

Provenance: European private collection
£600-800
404.    **A KIRMAN POTTERY PILGRIM FLASK, SAFAVID, PERSIA, 17TH CENTURY
moulded underglaze painted fritware, a radiating floral medallion on either side painted in pink and green, surrounded by scrolling blue and white floral decoration in Chinese style, neck with later brass insert
22cm high

Provenance: European private collection
£2000-2500
405.    **TWO DAMASCUS TILES, OTTOMAN SYRIA, 18TH CENTURY
underglaze painted fritware, depicting a youth holding a leafy sprig and scent bottle(?) and a maiden holding a bottle and wine-cup, each within a lobed medallion on striped ground, stylised clouds in each corner
22cm square

Provenance: European private collection

These unusual tiles are from a small group, examples of which have occasionally appeared on the art market over the last few decades. None remain in situ. The style of the figures closely resembles 17th century 'Kubachi' ceramics from Persia, although the colours, technique and composition suggest 18th century Syrian origin. There are three tiles of this type in the Victoria and Albert Museum, 386 1880, 531 1900 & 530 1900. £800-1200
406.    **A SMALL KASHAN LUSTRE TILE, PERSIA, CIRCA 13TH CENTURY
of hexagonal form, with central star motif on scrolling foliate ground, divided into six lozenge shapes, each containing sceptre head design,
7.2cm max. diam.

Provenance: European private collection £800-1200
407.    **A SAFAVID BLUE AND WHITE DISH, PERSIA, 17TH CENTURY
underglaze-painted fritware, of elongated octagonal form, the centre decorated with a pair of deer amidst scrolling flowers, the border with repeated stylised leaf motifs, further decoration and faux Chinese characters on the underside
3 x 21 x 15.5cm

Provenance: European private collection £700-900
408.    **A LARGE QAJAR RELIEF TILE, PROBABLY TEHERAN, PERSIA, SECOND HALF 19TH CENTURY
polychrome underglaze painted fritware, depicting a prince on horseback holding a falcon, palaces and mountains in the background, floral border with birds above, framed
34 x 27cm

Provenance: European private collection
£2500-3500
409.    **A QAJAR BLUE AND WHITE POTTERY QALIAN BOTTLE, PERSIA, 19TH CENTURY
of bulbous form, with ridged and flared neck, painted with exuberant floral bouquets in two shades of blue outlined in grey
25cm high

Provenance: Private European collection
£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
411.    **A WOVEN WOOL PANEL, PERSIA OR KASHMIR, FIRST HALF 19TH CENTURY
of square form, the polychrome stripe design with meandering and repeated flower and leaf motifs
148 x 134cm

Provenance: European private collection
£700-1000
412.    A BATIK LONG-CLOTH (KAIN PANJANG), PEKALONGAN, CENTRAL JAVA, FIRST HALF 20TH CENTURY
dyed cotton, of long rectangular form, the design comprising a row of floral bouquets on linear patterned ground, divided diagonally across the middle into two sections oriented opposite ways up, indistinct maker's name printed twice in one corner
244 x 102cm

Batiks of this type are associated with the Eurasian 'Indische' community in colonial central Java. For a similar design on a kain panjang by Eliza van Zuylen, see Inger McCabe Elliott, Batik: Fabled Cloth of Java, New York 1984, p.110f. £150-250
413.    **A WOVEN WOOL SHAWL, KASHMIR FOR THE PERSIAN MARKET, EARLY 19TH CENTURY
of long rectangular form, the design composed of repeated meandering columns of vines with stylised tulip flowers formed of paired botehs, amidst dense floral decoration on white ground, an embroidered label in one corner, the plain striped end borders with tasselled ends, one end with further red embroidered inscription probably including the date AH 1232/1817 AD
300 x 121cm

Provenance: European private collection £1000-1500
414.    AN UZBEK BROCADE COAT (CHAPAN), CENTRAL ASIA, LATE 19TH/EARLY 20TH CENTURY
the gilt thread woven leafy palmette motifs on salmon pink ground, lined with bright red, vermilion and saffron ikat lining
120cm long £400-600
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.    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
418.    A SMALL PANEL, PROBABLY FROM A SKIRT HEM, CRETE, 18TH CENTURY
plain cotton, embroidered with red, green and blue silk, the decoration comprising three stylised flowering plants on a scrolling foliate border, with birds flying above, framed
23 x 35cm

Property from a deceased estate, sold by order of the executors; acquired from Millner Manolatos, London, circa 2005.

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.    A CEREMONIAL CLOTH (TAMPAN), LAMPUNG, SUMATRA, INDONESIA, 19TH CENTURY
woven cotton, the buff ground woven in russet and indigo in the form of registers of stylished ship motifs divided by stylised flower borders
64 x 61cm approximately

Tampans were produced mostly by the women of Lampung, a region rich from the cultivation of pepper. Almost all families would have possessed a few of these cloths which were used for display at family ceremonies such as marriage. £250-350
420.    A GOLD PAINTED BORDER PANEL, PROBABLY DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY
from a pichhavai, of rectangular form, the gold decoration on red cotton ground forming a scrolling carnation and acanthus frieze, mounted on stretchers
14 x 87cm (excluding mount)

Provenance: Private Collection, London
£200-300
421.    **A WOVEN SILK BROCADE PANEL, LATE SAFAVID OR ZAND, PERSIA, 18TH CENTURY
with a reticulated design of orange, green and gilt thread bouquets on olive ground, linear tasselled borders at either end, old dealer's(?) label attached in one corner
232 x 63cm

Provenance: European private collection

For a closely related panel of dress fabric, on orange ground, in the Victoria and Albert Museum, London, see inv. no. 16-1890

£600-800
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
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 swords, incised and impressed numerals, 12cm high, hand missing
(2) £200-300
427.    A BERLIN FIGURE OF A BACCHANTE FEEDING A GOAT, CIRCA 1775
modelled by Wilhelm Christian Meyer (1726-1786), the scantily clad nymph seated on a tree stump, a vine draped across her lap from which she proffers the goat a bunch of grapes, mound base with gilt detailed Rococo scrolls, incised C.M., underglaze blue sceptre mark
20cm high

