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4.00% up to 50,000
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0.50% between 350,000.01 and 500,000
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All lots are offered subject to the Conditions of Sale and Business printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 22% of the hammer price is payable by the buyers of all lots, except those marked with an asterisk, in which case the buyer’s premium is 26.4%.
ANTIQUES & HISTORIC TEXTILES
Antiques & Historic Textiles
Henry Meadows BA Hons, MRICS
Mark Glew
Susanna Winters MA (History of Art)
Cover illustrations: Front cover: lot 489 | Back cover: lot 315
Catalogue Produced by Jamm Design Ltd. - 020 7459 4749 info@jammdesign.co.uk
Photography by Darren Ball - 07593 024858 darrenball1989@gmail.com
Henry Meadows
Susanna Winters
Mark Glew
To commence at 10am
261* Art Deco. A large silk panel or coverlet, 1930s, hand-stitched figured gold silk, with large pattern of stylised flowers and other motifs, some scattered small marks, silk perishing in a number of places and expertly consolidated with unobtrusive stitching, gold tasseled fringe to short ends (some tassels missing), later orange cotton backing, 256 x 176 cm (100.75 x 69.25 ins)
This unusual large-scale piece, with its striking Art Deco motifs, was possibly a drape for a cinema or hotel. (1)
£500 - £800
262* Art Nouveau. An appliqué panel, Continental (possibly Belgian), circa 1910, hand-stitched cream wool appliquéd design of stylised pheasant’s eye narcissi within a border, embroidered in long and short stitch and satin stitch, in wool in shades of orange, yellow, pale pink, and cream, on a green wool ground (faded), a few very small marks and holes, backed with yellow silk, top edge largely unstitched and with remains of curtain rings for hanging, 76 x 170 cm (30 x 67 ins), together with:
263* Art Nouveau. Needlepoint panel, French, circa 1900, large panel cut in half horizontally to form two mirror image pieces (only slight loss to pattern), handworked in gros point in coloured wools on a canvas ground, with a design of scrolling acanthus leaves to one side, with stylised passion flowers and ivy leaves to the other side, a few small marks (including 1 or 2 wax deposits), backed with brown linen, both hemmed by hand to 3 sides, remaining side to each raw where cut, length 172 cm (67.75 ins) and 178 cm (70 ins), width of each 106 cm (41.75 ins)
This striking large needlework is believed to have been made in a French convent. The pieces could be finished off at each end, for use as two large mirror image panels, or rejoined to again form one larger panel. (2)
£400 - £600
£150 - £200
An embroidered cloth or coverlet, Asian, early 20th century, hand-worked using satin, long and short, and buttonhole stitch, with large stylised chrysanthemum flowers and buds in silk threads, in shades of purple, orange, and yellow, the meandering stems and leaves in turquoise wool, and highlighted with metallised gold threads, on a black fabric ground, machined hem, 1 or 2 small marks and minor discolouration, 191 x 158 cm (75 x 62 ins) (2)
264* Carpet. An Oriental Arak woollen runner, 20th century, with a repeating blue and yellow geometric design within a multi-geometric border on a red ground, 358 x 91 cm, together with a Caucasian woollen runner, early 20th century, with a repeating Boteh design on a light red ground, within a multi-band border, 275 x 108 cm (2)
£200 - £300
265* Carpets. A large Oriental Bochara woollen carpet, 20th century, with repeating medallions within geometric borders on a red ground, with kilim weave ends, 310 x 160 cm, together with two further Oriental woollen carpets, including a Bidjar carpet, with repeating geometric decoration within a multi-banded border on a blue ground, 320 x 215 cm (3)
£200 - £300
266* Carpets. An Oriental Teke Bochara woollen prayer rug, 20th century, with repeating medallions on a red ground with a geometric border, 128 x 100 cm, together with three further prayer rugs, including a Bochara, 20th century, with repeating medallions within a multi-banded border on a red ground, 122 x 91 cm (4)
£100 - £200
Lot 265
Lot 266
