L13210 F

Sotheby's
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 301
PROPERTY FROM THE BARILLA COLLECTION LOTS 301-304
A CASTEL DURANTE ISTORIATO DISH
CIRCA 1540-1560
the centre painted with Solomon judging two brothers, the broad rim, in the manner of
Battista Franco, with a border of satyrs, putti, youths and trophies of war, the reverse
inscribed "quando Salamone dette la sententia per quelli doi figlioli uno ligetimo et laltro
bastardo" and with initials AB (some restoration)
28cm, 11 in diameter
ESTIMATE 10,000-15,000 GBP
CATALOGUE NOTE
In the early 1540's, Guidobaldo II Duke of Urbino, commissioned a series of designs from Battista Franco of Trojan
war subjects. The designs, and their broad symmetrical borders, remained in fashion for some time, with elements
still included in later designs of the 1560's. Although Vasari in his Lives of the Potters, implies that the Guidobaldo
service was made in Castel Durante, present scholarship attributes it to Camillo Gatti at Urbino. For a pair of albarelli
by a very similar hand, dated 1563 and attributed to Castel Durante, see G. Conti, L'arte della maiolica in Italia, pp.
235-236.
The scene is called "Shooting a dead body" and depicts a test, like the judgment of Solomon, designed to elicit the
truth by forcing a person to betray his inner feelings. In its original version, which has been shown to go back to the
Babylonian Talmud, two rival claimants to an inheritance were ordered to knock on their father's tomb to call him back
to life. The one who refused proved by his piety that he was the true heir. In later versions, as here, a judge ordered
the father's corpse to be strung up. The "sons" were instructed to shoot it; the false one shot without compunction, the
true one turned away. The story recurs in the Middle Ages and was popularized in the 14th century Gesta
Romanorum. Christian moralists interpreted the story as the conflict between greed for money and reverence for a
dead parent, the judge being sometimes Solomon himself.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 302
A CASTEL DURANTE ISTORIATO DISH,
1565-1575
the centre painted with a scene of the Nativity, the broad rim with a border of putti and
satyrs holding emblems of war, trophies and masks
28cm, 11in diameter

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 303
AN URBINO ISTORIATO DISH,
DURANTINO WORKSHOP, CIRCA 1545
painted with the Judgement of Paris, after Marcantonio Raimondi, Paris presenting the
apple of discord to Aphrodite as Hermes leaves through a natural arch, Hera and Athene
turning aside, a mountainous lakeside town beyond, the reverse inscribed 'Senntéziia de
Paris'
26cm, 10 1/4 in diameter

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 304
A CAPODIMONTE GROUP OF THE LOVER SPURNED ("L'INNAMMORATO
RESPINTO"),
MODELLED BY GISUEPPE GRICCI, CIRCA 1750
the lady with head haughtily turned away and hands outstretched to repel her ardent
kneeling suitor, he in red jacket and black breeches, she in an elegant flower-trellis
decorated dress and coquettish bonnet (some restoration and chips)
15.5cm, 6 1/8 in high
CATALOGUE NOTE
A. Caròla-Perrotti illustrates this group (Le Porcellane dei Borbone di Napoli, Naples, 1986, p. 166, fig. d), in her
introduction chapter study on the "Gallant Groups" modelled by G. Gricci between 1750 and 1755, emphasizing the
iconographic source of these groups characterised by pair of lovers and where "Love" is the central theme. All these
models seem to be a free re-interpretation of two paintings by Watteau L'embarquement pour Cythère and Les
Plaisirs du bal.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 305
A PAIR OF FRENCH GILT-BRONZE-MOUNTED GREEN GLASS DOUBLE
GOURD VASES
IN LOUIS XV STYLE, 19TH CENTURY
each with a gilt-bronze neck and boldly cast acanthus leaf handles, on an acanthus leaf
cast pierced base
each 57cm high;1ft. 10¼in.
CATALOGUE NOTE
Comparative Literature:
Shelley M. Bennett and Carolyn Sargentson, French Art of the Eighteenth Century at the Huntington,The Huntington
Library, 2008, no. 55, pp.158-159.
This pair of vases is loosely based upon a Yuan dynasty Chinese green celadon double gourd vase mounted with
Louis XV gilt-bronze mounts, now in the Huntington Collection. Although the latter vase has mounts cast with vine
leaves and grapes, the present pair are clearly inspired by this model.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 305A
A CHINESE BROWN LACQUER EIGHT FOLD COROMANDEL SCREEN
19TH CENTURY
decorated to both sides with birds, flowers and foliage within a border with matching
decoration
175cm. high, 272cm. wide; 5ft. 9in., 8ft. 11in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 306
PROPERTY FROM THE COLLECTION OF DR TONIO AND MAY VON RIEDEMANN LOTS 306-
327
A SET OF 6 MEISSEN PORCELAIN TWO-HANDLED CUPS AND SAUCERS
CIRCA 1740
reserved with figures in landscape and harbour scenes within elaborate gilt, puce and iron-
red Laub-und-Bandelwerk, the handles and rim picked out in gilding, underglaze crossed
blue swords marks and gilder's mark 50, together with a milk jug and cover, circa 1740,
reserved with figures in riverside scenes within gilt cartouches and puce and iron-red
Laub-und-Bandelwerk, further painted with Indianische Blumen, gilt spout and final,
crossed sword marks in blue enamel and gilder's mark V
milk jug: 13.5cm, 5 1/4 in high
CATALOGUE NOTE
The collection was built by Dr Anton (Tonio) von Riedemann and his wife Marie-Harriet (May). Tonio was the son of
Wilhelm Anton Riedemann (1832-1920), a German businessman, entrepreneur and pioneer of the tanker industry,
who merged his company with the Rockefellers’ Standard Oil Company in 1863. The family was ennobled in 1917 by
Emperor Wilhelm II. I n 1921, Tonio and May acquired the estate of St Charles Hall in Meggen (Swizterland) with its
picturesque view on Lake Lucerne, and commissioned the architect Albert Frölich to build an entirely new Baroque
style villa with the most modern technologies. Marie-Harriet, the daughter of a successful American lawyer, collected
paintings Chinese and European porcelain and works of Art, and insisted on designing the vitrines in the St Charles
Hall herself. After she passed away in 1933, the collection was dispersed among the heirs, a Madonna and Child by
Maerten van Heemskerck going to the National Gallery, Washington, while the house was acquired in 1947 by Paul
and Gertrud Fischbacher-Labhardt. It is now managed by a trust which has converted it into a venue for concerts and
weddings.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 307
327
A MEISSEN PORCELAIN SUGAR BOX AND COVER
CIRCA 1723-25
painted with Chinoiserie scenes including a reclining courtesan with fan, separated by
indianische Blumen, the cover with further figures feeding birds and animals within gilt
lambrequin and red fungus borders, K.P.M.mark in underglaze blue, each piece with
gilder's mark 14
2.0
11.2cm, 4 3/8 in long
PROVENANCE
Dr Tonio and May von Riedemann
Thence by descent
LITERATURE
E. Caviglia (1992), pp.104-107
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 308
327
A MEISSEN CHINOISERIE TEAPOT AND COVER
CIRCA 1723-24
of squat globular form, the curved spout moulded with a mask terminal, painted each side
painted with a chinoiserie scene with two figures, within a gilt scrollwork cartouche filled
with Böttger lustre and edged with iron-red scrolls, the spout, handle and cover painted
with indianische Blumen, K.P.M and crossed swords marks in underglaze-blue, gilder's
numeral 14 to base and cover, (knop slighly trimmed)
2.0
11.9cm, 4 3/4 in high
PROVENANCE
Thence by descent
LITERATURE
E.Caviglia (1992), pp. 100-103.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 309
327
A MEISSEN PORCELAIN TEA CANISTER AND COVER
CIRCA 1750
the shoulders moulded with ozier-pattern, reserved with Böttger lustre and gilt cartouches
painted with harbour and river scenes within puce scrollworks, further with scattered
flowers, underglaze blue crossed swords mark, 14cm, 5 1/2 in , together with a shaped oval
sweetmeat dish, painted with a hunting scene within a gilt cartouche, further with flowers
and insects, gilder's and underglaze blue crossed swords mark, impressed number 30,
17.5cm, 6 3/4 in wide
CATALOGUE NOTE
The collection was built by Dr Anton (Tonio) von Riedemann and his wife Marie-Harriet (May). Tonio was the son of
Wilhelm Anton Riedemann (1832-1920), a German businessman, entrepreneur and pioneer of the tanker industry,
who merged his company with the Rockefellers’ Standard Oil Company in 1863. The family was ennobled in 1917 by
Emperor Wilhelm II. I n 1921, Tonio and May acquired the estate of St Charles Hall in Meggen (Swizterland) with its
picturesque view on Lake Lucerne, and commissioned the architect Albert Frölich to build an entirely new Baroque
style villa with the most modern technologies. Marie-Harriet, the daughter of a successful American lawyer, collected
paintings Chinese and European porcelain and works of Art, and insisted on designing the vitrines in the St Charles
Hall herself. After she passed away in 1933, the collection was dispersed among the heirs, a Madonna and Child by
Maerten van Heemskerck going to the National Gallery, Washington, while the house was acquired in 1947 by Paul
and Gertrud Fischbacher-Labhardt. It is now managed by a trust which has converted it into a venue for concerts and
weddings.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 310
327
A MEISSEN PORCELAIN HAUSMALER TEA BOWL AND SAUCER
THE PORCELAIN CIRCA 1725, THE DECORATION 1720-30
painted in the manner of Dannhöfer with Chinoiserie tea-making scenes within Laub-und-
bandelwerk borders, the rims with broad gilt lambrequin borders,
2.0
PROVENANCE
Thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 311
327
A MEISSEN PORCELAIN HAUSMALER BOWL
THE PORCELAIN 1720-25, THE DECORATION 1720-1740,
painted, probably in a Bayreuth workshop, with three panels of Chinoiserie figures in
gardens within broad baroque borders, the interior with a flower medallion below a
distinctive gilt lambrequin border, (large chip re-stuck)
17cm, 6 ¾ in diameter
ESTIMATE 300-400 GBP
PROVENANCE
Dr. Tonio and May Riedemann
Thence by descent.
LITERATURE
E. Caviglia (1992), pp.96-99, pl. 1-3
CATALOGUE NOTE
For this unattributed type, see The Arnhold collection Catalogue, no.322 p.636
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 312
327
A MEISSEN PORCELAIN CHINOISERIE TEAPOT AND COVER
1723-1724
of squat globular form, the curved spout with moulded mask terminal, each side painted
with a chinoiserie scene with two figures, inside an iron-red and gilt srcoll cartouche filled
with Böttger lustre, the shoulder with a band of gilt Laub-und-Bandelwerk, the spout,
handle and cover painted with indianische Blumen and a bird, K.P.M and crossed swords
mark in underglaze-blue (small chip to knop and tip of spout)
11.5cm, 4 1/2 in high
PROVENANCE
Dr.Tonio and May von Riedemann
Thence by descent
LITERATURE
E. Caviglia (1992), pp.108-111.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 313
327
A MEISSEN PORCELAIN YELLOW-GROUND MILK JUG AND COVER, A
TEABOWL AND SAUCER
CIRCA 1740-45
each painted with figures in rustic landscape within gilt bordered quatrelobe panels, the
interior of the bowl also with a rustic scene within iron-red double-line circles, the bowl and
saucer with elaborate gilt scrollwork rims, the spout, finial and handle of the milk jug
picked out in gilding, crossed swords marks in underglaze-blue and gilder's mark 42 and H
milk jug: 15cm, 6in
PROVENANCE
Thence by descent.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 314
327
TWO MEISSEN PORCELAIN TURQUOISE-GROUND TEABOWLS AND
SAUCERS
CIRCA 1740-45
the bowls reserved with rustic, river and harbour scenes within gilt bordered quatrelobe
panels, the interiors also painted with rustic and river scenes within iron-red circles, the
saucers reserved with river and harbour scenes within elaborate scrolling quatrelobe
cartouches, each teabowl and saucer with elaborate gilt ornamental rims, crossed swords
marks in underglaze-blue and gilder's numeral 80
PROVENANCE
Thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 315
327
A MEISSEN PURPLE-GROUND CUP AND SAUCER
CIRCA 1740-45
the cup reserved with two quatrelobe panels painted with river and lakeside scenes, the
interior with another riverside scene within iron-red circles, the handle picked out in
gilding, the saucer with a landscape scene within iron-red circle, together with a shaped
oval purple-ground sweetmeat dish, reserved with a quatrelobe riverside scene borded in
gilding, underglaze blue crossed swords marks
dish: 15.5cm, 6 in long
PROVENANCE
Dr. Tonio and May von Riedemann
Thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 316
327
A MEISSEN PORCELAIN CUP AND SAUCER
CIRCA 1740-45
the cup painted with a continuous harbour scene, the interior with another in puce camaieu
within iron-red circles, the handle picked out in gilding, the saucer also with a harbour
scene within iron-red circles, underglaze blue crossed swords marks
ESTIMATE 800-1,200 GBP
PROVENANCE
Thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 317
327
A MEISSEN TEABOWL AND SAUCER
CIRCA 1745
painted after Rugendas with battle scenes with European and Turkish soldiers on
horseback, the teabowl also with a scene of a camp, within gilt scroll and shell cartouches
oulined in black, the ground with scattered holzschnitt Blumen inside a border of gilt foliate
scrolls, crossed swords marks in underglaze-blue, gilder's letter h to saucer
2.0
saucer 12.5cm., 5in.diam.
PROVENANCE
Thence by descent.
LITERATURE
E.Caviglia (1992), pp. 130-133
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 318
327
A MEISSEN CIRCULAR TUREEN AND COVER
CIRCA 1760
with lobed panels moulded with sprays of flowers alternating with painted sprays of
flowers and insects, the domed cover with fruit and foliage finial
2.0
21.5cm, 8 1/2 in diameter
PROVENANCE
Thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 319
327
A MEISSEN PORCELAIN DISH
CIRCA 1770
amusingly painted with a vignette of a grotesque itinerant showman passing through a
landscape, a masked girl peeping from the box on his back, a similarly-masked boy riding a
saddled greyhound ahead of him, the rim with scattered deutsche Blumen, crossed swords
mark in underglaze blue, gilder's mark B, (a few scratches)
PROVENANCE
Thence by descent
LITERATURE
E.Caviglia (1992), pp.134-137
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 320
327
A MEISSEN PORCELAIN GOBLET
1725-30
painted by J.E.Stadler with a continuous scene of Chinoiserie figures in a fenced garden
among large bushes of indianische Blumen, the fluted foot picked out in gilding, crossed
swords mark in underglaze blue, (some scratching to enamels)
14.4cm, 5 5/8 in high
PROVENANCE
Thence by descent
LITERATURE
E.Caviglia (1992), pp.112-115
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 321
327
A MEISSEN PORCELAIN TEAPOT AND COVER
CIRCA 1730
of baluster form with broken-scroll handle and serpent spout, each side painted with a
kauffahrtei scene within a laub-und-bandelwerk border, the domed cover with a continuous
kauffahrtei scene above red line borders, crossed swords mark in underglaze blue, each
piece with gilder's mark V
2.0
11.8cm, 4 ½ in high
PROVENANCE
Thence by descent
LITERATURE
E. Caviglia (1992), pp.116-121, pls.19-24
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 322
327
A MEISSEN OCTAGONAL CUP AND SAUCER
CIRCA 1735
each painted with Kauffahrtei scenes within a gilt, iron-red and purple scroll and foliate
cartouche, the interior of the cup and underside of the saucer with Kakiemon style
indianische Blumen, gilt formal and foliate borders, crossed swords mark in underglaze-
blue, gilder's letter D, (some wear to gilding)
2.0
saucer 13.5cm. wide
PROVENANCE
Thence by descent
LITERATURE
E.Caviglia (1992), pp.122-125
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 323
327
TWELVE SWISS SILVER-GILT DESSERT PLATES, BOSSARD, LUCERNE,
CIRCA 1900
comprising two identicaly decorated sets of six shaped circular plates, the rim chased with
elaborate strapwork on matted ground in 17th century style
22.7cm, 8 3/4 in diameter
3593.6gr, 115oz 10dwt