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 from the series, all in the Kunstgewerbemuseum Berlin, are illustrated by Erich Köllmann and Margarete Jarchow, Berliner Porzellan, Munich, 1987, Vol. II, Figs.177, 178 & 180. For other examples see Georg Lenz, Berliner Porzellan, Die Manufaktur Friedrichs Des Grossen 1763-1786, Berlin, 1913, Vol.II, pl.109. £300-400
428.    A PARIS GROUP OF A SLEEPNG PUTTO, EARLY 19TH CENTURY
the winged child, drapery and cylindrical bolster in biscuit, his orange glazed porcelain bed formed as a Neo-classical 'lit bateau'
12cm wide £200-300
429.    A MEISSEN GROUP OF THE OLD WOMAN IN LOVE, LATE 19TH CENTURY
the young swindler supposedly paying court by kissing the hand of the seated old woman as he peers avariciously into her strongbox, shaped oval base, underglaze blue crossed swords mark, incised model No.A46, impressed numbers
14.5cm high, some restoration £250-350
430.    A MEISSEN GROUP OF ICE SKATERS, MID 19TH CENTURY
after an 18th century model, the behatted gentleman kneeling to tie the skate to his companion's shoe, gilt edged scroll moulded base, blue crossed swords mark, incised model No.36, further incised numerals and painted initial R
14.5cm high, some restoration £300-400
431.    A PETER WELDON CREAMWARE ELEPHANT OBELISK, STAFFORDSHIRE, 1990s
in 18th century style, standing four-square on a moulded rectangular base, the beast and its burden applied with a variety of foliage
59.5cm high £120-180
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 £80-120
435.    THREE WORCESTER DISHES, CIRCA 1775-80
comprising a scalloped dessert plate decorated in the Giles workshop, painted with a florally sprigged Classical urn, the 'wet blue' ground border gilded with a band of anthemion within a further band of fruit-laden vines, blue crescent mark, 21cm diameter, glued, a lobed dessert plate painted with a vignette of fancy birds within a basketwork moulded border and gilt rim, 20cm diameter, and a lozenge shaped dish painted with fruits, the blue ground border highlighted with caillouté gilding, blue crescent mark, 23.5cm long £100-150
436.    A RED FLASHED GLASS BEAKER, BOHEMIAN, SECOND HALF 19TH CENTURY
waisted nonagonal, engraved with a stag and a doe amidst vegetation flanking a coat of arms below a Prince's coronet, with borders of acorns and oak leaves and further stylised leafage
12.5cm high

The arms are those of Kinski of Bohemia (J.B. Rietstap, Armorial Général, Vol.1, p.1093), created Barons in 1316, Counts in Bohemia in 1628 and Princes of the Holy Roman Empire in 1746, one of the most illustrious families of the Hapsburg domains. £300-400
437.    A NAST (PARIS) TWO-HANDLED CUP AND STAND, EARLY 19TH CENTURY
gilt ground, the cup painted each side with a classical figure flanked by putti, the stand painted in the centre with a human face inside a border painted with panels of muses alternating with panels of seated griffins flanking a gilt portrait medallion, gilt script mark £600-800
438.    A BARR, FLIGHT & BARR (WORCESTER) SPILL VASE, CIRCA 1810-1813
cylindrical, pink ground, painted en grisaille with a classical maiden holding a tambourine aloft, set with gilt satyr mask handles, impressed mask
12.5cm high £200-300
439.    TWO ENGLISH PORCELAIN CACHEPOTS AND STANDS, PROBABLY COALPORT, CIRCA 1810
in sizes, each painted with grisaille landscape vignettes, pattern No.382
largest 13.5cm high, some damage £200-300
440.    A NAST (PARIS) CABINET CUP AND SAUCER, CIRCA 1825
green ground, the cup painted with a band of Neo-classical scrollwork between formal leaf borders, gilt painted mark

Provenance: Armin B. Allen, New York, with paper label £300-500
441.    A LA COURTILLE (PARIS) CUP AND SAUCER, EARLY 19TH CENTURY
painted in black monochrome with profile portraits against an orange ground and gilt anthemion border, underglaze blue painted arrows mark £150-250
442.    AN ENGLISH PORCELAIN SAUCE TUREEN, COVER AND STAND, PROBABLY COALPORT, CIRCA 1810
two-handled oval body, painted with strawberries against a grey ground, painted pattern No.728, stand 18.5cm wide; together with an English cup and saucer, circa 1815, gilt-ground, decorated with lily-of-the-valley
(5) £80-120
443.    A GROUP OF FOUR SPODE BREAKFAST CUPS AND SAUCERS, EARLY 19TH CENTURY
painted in green monochrome with flower sprays, red painted mark
£80-120
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) £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.    A DERBY COFFEE CAN AND TWO SAUCERS, CIRCA 1815
painted with pink roses, red painted mark; together with a pair of Minton coffee cups and saucers, circa 1870, turquoise ground; and a small Derby spill vase, circa 1815, painted with arabesques, 11cm high
(8) £100-150
448.    A BROWN-WESTHEAD, MOORE & CO. PART TEA SET, CIRCA 1870
comprising: thirteen cups, fourteen saucers and two cake plates, green ground with gilt rims, the cups with pink interiors and rope-twist handles and feet, P.O.D.R. lozenge for 1869, red painted No. C8459
some losses
(29) £100-150
449.    A GROUP OF ENGLISH POTTERY, 19TH CENTURY
comprising: a large Ridgway 'Tuscan' pattern jug, 32cm high, another large painted pottery jug, two yellow-ground printed jugs and a saucer
(5) £200-300
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
452.    A LIMOGES CASKET, DECORATED IN THE ATELIER OF CAMILLE LE TALLEC, PARIS, CIRCA 1962
of shaped lozenge outline, finely painted with flowers surrounded by richly gilt scrollwork, gilt-metal rim mounts, underside with Le Tallec marks and date cipher
18cm long £150-250
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
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
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
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
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 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 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) £120-180
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
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
22.5cm diameter £1500-2000
468.    A ROYAL COPENHAGEN 'FLORA DANICA' VEGETABLE TUREEN AND COVER, 1985-89
circular, the cover applied with a branch and flower handle, painted with the titled specimen 'Lonicera Periclymenum L.' inside a gilt rim, printed and painted factory marks
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
471.    A ROYAL COPENHAGEN 'FLORA DANICA' COMPORT, 1980-85
circular, painted with the titled specimen 'Geranium Molle L.' beneath a gilt beaded border and serrated rim, shape No.3588, printed and painted factory marks
14.25cm high £200-300
472.    A WEDGWOOD FAIRYLAND LUSTRE 'KANG HSI' SHAPE BOWL, CIRCA 1925
designed by Daisy Makeig-Jones (1881-1945), the exterior with the 'Woodland Bridge' pattern, the interior with the 'Woodland Elves' pattern, printed gold Portland vase mark, numbered Z4968
21cm diameter £1000-1500
473.    AN EMILE GALLE FAIENCE CAT, CIRCA 1900
modelled as a recumbent feline set with green glass eyes, the yellow ground scattered with typical blue and white heart and dot motifs, painted mark 'E. Gallé / Fayencerie / de Nancy'
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
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 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
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
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

Provenance: Collection of Dr Richard Teltscher (1888-1974), London

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.