268* Clothing. A metalwork coif, German, 19th century, embroidered bonnet, hand-worked in metallised gold threads with stylised flower stems, using mainly bullion stitch and satin stitch, and incorporating spangles and coloured foil, on a cloth of gold ground, embellished with wide metalwork braid trims, later silk ribbon bow to back of bonnet, lined with brushed cream cotton (toned), 15 x 23 cm (6 x 9 ins)
Such headwear was part of traditional German costume, worn on special sacred and secular occasions. It took some weeks to make one bonnet, and the specialist knowledge of the old handcrafting techniques needed was passed down from generation to generation. Each piece, therefore, fashioned from costly materials, was very expensive to make. (1)
£100 - £200
£200 - £400
267* Clothing. A 1940s wedding dress, handmade full-length gown of ivory satin with all over leaf pattern in white, with sweetheart neckline (gathered at padded shoulders), long slim sleeves, slightly dropped fitted waist, large matching bow at rear, and slight train, opening to left side with metal poppers, covered buttons and loops to rear, slight discolouration to underarms, occasional light marks (mostly to edge of hem in places), together with the original Simplicity dress pattern for the gown, and accompanying tambour work net veil with white feather headdress attached, contained together in a cardboard box, with name and address on the lid in manuscript ‘Mrs. Joyce Lukins, 32, Roberts Rd. Madeley.’, plus: 16 other wedding dresses, early to later 20th century, all white, ivory, or cream, except one oyster pink, some with wear; 2 further white dresses; and an assortment of wedding parapernalia, including photographs, dress patterns, cake toppers, magazines, receipts, silver horseshoes, cake pillars, wedding veils, and headdresses (a number with wax flowers), some items contained in an old hat box (22)
269* Clothing. A pair of child’s gloves, probably late 19th century, hand-stitched suede leather gloves, trimmed and partly lined with raspberry red grosgrain ribbon, showing through pierced leaf and roundel decoration to cuffs, matching padded ribbon detail to back of gloves, metallic gold plaited braiding around raised detail to backs and to cuffs, slightly dusty, length 14.5 cm (5.75 ins)
A beautifully made pair of children’s gloves, presumably intended for a special occasion, or perhaps a theatrical production. (a pair)
£100 - £150
Lot 270
270* Clothing. A rare pair of Phillips’ Silver Wing bathing shoes, England, early 1920s, moulded in cream rubber, with red painted edgings (rubbed in places), and silver wings to back of each shoe, break to one strap, maker’s mark and patent details to soles, length 22 cm (8.75 ins), width 7 cm (2.75 ins)
An early example of brand association, this rare survival is probably the earliest form of the Phillips Silver Wing bathing shoe, this pair being unlike almost all other pairs which we have traced: the whole design of the shoe differs from that usually found, and the silver wings here are discreetly placed at the heel, rather than prominently displayed to the sides of the shoe. We have found just one other pair of an identical design, which is in blue with white edging (Ilfracombe Museum, object number ilfcm.27544b).
This design, being so much more uncommon than that usually seen, and probably being the first to be produced, most likely means that it was made in far fewer numbers than the alternative version, which was produced in black, red, and green (see the National Museum, Oslo, Norway, Inventory no. OK-1995-0064; Bata Shoe Museum, Toronto, USA; and Museum of the Cumbraes, Millport, Scotland).
The 1920s saw an increasing focus on outdoor sports and leisure activities, and therefore the demand rose for suitable attire which was also fashionable. These rubber shoes, designed for wild swimming and beach activities, were not just practical but also stylish, with a message to the consumer. The silver wings are a reference to the Greek god Hermes (known to the Romans as Mercury) who wore winged sandals, ‘talaria’, which enabled him to fly with incredible speed between heaven and earth. This association elevates the shoes from merely a cheap and functional item into one which is much more glamorous. It appears the marketing worked, with the company going on to produce shoes with even more prominent silver wings.