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 324
327
A SILVER CIRCULAR DISH, TIFFANY, 1902-1907
the shaped rim applied with scrolling berries and foliage, engraved with monogram MJR
38cm, 15in diameter
1588gr, 51oz
PROVENANCE
thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 325
327
FOUR GERMAN SILVER SERVING DISHES, WILKENS & SÖHNE,
BREMEN, CIRCA 1900
ensuite with the preceding, comprising two oval and tow circular examples, the shaped rim
applied with scrolling berries and foliage, engraved with monogram MJR
45cm, 17 3/4 in wide and 32cm, 12 1/2 in diameter
4891.6gr, 157oz 4dwt
PROVENANCE
thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 326
327
A PAIR OF WINE COASTERS, ROBERT & SAMUEL HENELL, LONDON 1807
wood base, the silver centre engraved with a crest
15.5cm, 6 in diameter
PROVENANCE
thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 327
327
TWO CASTELLI MAIOLICA RECTANGULAR PLAQUES
CIRCA 1720-1730
probably Gentili workshop, one with the Sacrifice of Isaac, the other with a princess
swooning before a king, supported by her handmaidens,in ebonised frames, the first with
several flakes, typical edge chips
2.0
19cm by 26cm
PROVENANCE
Thence by descent
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 328
A LOUIS XV-STYLE GILT-MOUNTED TURTLESHELL BRACKET CLOCK,
FRENCH, CIRCA 1860
8½-inch twelve piece enamel cartouche dial, bells striking Japy movement with steel
suspension and outside count wheel, the waisted case surmounted by a seated female
figure above panels of turtleshell inlaid with engraved foliate scrolls and applied with
foliate mounts, with a conforming bracket
Clock 77cm. 30¼in. high Bracket 30cm. 11¾in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 329
PROPERTY FROM THE ESTATE OF THE LATE HONOURABLE PROFESSOR J.L. SHAW
LOTS 329-330
A TORTOISESHELL SNUFF BOX WITH GOLD PIQUÉ ORNAMENT, PROBABLY
DRESDEN, CIRCA 1710
shaped rectangular, the lid panel decorated in gold piqué point with a bird overflying
flowering shrubs, gilt-metal mounts with gadrooned borders
8.5cm, 3 3/8 in wide
CATALOGUE NOTE
Piqué ornament of this type, combining small and large pins, is usually associated with Dresden although the subject
matter is close to the designs disseminated in Stalker and Parker's Treatise of Japanningfirst published in England in
1688. For further similar examples, see Clare Le Corbeiller, European and American Snuff Boxes 1730-1830,
London, 1966, no. 637 and Sotheby's, 13 April 1981, lot 69.
Although here in gold, the decoration is very similar to the silver piqué point on the exterior of an oval box in the
Grünes Gewölbe, Dresden, containing a miniature of Crown Prince Frederick Augustus of Saxony wearing the Danish
order of the Elephant which he received in 1708 but not the Golden Fleece which he was awarded in 1722. The
miniature has been attributed to Rosalba Carriera whose 1714 portrait of the prince, wearing the same clothes, is now
in the Kunsthistorisches Museum, Vienna. The box has been attributed to Wilhelm Krüger (1680-1756), court ivory
carver at Dresden (see Ulli Arnold, 'Schildpattarbeiten im Grünen Gewölbe', Staatliche Kunstsammlungen Dresden
Jahrbuch, 1965/6, p. 107/8 and exhibition catalogue, Königliches Dresden, Munich 1990/1, no. 129).
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 330
PROPERTY FROM THE ESTATE OF THE LATE HONOURABLE PROFESSOR J.L. SHAW
LOTS 329-330
A PALAIS ROYAL MOTHER OF PEARL NECESSAIRE CONTAINING
JEWELLED SILVER-GILT IMPLEMENTS, RETAILED BY PIERRE-DOMINIQUE
MAIRE, PARIS, 1809-1819
of shell form, silver-gilt mounts, the lid and underside naturalistically carved and engraved
with garlands, on two scroll feet, containing a cream velvet tray fitted with twelve silver-gilt
implements set with pearls and coral with engraved swirling ornament: two pairs of
scissors, a penknife, a paper knife, a scent bottle, a tape measure holder, a desk seal, a
needle case, a thimble, two awls, a corkscrew, a finger guard, the interior engraved: 'Maire/
Fab[rican]t de Necessaires, Rue St Honoré N. 154', the mounts maker's mark of Pierre-Noël
Blaquière, French 2e titre et garantie 1809-1819
24cm., 9½in. wide
CATALOGUE NOTE
Pierre-Dominique Maire (circa 1763-1827) was a Parisian "fabricant de necessaires" during the Revolution and First
Empire, and a direct competitor of Martin-Guillaume Biennais, silversmith to Napoleon I. A necessaire by Maire was
shown at the château de Malmaison during the 2007-2008 exhibition, Indispensable necessaires,and another is in the
Kunstgewerbemuseum in Berlin. Pierre-Noël Blaquière recorded his mark in 1803-1804, from 174 rue St-Honoré,
specialising in smallwork (bijouterie), and mainly supplying silver implements for desk sets and to Maire for his
necessaires (see Indispensables Necessaires, exhibition catalogue, musées des châteaux de Malmaison et de Bois-
Préau, RMN, 2007).
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 332
PROPERTY OF A GENTLEMAN LOTS 332-338
‘THE MOCK PETITION’, A FLEMISH CLASSICAL TAPESTRY, BRUSSELS,
FROM THE STORY OF THEODOSIUS THE YOUNGER, WORKSHOP OF DANIEL
EGGERMANS OR JEAN LE CLERC
CIRCA 1660
woven with Emperor Theodosius and his wife Athenaïs, being presented with a mock and
trifling petition, which states that the Emperor is giving his wife to his mother, which he
signs without reading, within a four-sided bronze and gold laurel leaf stem border
Approximately 316cm. high by 291cm. wide; 10ft. 4in., 9ft. 6in.
PROVENANCE
Most probably acquired by Sir John Shaw (c.1615-1680 – Customs officer and Member of Parliament for Lyme Regis)
circa 1663, for Eltham Lodge, Kent
The Queen's Bedchamber, Queen's House, Greenwich
The Property of The Crown Estate, Christie's, London, 10th November 2005, lot 193
LITERATURE
Bold, J, Greenwich: An Architectural History of the Royal Hospital for Seamen and the Queen’s House, London and
New Haven, 2000, pg.72, colour illustration showing the tapestries of ‘Theodosius giving the apple to Eudocia’, and
‘Eudocia passing the apple to Paulinus’, in situ in the Queen’s Bedchamber, flanking the canopied throne;
Brosens, Koenraad, comprehensively analyses this rare set of tapestries, in `The Story of Theodosius the Younger: a
rediscovered tapestry set by Jacob Jordaens and his studio’, by Koenraad Brosens (Research Foundation-Flanders,
Katholieke Universiteit, Leuven), Burlington Magazine, vol. 199, June 2007, pages 376-382;
Duverger, Jozef, Jaarboek Koninklijke Vlaamse Academie voor Wetenschappen, Letteren en Schone Kunsten van
België 27 (1965), pg.186. Duverger mentioned the set in 1965 in a lecture held at the Royal Flemish Academy of
Belgium for Science and the Arts, however only one page of summary of the paper was published;
Duverger, Jozef, Èen reeks tapijten met de geschiedenis van Theodosius en de Apple uit de omgeving van Jacob
Jordaens’, J.Bruyn, et al., eds, Album Amicorum J.G. Van Gelder, The Hague, 1973, pp.83-87. Duverger’s later short
articles on the series referred to the Eltham Lodge set, then on loan to the Victoria and Albert Museum, London and
the Bristol City Museum. Five of the series were illustrated, along with a document showing that in 1665 a dealer
commissioned a Theodosius set from the weavers Eggermans and Le Clerc, however this set was recorded with
metal-threads which this series does not have, and therefore although the series is elusive there are indications that
there were several series executed;
Kristi Nelson, Jacob Jordaens, Design for Tapestry, Brepols, 1998, for discussion of the life and works of this famous
artist and tapestry designer, albeit without mention of the elusive Theodosius series;
Menik, F,’ Dokumente zur Geschichte der Kaiserlichen Tapezereisammlung, aus dem gräfl. Harrachschen Archive’,
Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses 30 (1911-12), pg.xxxvii, notes that in
1673 and edition of `l’historia di Theodosio in 8 pezze’ was listed among tapestry sets `di fabrica di Brusseles’ which
were on the Antwerp and Brussels market. The Eltham set could therefore have had extra panels to compliment the
series, perhaps even entre-fenêtres from the existing designs.
CATALOGUE NOTE
Eltham Lodge
Eltham was initially a moated manor house within extensive parkland, and was acquired by the future Edward II in
1305, who subsequently passed it on to his Queen, Isabella. Architectural changes were undertaken under Edward
IV, most notably the addition of the Great Hall in the 1470’s, which is still in existence today. Henry VIII was the last
monarch to spend substantial investments and time at Eltham until at the end of the 16th century the Palace was
replaced by Greenwich Palace, and neglected. It is in the mid 17th century that the then owner, Sir John Shaw, built
Eltham Lodge and it is thought that the present tapestries were purchased by him for this property.
The Life of Flavius Theodosius II (401-540AD),
The tapestry set illustrates the events of The Life of Flavius Theodosius II (401-540AD) including the story of
Theodosius and the apple, as recorded in many Byzantine chronicles, including the Chronographia, by John Malalas
(c.490-c.570 AD) and the Epitome ton istorion, by John Zonares (d.after 1159), and the moralising story was known
through contemporary 17th century translations and adaptations, such as those of the Flemish Humanist Justus
Lipsius (1547-1606) in Monita et Exempla Politica (1605), which was translated into French and Dutch, and by Jacob
Cats (1577-1660) in 1622 in Dutch. Poems, novella and plays emerged of the story, and a famous book of its day was
La Cour Sainte, by Nicholas Caussin (1583-1651) published in Paris in 1624, and in English in 1626, which used the
moralising story of Theodosius. Interestingly Caussin became the source material for an English play The Emperor of
the East (1632), by Philip Massinger (1583-1640). The iconography of the tapestries in the series has a mix of figural
arrangements which relate to setttings used for the staging of the Massinger play, and to the scenes set in the
descriptions in the 17thcentury French and Dutch translations by Lipsius and Cats.
The tapestries illustrate episodes from The Life of Theodosius II, the son of Emperor Arcadius and Empress Aelia
Eudoxia in Constantinople, who succeeded his father at the age of seven, and was consul under the moral tutelage of
his sister Pulcheria. On the death in 414 AD of the powerful politician, Praetorian Prefect Anthemius, it was Pulcheria
that dominated the young Emperor, making herself Augusta the same year. She maintained her moral authority to
oversee the upbringing and education of the young Emperor. The first panel shows the Emperor signing a petition,
and administrative duty for which he was known through chronicles to have treated with a nonchalance and disregard,
which were not qualities to be exemplified. To demonstrate that care should be taken, Pulcheria has a mock petition
presented which states the Theodosius consigns his wife to Pulcheria. The proceeding panels tells of the story of the
remarkably beautiful apple. Emperor Theodosius on route with a hunting party is given the apple by a poor man. The
Emperor then send the apple to his wife Eudocia Augusta, revealed in the third panel, and in the fourth panel Eudocia
Augusta passes it to Paulinus the Master of Offices, a young courtier favoured by the Emperor and his wife. However
Paulinus not aware that the Emperor had sent it to the Empress, sends it on the Emperor Theodosius. The Emperor
recognises it and conceals it. On calling Eudocia Augusta, the Emperor questioned her asking where the apple was
that he sent her, and she swears an oath of the truth on his salvation, that she ate it, as not to disappoint her husband
with the truth. The Emperor suspecting that the Empress was enamoured with Paulinus and had sent him the apple,
reveals that he now has it. The tragic outcome of the story is that Emperor Theodosius put Paulinus to death and
banishes his grieving wife. It is not clear exactly how the last tapestry panel of the battle scene relates to the tale but
could allude to the end of the story. Koenraad Brosens in his analysis of this series has pointed out that although the
17th century accounts reviewed Theodosius in a sympathetic way this story provided a warning against thoughtless
and impulsive decisions and actions.
The tapestries were woven in the 17th century by two renowned Brussels workshops, that of Jan Le Clerc and Daniel
II Eggermans, and were commissioned by Jacob Jordaens. They are considered to be a late set by Jordaens, as
stylistically they resemble the compositional style of his later series such as The Story of Charlemagne’, circa 1650
and ‘Famous women of Antiquity, circa 1660.
The consideration that this famous painter and tapestry designer Jacob Jordaens (1593-1678) was involved in this
series, is substantiated by an unpublished document of 1662 (Brussels, Stadsarchief, Register de Tresorije, Vol.1298,
fols.456r-458r) which reveals that designs (cartoons) for the series were commissioned by Jordaens from Daniel
Eggermans the Younger between 1654 and 1662, ‘dat jij tsedert den jaere 1654…. Doen schilderen diversche
patroonen, soo door Jordaens beldtpatroonen van Theodosius’ (after 1654). See Brosens, Koenraad, for
comprehensive and illuminating analysis of this rare set of tapestries, in `The Story of Theodosius the Younger: a
Katholieke Universiteit, Leuven), Burlington Magazine, vol. 199, June 2007, pages 376-382.
Literature:
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 333
‘THEODOSIUS RECEIVES THE APPLE FROM A PEASANT’, A FLEMISH
CLASSICAL TAPESTRY, BRUSSELS, FROM THE STORY OF THEODOSIUS
THE YOUNGER, WORKSHOP OF DANIEL EGGERMANS
CIRCA 1660
woven with Emperor Theodosius receiving the apple from a peasant, surrounded by
courtiers, huntsmen and hounds in a landscape setting, within a four-sided bronze and
gold laurel leaf stem border
Approximately 311cm. high by 314m. wide; 10ft. 2in., 10ft. 3in.
PROVENANCE
CATALOGUE NOTE
Eltham Lodge
The tapestry set illustrates the events of The Life of Flavius Theodosius II (401-540AD), as recorded in many
Byzantine chronicles, including the Chronographia, by John Malalas (c.490-c.570 AD) and the Epitome ton istorion,
by John Zonares (d.after 1159), and the moralising story was known through contemporary 17th century translations
and adaptations, such as those of the Flemish Humanist Justus Lipsius (1547-1606) in Monita et Exempla Politica
(1605), which was translated into French and Dutch, and by Jacob Cats (1577-1660) in 1622 in Dutch. Poems,
novella and plays emerged of the story, and a famous book of its day was La Cour Sainte, by Nicholas Caussin
(1583-1651) published in Paris in 1624, and in English in 1626, which used the moralising story of Theodosius.
Interestingly Caussin became the source material for an English play The Emperor of the East (1632), by Philip
Massinger (1583-1640). The iconography of the tapestries in the series has a mix of figural arrangements which
relate to setttings used for the staging of the Massinger play, and to the scenes set in the descriptions in the 17th
century French and Dutch translations by Lipsius and Cats.
The tapestries illustrate episodes from The Life of Theodosius II (401 – 450 AD), the son of Emperor Arcadius and
Empress Aelia Eudoxia in Constantinople, who succeeded his father at the age of seven, and shared the consulship
with Honorius, overlooking the East and Western Empire. He was classically educated, under the moral tutelage of his
sister Pulcheria. On the death in 414 AD of the powerful politician, Praetorian Prefect Anthemius, it was Pulcheria that
dominated the young Emperor, making herself Augusta the same year. She maintained her moral authority to oversee
the upbringing and education of the young Emperor.
There are six tapestries (Lots 332-337) from The Story of the Life of Theodosius including the Story of the Apple. The
first panel shows the Emperor signing a petition, and administrative duty for which he was known through chronicles to
have treated with a nonchalance and disregard, which were not qualities to be exemplified. To demonstrate that care
should be taken, Pulcheria has a mock petition presented which states the Theodosius consigns his wife to Pulcheria.
The proceeding panels tells of the story of the remarkably beautiful apple. Emperor Theodosius on route with a
hunting party is given the apple by a poor man. The Emperor then send the apple to his wife Eudocia Augusta,
revealed in the third panel, and in the fourth panel Eudocia Augusta passes it to Paulinus the Master of Offices, a
young courtier favoured by the Emperor and his wife. However Paulinus not aware that the Emperor had sent it to the
Empress, sends it on the Emperor Theodosius. The Emperor recognises it and conceals it. On calling Eudocia
Augusta, the Emperor questioned her asking where the apple was that he sent her, and she swears an oath of the
truth on his salvation, that she ate it, as not to disappoint her husband with the truth. The Emperor suspecting that the
Empress was enamoured with Paulinus and had sent him the apple, reveals that he now has it. The tragic outcome of
the story is that Emperor Theodosius put Paulinus to death and banishes his grieving wife. It is not clear exactly how
the last tapestry panel of the battle scene relates to the tale but could allude to the end of the story. Koenraad Brosens
in his analysis of this series has pointed out that although the 17th century accounts reviewed Theodosius in a
sympathetic way this story provided a warning against thoughtless and impulsive decisions and actions.
Literature:
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 334
‘THEODOSIUS GIVES THE APPLE TO EUDOCIA’, A FLEMISH CLASSICAL
TAPESTRY, BRUSSELS, FROM THE STORY OF THEODOSIUS THE YOUNGER,
WORKSHOP OF JEAN LE CLERC
CIRCA 1660
woven with Emperor Theodosius giving the apple to Eudocia, with onlookers peering in the
door, set in an elaborate room setting, with a canopied throne, within a four-sided bronze
and gold laurel leaf stem border
Approximately 311cm. high, 236cm. wide; 10ft. 2in., 7ft. 9in.
PROVENANCE
CATALOGUE NOTE
Eltham Lodge
The tapestries illustrates the events of The Life of Flavius Theodosius II (401-540AD) including the story of
Literature:
there were serveral series executed;
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 335
‘EUDOCIA PASSES THE APPLE TO PAULINUS’, A FLEMISH CLASSICAL
WORKSHOP OF DANIEL EGGERMANS OR JEAN LE CLERC
CIRCA 1660
woven with Èudocia passing the apple to Paulinus, set in an elaborate architectural
setting, with Eudocia sat at a canopied desk surrounded by books, musical and scientific
instruments, and exotic bird perched on a cage, within a four-sided bronze and gold laurel
leaf stem border
PROVENANCE
CATALOGUE NOTE
Eltham Lodge
There are six tapestries (Lots 332-337) from The Story of the Life of Theodosius including the Story of the Apple. The
first panel shows the Emperor signing a petition, and administrative duty for which he was known through chronicles to
have treated with a nonchalance and disregard, which were not qualities to be exemplified. To demonstrate that care
should be taken, Pulcheria has a mock petition presented which states the Theodosius consigns his wife to Pulcheria.
The proceeding panels tells of the story of the remarkably beautiful apple. Emperor Theodosius on route with a
hunting party is given the apple by a poor man. The Emperor then send the apple to his wife Eudocia Augusta,
revealed in the third panel, and in the fourth panel Eudocia Augusta passes it to Paulinus the Master of Offices, a
young courtier favoured by the Emperor and his wife. However Paulinus not aware that the Emperor had sent it to the
Empress, sends it on the Emperor Theodosius. The Emperor recognises it and conceals it. On calling Eudocia
Augusta, the Emperor questioned her asking where the apple was that he sent her, and she swears an oath of the
truth on his salvation, that she ate it, as not to disappoint her husband with the truth. The Emperor suspecting that the
Empress was enamoured with Paulinus and had sent him the apple, reveals that he now has it. The tragic outcome of
the story is that Emperor Theodosius put Paulinus to death and banishes his grieving wife. It is not clear exactly how
the last tapestry panel of the battle scene relates to the tale but could allude to the end of the story. Koenraad Brosens
in his analysis of this series has pointed out that although the 17th century accounts reviewed Theodosius in a
sympathetic way this story provided a warning against thoughtless and impulsive decisions and actions.
Literature:
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 336
‘THEODOSIUS REVEALS THE APPLE TO EUDOCIA’, A FLEMISH CLASSICAL
WORKSHOP OF DANIEL EGGERMANS
CIRCA 1660
woven with `Theodosius revealing the apple to Eudocia', set in an elaborate colonnaded
architectural setting, with the Emperor seated in an elaborate sculptural throne, with
Eudocia standing before him, surrounded by courtiers and soldiers in the background,
within a four-sided bronze and gold laurel leaf stem border
PROVENANCE
CATALOGUE NOTE
Eltham Lodge
The tapestries illustrates the events of The Life of Flavius Theodosius II (401-540AD) including the story of
Literature:
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 337
PROPERTY OF A GENTLEMAN LOT 332-338
‘BATTLE SCENE’, A FLEMISH HISTORICAL TAPESTRY, BRUSSELS, FROM
THE STORY OF THEODOSIUS THE YOUNGER, WORKSHOP OF JEAN LE
CLERC
CIRCA 1660
woven with a battle scene incorporating armour helmeted and turbaned figures, and
horses, within a four-sided bronze and gold laurel leaf stem border
PROVENANCE
CATALOGUE NOTE
Eltham Lodge
The Life of Flavius Theodosius II (401-540AD)
The Story tells of the Life of Theodosius. The first panel shows the Emperor signing a petition, and administrative duty
for which he was known through chronicles to have treated with a nonchalance and disregard, which were not
qualities to be exemplified. To demonstrate that care should be taken, Pulcheria has a mock petition presented which
states the Theodosius consigns his wife to Pulcheria. The proceeding panels tells of the story of the remarkably
beautiful apple. Emperor Theodosius on route with a hunting party is given the apple by a poor man. The Emperor
then send the apple to his wife Eudocia Augusta, revealed in the third panel, and in the fourth panel Eudocia Augusta
passes it to Paulinus the Master of Offices, a young courtier favoured by the Emperor and his wife. However Paulinus
not aware that the Emperor had sent it to the Empress, sends it on the Emperor Theodosius. The Emperor recognises
it and conceals it. On calling Eudocia Augusta, the Emperor questioned her asking where the apple was that he sent
her, and she swears an oath of the truth on his salvation, that she ate it, as not to disappoint her husband with the
truth. The Emperor suspecting that the Empress was enamoured with Paulinus and had sent him the apple, reveals
that he now has it. The tragic outcome of the story is that Emperor Theodosius put Paulinus to death and banishes his
grieving wife.
It is not clear exactly how the last tapestry panel of the battle scene relates to the tale but could allude to the end of
the story.
Koenraad Brosens in his analysis of this series has pointed out that although the 17th century accounts reviewed
Theodosius in a sympathetic way this story provided a warning against thoughtless and impulsive decisions and
actions.
Literature:
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 338
A FLEMISH CLASSICAL TAPESTRY, PROBABLY OUDENAARDE
LATE 16TH CENTURY
lacking border, with later narrow banded yellow and blue selvedge
Approximately 257cm. high, 305cm. wide; 8ft. 5in., 10ft.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 339
THE PROPERTY OF A LADY LOTS 339-341
A CHINESE BANTAMWORK CABINET ON GILTWOOD STAND
THE CABINET, LATE 17TH CENTURY
with a pair of doors decorated with exotic Chinese scenes against a gold ground,
enclosing sixteen small drawers, the stand, part late 17th century
170.5cm. high, 116cm. wide, 56cm. deep; 5ft. 7½in., 3ft. 9¾in., 1ft. 10in.
LITERATURE
Illustrated Adam Bowett, English Furniture 1660-1714 From Charles II to Queen Anne, 2002, p.163, pl.5:31.
A related cabinet on stand is illustrated R.W. Symonds, Masterpieces of English Furniture and Clocks, 1940, p. 83.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 340
A CHINESE BLACK LACQUER BUREAU
MID 18TH CENTURY
the flap enclosing two tiers containing four drawers, with a pair of cupboard doors below
enclosing a shelf
104cm. high, 131cm. wide, 56cm. deep; 3ft. 5in., 4ft. 3¾in., 1ft. 10in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 341
A CARVED GILTWOOD AND GESSO WALL MIRROR
in George III style, with a rectangular plate, surmounted by an urn with trailing husk motifs
to the sides and apron
187cm. high, 106cm. wide; 6ft. 2in., 3ft. 5¾in.
CATALOGUE NOTE
A mirror of identical form was sold as lot 154, Sotheby`s sale of the contents of Dropmore, Burnham,
Buckinghamshire, 18th, 19th, 20th March 1969
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 342
A CHINESE EXPORT BLACK LACQUERED CABINET ON STAND
EARLY 19TH CENTURY
the pair of doors enclosing an arrangement of seven small drawers, on a stand with square
tapering legs
173cm. high., 1m wide., 52cm. deep; 5ft. 8in., 3ft. 3½in., 1ft. 8½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 343
A PAIR OF CHINESE SCARLET LACQUERED AND CHINOISERIE DECORATED
SIDE TABLES
19TH CENTURY
88cm. high., 94cm. wide., 41cm. deep; 2ft. 10¾in., 3ft. 1in., 1ft. 4in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 344
A GEORGE III CARVED GILTWOOD WALL MIRROR
IRISH, CIRCA 1770
possibly by Francis and John Booker, with a rectangular plate surmounted by a pierced
carved cresting, with a conforming apron, re-gilded, plate re-silvered
146cm. high, 85cm. wide; 4ft. 9¾in., 2ft. 9½in.
CATALOGUE NOTE
The present mirror relates closely to a mirror known to be by the celebrated Irish makers, Francis and John Booker,
illustrated in The Knight of Glin and James Peill, Irish Furniture, 2007, pl.198-9 and which bears the label of the
Bookers to the reverse. Like the present lot, this mirror has a distinctive cresting in the form of a basket of flowers
above a carved tower and arches, with foliage and scrolls to the sides and apron. Another mirror also known to be by
Francis and John Booker and which also relates closely to the present mirror is illustrated, The Knight of Glin and
James Peill, op. cit. pl 243 which again suggests a link with these makers to the present example.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 345
'CHERRY SELLER AND BIRD CATCHER', A PASTORAL TAPESTRY, LILLE,
WORKSHOP OF WILLEM WERNIERS
LATE 17TH/EARLY 18TH CENTURY
woven with a seated bird catcher resting in the foreground, with his accessories and
leather pouch, with his young male assistant holding out his hat to the standing figure of a
young lady weighing out cherries from a large basket of them on the ground, set in a
landscape setting with blooming rose bush and white flowering convolvulus `morning
glory', with central tree and paths and farm buildings, hay loaded wagon, sheep and
workers in the distance, all within a four-sided border with exuberant flowering and
acanthus scrolls incorporating baskets of fruit, birds and dogs, on a walnut coloured
ground
CATALOGUE NOTE
Willem (Guillaume) Werniers (d.1738), Brussels weaver who emigrated in 1700 to Lille (French town from 1667) to
join his father in law, Jan de Melter, and whose workshop produced high quality tapestries including Teniers pieces,
having twenty-four looms by 1733, see Guy Delmarcel, Flemish Tapestries, London, 1999, pg.339.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 346
A FLORAL VASE STILL LIFE TAPESTRY, PROBABLY LA MARCHE (FELLETIN,
AUBUSSON)
MID 17TH CENTURY
woven with an exuberant vase of flowers, supported by crossed palms, and flanked by two
side columns of smaller flowering vases with crossed palms, against a pale yellow ground,
within a later narrow bead and reel border
Approximately 276cm. high, 178cm. wide; 9ft., 5ft. 10in.
CATALOGUE NOTE
For two comparable tapestries, with compositions which incorporate the central blue vase and golden mounts from
which an exuberant bunch of flowers eminates and is distinctly flanked by the crossed, ribbon bound palm leaves, and
surrounded by rows of smaller flower filled vases and crossed palms, see The Eclectic Eye: Five Centuries of Art from
the Galerie Yves Mikaeloff, Christie’s, New York, 21st May 1997, lots 317 and 324 respectively. The first cited
example (lot 317) was woven against a walnut coloured ground, and was lacking a border (250cm. high, 197cm. wide
). The later example (lot 324; 330cm. high, 245cm. wide), was of very similar composition to the present panel, with a
single vertical column of the smaller motifs on each side of the central vase of flowers woven against a now pale
cream coloured ground. In addition it has an elaborate four-sided border with strapwork incorporating fruiting groups
and small birds, with openwork baskets in each corner filled with flowers including tulips and the crown imperial,
against a mustard ground, and with a further entrelacouter border.
The intense interest in gardens in the 17th century extended from the physical elaboration of garden designs, to the
collections of plants within them and to their evocation in embroidered and woven panels. Designers had access to
numerous printed sources for inspiration, including natural history compilations. Many sources of which were
Continental, French, German and Flemish and dating from the late 16th century, for example Gerard de Jode’s,
Thesaurus Sacrarum Historiarum Veteris Tesatmenti, Antwerp, 1579 & 1585. European printers were all influenced
by each other. Albums and pattern books were observed and used for inspiration throughout the 17th century, and
noteable examples are Crispin de Passe’s, Hortus Floridus, 1614/1615 with its simplified outlines of flowers. Many
new exotic flowers arrived in Europe at the beginning of the 17th century, including the crown imperial, crocus,
hyacinth, narcissi, lily and tulip, several of which arrived into European gardens as gifts.
Literature:
Guiffrey, Jules, Inventaire du Mobilier de la Couronne sous Louis XIV, Paris, 1885, Vol. I. for reference to a series of
Potter, Jennifer, Strange Blooms, The curious lives and adventures of John Tradescants, Atlantic Books, London,
2007, Chp. 3, To the Low Countries, pp.25-39, discusses the specific encounters in the Netherlands in the pursuit of
horticultural knowledge and the politcial situation at the end of the 16th century into 17th century.
Wells-Cole, Anthony, Art and Decoration in Elizabethan and Jacobean England: The Influence of Continental Prints,
1558-1625, Yale University Press, 1997, Part II, Chp.5, The Influence of Netherlandish Prints – Ornament Prints, and
Chp. 14, Embroidery, pp.235-300.
For detailed discussion regarding the attribution of this tapestry type being part of a rare group of floral vase
tapestries, with distinctive crossed palms, from La Marche (Felletin, Aubusson), circa 1620-1635, see Guy Delmarcel,
Nicole de Reyniès & Wendy Hefford, The Toms Collection Tapestries– 16th to 19th centuries, Ed. Giselle Eberhard
Cotton, Foundation Toms Pauli, Lausanne, Verlag Niggli AG, Zurich, 2010, Chp. II, The French Tapestries, pp.159-
231, Cat. 65, pp.204-207. The example in the Toms Collection is very similar to the present example, and has the
same bead-and reel border.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 347
A FLEMISH LANDSCAPE TAPESTRY WITH BIRDS, PROBABLY OUDENAARDE
EARLY 18TH CENTURY
woven with a landscape setting, incorporating exotic birds and exuberant flowering plancts
in the foreground of a formal garden with fountains and formal hedging and avenues of
trees extending into the distance, with a large tree flanking the composition on the left, with
small bird perched on branch a flying birds in the sky above, lacking border, woven with
later narrow banded yellow and blue selvedge
Approximately 274cm. high, 229cm. wide; 9ft., 7ft. 6in.
CATALOGUE NOTE
For discussion of Landscapes with birds and other animals see I. De Meuter, Tapisseries d’Audenarde du XVI au
XVIII Siècle, 1999, pp.209-218. It includes tapestries of a comparable design style, of a rare documented Oudenaarde
series of `Park Landscapes with Birds’, from the Town Hall, Maastricht, dated to 1705, in the style of Pieter Boel, with
Italianate landscapes. The composition includes exuberant foreground flowers, exotic birds including turkeys and
peacocks, and flying birds, and another Landscape with birds, of similar design, of the same date, and attributed to
Oudenaarde, see ibid. fig.pg. 215. The overall design is comparable with the landscapes woven in Beauvais, by Filips
Behagel, who was from Oudenaarde.
There is an interesting pair of ‘Woodland Tapestries’, again with similar design elements of exotic birds both flying and
in the foreground of formal gardens with landscapes, from a once larger room set, which are signed by Baert, with the
Amsterdam town mark, circa 1700-1730 (possibly after Baert’s death in 1719 by his widow and son). Baert too was
originally an Oudenaarde weaver, where the woodland landscape was a popular genre, and which continued to
influence his designs, for further discussion see Ebeltje Hartkamp-Jonxis and Hillie Smith, European Tapestries in the
Rijksmuseum, Amsterdam, 2004, pp.268-270, cat.nos.65a-b.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 348
A FLEMISH IVORY INLAID EBONY, EBONISED AND TORTOISESHELL
CABINET INSET WITH PAINTED PANELS, IN THE MANNER OF HENDRIK VAN
BALEN (1575-1632), ANTWERP
SECOND HALF 17TH CENTURY
of architectural form, the raised top lifting to reveal a panel depicting, `The Flight into
Egypt', above a pair of cushion moulded and ripple-cut doors, the inside of the right door
depicting, `The Marriage of the Virgin' , the left door depicting, `The Education of the
Virgin', after Peter Paul Rubens, enclosing two rows of four drawers and a niche with a
further drawer above and below with painted panels depicting scenes from the Life of
Christ and the Virgin after van Balen, the door enclosing mirrors and a bone and ebony
inlaid floor, the sides with four ripple-cut panels with an iron handle, on an ebonised later
stand with a frieze drawer on turned tapering legs terminating in toupie feet
Cabinet 75cm. high, 92.5cm. wide, 41cm. deep; 2ft. 5½in., 3ft. ½in., 1ft. 4¼in., cabinet on
stand 140cm. high, 92.5cm. wide, 41cm. deep; 4ft. 7in., 2ft. ½in., 1ft. 4¼in.