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. £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

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £150-200
482.    A PAIR OF BRASS SABBATH CANDELABRA, GERMAN, 19TH CENTURY
each with central Prussian eagle finial flanked by four urn-shaped sconces on openwork supports featuring opposing Lion of Judah figures, the knopped stems and broad circular bases with foliate scroll and shell borders
52cm high

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £250-350
483.    TWO BRASS HANUKKAH LAMPS, PROBABLY GERMAN, 19TH CENTURY
one with backplate pierced with a six-pointed star motif in a roundel surmounted by vases, the eight reservoirs with hinged cover, on paw feet, 39.5cm high, the other with arched backplate with heart, punched and pierced decoration, the hinged side panels of bird profile, 28cm high

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £300-400
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 chased with shells and strapwork foliage on a matted ground, with brass detachable liner
20cm long

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480)

This form of enclosed crown is usually associated with the former Hapsburg domains, the form inspired by the Austrian Imperial crown made in Prague in 1602.
£300-400
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

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £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

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480)

A Hanukkah lamp of the same unusual pattern is held by the Jewish Museum, New York, Accession No. F 5388. Also see Susan Braunstein, Five Centuries of Hanukkah Lamps from the Jewish Museum: A Catalogue Raisonné, New Haven and London, 2004, p.111 £150-250
487.    A JUDAICA GLASS DECANTER, PROBABLY BOHEMIAN, 19TH CENTURY
the body etched and gilded with Biblical scenes between bands of Hebrew script
24cm high

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £150-250
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)

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £300-500
489.    A FLORAL SILKWORK PICTURE, ENGLISH, SECOND QUARTER 19TH CENTURY
depicting flowers and feathers arranged in a basket surrounded by a border of pressed gilt card, in a glazed gilt gesso frame
frame 60.5 x 69.5cm £100-150
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
491.    A BRONZE DOOR KNOCKER, PROBABLY FRENCH, 18TH / 19TH CENTURY
the knocker cast as female mask surrounded by rocaille, with leaf capped hinge, the striking boss flanked by further rocaille and scrolls, mounted on an angled rectangular wood later stand
25.5cm high

Provenance: Kugel, Paris, according to receipt of 8 September 1994 £600-800
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
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 £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
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.    ˜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
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
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
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 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
508.    A LARGE SWEDISH SILVER BEAKER, ELIAS NOREUS, ÖSTHAMMAR, 1761
flared cylindrical, decorated below the moulded rim with a border of insect and leaf motifs and a band of scrolls and rocaille on a matted ground, initialled AHS, the foot with a lobed border, interior with traces of gilding, base set with a Swedish Charles XI 4 Mark coin, Anders Strommer, Stockholm, 1694
21.5cm high, 575gr (18oz)

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £800-1200
509.    A FRENCH SILVER SAUCEPAN, PARIS, 1819-1838
plain circular, moulded rim, turned-wood screw-in handle, no maker's mark, underside with faded stamp 'MAISON N...?'
33cm overall width, 341gr (10oz) of silver £300-500
510.    A SOUTH AMERICAN SILVER-MOUNTED GOURD FLASK, UNMARKED, PROBABLY ARGENTINE, 19TH CENTURY
perhaps for tereré, on spreading foot, the elongated gourd with three straps between the end mounts all chased with scrolls and diaperwork panels on a matted ground, with long chains to the shoulder and to the fluted domed cover (cover chain detached), circular aperture to cover probably for a straw
23.5cm high

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £400-600
511.    A SILVER LIDDED CREAM JUG, Y. BOROVSHCHIKOV, ST. PETERSBURG, 1780s
plain baluster, on three cast flower supports, similar finial to the hinged lid, scroll handle, gilt interior, French swan import mark
14.5cm, 294gr (9oz) £500-800
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
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
516.    A LARGE GERMAN SILVER COW CREAMER, LUDWIG 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, 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
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 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

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £300-500
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
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
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

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)

Provenance: Collection of Dr Richard Teltscher (1888-1974), London (see footnote to lot 480) £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 £200-300
531.    ˜A MATCHED SET OF VICTORIAN TABLE SILVER, VARIOUS MAKERS, LONDON, 1838-77
Victoria pattern, comprising:
six tablespoons
twelve table forks
twelve dessert spoons
twelve dessert forks
twelve teaspoons
two sauce ladles, two salt spoons and a mustard spoon;
together with the following ivory handled cutlery, all with stainless steel blades: twelve table knives, twelve dessert knives, a pair of meat carvers, a pair of poultry carvers and a steel
weighable silver 3997gr (128oz)
(88) £1200-1800
532.    WILLIAM IV AND VICTORIAN TABLE SILVER, LONDON, 1831-1839
Kings Honeysuckle pattern, comprising: five crested dessert forks, Jonathan Hayne, 1831; and twelve dessert spoons with plain terminals, six Hayne & Cater, 1838, six Mary Chawner for Chawner & Co., 1839
1106gr (35oz)
(16) £350-450
533.    A SET OF SIX IRISH GEORGE III SILVER TABLESPOONS, ONE MICHAEL KEATING, FIVE JOHN DALRYMPLE, DUBLIN, 1788
the stems and pointed terminals bright-cut on one side, further engraved with a crest
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
the stems bright-cut on one side below pointed terminals, each further engraved with the crest of White of Ireland
305gr (9oz 16dwt) £200-300
536.    A SET OF SIX SCOTTISH GEORGE III SILVER TEASPOONS, ALEX ZIEGLER, EDINBURGH, CIRCA 1775
all bright-cut on one side, the pointed terminals engraved with the initials G over MM and variously numbered 1, 2, 4, 5, 11 and 12
74gr (2oz 7dwt) £40-80
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 la Paix No.1'
2201gr (70oz) excluding knives
(76 pieces)