(a pair)
£200 - £300
271* Clothing. A Spitalfields silk overdress, circa 1780s, hand-sewn gown of cream figured silk, with all-over self pattern of narrow vertical stripes between wide bands of sinuous foliage stems, with scattered flower bouquets and floral sprigs woven in pink, green, purple, blue, cream, and black, fitted bodice, with waist curved at the front and v-shaped to vertically tucked back, low cut neckline, elbow-length slim sleeves with small cuff, bodice and sleeves lined with linen, close-gathered skirt, pocket slits to both sides (one with horizontal tear at foot), front of skirt edged with a double border of pink, green, and cream fly fringe (missing or detached in places), some scattered marks and small holes (and a 4 x 9 cm burn hole to back of skirt towards hem), silk perishing to right shoulder and underarm, a few small grey ink or paint marks to left shoulder, seams becoming unstitched in places, bust 73.5 cm (29 ins), waist 64 cm (25 ins), sleeves 32 cm (12.5 ins), length 138 cm (54.25 ins)
Provenance: Given to the current owner in 1999 by the late Simon Dixon, solicitor, of Clifton, Bristol, who stated that the dress had been in his family for many years.
(1)
£200 - £300
272* Collage Picture. Advice to the Bride, 1843, depicting 2 standing female figures composed of a variety of materials laid onto a blue cotton background, including moiré silk, lace, wool, feathers, velvet, felt, etc., with painted facial features, the bride on the right, wearing a white gown with headdress and veil over her ringletted hair, holding a Bible in her left hand, and wearing pearly earrings and a heart-shaped locket on a chain around her neck, her mother on the left, attired in a crinoline gown, a flower and feather-trimmed bonnet on her head, and a jewel at her neck, some toning to lace, background foxed, contemporary calligraphic label in black ink to upper left ‘Advice to the Bride 1843’, stained and slightly rubbed, lace border (incorporating label), 39 x 45.5 cm (15.5 x 18 ins), gilt moulded framed repainted and with losses, glazed (47 x 53.5 cm)
(1)
£150 - £200
273* Crimean War. A set of commemorative damask napkins, circa 1855, 4 finely woven white linen napkins, with large armorial device in the centre, incorporating the motto ‘Protegit Deus Justitiam’ and ‘Sep 8 1855 Sevastopol’, large scrollwork border, with further dates and places of key battles to corners: ‘Balaklava, 25 Oct. 1854’; ‘Inkerman, 5 Nov. 1854’; ‘Alma, 20 Sep. 1854’; and ‘Tchernaya, 16 Aug. 1855’, selvedges to 2 opposing sides, the other 2 stitched by hand, each approximately 79 x 87 cm (31 x 34.25 ins)
In 1998 Christie’s sold a damask banqueting cloth which commemorated the Crimean War and bore the same Latin motto, meaning ‘God Protects Justice’ (‘Fine Costume and Textiles’, Christie’s South Kensington, 16th June 1998, lot 234).