PROVENANCE
Formerly in the collection at Villa Cipressi, Castagnola, Lugano
CATALOGUE NOTE
Bettina Werche, Henrick Van Balen (1575-1632), ein Antwerpener Kabinettbildmaler der Rubenszeit, Vol. II, Brepols,
2004, p. 337, A29 and A30.
R.A.M. Stevenson, Peter Paul Rubens, London, 1898.
This beautifully painted cabinet depicts scenes on the inside of both doors after Peter Paul Rubens, although the
former is not known to have painted cabinets, many Antwerp 17th century cabinets are inset with paintings after
Rubens. His influence can be seen on the inside of the right door of this cabinet with the `The Marriage of the Virgin'
after a painting of his which is now lost. It depicts the interior of a classical building with the holy union of Mary and
Joseph, with a priest in the act of placing the marriage ring upon the finger of Mary, with onlookers in the background.
The left door depicts `The Education of the Virgin', by Rubens, now in the Antwerp Museum, illustrated by Stevenson,
op. cit.,.
The inside of the top depicts a scene after a follower of van Balen of, `The Flight into Egypt'. The central door is after
van Balen, illustrated by Werche p. 339, A32, `Christ and Mary Magdalene' (Musée des Arts décoratifs, Paris). The
second drawer down on the right, see Werche, B8g, `The Rest during the Flight into Egypt' and the bottom drawer on
the right is illustrated by Wercher, B8d, `The Visitation'. The bottom left drawer is illustrated by Werche, p. 337, A30,
of `Mary Magdalene the Penitent'.
Painted cabinets in Antwerp:
Antwerp became the leading international centre for the manufacture of cabinets in the 17th century. One of its
specialities was cabinets decorated with small oil paintings most of which were influenced in style by the celebrated
Flemish artist Rubens who came from and flourished in Antwerp.
In the late 16th century cabinets were already being made in Antwerp. It is however with a unique type of cabinet that
Antwerp dominated the market, which was the ebony veneered cabinet decorated with oil paintings, which exploited
the city’s fame as the foremost centre for artists. Dealers played an important part in the dissemination of these
cabinets to an international market. The most renowned dealer from the 17th century was Melchior Forchondt (d.
1633) whose business survived for three generations and archival records still exist. He was an ebony worker initially
and setlted in Antwerp in 1600. Ebony was introduced in the late 16th century to Antwerp via Cadiz and other Spanish
ports.
Although many of the painted panels are after Van Balen, they are probably a little later in date-circa 1640-50. There
is plenty of evidence that the Van Balen workshop, perhaps under the direction of his son Jan van Balen continued to
produce Van Balenesque pictures, including the personages in landscapes by others, and probably also including
Rubens copies, until well past the mid-century.
Henrik van Balen I (b. 1575 –d. Antwerp 1632):
He was a master of the Antwerp Guild of St. Luke in 1592-3. Between 1595 and 1600, he travelled to Italy and upon
his return became a member of the Guild of Romanists, so by implication he must have also visited Rome. Three of
his sons also became painters and he ran a successful studio for thirty years and had many pupils including Anthony
van Dyck in 1609. In 1613, he travelled with Rubens and Jan Breughel the Elder to the Northern Netherlands, but
otherwise he remained in Antwerp. At the outset of his career, he executed a large number of altarpieces such as the
Resurrection, in St. Jacobskerk, Antwerp. His later altarpieces were in richer more subtle colouring painted after van
Dyck joined his studio. He is however, best known for his paintings on cabinets often of mythological subjects.
Van Balen often collaborated with other artists on these cabinets frequently with his friend Jan Breughel I, for whom
he provided figures for landscapes and for fruit and flower garlands. The former also worked with Josse de Momper,
Lucas van Uden, Jan Wildens, Frans Snyder and after the death of Jan Breughel the elder, Jan Breughel the
Younger.
A related cabinet probably attributed to the same artist was sold in these Rooms, 25th May 2001, lot 36, (£50,000).
another example was sold in these Rooms, Art of Flanders sale, 30th October 2012, lot 47 (£40,000). Also see a
cabinet with paintings attributed to Hendrik van Balen, sold Sotheby's, New York, 3rd November 1989, lot 89,
($209,000).
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 349
PROPERTY OF A EUROPEAN PRIVATE COLLECTOR LOTS 349-350
FOLLOWER OF HUGO VAN DER GOES
THE DEPOSITION FROM THE CROSS
oil on panel
43 by 57 cm.; 17 by 22 3/8 in.
CATALOGUE NOTE
A copy after Van der Goes's lost original which is known through a number of period copies, the most famous being
that in the Museo di Capodimonte, Naples (see. M. J. Friedlander, Early Netherlandish Painting, vol. IV, Leiden 1969,
pp. 72-3, cat. no. 23, reproduced plates 36-7).
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 350
PROPERTY OF A EUROPEAN PRIVATE COLLECTOR LOTS 349-350
ATTRIBUTED TO CARL WILHELM DE HAMILTON
BRUSSELS 1668 - 1754 AUGSBURG
A SNAKE, A SNAIL, A LIZARD AND BUTTERFLIES AT THE FOOT OF A TREE;A SNAKE, A
FROG, A BUTTERFLY AND A SNAIL AT THE FOOT OF A TREE
2.0
a pair, both oil on panel
the former: 32.3 by 22.8 cm.; 12 3/4 by 9 in. the latter: 32 by 23 cm.; 12 1/2 by 9 in.
CATALOGUE NOTE
We are grateful to Fred G. Meijer Curator of the Netherlands Institue of Art History, an expert on still-life painting for
endorsing an attribution to Carl Wilhelm de Hamilton on the basis of photographs.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 351
A FLEMISH CLASSICAL TAPESTRY, BRUSSELS
LATE 16TH/EARLY 17TH CENTURY
woven with a battle scene, within a distinctive elaborate four-sided border, the top border
incorporating fruiting swags and putti threading ribbon through strapwork, the side and
lower borders with allegorical figures, central architectural cartouches incorporating
pastoral scenes, and interspersed with putti, terms and exotic creatures, within narrow
inner and outer gold leaf and red borders, with later outer selvedge
CATALOGUE NOTE
see catalogue note at sothebys.com
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 352
A DUTCH POLYCHROME PAINTED LEATHER SIX-LEAF SCREEN
17TH/18TH CENTURY
each of the six panels decorated with exotic birds, trees and foliage, now mounted within
later studded gilt-leather borders on a later ebonised wooden frame, the reverse painted
black with gilded square panels
213.5cm. high, approx. 333cm. wide; 7ft., 10ft.11in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 354
A PAIR OF FRANCO-FLEMISH CARVED WALNUT ARMCHAIRS
CIRCA 1700
each with a rectangular padded back above downscrolled arms and rectangular padded
seat on turned tapering legs joined by an x-form stretcher;18th century velvet upholstery
distressed

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 355
A SPANISH WALNUT, EBONY AND ENGRAVED BONE CABINET ON STAND
19TH CENTURY
with six long drawers flanking a door above a small drawer, the door opening to reveal an
arrangement of drawers, the engraved bone panels depicting hunting scenes, the sides and
top decorated with bone inlaid geometric motifs, on bun feet, the stand with a conformingly
decorated top, lyre shaped supports and an iron stretcher
112cm. high, 79.5cm. wide, 48.5cm. deep; 3ft. 8in., 2ft. 7¼in., 1ft. 7in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 356
PROPERTY FROM THE FARDON COLLECTION LOTS 356-358
A CHARLES I SIX LEG OAK REFECTORY TABLE
CIRCA 1640
with carved frieze to three sides on six baluster turned legs
88cm. high, 310.5cm. long, 84cm. deep; 2ft. 10¾in., 10ft. 2in., 2ft. 9in.
PROVENANCE
Formerly in the collection of Cyril Bradshaw at Little Wolford Manor, Warwickshire. The house and the contents are
discussed in The Antique Collector magazine April 1957 together with photographs. The table can be seen in the
Great Hall.
Subsequently with H.W.Keil Ltd., Broadway, Worcestershire,
From December 1957 in The John Fardon collection.
CATALOGUE NOTE
Victor Chinnery, Oak Furniture The British Tradition, Antique Collectors Club. 1979, discusses on page 283 that
tables with one plain frieze were intended for use against a fixed wall bench or with seats placed against a wall.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 357
A MATCHED SET OF EIGHT CHARLES II OAK AND LEATHER BACKSTOOLS
CIRCA 1680
comprising six of very similar form and two others, with nailed leather backs and seats, the
square and turned legs joined by stretchers.
LITERATURE
One of the chairs illustrated, Victor Chinnery, Oak Furniture The British Tradition, Antique Collectors Club. 1979, page
138 figure 2:149.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 358
A CHARLES I OAK MULE CHEST
CIRCA 1640
the interior pasted with late 18th century engravings of metalware for furniture
77cm. high, 106cm. wide, 54.5cm. deep; 2ft. 6¼in., 3ft. 5¾in., 1ft. 9½in.
LITERATURE
Illustrated Victor Chinnery, Oak Furniture The British Tradition, Antique Collectors Club. 1979, page 368 figure 3:396
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 359
A SET OF TWELVE GRAINED WALNUT PARCEL-GILT ARMCHAIRS
SEVEN ARMCHAIRS GEORGE II, CIRCA 1740, FIVE MODERN
in the manner of William Kent, with leaf-carved scroll arms, padded backs and seats, on
cabriole legs, re-gilded, later grained, restorations
PROVENANCE
Almost certainly those sold previously Sotheby`s London, 18th March,1966, lot 122, designated `The Property of Lady
Ursula Vernon'.
Lady Ursula Vernon (1903-1978) was the daughter of Hugh Richard Arthur Grosvenor, 2nd Duke of Westminster, (
1879-1953). Historically the principal seat of the Dukes of Westminster has been Eaton Hall, Cheshire. Several
houses have occupied the site during different periods. One of the most notable was the house completed in 1881 by
Hugh Lupus Grosvenor, 1st Duke of Westminster, (d.1899 ) designed by the architect Alfred Waterhouse. This house
replaced an earlier house designed by William Porden for the grandfather of this duke and subsequently altered for
his father by William Burn. This new Eaton Hall was built in high Gothic style on an enormous scale and included a
clock tower 183 feet high and was one of the largest houses in England. It also contained Gothic interiors of
extraordinary splendour to match.The interiors were photographed by Country Life, circa 1930 and the present chairs
are apparently shown in situ in the Entrance Hall, (see illus). At this time and at the subsequent sale in 1966, the
chairs were entirely gilded and covered with 19th century French Aubusson style tapestry.
Unfortunately nothing is known of the provenance of the chairs beyond this. At the end of the 17th century, the
Grosvenors, by then created Baronets had commissioned William Samwell as architect for a new house.
Contemporary engravings of 1708 show Eaton Hall as being a substantial square house. It is possible that the chairs
were originally comissioned for this house by subsequent family members, and had then passed by descent until the
sale of 1966.
CATALOGUE NOTE
William Kent was born in Yorkshire around 1685-6. From 1709 to 1719 he lived in Italy, studying to be a painter. It is
however as an architect he is best known. Even in his student days, his interest had been directed towards
architecture and this had no doubt been stimulated by his meeting there with Lord Burlington in 1716. Three years
later he returned to England with him and from then his name was to be inextricably linked with that of his patron. With
Palladio as their God and Inigo Jones as their Prophet, they set about the trying to establish a change in English
architecture. Kent was the first English architect to take an interest in the interior design of houses. One of his most
notable early commissions was in 1722 to secure the interior commission at Kensington Palace, a project that was to
last five years. These interiors which also included the furnishings was the first designed entirely by the architect.
Other major commissions followed including Walpole`s Houghton Hall for which designs prepared by him for the
saloon are believed to be the first surviving evidence for an architect presenting a design for an entire room. By 1730
he was one of the leading architects of the neo-Palladian movement. The present chairs reflect the influence Kent had
on furniture design. The scroll and leaf-carved form of the arms is a detail seen in his designs, and recurs in many of
his other designs in other forms often as the support for a table, for comparison see Peter Ward-Jackson, English
Furniture Designs of the Eighteenth Century, London, 1984, pl.16-18.
Fig. 1
eaton hall, cheshire
Fig. 2
Sotheby's catalogue illustration