The Queillé family were Parisian manufacturing silversmiths specialising in table silver throughout the 19th century; the mark on the present lot used 1847-1895. The illustrious jewellers Martial Bernard had been established at 1 Rue de la Paix in 1826, 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 & 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
540.    A SET OF TWENTY-THREE GEORGE III SILVER TABLE FORKS, ELEY & FEARN, LONDON, 1815/16
Fiddle Thread and Shell pattern, the terminals engraved with a crest
2320gr (74oz) £700-900
541.    A GERMAN SILVER THREE-PIECE TRAVELLING SET, AUGSBURG, 1723-1735
comprising a knife and a fork with steel blade and prongs respectively and a spoon, the handles decorated in Regence style with flat-chased strapwork and applied profile roundels, in fitted leather case with tooled decoration
the spoon 50gr (1oz 12dwt) £200-300
542.    A SET OF TWELVE FRENCH SILVER-GILT AND MOTHER-OF-PEARL FRUIT KNIVES, MAISON GAVET, PARIS, CIRCA 1820
the plain nacre handles with moulded terminals and inset with a vacant shield, in probably original fitted case, 800 standard, nine Francois Charles Gavet and two indecipherable, 1809-19, one C.G. Gavet, 1819-1838
£300-400
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
two teaspoons
a butter knife
two serving spoons
together with the following, matching, some engraved with the crest and motto of the Clan Grant: six dessert spoons and twenty-three teaspoons, various makers, Edinburgh, 1824-1869, one teaspoon, Sheffield, 1904
4398gr (141oz)
(91) £1500-2000
544.    A SET OF SIX GILT-METAL AND BLOODSTONE DESSERT KNIVES AND SIX FORKS, ATKIN BROTHERS, SHEFFIELD, 20TH CENTURY
Modern Grecian pattern handles £200-300
545.    A SET OF VICTORIAN TABLE SILVER, HAYNE & CATER, LONDON, 1855-1860
Kings Honeysuckle pattern, mainly crested, comprising:
ten tablespoons
twenty-one table forks
twelve dessert spoons
fifteen dessert forks
six teaspoons
five salt spoons
5278gr (169oz)
(69) £1800-2200
546.    TWELVE GEORGE II TABLE KNIVES AND TWELVE CHEESE 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.    FOUR TABLE KNIVES AND FOUR CHEESE KNIVES, S.J. PHILLIPS LTD., LONDON, 2010
plain silver handles, stainless steel blades £150-200
548.    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'
(12) £250-350
549.    A SET OF FIVE GEORGE III SCOTTISH SILVER TABLESPOONS, JAMES HEWITT, EDINBURGH, 1784
Celtic Pointed pattern, plain; together with five assorted Scottish silver tablespoons, same pattern, all initialled except one, various makers, Edinburgh, 1790-1809
603gr (19oz)
(10)
£200-300
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
twelve soup spoons
twelve fish knives
twelve fish forks
twelve fruit knives
twelve fruit forks
and a pair of fish servers, a soup ladle, a serving spoon, two fruit serving spoons, a crumb scoop, a pair of meat carvers, a pair of poultry carvers and a steel, Patent Office Design Registry No.547092
weighable silver 7755gr (249oz)
(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 / GLASGOW', the turned ivory handle with a band of stiff leaves and lobed terminal
43cm long

The inscription reads: Presented to the Hon Lord Provost Collins on the occasion of his laying the last cope stone of the Queen's Dock by John Jackson, Contractor, Glasgow, March 20th 1880.

Work started on the Queen's Dock in 1872 and it was opened in 1877, when the Anchor liner, 'Victoria', entered the tidal basin, 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
552.    A SET OF SIX WILLIAM IV SILVER TABLESPOONS, WILLIAM CHAWNER, LONDON, 1833
Kings pattern, the terminals engraved with a crest; together with the following Kings Honeysuckle pattern: four tablespoons, three dessert spoons and three dessert forks, all crested, and nine table forks without crest, Jonathan Hayne, London, 1822/29
2274gr (73oz)
(25) £700-1000
553.    A SET OF ITALIAN SILVER-HANDLED KNIVES, 20TH CENTURY
the reeded and foliate handles engraved with initials AC below a count's coronet, comprising twelve table knives and eleven dessert knives, all with stainless steel blades, and a pair salad servers (with damaged horn bowl and tines), all stamped '800'
(25) £180-220
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
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
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 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) £120-180
558.    A SET OF GEORGE IV TABLE SILVER, WILLIAM CHAWNER, LONDON, 1823/24/28
Old English Thread pattern, engraved with a crest, comprising: nine tablespoons, seventeen table forks, one dessert spoon and four dessert forks; together with a set of nine silver dessert forks, Eley & Fearn, London, 1799, same pattern, differing crest
2637gr (84oz)
(40) £800-1200
559.    TEN GEORGIAN SILVER TABLESPOONS, ALL LONDON
comprising: one Hanoverian Rat-tail pattern, initialled B/W*M, maker's mark indecipherable, 1726, five Old English pattern, four initialled, 1793-1812 and three Fiddle pattern, initialled, 1808/11
603gr (19oz) £200-300
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.    ASSORTED OLD ENGLISH PATTERN TABLE SILVER
engraved with the crest of Kenyon of London, comprising: a three-piece silver-gilt Christening set, R. & S. Garrard & Co., London, 1910, five table forks, London, 1788/1813, and four teaspoons, London & Dublin, 1807-1869; together with the following assorted table silver: a Scottish Fiddle pattern toddy ladle, initial H, Francis Howden, Edinburgh, 1818, two American serving forks and two butter knives
638gr (20oz)
(17) £200-300
562.    A SET OF TWELVE GEORGE V DESSERT KNIVES AND TWELVE FORKS, ATKIN BROTHERS, SHEFFIELD, 1921
with silver tines and blades and mother-of-pearl handles, in original fitted oak case with vacant brass oval to lid
(24) £200-300
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
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
and a pair of sugar tongs, Patent Office Design Registry No.623774
3777gr (121oz)
(64) £1200-1800
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
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
569.    A SET OF FOUR SILVER BUN PEPPERS, TESSIERS LTD., LONDON, 1959/60/68
in George I style, plain girdled baluster, pellet pierced covers
7.5cm high, 239gr (7oz) £100-150
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) £120-180
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. LTD., LONDON, 1911
octagonally faceted trumpet shaped and scroll pierced at the flared rim, 13.5cm high; together with two silver trophy cups, each with two handles, neither inscribed, London, 1926 and 1939, 18cm and 14cm high respectively
389gr (12oz)
(3) £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. / February 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
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), 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
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
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 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
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 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 & 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
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
587.    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
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
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
592.    AN EDWARDIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WILLIAM NEALE & SON OF BIRMINGHAM, CHESTER, 1905
shaped oblong, rectangular glazed aperture, the mount stamped 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 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
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 £100-200
599.    A PAIR OF VICTORIAN SILVER DESK CANDLESTICKS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1898
square gadrooned bases and stop fluted Corinthian column stems, with detachable nozzles
17.5cm high, loaded £200-300
600.    A SET OF SIX VICTORIAN SILVER SALT CELLARS, C.S. HARRIS, LONDON, 1888
in George II style, each on three hoof supports, the compressed circular bodies chased with foliage and flowers below shaped gadroon lips
8cm diameter, 651gr (21oz) excluding blue glass liners £500-700
601.    A VICTORIAN SILVER TEAPOT, EDWARD BARNARD & SONS, LONDON, 1894
oval, part lobbed pattern
26.5cm long, 561gr (18oz) including composition handle and finial £150-200
602.    A VICTORIAN SILVER HOT WATER JUG, THE GOLDSMITHS & SILVERSMITHS CO., SHEFFIELD, 1884
baluster, short pedestal foot, part lobbed pattern, engraved with the crest of Neve
28cm high, 539gr (17oz) including composition handle and finial £150-200
603.    A GEORGE V SILVER WAITER, TESSIERS LTD., LONDON, 1931
engraved with a crest, moulded rim, on three volute feet, 16cm diameter; together with a silver two-handled bowl, maker's mark rubbed, Birmingham, 1911, applied to the waved rim with scrolls, on short pedestal foot, 18cm long across handles
572gr (18oz)
(2) £150-250
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 bust of a young man with feathered cap, the openwork pales between hung with husk swags
20.5cm diameter, 384gr (12oz)