(4)
£150 - £200
274* Ecclesiastical. A priest’s dalmatic and colletin belonging to Sir Francis Stronge (1856-1924), Mexico, probably 18th century, matching robe and collar of silver and peach brocade (faded and perishing in places, with some stitched consolidation), edged with yellow braid, lined with pale pink glazed linen, robe with matching tassels to 4 corners of hem (worn with some loss), collar with (later?) cord terminating in a tassel, lining of collar with ink stamp of the church of Santa Cruz y Soledad, Mexico, and stitched manuscript paper inventory label ‘F No 31. Sir F. Stronge’, dimensions of robe: sleeves 49.5 cm (19.5 ins), length 106 cm (41.75 ins), dimensions of collar: 16 x 53 cm (6.25 x 20.75 ins)
Sir Francis William Stronge KCMG (1856-1924) was a senior British diplomat. Born to a distinguished Irish family in Balleskie, Fife, he was educated at Trinity College, Dublin, before joining the Royal Tyrone Fusiliers. He joined the Diplomatic Service in 1879 and served in British embassies in Vienna, Peking, Constantinople, Rome and Athens before becoming Consul General for Hungary in 1903 and Councillor of Embassy in Constantinople in 1904. From 1906-1911 Stronge was Minister General and Consul General in Colombia, following which he served as Minister Plenipotentiary in Mexico from 1911 until 1913, during a time of great turbulence in the country. From 1913 to 1919 Stronge served as Envoy Extraordinary and Minister Plenipotentiary at Santiago, Chile. He was knighted on 3rd June 1915 in recognition of his services, chief among which were the purchase of two battleships from Chile, used by the Royal Navy in World War I. (1)
£200 - £300
275* Embroidered Apron. A silk apron appliquéd with embroidered slips, circa 1720, apron of brown silk, with wide border to sides and lower edge composed of slips in the form of flowers and leaves, including carnations and roses, hand-worked in silks in shades of pink, green, blue, and cream, and metallised threads, using long and short stitch, couching, and satin stitch, the slips outlined and joined with couched metallised stems to form a sinuous design, 2 slips missing, one near-detached (holding by a thread), stitched trefoil border of couched metallised threads, drawstring top edge with remains of narrow brown silk ribbon (top right corner with 4 cm of border torn away from apron edge (with slight loss of border), ground with a couple of tiny holes and one area 1.5 x .5 cm just beginning to fray, some loose (and occasional lost) threads, a little faint spotting in places, 41 x 95 cm (16 x 37.5 ins)
The use of slips on this attractive 18th century apron is unusual; we have not seen another, the embroidery usually being stitched direct to the ground.
(1)
£300 - £500
Lot 274
276* Embroidered Armorials. A pair of needlework armorials, French, late 17th century, a matching pair, each expertly stitched in coloured wool and metallised gold and silver threads, on a cream silk ground (a little toned, some fraying, mainly to edges), using couching, stem stitch, long and short stitch, and satin stitch, the central shield with palm trees, a black eagle, and a rampant lion, with a fleur-de-lys on each side, against a scrollwork cartouche ground, and surmounted by a crown, occasional loose or lost threads, 35.5 x 28.5 cm (14 x 11.25 ins), each stitch-mounted on green velvet, matching glazed oval gilt frames (55 x 44.5 cm), with The Rowley Gallery printed label on backboards (2)
£500 - £800
277* Embroidered Bedcover. A monogrammed embroidered coverlet, Iberian, 1857, mustard yellow wool, embroidered with lettering in yellow thread and decoration in red thread highlighted with cream thread: centre with the monogram ‘JT’ within a beribboned foliate wreath, scroll cartouche beneath with lettering ‘Ano de 1857’, wide border of large repeated flower urns, and palmette outer border, uniform loss of threadwork, some holes in ground (most repaired with green thread), originally hemmed by hand, but evidence of some later hemming both hand-stitched and machined, 239 x 204.5 cm (94 x 80.5 ins) (1)
£200 - £300
278* Embroidered Box. A 17th century needlework box, English, rectangular box, the base and pull-off lid finely worked in polychrome silk and metallised silver threads, in long and short stitch, stem stitch, and french knots, on a ground of cream silk (slightly threadbare in places at edges), over a base of cardboard (thick layered paper), with all-over floral pattern of tulips, roses, heart’s ease, carnations, paeonies, and a crown imperial, on a semé dot ground, the lid incorporating a songbird and the initials AA, faded, especially to lid, silk brocade to base of box, box and lid edged with narrow metallised braid (missing in places), matching braid forming loop handle on lid, interior of box and lid lined with oyster pink silk (worn), the lid with lattice of matching narrow grosgrain ribbon for the storage of flat items (2 6 cm lengths of ribbon missing), height 8 cm (3.25 ins), width 23.5 cm (9.25 ins), depth 17.5 cm (6.75 ins)
Beautifully embroidered in coloured silk and metallised threads, boxes such as these were painstakingly stitched by wealthy, often aristocratic, young ladies, often as a culmination of their needlework education. Only the upper echelons of society would have had the time and means to indulge in making such a luxury item, or indeed would have owned the personal objectsletters, sewing accountrements, cosmetics, jewellery, etc. - which might have been kept in such a receptacle. The flowers depicted are largely typical of the period, tulips particularly featuring on 17th century embroideries following the introduction of the flower to England in the late 16th century and the resulting ‘tulipmania’. More unusual, however, is the depiction of the crown imperial. It was introduced to Britain around the same time as the tulip, and although it didn’t generate quite the same response, it was considered an aristocrat amongst bulbs, and was highly valued for its dramatic, 4-foot tall, orange or yellow, bell-shaped flowers. By including it here the maker of the box may well have been making a statement regarding the exotic flowers found in her own garden.