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 360
A VERY RARE PAIR OF 3-INCH MINIATURE TABLE GLOBES, JAMES
FERGUSON, LONDON
CIRCA 1755
each globe with twelve engraved and hand-painted gores, the terrestrial inscribed in a
cartouche A New GLOBE of the Earth by James Ferguson, and below the cartouche J
Mynde sc, the celestial with depictions of the constellations, each with an engraved brass
meridian and polar hour ring or sector, engraved and coloured horizon ring with calendar
and zodiacal indications, on four baluster turned supports joined by stretchers; togeher
with a contemporary ebonised box with domed lid and frieze drawer, the box stamped with
the initials 'BT' flanking the escutcheon
13cm. high; 5¼in.
PROVENANCE
Most probably a gift from Benning Wentworth, Royal Governor of New Hampshire to Benjamin Thompson, later Count
Rumford (1753-1814).
Gifted by Count Rumford to Samuel Williams (1743-1817), Third Hollis Professor of Natural Philosophy, Harvard, circa
1775.
CATALOGUE NOTE
Benjamin Thompson was born in Woburn, Massachusettes and was schooled locally prior to studying at Harvard
University. In 1774 he was commissioned as a Major in the local regiment following which he was breifly imprisoned
for sympathising with the Brirtish though was shortly thereafter released due to lack of evidence. He then travelled to
Boston where he remained until 1776 and upon the surrender of Boston to the rebels he sailed to London where he
entered Government. Holding a number of posts he was then appointed a Lieutenant-Colonel of the King's American
Dragoons and returned to America following the British Defeat at Yorktown in 1781. Upon the announcement of peace
in 1783, he travelled to Europe entering the Bavarian Government and gaining the position of Minister of War. With
occasional sejourns to England between 1798 and 1802 he drew up the proposals to establish the Royal Institution
which he helped run until his return to Europe, where he remained until his death in France.
A very similar pair of globes, thought to be the only other pair of this size on stands, as opposed to numerous pocket
globes by Ferguson, are in the collection of The British Library Map Collection, Inv. Maps C.3.a, and illustrated in John
R Millburn, Wheelwright of the Heavens - The Life and Work of James Ferguson, FRS, p. 88, fig. 28.
James Ferguson, (1710-1776), was born in Scotland and, from an early age, was interested in all things mechanical
and astronomical. As a young man he made a living by repairing clocks and machinery. He was also a talented artist
and by 1734 he was painting portaits in Edinburgh. However, he continued with his interest in science and by the
1740's he was in London painting portraits and presenting scientific papers. In 1748 he began teaching and lecturing
on astronomy and science. He started globe making after acquiring the copper plates for printing gores from Mary
Senex, widow of the late John Senex in 1755. It included all the gore sizes apart from the 3-inch globe. For this
reason he designed and made a 3-inch pocket globe of his own. In 1757 the globe making business was transferred
to Benjamin Martin. He became a Fellow of the Royal Society in 1763.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 361
AN EDWARDIAN GILT-BRONZE LANTERN
CIRCA 1910
after a design by Thomas Chippendale, with tapering glazed sides
79cm. high, 45cm. diam.; 2ft. 7in., 1ft. 5¾in.
CATALOGUE NOTE
The present lantern is based on a design by Thomas Chippendale, The Gentleman and Cabinet Makers Director, 3rd
Edition, 1762, pl. CLII., (see illustration).
A pair of lanterns similar to the offered lot was as lot 14, Sotheby`s sale of the Leverhulme Collection at Thornton
Manor, 26, 27, 28 June 2001, and also Sotheby`s Important English Furniture, London, 23rd November 2005, lot 115.
Fig. 1
chippendale? design for a lantern
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 362
A MATCHED PAIR OF GEORGE II ARMCHAIRS
in the manner of Giles Grendey, one mahogany, the other fruitwood, arms possibly later
CATALOGUE NOTE
The present chairs relate to a group of chairs traditionally been identified with the work of Giles Grendey, (d.1780).
The form of the present chairs relates to two examples illustrated in P. Macquoid and R. Edwards, The Dictionary of
English Furniture, London, 1954, rev. ed. p.277, figs. 157 and 158. The former shows a walnut and parcel-gilt
armchair in the collection of the Kunstindustrimuseet, Oslo of which the back and legs are almost identical to the
present examples. The latter shows a chair with a back of very similar form to the present examples, and has a
provenance of the Donaldson Collection. The unusual crest rail features on a set of six chairs likely to have been
commissioned in the 1740s by John, 2nd Earl Poulet (d.1764) commissioned for Hinton House, Somerset and
subsequently sold Sotheby`s London, 1st November 1968, lot 58. These chairs were attributed to Grendey on the
basis of another set of chairs, labelled by Grendey which have the same form of leg to the Hinton House set. These
are illustrated in Christopher Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, figs.
437 and 438. This set was sold again by Sotheby`s in 1975 and now forms part of the collection of John Gerstenfeld,
Washington, illustrated in Edward Lennox-Boyd, Masterpieces of English Furniture, The Gerstenfeld Collection,
London, 1998, pl.85. Further examples, attributed to Giles Grendey, including a chair back settee which relate closely
to the present examples are illustrated and discussed in Lucy Wood, The Upholstered Furniture in the Lady Lever Art
Gallery, 2008, 2 vols., vol. 1 pp. 264-279.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 363
PROPERTY OF A LADY LOTS 363-364
A PAIR OF CUT-GLASS CHANDELIERS
in George III manner, each with eight branches issuing from a slender baluster stem,
profusely hung with garlands of drops
high 92cm., diam. 73cm. ; 3ft. 1in., 2ft. 4¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 364
A GEORGE III GILTWOOD GIRANDOLE MIRROR
CIRCA 1765, IN THE MANNER OF JOHN LINNELL
with two oval plates and rockwork shelves to the sides with two candle-arms to the base
139cm. high, 78cm. wide; 4ft. 6¾in., 2ft. 6¾in.
CATALOGUE NOTE
This exquisite girandole closely relates to a drawing in the Victoria and Albert Museum (item E.161 1929) by John
Linnell, the cabinet maker of Berkeley Square, for a sconce, circa 1760-65. This drawing displays a similarly
conceived frame pattern although lacks some of the finer detail of the current mirror. This drawing is reproduced in H.
Hayward and P. Kirkham, William and John Linnell, London, 1980, p. 84, fig. 163. The amusing parrot which is carved
to the base of the upper mirror can also be related to a design by Linnell for a console table of circa 1760 where a
parrot sits on the stretcher. This is of interest as this is not a commonly used motif in English cabinet work of this
period.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 365
PROPERTY FROM THE COLLECTION OF THE LATE EARL AND COUNTESS OF JERSEY,
REMOVED FROM RADIER MANOR, JERSEY LOTS 365-420
JUSTUS VAN EGMONT
LEIDEN 1601 - 1674 ANTWERP
THE RECONCILIATION OF THE ROMANS AND THE SABINES
oil on canvas
38 by 56.5 cm.; 14½ by 22 in.
PROVENANCE
Robert Child (d. 1782), 36 Berkeley Square, London and Osterley Park House, Middlesex;
Thence by descent to the present owners.
EXHIBITED
Whitehall, The Arts Council of Great Britain, Old Masters from Jersey Collections, 1952, no. 93 (as by Rubens)
LITERATURE
E. McGrath, Corpus Rubenianum, Subjects from History, 1997, part XIII, vol. 2, cat. no. 28a, p. 148-9 and vol. 1, illus.
fig. 109 (as 'After Rubens, actually Justus van Egmont?')
CATALOGUE NOTE
Born in Leiden, Justus van Egmont initially trained under Caspar van den Hoecke (d. 1648). Following a sojourn in
Italy he is recorded as working in Rubens’s studio in the 1620’s. He is one of the few artists whose collaboration with
Rubens is well documented following his involvement, at least in the later stages, in the execution of the Medici cycle
which was commissioned in 1622 by Marie de’ Medici. In 1628 he became a Master in the Antwerp Guild of St Luke
before leaving for Paris where he established a considerable reputation not only as a painter but also as a print
publisher and tapestry designer. In 1648 he was one of the founders of the Académie Royale de Peinture et de
Sculpture but soon after returned to Brussels before settling in Antwerp.
This painting is a preparatory oil sketch for a tapestry design depicting the reconciliation between the armies of
Romulus and Titus Tatius. Although its authorship has long been in dispute it has been recently been confirmed as
being a work by Justus van Egmont. In the past Dr. Ludwig Burchard thought the design could be attributed to Rubens
on the basis that it was compositionally similar to a picture of the same subject by Rubens and his studio in the Alte
Pinakothek, Munich (Inv. No. 350).1 On this basis he thought that the present picture was a copy after a composition
by Rubens for the tapestry design. In 1997 Professor Elizabeth McGrath revised this theory drawing attention to the
stylistic similarities between this picture and the Romulus Cycle,2 given by Arnout Balis to van Egmont.3 Here she
convincingly argues that the proportions, facial features and the characteristic use of stooping soldiers as
compositional devices to enclose the action, all point to the same hand, likely that of van Egmont. We are grateful to
Professor Elizabeth McGrath of the Warburg Institute and Prisca Valkeneers’s of the Rubenianum for subsequently
confirming this attribution to van Egmont following first hand inspection (March 2013). This work is to be included in
Prisca Valkeneers’s forthcoming catalogue raisonné on the artist to be published in 2018.
1. E. McGrath, Corpus Rubenianum, Subjects from History, 1997, part XIII, vol. 2, p. 125.
2. Ibid., p. 149.
3. Ibid., p. 148.
Fig. 1
fig.1, 17TH CENTURY TAPESTRY DEPICTING THE
RECONCILIATION OF THE ROMANS AND SABINES AFTER A
DESIGN BY van egmont
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 366
JOHAN LE DUCQ
HAGUE 1629 - 1676
LANDSCAPE WITH A COW, SHEEP AND A RESTING SHEPHERD BY STACKS OF CORN, A
CHURCH BEYOND
signed lower right: J Le Ducq f
oil on panel
35.5 by 30 cm.; 14 by 11¾ in.
PROVENANCE
Probably Robert Child (d. 1782), 36 Berkeley Square, London, and Osterley Park House, Middlesex;
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 367
A SET OF FOUR GEORGE III WHITE PAINTED AND PARCEL-GILT
ARMCHAIRS,
ATTRIBUTED TO JOHN LINNELL, CIRCA 1770,
the square shield shaped padded backs with frames ornamented with over-lapping oak
leaves with a tied ribbon bow at the crest, the padded arms with square downswept
supports ornamented with overlapping roundels and anthemion supports, the serpentine
fronted seat rails fluted, and supported on tapered spiral twisted turned legs headed by
circular paterae and with block supports on turned toes
PROVENANCE
Robert Child, probably supplied for his townhouse, 38 Berkeley Square, London;
Thence by descent at Osterley Park (recorded in the 1970 inventory of Radier Manor as from Osterley Park)
CATALOGUE NOTE
The style and quality of the present set of chairs strongly indicate that they were made by the Berkeley Square cabinet
maker John Linnell ( 1729-96). John Linnell was the son of the distinguished cabinet-maker William Linnell ( b. circa
1703-1763), joining his father`s firm in the late 1740s. Prior to joining his father`s firm, he studied French ornament at
the St. Martin`s Lane Academy, which had been founded by William Hogarth in 1735. It is obvious that his talent for
design which is apparent through his many surviving drawings was a large factor in the rapid expansion of the family
firm in 1750s. In 1754 new and larger workshops, together with a dwelling house were opened at the fashionable 28
Berkeley Square. The firm continued to grow and at his father`s death in 1763, he inherited a firm employing some
forty or fifty people.
As well as Robert Child, the firm had an extensive clientele including William Drake at Shardeloes, the 1st Duke of
Northumberland at Syon Park and Alnwick Castle, the 2nd Earl of Shelburne at Lansdowne House and the 5th Duke
of Argyll at Inverary Castle. In all of these cases Linnell was working closely with the fashionable architect Robert
Adam and through this influence he developed a strong interest in the increasing fashionable neo-classical designs.
The Linnell commission from Robert Child was to be one of the most important commissions for the firm and included
all manner of furniture, including seat furniture, much of which can still be seen at Osterley today. It was not surprising
that Child should turn to Linnell to supply furniture for his houses. In 1767 he had purchased 38 Berkeley Square as
his London residence which was of course extremely close to the Linnell workshop and he would therefore be familiar
with the firm and its output. Robert Adam had already been engaged to modernise and improve Osterley Park, and
subsequently 38 Berkeley Square and having collaborated closely with Linnell on many other projects, would
promote Linnell as a very distinguished cabinet maker, as the obvious choice to supply the furnishings.
In the case of the present chairs, the ribbon-carved oval cartouche backs and downswept arms with entre-lac
ornament, the fluted rails, the twist carved legs and in particular the elongated anthemion motif seen on the top of the
legs on the front rail are all French and neo-classical features which link them with other furniture known to have been
supplied by John Linnell. The ribbon carving seen on the top-rail appears on a chair now in the collection of the
Victoria and Albert Museum, attributed to Linnell, illustrated in Helena Hayward and Pat Kirkham, William and John
Linnell, Eighteenth Century Furniture Makers, London, 1980, 2 vols, Vol. II, pl.84 and also in a drawing by Linnell in
the collection of the Victoria of the Albert Museum, (ref.e.88-1929) . The unusual twist carving seen on the legs can
also be seen in designs for chairs by him illustrated in Helena Hayward and Pat Kirkham, op. cit., Lond, London, 1980,
2 vols, Vol. II, pl. 75 and pl. 82., now in the collection of the Victoria and Albert Museum, (see illustration). It can
again be seen in Robert Adam`s design for the Eating Room sideboard and flanking urns at Osterley, illustrated P.
Ward-Jackson, English Furniture Designs of the Eighteenth Century, London, 1958, pl.233. The twist design also
appears in a design by Linnell for a pier table for William Drake at Shardeloes, another well documented Adam/Linnell
collaboration, illus. Helena Hayward, op. cit., pl. 213. The form of the anthemion on the top of the leg also relates
closely to the anthemion motif on the pelmet designed by Linnell for Shardeloes, illustrated Helena Hayward and Pat
Kirkham, op. cit., pl 153.
Fig. 1
LINNELL'S DESIGN FOR AN ARMCHAIR

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 368
A CHELSEA (BROWN ANCHOR MARK) LEAF-SHAPED DISH,
CIRCA 1757,
veined in puce and enamelled with flowers, brown anchor mark
29cm, 11 1/4 in long

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 369
A PAIR OF CHELSEA (RED ANCHOR) SILVER-SHAPED DISHES,
CIRCA 1750-55,
painted with moths and flowers, red anchor marks
23.5cm, 9in diameter

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 370
TWO MEISSEN OZIER-MOULDED CUPS AND FOUR SAUCERS,
CIRCA 1740
well painted with fruit, vegetables, moths and insects, underglaze blue crossed swords
marks

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 371
A MEISSEN COMPOSITE TEA AND COFFEE SERVICE,
18TH - 19TH CENTURY,
each piece painted with flower sprays, within ozier, trellis, rose and plain borders,
comprising: 23 cups and 20 saucers, a plate, 2 leaf-shaped dishes and a square serving
dish
47.0
Square dish: 31cm, 12 1/2 in wide