The presentation inscription reads: Presented to Herbert Neve Esqr. on the occasion of his Marriage with the best Wishes of the tenants on The Hemsted Estate April 17th 1890

Herbert Neve (1860-1935) (son of Richard Neve of Pullington House, Benenden, steward to Lord Cranbrook on the Hemsted Estate), married Elizabeth Burra (1866-1897), sister of the artist Edward Burra. £150-200
607.    ASSORTED CONDIMENT SILVER, COMPRISING:
a set of four Victorian salt cellars and two salt spoons, circular, waved beaded rims, each on three ball feet, Horace Woodward & Co., London, 1889, 4.2cm diameter, a pair of Victorian pepperettes, baluster, with scrolls, lobes and foliage, T.H. Hazlewood & Co., Birmingham, 1898, 7cm high, and a German caster, elongated inverted baluster, with alternate lobes and flutes hung with ribbon-tied flower swags, pedestal foot, B. Neresheimer & Söhne, Hanau, import marked Berthold Muller, Chester, 1904, 14cm high
251gr (8oz)
(9) £100-150
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
610.    A WILLIAM IV SILVER CANDLESTICK, CRESWICK & CO., SHEFFIELD, 1835/36
shell pattern, square base, knopped stem and waisted sconce, complete with detachable nozzle, engraved with the crest of Bagot of Blithfield, silver covered base
28cm high, loaded £150-250
611.    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 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 'Low Life', where a similar Bull Terrier in large collar is depicted sitting beside a pewter mug. The present rare lot is an usual example where the pipe has a function, in this case issuing the flame of the lighter. £800-1200
612.    TWO GEORGE III SILVER MUSTARD POTS, LONDON
both oval and bright-cut, one pierced with two rows of urns and engraved laurel swags between, the lid with crested oval, beaded rims, Joseph Bradley, 1786, the other with solid sides engraved with ribbon-tied swags, the lid with a vacant shield, reeded rims, Robert Hennell, 1793
each 10cm long, 194gr (6oz) excluding two blue glass liners
(2) £180-220
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 spoon, Fiddle pattern, crested, William Eaton, London, 1819
weighable silver 173gr (5oz 11dwt)
(3)
£80-120
615.    A GEORGE IV SILVER MUSTARD POT, ABSTAINANDO KING, LONGON, 1828
drum-shaped, applied reed and ovolo borders, shell thumbpiece to the almost flat hinged lid
9.7cm over handle, 90gr (3oz) excluding blue glass liner

Joseph William Story, who entered his first mark in 1803 and later in partnership with William Elliott, was apprenticed to Abstainando King (1764-1833) in 1795. £150-200
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)