For a similar, slightly smaller, 17th century embroidered box see the V&A accession number 617:1-1897.
(1)
£2,500 - £4,000
279* Embroidered Covers. Two pairs of matching needlepoint settle coverings, French, late 19th century, the design expertly worked in gros point in thick coloured silk threads, and the background worked in a herringbone stitch in canary yellow silk thread, on a canvas ground, the two larger pieces each designed for the seat of a settle, one showing a flower basket, including roses, tulips, and poppies, the other with a large pointed oval arrangement of flowers, including lilac, hydrangeas, roses, tulips, and morning glory, each with a frieze of similar flowers to side and front panels, twisted cord edging, some loss to corners where previously applied to furniture, the two smaller panels each designed for the back of a settle, each with a large oval wreath of flowers similar, some losses to yellow thread (one area sometime re-stitched), one of the back panels with stain to left-hand side, dimensions approximately 84 x 136 cm (33 x 53.5 ins) and 56 x 112 cm (23.25 x 44 ins)
(4)
£200 - £400
280* Embroidered Panel. A floral needlepoint panel, British, earlymid 18th century, tent stitch in coloured wools, predominantly shades of green, blue, red, and gold, depicting a two-handled urn of flower stems and foliage, including tulips, roses, acorns, and oak leaves, slightly faded, some threadbare areas (mainly to urn), and some later replacement stitches (notably to corners), sometime backed with linen and tacked to a wooden stretcher, 38 x 44.5 cm (15 x 17.5 ins)
(1)
281* Embroidered Picture. A 17th century octagonal trompe-l’œil needlework, worked in silk threads in shades of orange, yellow, blue, green, and cream, incorporating metallised gold threads, on a ground of cream silk, using long and short stitch, basketweave, bullion stitch, couching, stem stitch, and french knots, the central panel simulating a portrait miniature, depicting Pope Pius V in long robes with a halo around his head, kneeling in prayer at an altar, against a fringed curtain, a balustrade and vista to his right, within a goldwork basketweave border forming a raised frame suspended by an embroidered ribbon bow, wide border of scrolling voluted stems of tulips, love-in-a-mist, columbines, anemones, and roses, the stems emanating from Pope Pius V’s papal coat of arms below portrait, featuring an oval shield with three bendlets, a triregnum (papal tiara), crossed keys, and ears of wheat, slightly faded, very occasional loss of threads, 31.5 x 29 cm (12.5 x 11.5 ins), octagonal ebonised ripple moulded frame with yellow metal ornamentation, glazed (45.5 x 43 cm), backboard with remains of an old framer’s label relaid (Andrea Bracchi, Firenze?)
An attractively-framed and well-preserved 17th century embroidery with unusual trompe-l’œil design.