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 372
PIETER ANGELLIS
DUNKIRK 1685 - 1734 RENNES
SCENE OUTSIDE AN INN WITH A WOMAN CUTTING VEGETABLES BEING ACCOSTED BY
A MAN
signed lower right: P.Angelles 1725
oil on panel, oval
39.5 by 51 cm.; 15½ by 20 in.
PROVENANCE
Probably Robert Child (d. 1782), 36 Berkeley Square, London and Osterley Park House, Middlesex;
CATALOGUE NOTE
Pieter Angellis was born in Dunkirk and trained in Antwerp where he was Master of the Guild from 1715-16. In 1716
he moved to London and set up residence in Covent Garden. He stayed in England until 1728 and this attractive
scene is typical of his style which combined the narrative vigour of Teniers with the elegant French refinement of
Watteau, particularly apparent in his figure groups. His small scale genre scenes, such as this, which often feature still
life arrangements of vegetables, proved particularly popular in English aristocratic circles.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 373
A GEORGE III MAHOGANY WINDOW SEAT
with scrolled upholstered ends and seat, and supported on moulded cabriole legs with
scrolled foliate brackets, and scrolled toes, reduced in width
72.5cm. high, 106cm. wide, 49cm. deep; 2ft. 4½in., 3ft. 5¾in., 1ft. 7¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 374
AFTER JAN VAN HUYSUM
1682-1749
A FRUIT PIECE; AND A FLOWER PIECE (HOLLSTEIN 6-7)
Mezzotints with stipple engraving and etching by Richard Earlom, 1778-81, two plates from
the Houghton Gallery, fine impressions, the former a proof before letters, the latter with
letters, on laid paper
2.0
Fruit Piece sheet: 642 by 485mm; 25¼ by 19in
Flower Piece sheet: 549 by 416mm; 21 5/8 by 16 3/8 in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 375
SPANISH SCHOOL, 17TH CENTURY
CRUCIFIXION
oil on panel in the form of a crucifix, in a fine Italian frame
50 by 31 cm.; 19¾ by 12¼in
PROVENANCE
Lady Townley;
Her sale, where purchased by the Marquess of Hastings (as by Tintoretto) according to an old label affixed to the
reverse;
Francis Rawdon-Hastings, 1st Marquess of Hastings (1754-1826);
George Henry Child Villiers, 8th Earl of Jersey (1873-1923), Osterley Park House, Middlesex;
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 376
A GEORGE III SATINWOOD AND INLAID COMMODE,
LATE 18TH CENTURY, IN THE MANNER OF JOHN LINNELL,
of semi-circular form, the figured top crossbanded with kingwood and centred at the back
by a scrolled shell with bell-flowers, the conforming frieze similarly cross banded above
two panelled doors enclosing shelves, with conforming panels at each side, each divided
by tapered styles headed by paterae, and continuing to square tapered feet
84cm. high, 138cm. wide, 55cm. deep; 2ft. 9in., 4ft. 6½in., 1ft. 9¾in.
CATALOGUE NOTE
The present demi-lune commode is designed in the elegant George III `Roman Fashion' which superseded the rococo
in the second half of 18th century. The semi-elliptical form and restrained decoration epitomises the style and is
accentuated by finely figured satinwood veneers. Commodes of this form were designed to be placed on the piers
between windows. Hepplewhite & Co illustrates a commode of this form in The Cabinet-Maker and Upholsterer`s
Guide, published in 1788, pl. 78, the description remarking that ` This piece of furniture is adapted for a drawing room;
within are shelves which answer the use of a closet or cupboard... may have one principal door in the front, or one at
each end; are made of various shapes; and being used in principal rooms, require considerable elegance.The panels
may be of satinwood, plain or inlaid'.
The elegant neo-classical style of the commode owed its ascendency to the architect Robert Adam and in particular to
the publication of Robert and James Adam`s Works in Architecture in 1777. In both his architecture and furniture
designs he introduced a new formal order of ornament and form derived from his studies of classical ruins.
Commodes of this form can be attributed to various makers. More elaborate examples can be seen at Osterley and
made by John Linnell, illustrated in Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century
London Cabinet Makers, London, 1980, 2 Vols, Vol. II, pl.113-4. For further comparison see Lucy Wood, The Lady
Lever Gallery, Catalogue of Commodes, 1994, nos. 23, 27,28 and 31.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 377
GEORGE MORLAND
LONDON 1763 - 1804
THE RECRUITING SERGEANT OFFERING A TANKARD OF BEER IN WHICH LIES 'THE
KING'S SHILLING'
signed lower right: G. Morland pinx
oil on canvas
31 by 38 cm.; 15¼ by 12¼ in.
PROVENANCE
With Arthur Tooth and Sons, London, where acquired by the late Lord Jersey;
George Francis Child Villiers, 9th Earl of Jersey 1910-1998);
EXHIBITED
London, Arthur Tooth & Sons, Old Masters and Modern Paintings, no. 879 (according to an old label affixed to the
reverse)
CATALOGUE NOTE
In the eighteenth and nineteenth centuries the expression "to take the kings shilling" was synonmous with an
agreement upon reciept, to serve as a soldier or sailor. Recruiters of the time used all sorts of tricks, a number of
which included concealing a shilling at the bottom of a tankard, which led to the introduction of the glass bottomed
tankard. The victim did not formally become a soldier until attested before a Justice of the Peace, and he could
escape his fate by paying his recruiter "smart money" before attestation.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 378
AFTER WILLIAM HENRY BUNBURY
A GROUP OF FIVE SATIRES AFTER WILLIAM HENRY BUNBURY
Five stipple engravings with hand-colouring, 1779-84, entitled Recruits; Nancy; and A Visit
to the Camp published by William Dickinson and Thomas Watson; The Relief published by
William Dickinson; A Camp Scene engraved by Charles White, on laid paper
5.0
Smallest sheet: 299 by 347mm; 11¾ by 13¾in
Largest sheet: 317 by 409; 12½ by 16 1/8 in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 379
JAMES SEYMOUR
LONDON 1702 - 1752
PORTRAIT OF THE RACEHORSE FLYING CHILDERS WITH A GROOM; TOGETHER WITH
A PORTRAIT OF A GROOM ON THE RACEHORSE PARTNER
2.0
Two, both gouache on laid paper;each signed lower right: J.S
Each: 14 by 18 cm.; 5½ by 7 in.
PROVENANCE
With the Parker Gallery, London, where acquired by the late Lord Jersey.
CATALOGUE NOTE
In these beautifully preserved works, Seymour depicts two of the eighteenth century’s great racehorses. Flying
Childers was known as ‘the fastest horse that was ever bred in the world,’ having never lost a race. Through his many
victories at Newmarket in the 1720s he became the first popular hero of racing. Bred in 1714 by Colonel Leonard
Childers from the Darley Arabian out of Betty Leedes, like his sire, he was a bay, recognised by his four white socks, a
white nose and distinctive white scars. In 1715 he was acquired by William, 2ndDuke of Devonshire who eventually
retired him to stud at Chatsworth where he died in 1741.
Partner was bred in 1718 from Jigg and Curwen’s Bay Barb, his grand-sire was the Byerley Turk. His breeder, Charles
Pelham of Lincolnshire, sold him to Mr Cotton of Sussex, who in turn offered him to Lord Halifax. Lord Halifax raced
the colt with great success over four mile courses and Partner won six of his seven races before being retired to stud.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 380
FRENCH, PROBABLY 18TH CENTURY
PROFILE RELIEF OF KING LOUIS XIV OF FRANCE

carved with the emblem of the Sun King
white marble, on a veined red and green marble roundel, in a later polychromed wood
frame
relief portrait: 35cm., 13¾in.roundel: 44cm., 17¼in.frame: 54cm., 21¼in.
CATALOGUE NOTE
The fact that Louis XIV is represented here with a small moustache suggests that the portrait is based on a 17th-
century model. The Sun King's fashion preferences were so well documented that we know he was only sporting a
moustache between 1658 and 1686. A similar representation of Louis XIV, cast in glass by Bernard Perrot around
1680, was offered at Christie's London, 18 December 1995, lot 116.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 381
A REGENCY SIMULATED ROSEWOOD AND PARCEL-GILT MARBLE TOP SIDE
CABINET,
CIRCA 1810,
in the manner of George Smith, the replaced oblong black marble top above a plain gilt
moulded frieze over two brass grilled doors with silk panels behind, flanked by turned
columns with gilt reeded bases and collars, and supported on gilt winged lion's paw feet,
82cm. high, 93.5cm. wide, 36cm. deep; 2ft. 8¼in., 3ft. ¾in., 1ft. 2¼in.
LITERATURE
Comparative Literature
S. Redburn, 'John McLean & Son', The Journal of the Furniture History Society, 1978, Vol. XIV, pp.31-37, pl. 35A-
35B.
CATALOGUE NOTE
The present side cabinet shows the influence of George Smith who published in 1808 A Collection of Designs for
Household Furniture. The shape of the frieze and also the design of the winged feet can be seen in Smith`s design for
a Drawing Room Commode, published in 1805 and illustrated in George Smith's Collection of Designs for Household
Furniture and Interior Decoration,facsimile edition, 1970, ppl.117.
George Smith`s pattern book Household Furniture, although heavily influenced by Thomas Hope`s innovative
designs, was a seminal publication in the popularisation of Regency design. Indeed he claimed to have worked for
the Prince Regent, although given our dearth of of documentary evidence regarding Smith`s activities, this has not
been substantiated.
The 5th Earl of Jersey undertook extensive refurbishment and modernisation initially of Osterley, but latterly on his
sucession to the Earldom, more significantly of Middleton Park and 38 Berkeley Square in London, as is plainly clear
from a manuscript account held at the Victoria and Albert Museum, London. This interesting account supplies us with
a fascinating insight to the world of an early nineteenth century upholder and was presented by the firm of John
McLean and Son. Covering a period from July 1806 to April 1807 the account details a considerable quantity of
furniture for the house, all in the fashionable Regency taste along with details of the carpets, curtains, wallpaper and
hangings supplied. The bill, amounting to £4,793. 11s. 10d. demonstrates the extent of the refurbishment and is
thoroughly commensurate with Lord and Lady Jersey's standing in fashionable London society.
The accounts illustrate a very contemporary style chosen by the Earl which is very much the style of the present lot,
much in the manner of the leading taste-maker of the period, the Prince Regent, later George IV. McLean's bill,
including for the Venetian Drawing Room 'A black Japann cabinet made to your Japan with Lions paws burnished gild,
made to match those at Berkeley Square, an enclosed black japan Table, with silk curtains ormolu ornaments on lions
paw feet in burnished gold, made to your marble tops and black Japann, 2 circular pier tables, black japann, and
ormolu ornaments' and a pair of 'Elegant black japann cabinets, with ormolu ornaments and writing Desk, conjures an
image of what must have been a most impressive interior and one that would have suited the Prince's Brighton
Pavilion. The Prince's taste was most likely an important source of inspiration for the young Earl and his wife. His
mother, Frances Twysden, the Countess of Jersey, was the Prince's mistress, an exceedingly influential figure in the
Prince's household and romantically linked with the Prince for over twenty years. As such Lord Jersey would have
likely had access to the splendid interiors of Carlton House and the Royal Pavilion in Brighton.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 382
THOMAS ROWLANDSON
1756 - 1827
THE GARDON TRIO; AND THE RESULT OF PURCHASING A BLIND HORSE
Etchings with aquatint and hand-colouring, 1821, two plates from the Third Tour of Dr
Syntax in Search of a Wife, published by Rudolph Ackerman, on wove paper, one with a J
Whatman watermark (not illustrated)
2.0
Each sheet circa 140 by 227mm; 5½ by 9in
ESTIMATE 60-80 GBP
PROVENANCE
George Henry Child Villiers, 8th Earl of Jersey (1873-1923), Osterley Park House, Middlesex.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 383
GEORGE CRUIKSHANK AND OTHERS
1792 - 1878
A GROUP OF BRITISH SATIRES BY GEORGE CRUIKSHANK AND OTHERS
Six etchings with hand-colouring, 1818-30, entitled Very Unpleasant Weather by George
Cruikshank; Puff, puff, it is an age of puffing; A New Way of Gaining Admittance to a Lady's
Chamber and We Have the Exhibition to Examine by William Heath; Illustrations of Harriette
Wilson's Memoirs: p. 118 by Henry Heath; and Reflection of an Exquisite published by J.
Johnston, on wove paper, some sheets watermarks Whatman
6.0
Smallest sheet: 180 by 221mm; 7 1/8 by 8 7/8 in
Largest sheet: 324 by 231mm; 12¾ by 9¼in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 384
A PAIR OF FRENCH BRONZE CHENETS, AFTER THE MODEL BY ANTOINE
MOREAU
IN LOUIS XV STYLE, 19TH CENTURY
each rococo scrolled foliate base supporting a triton holding aloft a conch shell; probably
originally gilded (2)
each 41cm. high, 48cm. wide; 1ft. 4¼in., 1ft. 7in.
CATALOGUE NOTE
Daniel Alcouffe, Anne Dion Tenenbaum, Gérard Mabille, Gilt bronzes in the Louvre, Dijon, 2004, pp 64-65, no. 26.
This pair of chenets are based upon an original 18th century model bequeathed by René Fribourg to the Louvre in
1963, signed Antoine Moreau. They were made for the Prince de Condé and it has been suggested that the original
model may be by the sculptor Lambert-Sigisbert Adam (1700-1759). There is another 18th century pair of this model
in the Wrightsman collection, Catalogue no. 193. On 29th November 1715, Lazare Duvaux sold to the M. le Marquis
de Voyer:
Deux garnitures de feu en bronze représentant des figures marines très -bien ciselées...600l. (Livre -Journal No.
1269).
The existence of 19th century copies attests to the great success enjoyed by this model throughout the centuries.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 385
A PAIR OF FRENCH GILT-BRONZE WALL LIGHTS
IN LOUIS XV STYLE,19TH CENTURY
with three scrolled foliate arms with conforming back plates (2)
each 65cm. high; 2ft. 1½in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 386
A PAIR OF FRENCH GILT-BRONZE WALL LIGHTS
IN LOUIS XV STYLE,19TH CENTURY
with three scrolled foliate arms with conforming back plates (2)
each 62cm. high; 2ft. ¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 387
A PAIR OF GILT-BRONZE WALL LIGHTS
IN LOUIS XVI STYLE
each backplate formed as a satyr masked sheaf of arrows suspended from a tied ribbon
and bow, with pendant leaves and tassels below, the two arms of scrolled foliate form with
flowerhead ornament, each supporting a gadrooned drip pan and candleholder (2)
each 81cm. high; 2ft. 8in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 388
A PAIR OF CARVED GILTWOOD WALL SCONCES
IN LOUIS XVI STYLE
formed as baskets of flowers suspended from ribbons with two candlearms (2)
each 79.5cm high; 2ft. 7¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 389
A VICTORIAN PAPIER MÂCHÉ TRAY
CIRCA 1840,
with a moulded edge, and decorated with Oriental scenes and landscapes in tones of gold
on a dark brown ground, now with modern stand,
tray: 77cm, by 58cm.; 2ft. 6¼in., 1ft. 10¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 390
CIRCLE OF GIACOMO GUARDI
THE ISLAND OF SANTA MARIA DELLA GRAZIE, VENICE
oil on canvas, in a carved gilt wood frame
20 by 26 cm.; 7¾ by 10¼ in.
PROVENANCE
With Arthur Tooth & Sons, London, where acquired by the late Lord Jersey;
George Francis Child Villiers, 9th Earl of Jersey (1910-1998);
EXHIBITED
Whitehall, The Arts Council of Great Britain, Old Masters from Jersey Collections, 1952, no. 16 (as by Francesco
Guardi)
CATALOGUE NOTE
The Church of Santa Maria della Grazia was destroyed by fire in 1849. Other versions of this painting are recorded.
One in the Moratilla Collection in Paris, another in the Friedsham Collection in New York, another from the estate of
the late Captain R.S. de Quincy, sold Sotheby's, London, 9 December 1992, lot 83, and another in the Collection of
A.C. James, London. The James picture is illustrated in Antonio Morassi, Guardi, I dipinti, 1993, fig. 929.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 391
ATTRIBUTED TO JEAN-BAPTISTE MONNOYER
LILLE 1636 - 1699 LONDON
A STUDY OF STRIPED WHITE GALLICA ROSES
oil on paper, laid on canvas
41.2 by 33 cm.; 16¼ by 13 in.
PROVENANCE
George Henry Child Villiers, 8th Earl of Jersey (1873-1923), Osterley Park House, Middlesex;
CATALOGUE NOTE
We are grateful to Fred G. Meijer, Curator of the Netherlands Institute of Art History, an expert on still life painting. He
has studied photographs of this painting (January 2013) and is of the view that it is probably by Jean Baptiste-
Monnoyer. The picture appears to be made up of independent flower studies presumably cut from an album of
sketches before being rearranged and laid onto canvas.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 392
A PAIR OF GEORGE II CARVED MAHOGANY SIDE CABINETS
the grey marble tops with reeded edges above a frieze with raised Greek key ornament
between foliate mouldings and with a panelled slide, above two fielded panelled doors with
egg and tongue mouldings, flanked by pilasters carved with running entwined sinuous
leaves, and supported on solid plinths with inset drawer and rose and dart carved
mouldings, alterations, previously the lower right and left cabinets of a breakfront cabinet
or bookcase of the George II period,
94.5cm. high, 104cm. wide, 37.5cm. deep; 3ft. 1¼in., 3ft. 5in., 1ft. 2¾in.
CATALOGUE NOTE
The present cabinets are very much in the style of Williiam Kent. William Kent was born in Yorkshire around 1685-6.
From 1709 to 1719 he lived in Italy, studying to be a painter. It is however as an architect he is best known. Even in
his student days, his interest had been directed towards architecture and this had no doubt been stimulated by his
meeting there with Lord Burlington in 1716. Three years later he returned to England with him and from then his name
was to be inextricably linked with that of his patron. With Palladio as their God and Inigo Jones as their Prophet, they
set about the trying to establish a change in English architecture. Kent was the first English architect to take an
interest in the interior design of houses. One of his most notable early commissions was in 1722 to secure the interior
commission at Kensington Palace, a project that was to last five years. These interiors which also included the
furnishings was the first designed entirely by the architect. Other major commissions followed including Walpole`s
Houghton Hall for which designs prepared by him for the saloon are believed to be the first surviving evidence for an
architect presenting a design for an entire room. By 1730 he was one of the leading architects of the neo-Palladian
movement. The present cabinets in a Classical style, albeit in an altered state reflect the influence Kent had on
furniture design. The bold Greek key carving on the frieze is a detail seen in his designs, and recurs in many of his
other designs in other forms, for comparison see Peter Ward-Jackson, English Furniture Designs of the Eighteenth
Century, London, 1984, pl.14-15 and 18. Plate 14 shows an elaborate design for an organ case which in its base
incorporates two plinths which are not unlike the form of the present cabinets and gives some indication of the piece
from which the present cabinets might have been assembled. The re-modelling of the cabinets probably took place
during the first quarter of 19th century. Certainly the marble tops seem to date from this time. The metalwork and
drawer construction also seem to indicate this period. During this period a great revival of interest took place in
Àntiquarian Furniture' which included the work of William Kent and the present cabinets would seem to be part of that
fashionable revival taste of the early 19th century.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 393
A PAIR OF GEORGE III STYLE CARVED GILTWOOD WALL SCONCES,
in the manner of John Linnell, the shield shaped mirror plates within conforming C scrolled
moulded frames, with scrolled foliate crests, and pendant leaves below, with pairs of later
candle-arms
75cm. high; 2ft. 5½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 394
A PAIR OF CARVED GILTWOOD WALL SCONCES
IN LOUIS XV STYLE
each with an asymmetrically foliate carved backplate issuing two scrolled candlebranches
each 86cm high; 2ft. 11¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 395
A GEORGE II MAHOGANY DISPLAY CABINET
in the manner of Thomas Chippendale, with a moulded cornice above a band of curved
leaves, the single glazed door with gothic tracery surmounted by a carved foliate finial, the
flanking stiles carved with pendant swags of flowers, fruit and leaves suspended from
ribbons, the associated base with a gadrooned edge above three drawers, and supported
on ogee bracket feet
244cm. high, 109cm. wide, 53cm. deep; 8ft., 3ft. 7in., 1ft. 9in.
CATALOGUE NOTE
The form of the present cabinet shows the influence of Thomas Chippendale. The Gothick design of the glazing bars,
the carved foliage to the stiles and the gadroon carved edge to the lower drawer section are all elements seen in his
furniture designs published in Chippendale`s The Gentleman and Cabinet-Maker`s Director, 1762. These elements
can be seen in a design for a Chest of Drawers, pl. 87 and also in a design for a Desk or Bookcase, pl. No. LXXVIII.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 396
JAMES STARK
NORWICH 1794 - 1859 LONDON
EEL TRAP ON THE YARE AT WHITLINGHAM, NORFOLK;CATTLE WATERING BY THE
YARE AT BRAMERTON, NORFOLK
2.0
the first signed lower left: JS (in monogram), the second signed lower right: JS (in
monogram)
a pair, both oil on panel
each: 27.3 by 38 cm.; 10 3/4 by 15 in.
PROVENANCE
Anonymous sale, London, Christie's, 18 June 1971, lots 60 & 16, to Spencer for £1,300 and £2,200 respectively;
With the Polak Mandell Gallery, Jersey, where acquired by the late Lord Jersey;
George Francis Child Villiers, 9th Earl of Jersey (1910-1998);
EXHIBITED
Jersey, St. Brelade, Hotel l'Horizon, Fine Paintings and Watercolours, 1976, no. 59.
CATALOGUE NOTE
Born in Norwich, James Stark trained under John Crome becoming affiliated with the Norwich School, the first
provincial art movement in Britain. These works may have been done in conjunction with his 1834 publication The
Scenery of the Rivers of Norfolk. Whitlingham is a small churchless parish hamlet located three miles east of Norwich
on the south bank of the River Yare. Bramerton is likewise located on the south bank of the River Yare, four and three
quarter miles south east of Norwich.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 397
A FEREGHAN RUG, WEST PERSIA
Approximately 198 by 132cm; 6ft. 6in., 4ft. 4in.
early 20th century
CATALOGUE NOTE
EMBARGO ON IMPORTATION OF PERSIAN/IRANIAN WORKS OF ART TO THE USA.
Due to recent changes in the U.S. law, carpets and rugs of Iranian/Persian origin can no longer be imported into the
U.S.
Please check with the sale administrator if you are uncertain as to whether a lot is subject to these or any other
restrictions or if you need assistance with such enquiries.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 398
A TEKKE RUG, SOUTHWEST TURKESTAN
Approximately 189 by 116cm; 6ft. 2in., 3ft. 9in.
circa 1900