Matthew Boulton and John Fothergill's partnership at the Soho Manufactory lasted from 1762-1782. Much of the silver was to special commission. In the 1770s James Wyatt supplied a number of designs, although much of the partnership's Neo-classical output is probably more directly attributable to the firm's chief designer at this time, Francis Eginton (1737-1805). Eginton later became better known for his glass painting, an art he revived after leaving the manufactory in 1784. For a related design of Boulton & Fothergill salts with solid sides, see Stair Galleries, New York, 13 September 2009, lot 658 £400-600
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
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
619.    A SCOTTISH GEORGE IV SILVER WINE FUNNEL, GEORGE MCHATTIE, EDINBURGH, 1819
of typical two-part form, the funnel with applied ribs, the strainer with shell clip, reeded rims, 13.5cm high; together with a silver wine funnel stand, moulded rim, initialled B below an earl's coronet, indecipherable maker's and Edinburgh town marks only, probably late 18th century, 9cm diameter
162gr (5oz)
(2) £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
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 marked for J. & A. Savory, London, 1844
28.5cm high, 805gr (25oz) including ivory insulators £300-400
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 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 those of the chemist Richard Sidall and the goldsmith Thomas Heming. Barker has demonstrated that Clee's establishment, which included both apprentices and outworkers, provided extensive engraving services for the prominent London retailers Parker and Wakelin as well as for Thomas Heming. Although it is impossible to distinguish among the various engravers he employed, it seems likely that much of the best silver engraving carried out during this period passed through Clee's workshop.' (Beth Carver Wees, English, Irish & Scottish Silver and the Sterling 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.    A SET OF FOUR GEORGE III SILVER SALT CELLARS, STEPHEN ADAMS, LONDON, 1801
the plain elongated octagonal bodies on pedestal feet of conforming outline, applied with reeded rims and angular handles; together with four silver salt spoons, with shell bowls, late 18th century and later
salts 13cm long, 403gr (13oz)
(8) £180-220
625.    WITHDRAWN
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
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
628.    A GEORGE II SILVER PAP BOAT, MAKER'S MARK ?M BELOW A 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
631.    A PAIR OF QUEEN ANNE SILVER TRENCHER SALT CELLARS, JOHN JACKSON, LONDON, 1720
moulded circular form
8cm diameter, 188gr (6oz) £400-600
632.    A PAIR OF GEORGE II SILVER TRENCHER SALT CELLARS, EDWARD WOOD, LONDON, 1726
moulded rectangular with incurved corners, one side of each engraved with a crest
7.7cm wide, 148gr (4oz 15dwt) £250-350
633.    AN IRISH SILVER SALT CELLAR, ROBERT CALDERWOOD, DUBLIN, CIRCA 1755
cauldron form, applied with flower and fruit garlands hung between the lion mask headed paw feet, gadroon rim, interior with traces of gilding, underside engraved with the crest of Bagot of Blithfield and scratch weight '6.8'; together with another silver salt cellar to match, Robert Garrard, London, 1804, matching in all respects except without scratch weight
8.5cm wide, 361gr (11oz)
(2) £250-350
634.    A PAIR OF GEORGE II SILVER TRENCHER SALT CELLARS, JAMES STONE, LONDON, 1728
of moulded cut-cornered rectangular form, the underside engraved with the initials F over IA, also later engraved with the date 1728
8cm wide, 115gr (3oz 13dwt) £250-350
635.    A PAIR OF QUEEN ANNE TRENCHER SALT CELLARS, THOMAS MERRY, LONDON, 1712
of moulded cut-cornered rectangular form, engraved with marriage initials W over IE
8.5cm wide, 148gr (4oz 15dwt) £250-350
636.    A GEORGE II SILVER SAUCEBOAT, JOHN POLLOCK, LONDON, 1748
the oval body engraved with a coat of arms within a Rococo cartouche below the waved rim, on three cast pad feet, with C-scroll handle
18.5cm long, 372gr (11oz) £150-250
637.    TWO GEORGE I SILVER BUN PEPPERS, WILLIAM FLEMING, LONDON, 1718
typical girdled baluster form, one with pellet pieced cover, underside initialled K/P*M, the other with scroll pierced cover, underside initialled I.W, gilt interior, Britannia standard
8cm high, 130gr (4oz) £400-600
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
639.    A PAIR OF GEORGE III SILVER WINE LABELS (BOTTLE TICKETS), BENJAMIN SMITH, LONDON, 1808
each die-stamped as a vine wreath with fringed drapery at the centre, pierced for PORT and MADERIA, contemporary chains
133gr (4oz) £500-700
640.    A SILVER SNUFF BOX, MAKER'S MARK ?a, LONDON, CIRCA 1710
oval, the lid engraved 'Susa Page / Bradninch / 1741' above leafy fronds, with stand-away hinge, the underside engraved with marriage triangle initials 'P / J x S / 1725', Britannia standard rubbed marks, incuse mark WA to interior base rim
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
641.    A PARCEL-GILT SILVER POMANDER (VINAIGRETTE), PROBABLY GERMAN, CIRCA 1710
cylindrical urn form, with screw-on base and pierced detachable cover, lobed and engraved acanthus leaf borders, the underside pricked at a later date 'PHW / 1794'
4.2cm high

For another pomander of similar form, see Lempertz, Cologne, 18 November 2016, lot 317 £300-400
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
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
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
647.    TWO VICTORIAN RAM'S HORN SNUFF MULLS, MID 19TH CENTURY
one with electroplate mounts, the lid with deer finial and gadroon borders, the terminal in the form of an inkwell, with feather foot, 24cm long, the other with metal mounts, the lid set with an agate, the terminal thistle form, 30cm long; together with a Victorian electroplated Britannia metal spoon warmer, second half 19th century, nautilus shell shaped and decorated with Renaissance dolphins and other marine motifs, 18cm long
(3) £80-120
648.    A SILVER SNUFF BOX, MID 18TH CENTURY
cartouche shaped, chased with Diana and attendants within rocaille ornament, the base with shells and flowers, the border struck 'RIO' and with a 1814-1956 Dutch control mark, 7.4cm wide; together with a silver snuff box, German or Dutch, cartouche shaped, engraved and chased with a cherub in an architectural setting with fountains, the underside with a shepherd, gilt interior, maker's mark badly struck, possibly AVE, the rim struck '58', 7.5cm wide
(2)

Provenance: The Hoffenreich Collection of Snuff Boxes, Vienna £200-300
649.    AN AUSTRIAN SILVER SNUFF BOX, MAKER'S MARK T.S, VIENNA, 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
650.    A RUSSIAN SILVER AND NIELLO SNUFF BOX, MAKER'S MARK ASZ? IN CYRILLIC, ASSAY MASTER ANDREY KOVALSKIY, MOSCOW, 1846
rectangular, the hinged lid with a view of the equestrian statue of Peter the Great, the base with a harbour scene, hatched sides, gilt interior, 875 standard
8.3cm wide £250-350
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
652.    AN AUSTRO-HUNGARIAN SILVER AND NIELLO SNUFF BOX, MAKER'S MARK LK, PRAGUE, 1846
rectangular, the hinged lid decorated with a vignette of a goat and country lass within formal borders, sides and base, gilt interior, 812 standard
8.5cm wide £200-300
653.    A RUSSIAN SILVER AND NIELLO SNUFF BOX, FEDOR MAKSIMOV, ASSAY MASTER ANDREY KOVALSKIY, MOSCOW, 1845
rectangular, the lid and base decorated with architectural views within rococo cartouches, hatched sides, gilt interior, 875 standard
7.7cm wide £250-350
654.    A RUSSIAN SILVER-GILT AND ENAMEL PILL BOX, NIKOLAI STRULEV, MOSCOW, 1899-1908
circular cushion form, the lid with a roundel enamelled en plein of a flower spray on a pink ground, surrounded by cloisonné enamelled white pellet borders and scroll foliage on a matted 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
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.    A RUSSIAN SILVER-GILT AND CLOISONNE ENAMEL SMALL CASKET, ALEXANDER BELOV, MOSCOW, CIRCA 1910
rectangular, with lightly domed lid centred by a vacant roundel, covered in enamelled turquoise pellets surrounding shaped panels of foliate scrolls on a matted ground, on bracket feet, 875 standard
8.5cm long £400-600
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 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
663.    A FRENCH ORMOLU AND PORCELAIN MANTEL CLOCK, ALFRED DUMAS, PARIS, CIRCA 1870
eight day bell striking movement stamped A.D, the porcelain dial and side panels painted in 16th century Limoges enamel style, the ormolu case with eclectic Classical borders and caryatid pilasters surmounted by a seated figure of Caliope, on winged paw feet
26cm high