£150 - £250
Pope Pius V (1504-1572), born Antonio Ghislieri (and from 1518 called Michele Ghislieri), was head of the Catholic Church and ruler of the Papal States from 1566 until his death in 1572. (1)
£300 - £500
282* Embroidered Pictures. A pair of oval needlework pictures of children, circa 1850, finely worked in silks, in shades of pink, green, brown, gold, and cream, using long and short stitch, french knots, and satin stitch, the face and limbs finely delineated in watercolour, on a silk ground, the latter just beginning to perish in a few small areas to sky, one depicting a young girl carrying a sheaf of wheat on her head and a forked branch in her hand, with a rustic dwelling and trees in the background, the other depicting a young girl wearing a knee-length dress, standing in a garden beside a wall with an urn atop, a classical temple to the left, each 23 x 16.5 cm (9 x 6.5 ins), verre eglomise mounts, matching gilt frames (33 x 27.5 cm), with typed note of provenance on verso
Provenance: Embroidered by the great grandmother of Lady (Barbara) Stewart née Lloyd; given to Lady Stewart’s brother-in-law and his wife, Sir Alastair and Lady (Patricia) Stewart, in February 1993; thence by descent to the current owners.
(2)
£100 - £150
283* Embroidered Valance. A bed valance, Rhodes, Greece, 19th century, hand-stitched horizontal panel, embroidered in silk on a cream linen ground, worked in Rhodian raised stitch with 15 alternating green/blue and red large stylised vase motifs (a type of Glastra pattern?), framed in matching thread by a border of large diagonal leaves to sides and lower edge and a border of small diagonal vase motifs to upper edge, some lost stitching, hemmed to side edges, upper and lower edges raw (with red line outer border trimmed off to upper edge, and much of it lost to lower edge), a few small holes, mainly to right-hand side (largest 1.5 x 2 cm), 56 x 280 cm (22 x 110 ins)
(1)
£200 - £300
284* Fabric. A large crimson damask hanging, 18th century, red and gold silk brocade multi-pieced curtain or hanging (more than one pattern), some wear and repairs, later beige linen lining (with hand and machine stitching), curtain rings to short ends, 265 x 94 cm (104 x 37 ins), together with approximately 30 pieces of 18th century red damask similar, various shapes and sizes, generally pieced and worn, some repairs, largest 188 x 77 cm (74 x 30.25 ins) (approx. 30)
£300 - £500
285* Fabric. A large piece of Victorian gold silk lampas, with large flower and trellis woven design, some overall spotting, selvedges to sides, 114 x 57.5 cm, (45 x 22.5 ins), glazed ebonised frame (122 x 65 cm)
(1)
£80 - £120
286* Fabric. A large framed portion of silk brocade (possibly Spitalfields) from the wedding dress of Ann Middleton née Harrison, late 18th century, woven in peach, blue, and green, on a cream ground, with a repeating pattern of large clusters of flowers, seedheads, and berries, some toning and light staining, 96.5 x 40 cm (38 x 15.75 ins), framed (108 x 51.5 cm), backboard with framer’s printed label ‘F. Casson, 20, Bond Street, Hull’, and several manuscript labels and annotations relating to provenance, together with a printed family tree tracing the line of descent
Provenance: Part of the wedding dress of the owner’s great-great-greatgreat grandmother, Ann Middleton, who is believed to have been a ward in Chancery who eloped; her daughter, Eleanor Middleton, was born in 1797. See V&A accession number T.58-1923 for a very similar piece of brocaded silk, dated 1730s.
One of the labels on the verso is the transcript of an extract from the will of Eleanor Middleton Good (1864-1931), great granddaughter of Ann Middleton, leaving the item to her eldest sister (and in the event of her death, her other sisters in turn according to age). The other label offers an intriguing glimpse of the history of the item, involving a ward in Chancery, and an elopement: ‘Extract from letter from Cousin Ethel de Tall to Sarah Witty, Dec. 10, 1933 :- “Thank you for giving me the information about the brocade, of which both you & I have a panel, & I expect Una Nash (née Hawson) has a third. I always understood that Great Grandmother Middleton, née Harrison, was a ward in chancery & that the beautiful wedding dress was a gift from her guardian, who was in some way connected with the Earls of Normanby family, Mulgrave Castle. Also that in S. Kensington Museum there is a replica of the same brocade. It was from Aunt Libbie (Hawson) that I heard this.” Added by Cicely Witty :- I think Greatgreat-Grandmother Middleton was of higher social class than the groom she eloped with. So the story goes, & it sounds romantic.’