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 399
A EUROPEAN 'SAVONNERIE STYLE' CARPET
the pale green field with overall rows of conch shells
Approximately 610 by 420cm; 20ft., 13ft. 9in.
20th century

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 400
A PAIR OF OAK ARMCHARIS
IN 17TH CENTURY STYLE
with tall upholstered backs, seats and arms, and supported on bobbin turned legs and
conforming stretchers

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 401
A MASSIVE JADEITE FANGHU,
CIRCA 1900,
crisply carved with square ring handles,
29cm; 11½in
Fanghu refers to a shape derived from archaic bronze vessels, characterised by a square-sectioned pear-shaped
body as seen in the present vase.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 402
FOLLOWER OF HANS MAKART
PORTRAIT OF A LADY
oil on canvas
65.7 by 46.4cm., 26 by 18¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 403
EDMUND BLAMPIED
1886 - 1996
THE RETURN FROM THE FAIR (A. 138)
Drypoint with light plate tone, circa 1928-29, signed in pencil, from the edition of 100, on
laid paper
Plate: 150 by 246mm; 5 7/8 by 9 5/8 in
Sheet: 223 by 309mm; 8 5/8 by 12 1/8 in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 404
EDMUND BLAMPIED
1886 - 1996
VIN ROUGE (A. 167)
Drypoint, 1932-33, signed in ink, inscribed C., on laid paper
Plate: 235 by 300mm; 19¼ by 11 7/8 in
Sheet: 295 by 361mm; 11 5/8 by 14¼in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 405
EDMUND BLAMPIED
1886 - 1996
OSTEND SHRIMPER (A. 126)
Drypoint with light plate tone, 1926, signed in ink, inscribed 1st trial proof. aug. 1926, a trial
proof, on laid paper
Plate: 194 by 156mm; 7 5/8 by 10 1/8 in
Sheet: 262 by 304mm; 10 3/8 by 12in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 406
EDMUND BLAMPIED
1886 - 1996
THE CENTENARIAN (A. 144)
Drypoint, 1931, signed in ink, inscribed H, from the edition of 100, on laid paper
Plate: 260 by 258mm; 10¼ by 10 1/8 in
Sheet: 334 by 312mm; 13 1/8 by 12¼in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 407
EDMUND BLAMPIED
1886 - 1996
L'APÉRITIF (A. 129)
Drypoint, 1926-27, signed in pencil, numbered 1/100, on laid paper
Plate: 177 by 258mm; 7 by 10 1/8 in
Sheet: 258 by 341mm; 10 1/8 by 13½in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 408
AN IVORY STUDY OF A MERMAID
19TH CENTURY
8cm., 3¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 409
A WOOD NETSUKE OF THREE MONKEYS IN A CLAM'S SHELL
19TH CENTURY
4cm., 1½in. wide

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 410
AN IVORY OKIMONO OF A CROUCHING FISHERMAN ON A CARP
19TH CENTURY
13cm., 5¼in. wide

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 411
AN IVORY STUDY OF A TENGU ROLLING AN EGG
19TH CENTURY
3cm., 1¼in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 412
AN IVORY OKIMONO OF A MONKEY AND TWO TOADS
19TH CENTURY
6cm., 2½in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 413
AN IVORY NETSUKE OF TWO STREET PERFORMERS
19TH CENTURY
3cm., 1¼in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 414
AN IVORY NETSUKE OF JUROJIN
19TH CENTURY
4.5cm., 1¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 415
SEVEN SAISHIKI NETSUKE
19TH CENTURY
7.0
each approx., 5.5cm., 2¼in. high.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 416
AN IVORY NETSUKE OF A RAT ON A SCROLL
19TH CENTURY
5cm; 2in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 417
TWO IVORY OKIMONO OF RATS
19TH CENTURY
2.0
largest 10cm., 4in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 418
A WOOD NETSUKE OF A RAT
19TH CENTURY
4.5cm., 1¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 419
AN IVORY NETSUKE OF A SNAIL
19TH CENTURY
4.5cm; 1¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 420
A GROUP OF IVORY CARVINGS INCLUDING:
19TH CENTURY
a man with a tethered ox;a ferry boat with passengers as a horse;a grazing horse;a horse
bending down;a seated man with high hat;rats on a platted mat;a man hanging to a large
fish;a girl holding a carp with a child at her feet;a flower head;dancing figures beneath
trees;a seated figure startled by a man on a screen;
11.0
the largest 9cm; 3½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 421
PROPERTY OF A PRIVATE EUROPEAN LADY
A FRENCH MYTHOLOGICAL TAPESTRY, PARIS, FAUBOURG SAINT
GERMAIN, WORKSHOP OF DE LA PLANCHE, AFTER MICHEL CORNEILLE,
FROM THE SERIES THE STORY OF DAPHNE AND APOLLO (OVID’S
METAMORPHOSES)
composite tapestry showing scenes from two separate designs from the series, `Daphne
transformed into laurel', and Àpollo demanding the arrows of love from Cupid', lacking
border; joined up the centre
CATALOGUE NOTE
Michel Corneille (1601 – 1644) provided designs for this series of Daphné tapestries, circa 1650, for which there were
five panels in the series, woven on various occasions, with choice of up to seven border designs, and at different
standards of weaving. They were woven at the de la Planche workshop, or Raphael and his son and successor
Sébastien-François. Cartoons for the series are noted in the inventory taken by Philippe de Champaigne of the
workshop, on the death of Raphael (27th September 1661): `Cinq autres pieces, aussi peintes en huile et sur toile…
représentans L’Histoire de Daphné, et prises ensemble 50 livres.’
The tapestry is a composite of two tapestry panels from the series of The Story of Daphne. The left section of the
present tapestry is from the left hand side half of the original composition of Daphne transformed into laurel. Daphne
is not present in this tapestry, Apollo is on the right, and the river god, Peneus, her father is depicted on the left of the
present panel. The section missing from the right would have been of the laurel tree, Daphne, and her three
concerned attendants. The right hand side of the present tapestry is from the narrower composition of panel depicting
Apollo demanding the arrows of love from Cupid.
For details of a comparable weaving of the series, see Lisses et Délices Chefs-d’oevre de la tapisserie de Henri IV à
Louis XIV, Exhibition Catalogue, 7th September 1995 – 5th January 1996, Château de Chambord, Caisse Nationale
des Monuments historiques et des sites, Paris, 1996, Chp. Daphné (Château de Châteaudun), Nicole de Reynies
pp.251-257, with examples of the complete panels from which the present tapestry derives.
For further discussion of the artist and five tapestry series that Michel Corneille was involved with, see Emmanuel
Coquery, Michel Corneille (1603-1664) Un Peintre du Roi au temps de Mazarin, Exhibition Catalogue, Musée des
Beaux-Arts d’Orléans, 8th April – 9th July 2006, Somogy Editions, Paris, 2006, Histoire de Daphné, Cat. T5., pp.122-
126, pls.T5.1.c and T54.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 421A
A GOBELINS TAPESTRY AND CARVED GILTWOOD FIRESCREEN, THE LATE
LOUIS XV TAPESTRY SIGNED BY JACQUES NEILSON AND DATED 1770, THE
GILTWOOD FRAME, IN LOUIS XV STYLE
with a child feeding chickens, in floral surround within damas cramoisi border, signed
lower right Neilson 1770, the frame carved with scrolls, flowers and foliage.
total height 133cm.; 4ft. 4¼in. total width 75cm.; 2ft. 5½in
PROVENANCE
Probably acquired by Sir William Fowle Middleton, 2nd Bt., for Shrubland Park, Suffolk circa 1830
Sold Sotheby's, Shrubland Park, Suffolk, Sale, 19th-21st September 2006, lot 23.
Thence by descent
CATALOGUE NOTE
Inventory, Shrubland Park, 1860 (Vols. 1 & 2), p. 42, the Drawing Room, possibly the one described as `Four feet
firescreen in ornamental gilt frame white satin shield with wreath of wrought leaves in the centre'.
Sotheby's Inventory, Shrubland Park, 1958, p. 15, The Drawing Room: 200.0.0
Heinrich Göbel - Wandteppiche, Leipzig, 1928, Part II, Vol.II, abb.197, for an identical panel by Neilson from the
Rudolph Kann Collection.
Jacques Nielson (d. 1788), Parisian tapestry weaver and contractor for the low warp workshops of the Gobelins
between 1749-1788.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 422
PROPERTY FROM A EUROPEAN PRIVATE COLLECTION LOTS 422-440
A CARVED GILTWOOD CONSOLE TABLE
RÉGENCE, PART CIRCA 1720
with a moulded white and burgundy breccia marble top, the frieze carved with lambrequins,
the deep apron and scrolled legs carved with scrolls and acanthus leaves, on scrolled feet;
reblocked; regilt
82cm. high, 144cm. wide; 2ft. 8¼in., 4ft. 8¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 423
A PAIR OF CARVED GILTWOOD ARMCHAIRS
IN RÉGENCE STYLE, 19TH CENTURY
with padded back, arm-rests and seat, the frame sculpted with stylised flowers and shell
motifs; regilt

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 424
A PAIR OF FRENCH GILT-BRONZE CHENETS
IN EARLY LOUIS XV STYLE, 19TH CENTURY
with Chinese figures, one male, the other female each seated on scroll, trelliswork and
rocaille bases, with a pleated silk shade; now mounted as lamps
each 31cm. high; 1ft ¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 425
A PAIR OF FRENCH CARVED GILTWOOD FAUTEUILS
IN EARLY LOUIS XV STYLE, 19TH CENTURY
in the manner of Jacques-Jean Baptiste Tilliard, each with a cartouche shaped padded
back, arms and serpentine seat, the frame carved with c-scrolls stylised scallopshells,
flowers and acanthus leaves on cabriole legs and scrolled feet; regilt

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 426
A GILT-BRONZE-MOUNTED ENGRAVED IVORY, PEWTER, FRUITWOOD AND
AMARANTH INLAID TULIPWOOD AND MARQUETRY COMMODE, IN THE
MANNER OF CHARLES TOPINO
IN LOUIS XV/XVI TRANSITIONAL STYLE
of breakfront form, the brèche violette moulded marble top above three long drawers
centred by a medallion depicting a scène gallante in a landscape flanked by two musical
trophies with two symbols of Love, each side inlaid with a neo-classical vase on cabriole
legs, the handles, lockplates and apron cast with ribbons
90cm. high, 124cm. wide, 59cm. deep; 2ft. 11½in., 4ft. ¾in., 1ft. 11¼in.
CATALOGUE NOTE
Charles Topino, received master in 1773, was celebrated for his marquetry scenes, such as the skilfull combination
of still lives of tea-pots, cups, saucers, vases and ewers with a landscape scene highlighted in ivory as on the present
commode. Charles Topino was established at the rue du Faubourg Saint-Antoine and amongst his clientèle were
members of the French aristocracy and the marchand-ébénistes including Delorme and Tuart. His pieces were
described as being a l'antique' which was the expression for taste of classical derivation in the late 18th century.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 427
A CARVED GILTWOOD A MECCA CENTRE TABLE, POSSIBLY SOUTHERN
ITALIAN
CIRCA 1765
of serpentine form with a later moulded mottled liver-grey and white marble top above a
frieze centred by a stylized scallopshell and floral swags on a cross-hatched ground, the
knees with a boldly carved scallopshell and cabriole legs terminating in scolled feet; regilt
79cm. high, 109cm. wide, 66cm. deep; 2ft. 7in., 3ft. 7in., 2ft 2in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 431
A PAIR OF GILT-BRONZE-MOUNTED CHINESE SANG DE BOEUF PORCELAIN
TWO-HANDLED VASES
THE MOUNTS IN LOUIS XV STYLE, 19TH CENTURY
each of baluster form with twin scrolled handles, with a pierced neck on a scrolled base
cast with acanthus leaves and scrolls
each 46cm. high; 1ft. 6in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 432
A MEISSEN PORCELAIN-MOUNTED GILT-BRONZE INKSTAND
THE PORCELAIN CIRCA 1750-55
in a form of a boat covered by a trelliswork pergola surmounted by a flag and mounted with
porcelain flowers enclosing two Meissen figures depicting a fishseller and a fisherwoman,
with a receptacle for inkpot and sander and writing implements on a rockwork and
brickwork base
28cm. high, 30cm. wide; 11in., 11¾in.
PROVENANCE
Michele Beiny, New York
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 433
A FRENCH GILT-BRONZE-MOUNTED FRUITWOOD AND GREEN STAINED
SYCAMORE INLAID BOIS SATINÉ, AMARANTH AND PARQUETRY
COMMODE BY MAISON KRIEGER, PARIS, AFTER THE CELEBRATED MODEL
BY R.V.L.C. FOR THE COMTESSE D'ARTOIS AT VERSAILLES
IN LOUIS XV/XVI TRANSITIONAL STYLE, LAST QUARTER 19TH CENTURY
of breakfront form, the liver, white and grey mottled marble top above three frieze drawers
mounted with a guilloche centred by a flowerhead above two further panelled long drawers
with flowerheads at each corner, the marquetry composed of trelliswork enclosing stylised
flowerheads, the sides similarly panelled, the corners mounted with laurel swags and fluted
classical elements, the apron mounted with a drapery centred by a Medusa mask, on
cabriole legs terminating in lion paw feet, the inside of the top right drawer with the metal
label, Krieger, Paris
95cm. high, 139cm. wide, 60cm. deep; 3ft. 1½in., 4ft. 6¾in., 1ft. 11¾in.

CATALOGUE NOTE
Comprative Literature:
Denise Ledoux-Lebard, Les ébénistes du XIXe siècle, 1795-1889, Paris, 2000, p.395-398.
Clarisse Roinet, Roger Vandercruse dit La Croix, Paris, 2000, p. 85.
This fine commode is after the celebrated model delivered by Gilles Joubert, on 8th November 1773, for the
bedchamber of the Comtesse d'Artois at Versailles attributed to RVLC (now in Floors Castle, Scotland, home of the
Duke of Roxburghe), illustrated by Roinet, op. cit., p. 85.
The offered commode is a faithful late 19th century reproduction by Maison Krieger which was founded by Antoine
Krieger and his brother Nicholas, who started working in Paris around 1826. His first premises was at 17, rue Saint-
Nicholas and in 1838, he moved to 76, rue du Faubourg Saint-Antoine. In 1850, his firm became known as Antoine
Krieger et Cie., before he passed it on to his son-in-law and other successors. The furniture and objets d’art produced
and exhibited by Krieger for almost an entire century were of different styles but all of the highest quality
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 434
A FRUITWOOD INLAID TULIPWOOD, AMARANTH, STAINED
SCYCAMORE AND MARQUETRY WRITING TABLE STAMPED N. GREVENICH
LOUIS XVI, LATE 18TH CENTURY
with a three-quarter gilt-bronze galleried top centred by a ribbon-tied oval medallion
depicting the Arts on a trelliswork ground, the sides with ribbon-tied musical trophies, the
back with a roundel and floral sprays on square tapering legs joined by a rectangular shelf
inlaid with a foliate motif, the whole inlaid with cube parquetry enclosing flowerheads
77cm. high, 48.5cm. wide, 32cm. deep; 2ft. 6¼in., 1ft. 7¼in., 1ft ½in.
PROVENANCE
Maurice Ségoura, Paris
CATALOGUE NOTE
Nicolas Grevenich (1735-1820), maître in 1768, worked in rue du Bac and subsequently Quai Malaquais, where he
enjoyed an excellent reputation. In1791, he received a commission for screens for the Tuileries palace. He continued
working until the early years of the Empire period mainly in the Louis XVI or Transitional style. He was known for his
elegant and restrained pieces made with great precision and his style of Transitional commodes was similar to that of
the celebrated ébéniste Charles-Claude Saunier.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 435
A PAIR OF CARVED GILTWOOD FAUTEUILS
IN LOUIS XVI STYLE,19TH CENTURY
each with an arched padded back above downscrolled padded arms and bowed padded
seat, the back and arms with ribbon-tied flowers above a seat-rail carved with guilloche on
spirally fluted tapering legs; regilt

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 436
A PAIR OF GILT-BRONZE-MOUNTED RED PAINTED TÔLE CHENETS
IN LOUIS XVI STYLE
each with a sang de boeuf ovoid shaped vase with gilt-bronze satyr masks and scrolls
suspending vine leaf and grape swags, their beards terminating in an acanthus leaf scroll
on a shaped base and acorn feet
each 36cm. high, 33cm. wide; 1ft. 2¼in., 1ft. 1in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 437
A PAIR OF FRENCH GILT-BRONZE-MOUNTED BLUE PORCELAIN
TABLE LAMPS
IN LOUIS XVI STYLE
each of ovoid form with ram's mask handles on a spirally gadrooned socle with a berried
laurel band and square base with concave corners and acanthus leave cast feet; formerly
fitted for electricity
each 42cm. high; 1ft. 4½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 438
A LOUIS XVI-STYLE GILT-BRONZE MOUNTED SANG DE BOEUF PORCELAIN
MANTEL CLOCK, THE MOUNTS IN THE MANNER OF PIERRE GOUTHIÈRE,
FRENCH, 19TH CENTURY AND EARLIER
the removeable cover with a pinecone finial above acanthus leaves, above a pierced
guilloche collar flanked by seated female terms suspending berried laurel swags, the 4½-
inch enamel dial signed J B Renauld A Paris, annular day and date, the pierced back cover
enclosing the earlier movement with later Brocot escapement and suspension, outside
count wheel striking on a bell, flat bottomed plates signed J Bte Renaud A Paris 1789, on a
fluted berried laurel socle and square base
50cm. high; 1ft. 7¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 439
A PAIR OF GREEN PAINTED AND PARCEL-GILT NEO-CLASSICAL
BANQUETTES, POSSIBLY BALTIC
each with outward curved padded sides carved with acanthus terminating in a hound's
head, the seat-rail with a band of berried laurel on fluted sabre legs
each 71cm. high, 138cm. wide, 50cm. deep; 2ft. 4in., 4ft. 6¼in., 1ft. 7¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 440
A GILT-BRONZE-MOUNTED MAHOGANY DESK ARMCHAIR EN GONDOLE
IN LOUIS XVI STYLE
with an outward scrolled curved back above padded downscrolled arms mounted with
acanthus above a circular padded swivelling seat, the seat-rail applied with a gilt-bronze
band of leaves with a flowerhead above each fluted tapering leg terminating in toupie feet