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
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 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
665.    THREE BURR WOOD SNUFF BOXES, ENGLISH, SECOND QUARTER 19TH CENTURY
all oblong, one with gilt-metal thumbpiece and vacant shield to lid, one with gilt-metal thumbpiece and shield to lid initialled JD and one with plated thumbpiece
11.5cm longest
(3) £80-120
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
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.    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
670.    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
673.    AN AUSTRO-HUNGARIAN ENAMELLED SILVER DESK TIMEPIECE, 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
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
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 £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
680.    ˜A SET OF FIVE CARVED IVORY CHARLES DICKENS CHARACTER FIGURES AND A PAIR OF BUSTS, GERMAN, LATE 19TH CENTURY
after the illustrations by 'Kyd' (Joseph Clayton Clarke 1857-1937), each on bulbous rosewood or ebonised wood stands with inset ivory banners, the figures titled 'SERJT BUZFUZ', 'JINGLE', 'Ms. STINGINS' [sic] for Mr Stiggins, 'TOOTS' and 'QUILP', the busts 'JINGLE' and 'BUMBLE'
13.5cm highest including stand
(7) £150-250
681.    ˜A BAND OF SIX IVORY ITINERANT GERMAN MUSICIANS, PROBABLY SOUTH GERMAN OR SAXON, LATE 19TH CENTURY
carved as a drummer, a bagpiper, a horn player, a clarinetist, a flautist and their conductor, each standing on a silver socle with wreath and scroll foliate borders, silver marks for Richard Garten of Dresden, Reichmarks and 800 standard marks
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
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 forearm, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth
15cm high

Related literature: Bryan Catley, Art Deco and Other Figures, Woodbridge, 1981, p.277 £1200-1800
687.    ˜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, signed to rear of circular base, affixed to its original Brazilian onyx octagonal plinth
15.5cm high overall, rod lacking

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
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
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
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.    A SMALL ENAMEL BOWL WITH SILVER-GILT DROP HANDLES, AUSTRO-HUNGARIAN, LATE 19TH CENTURY
shaped oval, enamelled in imitation of bloodstone, the fluted bowl painted in coloured enamels with grotesques each terminating in a mask, dolphin pattern handles
8.5cm £300-500
693.    ˜A PAIR OF LARGE FRENCH IVORY FIGURES OF A CAVALIER AND HIS COMPANION, PROBABLY DIEPPE, LATE 19TH CENTURY
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
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
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 £500-700
701.    ˜A PORTRAIT MINIATURE OF A LADY, BY MARIE-HONORE RENAUD (BEFORE 1797- AFTER 1857), 1812
with a large white feather to her headdress, wearing a high-necked white chemise and blue silk dress, on ivory, gilt signature and date '23.7bre.1811' to right, in milled gilt-metal mount and square wood frame
7cm diameter

A pupil of Louis-Francois Aubry, this artist also worked in enamels. For another example of his work on ivory at this date, see Binoche & Giquello, Paris, 6th June 2012, Lot 72, also see Leo R. Schidlof, The Miniature in Europe, Graz, 1964, p.671 £250-350
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 second wife, Archduchess Marie Louise of Austria, known from birth as the King of Rome.

£150-200
703.    ˜THREE CONTINENTAL PORTRAIT MINIATURES, ALL EARLY 19TH CENTURY
one of a lady with lace bonnet and dove blue dress, on ivory, French School, circa 1825, with gilt-metal milled mount and leafy suspension clip to the black tole square frame, oval 10.5cm; one of a young lady with red shawl, pearl necklace and gold ear loops, on ivory, French School, circa 1805, plain gilt-metal mount with red-painted ivory surround and tortoiseshell backed (probably originally from the cover of a portrait box), 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
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
706.    EIGHTEEN CARAT 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, Tiffany's design director, declared: 'Nature sells!'
£1800-2200
707.    ROLEX, OYSTER PERPETUAL DAY-DATE, REF. 18038: A GENTLEMAN'S EIGHTEEN CARAT GOLD BRACELET WATCH, CIRCA 1987
No.9545722, cal.3055 automatic twenty-seven jewel movement, champagne dial with applied gold Roman numerals, baton hands and outer minute track with luminescent indicators, aperture for day (in English) at twelve and magnified date aperture at three o'clock, Oyster case with fluted bezel and screw-down back and crown, the President three-row block link bracelet with fold-over Crown clasp, dial, case, movement and bracelet signed, case and bracelet with 18 carat Swiss gold convention marks, bracelet No.8385
36mm diameter