(1) £150 - £200
287* Fabric. A large unused length of ‘Tree of Life’ blocked linen, circa 1920s/30s, blocked in vivid polychrome colours (predominantly pink, blue, green, yellow, and brown), with a bold repeating pattern of scrolling flowers and leaves, incorporating parrots and other exotic birds at intervals, selvedges to sides, top and bottom ends raw, 247 x 131.5 cm (97 x 51.5 ins)
Similar to Lee Jofa and Harry Wearne ‘Tree of Life’ designs. (1) £80 - £120
288* Handkerchief. The Flying Steam Company, To China in Twenty-Four Hours Certain, circa 1843, fine linen handkerchief printed in raspberry red on a cream ground, depicting a flying machine, above a panoramic scene of a group of Oriental figures with telescopes, and British figures beside a steam boat, a locomotive engine, and a stage coach, with title to top margin, and various accompanying descriptive and satirical text mentioning Malta, Suez, the Barbarian Fire Ship business, the Thames Tunnel, the East India Company, etc., selvedges to left and right-hand sides, top and bottom edges hemmed by hand, some faint mottled toning, and a very small stain near centre (15 x 8 mm), but overall in very good condition, 46 x 61 cm (18 x 24 ins)
Provenance: The current owner’s great uncle (born 1885); thence by descent.
Rare commemorative handkerchief depicting Ariel, the flying machine patented in 1842 by aviation pioneers William Henson (1812-1888) and John Stringfellow (1799-1883). The steam-powered aircraft design, with its cabin for carrying passengers, represented a landmark moment in the history of aviation; although the craft had insufficient power to actually fly, the design had an impact on early aviation engineers, and a more successful model was built in 1848 which was able to fly for small distances in a hangar. Henson and Stringfellow planned to set up an air freight company, the ‘Aerial Transit Company’, to transport goods by air around the world. Inevitably their ambitions met with some incredulity and suspicion on the part of the press and the public. As well as descriptions of the aircraft itself, the handkerchief gives an indication of public reaction, for example, one Oriental gentleman exclaims: “I’m blessed if I can make it out, its not unlike a Dragon, or a fiery Comet or a mixture of both or something else let’s bolt and save our necks.” (1)
£1,000 - £1,500
289* Indian. An embroidered panel, mid 19th century, heavily hand-embroidered overall with metallised gold and silver threads, metal strips, and beading, using mainly bullion stitch, couching, and chain stitch, on a ground of red, maroon, or lilac large diamonds and triangles, intersected by narrow green borders, filled with a multitude of different patterns, including bands of flowers, all-over sinuous stems, palmette borders, etc., with narrow embroidered border, backed with modern gold silk (machinestitched), 145.5 x 87.5 cm (57.5 x 34.5 ins) (1)
£150 - £200
291* Needlework. A large Victorian panel of Berlin work, handstitched in gros point using coloured wools, and in petit point using coloured silks, on a canvas ground, depicting a parrot on a canopied stand, with tassel cords, ribbons, scrolls, foliage, and fruit, below a tasseled pelmet, and above scrollwork and floral motifs incorporating 2 smaller exotic birds in flight, losses to threadwork in places (mainly to silk threads), with some repairs, a few very small holes, edged with red felt, 245.5 x 44.5 cm (96.5 x 17.5 ins) (1)
£400 - £600
290* Lee (Arthur H. & Sons). A collection of fabric, circa 1930s, most with woven floral patterns (one or two incorporating handstitching), but including a few plain pieces, and one piece of hand-stitched crewelwork, labelled ‘“Paul Carlin” chair back’, 72 x 140 cm (28.25 x 55 ins), some sample pieces showing different colourways, various labels, mostly in good condition (many pieces never used), including large pieces as well as irregularly-shaped small fragments, 134.5 x 129.5 cm (53 x 51 ins) and smaller, together with two matching cushions made from Arthur Lee fabric, each 51 x 51 cm (20 x 20 ins), plus a quantity of passementerie from the same period, mostly braid ver (4 cartons)