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 441
PROPERTY FROM A PRIVATE BRITISH COLLECTION LOTS 441-458
A GEORGE II GILTWOOD MIRROR
CIRCA 1740
the later rectangular plate with a pierced foliate cresting, with trailing fruit and flowers to
the sides and a pierced conforming apron below
158cm. high, 95cm. wide; 5ft. 2¼in., 3ft. 1¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 442
A CARVED GILTWOOD CONSOLE TABLE
LOUIS XV, SECOND QUARTER 18TH CENTURY
with a moulded mottled peach, grey and white marble top above a c-scroll cartouche
centred by a cornucopia of flowers on inward curved cabriole legs joined by a pierced
stretcher flanked by a dragon terminating in scrolled feet, the knees carved with a stylised
patera, each side frieze with a scallopshell, the frame carved with flowers, acanthus and
scrolls; regilt
85cm high; 155cm wide, 66cm deep; 2ft. 9 1/2in., 5ft. 1in., 2ft. 2in
PROVENANCE
Partridge Fine Arts, London
Property of a Private Collector
LITERATURE
Partridge Recent Acquisitions, 1997, no. 80, illustrated.
CATALOGUE NOTE
Bruno Pons, De Paris à Versailles 1699-1736, Strasbourg, 1983, fig. 424, Fo. 59 and 60, figs. 506-511, fig. 512.
This superbly carved console table may well have been inspired by the engravings for console tables by Francois
Roumier, published in his `Livre de plusieurs Desseins de pieds de tables en console...' (pl. 1 à 6). Bibl. d' Art et d'
Archéologie (Cat. C) illustrated by Pons, op. cit., plates 506-511, reproduced here in fig.1. It is worthwhile noting
plates 507, with a similarly inspired pierced stretcher and dragons on the legs, and 508, for similar cartouches on the
knees, scrolled boss in the centre of the frieze and dragons on the stretcher, the latter also found in plate 510.
François Roumier (b.1748) was a French ornamental sculptor and furniture designer and by 1720 is recorded as
working for the Bâtiments du Roi; in 1721, he became sculpteur du roi and worked at the Royal palaces and châteaux
on boiseries and other carved wood fittings.
Finally Pons, op. cit., illustrates in plate 424 fol. 59 & 60, the Carnet of Mathieu Legoupil, showing designs for
dragons, Òiseux chimériques', Kunstbibliothek, Berlin.The dragon first appears to have been incorporated as a
decorative feature in furniture when depicted in a design for a console table executed by Jean-Bernard-Honoré
Tureau, called Toro (1661-1735), illustrated in Livre de Tables de Diverses Formes, published in Paris by C.N. Lepas
Dubuisson in 1716. The dragon is depicted in much the same attitude on the supports of the present lot, resting on its
forelegs with open mouth hissing and wings raised. This exotic creature would become an important device in the
rococo period, where it can be found on decorative boiseries, consoles and bronzes d'ameublement. The influential
ornemaniste Nicolas Pineau (1684-1754) incorporated this feature in a drawing in his Nouveaux Desseins de Pieds de
Tables, published by P.J. Mariette in 1734.
Fig. 1
fig 1., François Roumier, `Livre de plusieurs Desseins de pieds de

tables en console...?(pL. 1 a 6)
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 443
A NEAR PAIR OF GEORGE III WHITE PAINTED PARCEL-GILT TRIPOD
TABLES
attributed to Thomas Chippendale, each with a gadroon-carved dish top, on a turned fluted
stem ornamented with a vase, foliate and guilloche motifs, on cabriole legs with anthemion
motifs and scroll feet, originally polescreens
63.5cm. high, 34.5cm. diam.; 2ft. 1in., 1ft. 1½in.
PROVENANCE
Purchased 1997, Mallett, London.
CATALOGUE NOTE
The form of the bases of the present tables is of strikingly similar form to a group of tables and polescreens known to
have been supplied by Thomas Chippendale strongly suggesting that the present tables could also have been made
by his St Martin`s Lane workshop. Chippendale supplied two closely related pole-screens to Harewood House and
also for the Tapestry Room at Newby Hall, illustrated in Christopher Gilbert, The Life and Work of Thomas
Chippendale, London, 1978, 2 vols, Vol II, pl. 333 and 334. These polescreen share the same overall form to the base
with scroll carved feet on flattened bases and in the case of the Harewood House example, very similar foliate and
scroll carved detail. Similarities can also be drawn with a pair of mahogany torchères again made by Chippendale for
Paxton House, illus, Christoppher Gilbert, op. cit. pl.385. For further comparison, see a tea or work table in
`Guadalupe wood' made for Sir Lawrence Dundas for his London residence 19 Arlington Street, London illustrated
Christopher Gilbert, op. cit., pl. 470.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 444
A PAIR OF GEORGE III OVAL GILTWOOD MIRRORS
CIRCA 1765
the oval plate surmounted by a cresting in the form of a basket of flowers, with pierced
scrolling folliage to the sides and apron, re-gilded
116cm. high, 78cm. wide; 3ft. 9¾in., 2ft. 6¾in.
CATALOGUE NOTE
The present mirrors are designed in the rococo style as evinced by the strongly carved foliate tendrils, prevalent up to
the end of 1760s. The form suggests the influence of of such makers as Thomas Chippendale who in his Director pl.
CLXXII published a design which relates to the present lot.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 445
A GEORGE III SERPENTINE MAHOGANY COMMODE
CIRCA 1770
in the manner of Thomas Chippendale, the cross-banded top above a drawer and a pair of
cupboard doors enclosing a shelf, on splayed supports
92cm. high, 108cm. wide, 55.5cm. deep; 3ft. ¼in., 3ft. 6½in., 1ft. 10in.
PROVENANCE
Previously sold Sotheby`s New York, Furniture and Decorations, January 23rd 1998, designated Property from the
Estate of Louise Bralower.
Subsequently sold Sotheby`s New York, Important English Furniture and Decorations from a Private Collection, 21st
October 2005, lot 32, sold $168,000.
LITERATURE
Comparative Literature
R. W. Symonds, Furniture Making in 17th and 18th Century England, London, 1955
Christopher Gilbert, The Life and Work of Thomas Chippendale, London, 1978
CATALOGUE NOTE
The present elegant commode can be compared with other English commodes dating from the 1770s which have the
same overall serpentine profile above shaped aprons and with slightly hipped and moulded front corners continuing to
outswept feet, features which are derived from contemporary French models. This outline was used by Thomas
Chippendale for a mahogany commode he supplied to Goldsborough Hall, and also on a superb marquetry example
supplied by him, but not made by him, for Nostell Priory (Gilbert op. cit., p. 127, fig. 227, p. 124, fig. 220). Another
unprovenanced example by an unknown maker has two doors ornamented with oval panels of flame-veneer of similar
character to the first of the present commode (Symonds, op. cit., fig. 167). The most unusual feature of the present
commode is the manner in which the doors are curved inwards at the centre, a feature which does not appear to be
recorded elsewhere.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 446
A GEORGE III MAHOGANY SERPENTINE COMMODE
CIRCA 1770
in the manner of Henry Hill of Marlborough, the top with an inverted bowed superstructure
fitted with a pair of cupboard doors enclosing eight pigeonholes, five drawers and a sliding
removeable tray, above a slide, with four drawers below
109cm. high, 105cm. wide, 60cm. deep; 3ft. 7in., 3ft. 5¼in., 1ft. 11¾in
CATALOGUE NOTE
The present commode with its serpentine front, keeled front angles and distinctively shaped apron and sides relates to
a group of commodes attributed to Hill of Marlborough, illustrated in Lucy Wood, The Lady Lever Art Gallery,
Catalogue of Commodes, HMSO 1994, pp.71-3 suggesting Hill as a possible maker. Henry Hill worked as a cabinet-
maker, decorator, auctioneer and furnisher in Marlborough, Wiltshire form the early 1740s until his death in 1778,
Despite his provincial origins, Hill worked for some of the most sophisticated patrons of his day including Sir John
Delaval of Seaton Delaval ( see L. Wood, `Furniture for Lord Delaval', Journal of the Furniture History Society, 1990,
vol. XXVI, pp.198-222), Paul Methuen of Corsham Court, Henry Hoare at Stourhead and the Duke of Somerset at
Maiden Bradley.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 447
A REGENCY MAHOGANY AND BRASS-INLAID SARCOPHAGUS WINE
COOLER
CIRCA 1820
the lead-lined interior with divisions for bottles
56cm. high, 53cm. wide, 33cm. deep; 1ft. 10in., 1ft. 9in., 1ft. 1in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 448
JOHN OPIE, R.A.
CORNWALL 1761 - 1807 LONDON
PORTRAIT OF MASTER HENRY MONRO (1791-1814)
oil on canvas
45 by 36 cm.; 17 3/4 by 14 1/8 in.
PROVENANCE
By descent from the sitter.
CATALOGUE NOTE
The sitter was the son of Dr. Thomas Monro (1759-1833), patron and physcian of J.M.W. Turner. Enrolling as a
student at the Royal Academy in 1806, he became student President and exhibited a drawing of his father at the
Academy in 1811 (no. 330) before his premature death in 1814 at the age of twenty three.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 449
A GEORGE III MAHOGANY CANTERBURY
CIRCA 1800
the sides with turned spindles, with two removeable divisions, on square tapering legs
56cm. high, 48cm. wide, 37.5cm. deep; 1ft. 10in., 1ft. 7in., 1ft. 2¾in.
PROVENANCE
Purchased 1998, Apter-Fredericks, Fulham Road, London
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 450
A REGENCY MAHOGANY SIDE TABLE
IRISH, CIRCA 1820
the shaped rosewood crossbanded top with a bead edge, raised on monopodiae supports
headed with stylised leopards` masks, ornamented with foliage and scrolls, on claw feet,
painted to the back: LOAN 14/ MR. T. COX
82cm. high, 120cm. wide, 41cm. deep; 2ft. 8¼in., 3ft. 11¼in., 1ft. 4in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 451
A PAIR OF CHINESE PORCELAIN VASES
CANTON, SECOND HALF 19TH CENTURY
as lamps, of baluster form, decorated against a green ground with figures and fowers, with
shades
overall 71cm. high; 2ft. 4in.
PROVENANCE
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 452
A PAIR OF CHINESE BALUSTER VASES
LATE 19TH CENTURY
as lamps, of baluster form, decorated in green and red against a blue and white
background,
64cm. high, including fitting; 2ft. 1¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 453
CANTON, LATE 19TH CENTURY
of baluster form, decorated with panels of figures, the ground painted with flowers and
butterflies, now as table lamps
60cm. high including brass fitting; 1ft. 11¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 454
A VICTORIAN OAK AND BRASS-BOUND DESK SET
CIRCA 1850
comprising a domed stationary casket, a paperweight, an oval pen tray, a letter opener, a
blotter, a set of postal scales with four weights, a house letter box, an ink stand with pen
tray and glass inkwell ( defective), two quill vases, a nib cleaner, a string container in the
form of a barrel and four leather bound ledgers in a lockable case, monogrammed AEH,
some pieces bearing a paper label for ORTNER & HOULE/LONDON/3 ST JAMES ST
Casket: 16cm. high, 23cm. wide, 12cm. deep; paperweight: 16.5cm. wide, pentray 31cm.,
letter opener 34cm., 31cm. by 22cm., blotter 31cm. by 22cm., scales 22cm. wide, house
letter box 23cm. high, 40cm. wide, 23cm. deep, inkstand 30cm. wide, vases 11cm. high, nib
cleaner 11cm., 14cm. wide, string container 14cm. wide, ledgers 13cm. high, 21cm. wide,
8.5cm. wide
PROVENANCE
Purchased 1995, Woolcomber House, Sheep Street, Stow on the Wold.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 455
A VICTORIAN OCTAGONAL OAK HOUSE LETTER BOX
2ND HALF 19TH CENTURY
with brass mounts, on a pine plinth
136cm. high, 33cm. wide; 4ft. 5½in., 1ft. 1in.
PROVENANCE
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 456
A GEORGE III MAHOGANY AND INLAID OCTAGONAL TRIPOD TABLE
CIRCA 1770
in the manner of Mayhew and Ince, the segmentally veneered tilt top inlaid to the centre
with a spray of flowers within C-scroll motifs, on a baluster stem and scroll-carved legs,
restorations
73cm. high., 58cm. wide; 2ft. 4¾in., 1ft. 11in.
CATALOGUE NOTE
The distinctive style of the boldly engraved marquetry to the top of the present table, executed in the style of Pierre
Langlois of Tottenham Court Road is typical of the work of the Golden Square partnership of Messrs Mayhew and
Ince. The partnership of John Mayhew ( 1763-1811) and William Ince ( d.1804) `was one of the most significant,
probably the longest lived, but as far as identified furniture is concerned, the least well-documented of any of the
major London cabinet-makers of the 18th century' ( Beard and Gilbert, Dictionary of London Furniture Makers 1660-
1840, pp.589-598). Although a significant number of manuscript accounts and bank records have survived in most
cases these commissions have been dispersed, although their designs for furniture which were published as The
Universal System of Household Furniture, published between 1759 and 1762, give an indication of their house style at
that time. The elegant form of the column support of the present with its elongated urn ornament reflects the popular
interest in the neo-classical taste prevalent at the time the table was made. The use of floral sprays on a neo classical
form seen in the present table also suggests a link to a group of furniture known to have been supplied by Mayhew
and Ince for 9th Earl of Exeter at Burghley House, Lincolnshire which included commodes and corner cupboards of
contemporary form but incorporating earlier floral marquetry panels.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 457
A GEORGE III MAHOGANY CHILD`S DINING CHAIR
CIRCA 1765
in the manner of Thomas Chippendale, with a pierced back and drop-in seat, on square
legs with a stretcher
PROVENANCE
Purchased 1998, Hotspur, London.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 458
A REGENCY SATINWOOD AND ROSEWOOD SIDE CABINET
EARLY 19TH CENTURY
with a later Portor marble top above two drawers, with two cupboard doors below
enclosing three shelves, the front edge veneered to match the inlay in the frieze, with
replaced inset mirrors, on brass claw feet
84.5cm. high, 92cm. wide, 50cm. deep; 2ft. 9¼in., 3ft. ¼in., 1ft. 7¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 459
AN INLAID OAK LOW-BOY
of unusual form, the double hinged rectangular top enclosing a well with three small
drawers, and hinged to the front opening onto gate legs supports, the fronmt with dummy
cupboard doors and drawers and with one small actual drawer, on cabriole legs with pad
feet, parts mid 18th century
71cm. high, 97cm. wide, 39cm. deep; 2ft. 4in., 3ft. 2in., 1ft. 3¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 460
A SET OF SIX MAHOGANY DINING CHAIRS
in the manner of Thomas Chippendale, including a pair of armchairs, with pierced carved
backs and stuffed seats, on cabriole legs

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 461
A GEORGE III MAHOGANY INLAID AND CROSS-BANDED SECRETAIRE
CABINET
CIRCA 1800
in neo classical style, the top with a pair of doors enclosing a shelf above the secretaire
compartment fitted with five small drawers and pigeonholes, with a pair of cupboard doors
below enclosing a shelf and a drawer
165.5cm. high, 66.5cm. wide, 40cm. deep; 5ft. 5¼in., 2ft. 2¼in., 1ft. 3¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 462
A GEORGE III RECTANGULAR ROSEWOOD AND INLAID CARD TABLE
CIRCA 1790
the tulipwood crossbanded top painted with ribbon and paterae motifs, on square tapering
legs, decoration refreshed
74cm. high, 92cm. wide, 45cm. deep; 2ft. 5in., 3ft. ¼in., 1ft. 5¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 463
A LATE GEORGE III MAHOGANY CIRCULAR OCCASIONAL TABLE
CIRCA 1800
the circular top with a shaped gallery on scroll-carved supports joined by an undertier, on
splayed legs with hoof feet
79cm. high, 66cm. deep; 2ft. 7in., 2ft. 2in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 464
A BRASS-INLAID ROSEWOOD WHATNOT/READING STAND
CHARLES X, CIRCA 1830
the swivelling top with a reading slope on a ratchet above a slide and a drawer fitted with
compartments, the steel lock stamped FICHET/A PARIS, 2478, with two tiers below
77cm. high, 32cm. wide, 31cm. deep; 2ft. 6¼in., 1ft. ½in., 1ft. ¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 465
A BRASS-MOUNTED AND BRASS INLAID MAHOGANY UMBRELLA STAND
IN RUSSIAN EMPIRE STYLE
of hexagonal form with inward curved pierced sides joined by a stretcher inlaid with
trapezoid motifs, the canted base inlaid with a foliate motif
71cm. high, 53cm. wide; 2ft. 4in., 1ft. 8¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 466
A LATE REGENCY SIMULATED BIRCHWOOD DUET STAND
CIRCA 1820
the adjustable top with twin candle-arms, on a turned stem and trefoil base with brass feet
112cm. high, approx. 50cm. wide, 45cm. deep; 3ft. 8in., 1ft. 7¾in., 1ft. 5¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 467
A PAIR OF FRENCH UPHOLSTERED GILTWOOD ARMCHAIRS
MID 19TH CENTURY
in the Louis XVI manner, with oval backs and bowed seats on fluted turned tapering legs;
re-gilded