With Rolex chronometer papers and receipt from Tyme (Watches of Switzerland Ltd.), 1 Old Bond Street, London, dated 20 February 1988. £5000-7000
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
711.    KNOT BRACELET
signed Puig Doria
length approximately 180mm, 13.4gr £250-300
712.    A NINE CARAT GOLD FOB CHAIN / BRACELET
double graduated filed curb links, hallmark, maker's mark WHW Ltd
length185mm, approximately, 29gr £300-400
713.    SAPPHIRE AND DIAMOND RING, CIRCA 1979
the circular sapphire within a border of single-cut diamonds, hallmarked London, 1979, maker's mark EJ
size K £200-300
714.    EIGHTEEN CARAT GOLD, SAPPHIRE AND DIAMOND RING, 1880s
the tapering band collet with a cushion shaped sapphire between circular diamonds and similarly cut sapphires, hallmarked Chester, date letter indistinguishable, maker's mark I.J.
size Q £600-800
715.    GOLD HALF SOVEREIGN BRACELET, COMPOSITE
the articulated bracelet composed of a series of eight George III half sovereigns dated 1797-1810, connected by oval chain links
length approximately 200 mm, 27gr £600-800
716.    NINE CARAT GOLD RETRO BRACELET, 1950s
designed as an articulated row of geometric links, Birmingham hallmarks for 1952, maker's mark C & F
length approximately 190mm, 53.5gr £1000-1200
717.    GARNET PENDANT, EARLY 19TH CENTURY
the pear shaped garnet in a foil back setting suspended within a surround of oval garnets similarly set; together with a pair of paste cluster buttons, late 18th century, of whorl design, with later earring post fittings (one paste deficient)
(3) £200-300
718.    CHRYSOBERYL BROOCH, PORTUGUESE, 18TH CENTURY
designed as a flowerhead with cushion shaped and calibré-cut 'chrysolites' in foiled closed back settings, later pin
diameter 32mm approximately £300-400
719.    PEARL AND ENAMEL LOCKET, MID 19TH CENTURY
the oval black enamel locket decorated with a pearl wreath opening to reveal two photographic compartments on a fine back chain, length approximately 695mm excluding locket (locket length approximately 34mm from base of bale); together with a banded agate brooch, circa 1867, designed as a cartouche and suspending three plaque drops with granulated detail to the frames
£300-400
720.    GOLD AND DIAMOND LOCKET, LATE 19TH CENTURY
of heart design with a central circular diamond opening to reveal a photograph compartment £250-300
721.    PURPLE TASSIE TYPE GLASS INTAGLIO RING, CIRCA 1800
the oval amethyst coloured glass carved with a profile of a bearded man after the Antique (gold shank sawn through, one piece provided, one small section lacking); together with a gold mourning ring the blue enamel shank inscribed 'In memory of Geo.Hen.Earl of Litchfield. 1772' (central stone deficient), size K½; two further gold mourning rings: one enamelled in black and white inscribed 'John.Townson.Esqr. OB.3.Mar.1797.AE 71', hallmarked London 1796, size N ½, the other wide band with white border enamel (original black enamel to centre now deficient) engraved to the inside of the shank 'Frances Penelope Thackthwaite Obt 21st May1793 at 28', size W ½
(4)

George Henry Lee, 3rd Earl of Lichfield (1718-1772) was a Member of Parliament for the county of Oxford in 1741-42, inheriting the title from his father in 1743. In 1760 he became the High Steward of the University of Oxford and in the same year Lord of the 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
722.    AMETHYST PENDANT, MID 19TH CENTURY
the embellished cruciform set with oval amethysts and granulated detailing
length approximately 55mm (including bale) £800-1000
723.    GOLD LONG CHAIN, CIRCA 1840
each triple textured gold link decorated with granulation on an engraved barrel clasp
length approximately 975mm, 44grs £800-1200
724.    TWO DIAMOND BROOCHES, 18TH / 19TH CENTURY
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
725.    PAIR OF MULTI COLOURED GEMSTONE PENDENT EARRINGS
each designed as an articulated cascade of oval stones including citrines, garnets, amethysts and smoky quartz £200-300
726.    MOONSTONE, AQUAMARINE, SAPPHIRE AND DIAMOND LONGCHAIN
the filed curb link chain spectacle set with oval aquamarines alternating with similarly shaped cabochon moonstones, accented with oval sapphires and brilliant-cut diamonds
length approximately 740mm
£1000-1200
727.    MULTI COLOURED GEMSTONE NECKLACE
spectacle set with oval blue topaz, citrine, amethyst, peridot and garnet
length approximately 540mm £400-600
728.    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
729.    ROCK CRYSTAL AND PASTE RING
the foiled pink paste cabochon centrally set between rose cut rock crystal and granulated decoration, size I; together with a gold and carnelian intaglio ring depicting the helmeted profile of Minerva, size K, damage to carnelian £150-250
730.    AMETHYST AND DIAMOND RING, 1960s
the oval amethyst within an asymmetric surround set with single-cut and cushion and baguette diamonds, one diamond deficient
size R½ £200-300
731.    DIAMOND RING
the two central brilliant-cut diamonds set asymmetrically within two undulating rows of brilliant- and single-cut stones
size N £600-800
732.    AMETHYST NECKLACE
of negligeé design, set throughout with oval amethysts in collet settings
adjustable length (not including pendant maximum length approximately 42mm) 490mm-530mm approximately £1000-1200
733.    DIAMOND HAIR SLIDE
of abstract leaf design, set with a row of brilliant-cut diamonds and a line of marquise-cut stones
length approximately 62mm £600-800
734.    BLACK OPAL DOUBLET AND DIAMOND RING, 1970s
the oval black opal doublet within a surround of single-cut diamonds in millegrain settings
size O £400-600
735.    THREE STONE DIAMOND RING
claw set with three brilliant-cut diamonds
size K £400-600
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
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 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
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
741.    LADY'S ENAMEL, GOLD AND DIAMOND FOB WATCH, SWISS, LATE 19TH CENTURY
the blue guilloché enamel case decorated with a bird and foliage set with rose diamonds opening to reveal a white face with Roman numerals suspended from an associated swirling pin brooch, cuvette signed 'Ate Aubert à Lausanne' and numbered 1414 £300-400
742.    SILVER-GILT AND CLOISONNE ENAMEL EGG PENDANT, RUSSIAN LATE 19TH CENTURY
the turquoise girdle flanked by geometric and stylised foliate motifs in variously coloured enamels, suspension ring with maker's mark YaR (in Cyrillic) and '84'
28mm approximately long overall £80-120
743.    COLLECTION OF JEWELLERY
comprising: a cultured pearl necklace with single-cut diamond clasp, length approximately 930mm; a pair of cultured pearl and brilliant-cut diamond earrings, 1960s; a turquoise and diamond cluster ring, 1960s, size P½; a sapphire and cultured pearl bombé ring, size J½; and a five stone step-cut amethyst mesh bracelet, length approximately 191mm
(6) £700-900
744.    TURQUOISE BROOCH, PROBABLY IRANIAN, 1970s
designed as a perched 'Bird of Paradise' decorated with oval and circular turquoise, two turquoise unset (provided), in velvet presentation case
£600-800
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