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 468
A TOLE PLATE WARMER
PROBABLY EARLY 19TH CENTURY
re-decorated
48cm.high, 99cm. wide, 53cm. deep; 1ft. 7in., 3ft. 3in., 1ft. 9in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 469
A PAIR OF PAINTED TOLE OBELISKS
19TH CENTURY
painted against a scarlet ground with playing cards and flowers, on square plinths raised
on claw feet
48cm. high, 20cm. sq.; 1ft. 7in., 8in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 470
A REGENCY PENWORK DOUBLE-SIDED BOOKSTAND
decorated with classical scenes, with two opens helves to each side, on turned feet and
castors, decoration refreshed
91cm. high, 55.5cm.wide, 53cm. deep; 3ft., 1ft. 9¾in., 1ft. 9in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 471
A REGENCY ROSEWOOD AND BRASS-INLAID CHIFFONIER
CIRCA 1820
with a drawer above a pair of cupboard doors enclosing shelves
135cm. high, 85cm. wide, 37cm. deep; 4ft. 5in., 2ft. 9½in., 1ft. 2½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 472
A PAIR OF EBONISED AND PAINTED ADJUSTABLE TABLES, PROBABLY
VENETIAN
LATE 19TH CENTURY
each 60cm. high, 34cm. diameter; 1ft. 11¾in., 1ft. 1½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 473
A GEORGE II CARVED GILTWOOD WALL MIRROR
the later upright rectangular plate surmounted by a pierced foliate cresting, with trailing
foliage to the sides and apron
153cm. high, 78cm. wide; 5ft., 2ft. 6¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 474
THE PROPERTY OF A LADY
A GEORGE IV ROSEWOOD BREAKFRONT SIDE CABINET
CIRCA 1825
attributed to Gillows of Lancaster, the top with a three quarter gallery, possibly later, above
four doors between stiles ornamented with foliate scrolls, enclosing later shelves, on
carved melon feet
97cm. high, 191cm. wide, 40cm. deep; 3ft. 2¼in., 6ft. 3in., 1ft. 3¾in.
CATALOGUE NOTE
Although the present bookcase is not marked by a Gillows stamp, it can be attributed to that firm as it displays many
characteristics of pieces known to be by them. As well as the use of fine quality timber and the high quality of the
carving, the overall form is typical of this firm`s work. Such details as the carved scrolled corbels seen at the top and
bottom of the pilasters which are typical of the Àntique' or Grecian taste fashionable in the early 19th century can be
seen on a bookcase made by Gillows for George Wilson Esq., of Dallam Tower, Milnthorpe in 1829, illustrated in
Susan E. Stuart, Gillows of Lancaster and London, 1730-1840, 2008, 2 vols, vol. I, pl. 450. For a further comparison
see Sotheby`s London, Important English Furniture, 18th November 2008, lot 402.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 475
A PAIR OF GEORGE IV MAHOGANY BUFFETS
CIRCA 1830
in the manner of Gillows of Lancaster, each with two tiers, on standard end supports
carved with scrolls, raised on claw feet
114cm. high, 148cm. wide, 61cm. deep; 3ft. 9in., 4ft. 10¼in., 2ft.
PROVENANCE
By repute commissioned for Pitshill House, Sussex
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 476
A SOUTH ITALIAN CARVED AND GESSOED GREY-PAINTED AND PARCEL-
GILT SIDE TABLE
PROBABLY SICILIAN, LATE 18TH CENTURY
in the Egyptian manner, the inset jasper top above a frieze decorated with gessoed
hieroglypics on spirally turned legs on claw and ball feet; losses and retouching to
decoration, distressed
82.5cm. high, 91.5cm. wide, 49cm. deep; 2ft. 8½in., 3ft., 1ft. 7¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 477
A PAIR OF GEORGE III GREY PAINTED AND PARCEL-GILT ARMCHAIRS
CIRCA 1770
attributed to Thomas Chippendale, with cartouche backs and later sprung seats, on
cabriole legs
CATALOGUE NOTE
The present chairs have stylistic affinities with other examples from the workshop of Thomas Chippendale which
include a set of eight chairs supplied for the library at Harewood House, Yorkshire, illustrated in Christopher Gilbert,
The Life and Work of Thomas Chippendale, London, 1978, 2 vols., Vol II, pl. 197. The carved detail on the back, legs
and front-rail can also be compared closely with an armchair supplied by Chippendale for the Long Drawing Room at
19 Arlington Street, London, illus Christopher Gilbert, op.cit.,pl. 177.
The front-rails of the chairs also relates to the form of the front rail and legs of a pair of window seats, attributed to
Thomas Chippendale which were almost certainly supplied to Sir Robert Burdett, 4th Bt. ( 1716-1797) of Foremark
Hall, Derbyshire, sold Sotheby`s, New York, 1996, lot 276. For a further comparison another pair of window seats with
close stylistic affinities, almost certainly supplied by Chippendale for Harewood House is illustrated in Chiristopher
Claxton Stevens and Stewart Whittington, Eighteenth Century Furniture, The Norman Adams Collection, 1983, p.63.
The chairs follow Chippendale`s drawings for `French Chairs' published in his The Gentleman and Cabinet-Maker `s
Director, London, 3rd Edition, 1762, pl. XIX-XX.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 478
A REGENCY BRASS-INLAID ROSEWOOD SOFA TABLE
CIRCA 1810
attributed to Gillows of Lancaster, the top with cut brass borders and line inlay above two
drawers to each side, on standard end supports and bronze feet
75.5cm. high, 170cm. wide extended, 73cm. deep; 2ft. 5¾in., 5ft. 7in., 2ft. 4¾in.
CATALOGUE NOTE
The present table can be attributed to Gillows of Lancaster for a variety of reasons. The quality of the timbers used
and overall quality of construction typify the work of this firm. Other reasons for linking the present table with this firm
are the unusual technique of laying the veneers from end to end to the top of a sofa table which is a technique largely
used by Gillows and which can be seen in a pair of sofa tables supplied by Gillows to Stephen Tempest of Broughton
Hall, illustrated in Susan E Stuart, Gillows of Lancaster and London 1730-1840, 2008, 2 vols., Vol. I., pl. 268. The form
of the brass inlay to the top also relates closely to that seen on a writing table supplied by Gillows for Hackwood Park,
illustrated Susan E. Stuart, op. cit. pl. 309.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 479
A REGENCY ROSEWOOD BREAKFAST TABLE
CIRCA 1815
with a circular tilt-top, on a trefoil platform and carved giltwood claw feet
70.75cm. high, 136cm. diam.; 2ft. 4in., 4ft. 5¾in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 479A
A PAIR OF REGENCY ROSEWOOD CONSOLE TABLES
CIRCA 1820
in the manner of S. Jamar, with white marble tops and applied gilt-metal mounts, on
tapering supports headed by masks, with a replaced mirror back, minor differences to
measurements
86cm. high, 72.5cm. wide, 32cm. deep; 2ft 9¾in., 2ft. 4½in., 1ft. ½in.
CATALOGUE NOTE
Tte French inspired design of the present tables, clearly reflecting the influence of Percier and Fontaine, is
characteristic of the work of S. Jamar, a London based cabinet-maker whose furniture approximates more closely than
that of any other at this period to the pure Empire style. Jamr worked from premises in Wardour Street and later
Gerrard Street, Soho, and is last recorded in 1826. In advertisements of the period he claimed to produce furniture `
equal to any made in Paris, and at a rate that upon calculation will be admitted condiderably advantageous than
inplrting from abroad'.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 480
A GEORGE IV ROSEWOOD WHATNOT
CIRCA 1820
in the manner of Gillows of Lancaster, with a gilt-metal gallery and four shelves above two
drawers
139cm. high, 57cm. wide, 49cm. deep; 4ft. 7¼in., 1ft. 10½in., 1ft. 7¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 481
of slender baluster form, with pierced gilt-metal mounts, as lamps
64cm.high,including fitting; 2ft. 1¼in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 482
A CARVED MAHOGANY BERGÈRE, IN THE MANNER OF JACOB
EMPIRE, EARLY 19TH CENTURY
with a yoke shaped curved back above padded sides and seat on sabre legs

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 483
A NEAR PAIR OF BRASS INLAID ROSEWOOD SOFA TABLES, GERMAN OR
AUSTRIAN
CIRCA 1840
with a central brass inlaid panel depicting scrolling foliage and birds to the top above two
drawers, on scroll end supports joined by a turned stretcher; conceived as a pair but of
differing dimensions
72cm. high, 144cm. open, 62cm. deep; 73cm. high, 130cm. open, 59.5cm. deep; 2ft. 4½in.,
4ft. 8¾in., 2ft. ½in. 2ft. 4¾in., 4ft. 3¼in., 1ft. ½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 484
A PAIR OF GEORGE IV ROSEWOOD AND SIMULATED ROSEWOOD LIBRARY
ARMCHAIRS
CIRCA 1825
in the manner of Gillows of Lancaster, the design in the style of Thomas King, with shell-
carved arms, padded backs and seats with loose cushions, on reeded turned tapering legs
CATALOGUE NOTE
The carving on the arms of the present chairs relates to designs for couches by Thomas King, illustrated in Edward
Joy, The Pictorial Dictionary of British 19th Century Furniture Design , 1984, p.294. King called himself àn upholsterer
of forty five years` experience' and published a number of pattern books of furniture and upholstery between 1829 and
about 1840. He was based at Gate Street, Lincoln`s Inn Fields, London.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 485
A WALNUT AND BRASS CERCLES TOURNANTS PORTICO CLOCK, FRENCH,
MID-19TH CENTURY AND LATER
the horizontal movement with anchor escapement, outside count wheel striking on the top-
mounted bell, silvered minute, hour and day rings, mounted on an hexagonal portico
enclosing a twenty-four hour time dial and a terrestrial globe
52cm. 20½in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 486
AN EMPIRE AUBUSSON CARPET, FRANCE
Approximately 470 by 337cm; 15ft. 5in., 11ft.
early 19th century

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 487
A BRONZE AND GILT-METAL CHANDELIER, POSSIBLY BALTIC OR RUSSIAN
CIRCA 1820
with a corona centred by a roundel within a band of laurel leaves suspending chains cast
with foliage, the reservoir with a crown corona and four receptacles with female masks in
drapery surmounted by a flaming finial, the body applied with laurel leaf swags and
flowerheads above gadrooning and a pinecone finial
108cm high, 65cm diameter; 3ft. 7½in., 2ft. 1½in.

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 488
AN ITALIAN ROSSO ANTICO, PATINATED BRONZE AND BLACK MARBLE
TAZZA SIGNED B BOSCHETTI ROMA
the finely fluted circular antico rosso tazza supported by a bronze group of three
hippocampi and a central bronze baluster decorated with foliage raised on a moulded
antico rosso and black marble base
32cm. high, 40cm. diameter; 1ft ½in., 1ft. 3¾in.
PROVENANCE
H .N. Hansen,(1835-1950), Chief Burgomaster in Copenhagen, Denmark
Thence by descent to the present owner's wife, the great-grandaughter of the above.
CATALOGUE NOTE
According to family tradition, during his time as Chief Burgomaster, H. N. Hansen assisted the owner of the Danish
brewery company Carlsberg, Carl Jacobsen (1842-1914), to acquire land upon which the museum Glypoteket, was
built for his private collection. H. N. Hansen was also on the first board of the museum. As a gift for his contribution to
the acquisition of the site, Carl Jacobsen donated the marble tazza to H. N. Hansen. The tazza has been used for
a while in the City Hall of Copenhagen.
Alvar González-Palacios, Il Tempio del Gusto, 1984, figs. 286-287.
An almost identical tazze by the same maker was sold in these Rooms, 6th July 2011, lot 140, for £49,250, with a
detailed footnote by Professor Alvar González-Palacios.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 489
PROPERTY OF A GERMAN PRIVATE COLLECTOR LOTS 489-499
A GILT-BRASS TURMCHENUHR CASE, GERMAN, CIRCA 1630
2¼-inch dial with touch pieces, the case with circular castelated cresting and five finials
above finely engraved side panels and leaf-cast corners, on an engraved flared base; now
fitted with a 20th Century German timepiece movement
31cm. 12¼in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 490
A LOUIS XV GILT-MOUNTED KINGWOOD BRACKET CLOCK, LE NOIR, LYON,
CIRCA 1740
9-inch twenty five piece cartouche enamel dial signed Le Noir A Lyon, the five pillar
movement with verge escapement, silk suspension and numbered outside count wheel
striking on a bell, signed on the backplate as the dial, the restored waisted case with figural
surmount above foliate and term mounts; on a similarly decorated bracket
Clock 67cm. 26½in. high Bracket 25.5cm. 10in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 491
A LOUIS XVI ORMOLU CARTEL CLOCK, CARANDA, VERSAILLES, CIRCA
1775
9-inch enamel dial signed Caranda A Versailles, finely pierced and engraved hands, the
movement with anchor escapement and silk suspension, star-cut outside count wheel
striking on a bell, the case with vase surmount and mask and scroll mounts
89cm. 35in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 492
A LOUIS XVI ORMOLU MANTEL CLOCK, FRENCH, CIRCA 1770
5½-inch enamel dial signed Hilger A Paris, bell strioking movement with flat bottomed
plates, outside count wheel and silk suspension, the drumn case surmounted by an urn
and raised on a plinth base flanked by putti musicians
47.5cm. 18¾in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 493
A LOUIS XVI ORMOLU AND WHITE MARBLE LYRE MANTEL CLOCK,
FRENCH, CIRCA 1790
5¾-inch annular enamel dial signed A Paris, with central date hand, bell striking movement
with flat bottomed plates, outside count wheel and silk suspension, sunburst pendulum
bob, the drum mounted within a lyre decorated with mask surmount flanked by trailing
flowers, the oval marble base with further mounts
56.5cm. 22¼in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 494
A LOUIS XVI ORMOLU MANTEL CLOCK ON LATER LAPIS LAZULI BASE,
FRENCH, CIRCA 1780 AND LATER
4¼-inch enamel dial signed Cronier A Paris, bell striking movement with star-cut count
wheel and silk suspension, the drum supported on martial trophies and flanked by two
classical soldiers, on a later wooden plinth base veneered with lapis lazuli and inset with
gilt plaques
41cm. 16¼in. high
CATALOGUE NOTE
A very similar clock also by Cronier is illustrated Pierre Kjellberg Encyclopedie de La Pendule Francais, Paris 1997,
p.274, D
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 495
AN EMPIRE PATINATED BRONZE AND ORMOLU MANTEL CLOCK, 'THE
DAIRY MAID', FRENCH, CIRCA 1810
3¼-inch enamel dial, bell striking movement with outside count wheel and silk suspension
the drum mounted within a pannier on the back of a walking horse and with the seated
maid and her milk churn, the rectangular base with cow and classical maid mounts
40cm. 16in. high
CATALOGUE NOTE
A very similar clock is illustrated in J Ramon Colon de Carvajal Catalogo de Relojes del Patrimonio Nacional, Madrid
1987, p.372
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 496
AN EMPIRE ORMOLU MANTEL CLOCK, FRENCH, CIRCA 1815
3¾-inch restored enamel dial signed Breguet and with central calendar, bell striking
movement with silk suspension, the case with a young female figure to the side holding an
egg from which energes the young Cupid, the base applied with further gilt mounts
45.5cm. 17¾in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 497
AN EMPIRE ORMOLU MANTEL CLOCK, FRENCH, CIRCA 1815
3¼-inch enamel dial signed A Paris, bell striking movement with silk suspension, the plinth
case surmounted by cupid shooting an arrow at two hearts, with central obelisk, the base
applied with further classical mounts to the fromt and sides
36cm. 14¼in. high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 498
AN EMPIRE PATINATED BRONZE AND ORMOLU MANTEL CLOCK, FRENCH,
CIRCA 1805
2¾-inch enamel dial, bell striking movement with outsdie count wheel and silk suspension,
the drum mounted within trotting horse and surmounted by an Arab rider, the rectangular
base applied with putti and birds
41cm. 16in. high
CATALOGUE NOTE
A very similar clock is illustrated in J Ramon Colon de Carvajal Catalogo de Relojes del Patrimonio Nacional, Madrid
1987, p.364
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 499
A JEWELLED SILVER-GILT, ENAMEL AND HARDSTONE TIMEPIECE,
AUSTRO-HUNGARIAN, LATE 19TH CENTURY
cast with the figure of Daniel at the sacrificial altar flanked by an angel and a lion, on lapis
veneered steps, the circular dial with earlier watch movement for John Massey, London,
the whole further studded with small pearls and garnets; and a silver and enamel
timepiece, Austro-Hungarian, circa 1900, the earlier watch movement for Vaucher, Paris,
the oval dial surmounted by a spread eagle and supported on the wings of a pelican in its
piety, both apparently unmarked
the first 20 ½ cm, 8 in wide, the second 18.5, 71/4 in high

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 500
PROPERTY OF AN ENGLISH COLLECTOR LOTS 500-506
A PAIR OF SILVER WATER JUGS, CHRISTOPHER LAWRENCE, LONDON,
1973
loop handles, the otherwise plain bodies textured at bases, necks and hinged lids
25cm, 9 3/4 in high
2462gr, 79oz 3dwt
CATALOGUE NOTE
Christopher Nigel Lawrence was born in 1936 in Cumberland and started making silver items when he was 13 in a
workshop at the bottom of his father's garden. At 15, he became apprenticed to C.J. Vander Ltd as a tray maker and
flat hammer man, for whom he designed various pieces. Becoming in the 1960s well-known among the craft, he
owned his own design studio and workshop and held a one-man exhibition at Goldsmiths' Hall in 1973.
Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 501
A SET OF SIX DINING TABLE CANDLESTICKS, CHRISTOPHER LAWRENCE,
LONDON, 1975
in two sizes, circular, textured stems
two, 13.1cm, 5 1/8in, four, 8.2cm, 3 1/4in high
666gr, 21oz 8dwt

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 502
A SILVER CANTEEN, CHRISTOPHER LAWRENCE, LONDON, 1973
comprising: 4 large serving spoons, 1 carving knife and fork, 12 soup spoons, 12 table
knives, 12 table forks, 12 fish forks, 12 fish knives, 12 dessert knives, 12 coffee spoons, 12
teaspoons, 12 dessert forks, 12 dessert spoons, 2 condiment spoons (128)
5460gr, 175oz 10dwt, of weighable silver

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 503
A SILVER CIGARETTE BOX AND TWO SILVER ASH TRAYS, CHRISTOPHER
LAWRENCE, LONDON, RESPECTIVELY 1972 AND 1973
rectangular and circular with textured decoration, the box with cedar lining
31.8cm, 12 1/2 in long and 12.6cm, 5in diameter
the ash trays, 810gr, 26oz

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 504
A SILVER TEA AND COFFEE SERVICE, CHRISTOPHER LAWRENCE,
LONDON, 1972/73
with textured decoration, comprising: a teapot, a coffee pot, a hot milk pot, a hot-water jug,
a milk jug, a cream jug and two sugar bowls
coffee pot, 23.5cm, 9 1/4in high
6774gr, 217oz 15dwt, all in

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 505
A SET OF OUR SILVER WINE GOBLETS AND FOUR SILVER CHAMPAGNE
FLUTES, CHRISTOPHER LAWRENCE, LONDON, 1971/73
with textured stems, the goblets with gilt interiors
the goblets, 15cm, 5 7/8in high, the flutes, 18.2cm, 7 1/8in high
1300gr, 41oz 15dwt

Collections
London | 30 Apr 2013, 10:30 AM | L13311
LOT 506
A SILVER SAUCEBOAT AND STAND, A SILVER PEPPER MILL, FOUR SILVER
PEPPERETTES AND FOUR SILVER SALT CELLARS, CHRISTOPHER
LAWRENCE, LONDON, 1970-1975
all with textured decoration, the pepperettes and salt cellars in two case with printed label:
'JEAN RENET 1. Old Bond Street. London. W.1.'
the sauceboat stand, 20.2cm, 8in diameter; the pepper mill, 8.7cm, 7 1/4in high; the
pepperettes and salt cellars, 5.cm, 2 1/8in high
1248gr, 40oz 2dwt, of weighable silver

L13210 F

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L13210 F

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Sotheby's

ESTIMATE 10,000-15,000 GBP

ESTIMATE 5,000-7,000 GBP

ESTIMATE 6,000-8,000 GBP

ESTIMATE 10,000-15,000 GBP

ESTIMATE 8,000-12,000 GBP

ESTIMATE 3,000-4,000 GBP

ESTIMATE 12,000-18,000 GBP

11.2cm, 4 3/8 in long

ESTIMATE 8,000-12,000 GBP

ESTIMATE 30,000-40,000 GBP

ESTIMATE 2,000-3,000 GBP

ESTIMATE 300-400 GBP

ESTIMATE 20,000-30,000 GBP

ESTIMATE 2,000-3,000 GBP

ESTIMATE 1,500-2,000 GBP

ESTIMATE 2,000-3,000 GBP

ESTIMATE 800-1,200 GBP

ESTIMATE 2,000-3,000 GBP

ESTIMATE 800-1,200 GBP

ESTIMATE 1,000-1,500 GBP

ESTIMATE 12,000-18,000 GBP

ESTIMATE 15,000-20,000 GBP

ESTIMATE 2,000-3,000 GBP

ESTIMATE 3,000-4,000 GBP

ESTIMATE 400-600 GBP

ESTIMATE 3,000-5,000 GBP

ESTIMATE 800-1,200 GBP

ESTIMATE 4,000-6,000 GBP

ESTIMATE 2,000-3,000 GBP

ESTIMATE 6,000-8,000 GBP

ESTIMATE 15,000-20,000 GBP

ESTIMATE 12,000-18,000 GBP

ESTIMATE 10,000-15,000 GBP

ESTIMATE 7,000-10,000 GBP

ESTIMATE 7,000-10,000 GBP

ESTIMATE 10,000-15,000 GBP

ESTIMATE 12,000-18,000 GBP

ESTIMATE 8,000-12,000 GBP

ESTIMATE 6,000-8,000 GBP

ESTIMATE 3,000-4,000 GBP

ESTIMATE 3,000-5,000 GBP

ESTIMATE 6,000-9,000 GBP

ESTIMATE 3,000-5,000 GBP

ESTIMATE 7,000-10,000 GBP

ESTIMATE 10,000-15,000 GBP

ESTIMATE 5,000-8,000 GBP

ESTIMATE 6,000-9,000 GBP

ESTIMATE 20,000-30,000 GBP

ESTIMATE 4,000-6,000 GBP

ESTIMATE 3,000-5,000 GBP

ESTIMATE 10,000-15,000 GBP

ESTIMATE 10,000-15,000 GBP

ESTIMATE 4,000-6,000 GBP

ESTIMATE 3,000-5,000 GBP

ESTIMATE 20,000-30,000 GBP

ESTIMATE 5,000-8,000 GBP

ESTIMATE 3,000-5,000 GBP

ESTIMATE 25,000-40,000 GBP

eaton hall, cheshire

Sotheby's catalogue illustration

ESTIMATE 20,000-40,000 GBP

ESTIMATE 6,000-8,000 GBP