£300 - £500
292* Pelmets. Three matching Victorian pelmets, mid-late 19th century, pile-on-pile velvet, with raised pattern in terracotta on a red ground, the design a repeated palmette enclosed in a quatrefoil, within a foliate lattice, some minor marks, one pelmet with remains of silk lining (and tack holes to top edge), the other two with lining removed, shaped lower hem edged with tasselled braid (worn with losses), each approximately 62 x 112 cm (24.5 x 44 ins) (3)
£200 - £300
293AR* Piper (John, 1903-1992). Stones of Bath full width panel, Arthur Sanderson, 1960, screen-printed cotton, with abstract design in green colourway featuring buildings in Bath, in shades of green, ochre, terracotta, brown, black, cream, and grey, mounted on a wooden stretcher, with metal loops for hanging, 51.5 x 122 cm (20.25 x 48 ins)
(1)
£150 - £200
294* Sampler. An unusual Friesland needlework by two hands, Netherlands, dated 1722 & 1823, finely worked in cross stitch, with some back stitch and Algerian eye stitch, in polychrome silk threads, on a cream linen ground, depicting sailors in the yardarms of a Dutch sailing ship to lower centre, flanked by ‘Ano 1722’ and the initials SG, and a flower basket/large fleuron device, above the sailing ship a heart device topped by a crown and two birds, flanked by ‘Anno 1823’ and the initials WR, with further initials and decorative devices, e.g. a windmill, small cabinet (tea caddy?), and fleurons, various alphabets to top edge (with 19 letters), top and bottom edges with drawn threadwork border, contemporary neat darn to left-hand blank margin, some dust-soiling and marks, 30 x 60.5 cm (11.75 x 23.75 ins), edge-mounted with adhesive on card (30.5 x 61 cm), but apparently detachable
An attractive ship sampler made in the northern Dutch province of Friesland, unusual in that it appears to have been worked by one hand ‘SG’ in 1722, and finished by another ‘WR’ over a century later, in 1823. More than one date on a sampler is not uncommon, but the dates are always closer chronologically and refer to birth or marriage dates of members of the family. The early 19th century threadwork is brighter than the earlier stitching, and not quite so fine in places. The early Frisian samplers usually had only nineteen letters in the alphabet as I and J were interchangeable and Q, U, V, X, Y and Z weren’t used. The wonderful depiction of the sailing ship and its crew may be a reference to the accidental discovery of Easter Island by Dutch explorer Jacob Roggeveen in 1722. We have seen another very similar Frisian sampler (now in a private European collection) which also depicted sailors in the yardams of a sailing ship; that example was dated 1720, perhaps alluding to the signing of the Treaty of The Hague that year. (1) £500 - £800
295* Savonnerie. A carpet fragment, mid 19th century, purple, lilac, and black wool carpet square, with textured raised pile, later wool binding to one edge, a little threadbare in places and some old repairs, 92 x 93 cm (36.25 x 36.5 ins)
(1)
£100 - £150
296* Shawl. A Lucknow type shawl, India, circa 1900, large diaphanous shawl, finely woven in gold thread on a figured cream silk ground, with a central circular motif, and patterned diagonal stripes, a large boteh at each corner, puce pink border continuing patterned diagonal stripes, outer chevron border, a small area of discolouration towards centre, and a few very small marks, occasional expert consolidation stitches, later cream muslin backing, 187 x 182 cm (73.5 x 71.5 ins)
(1)
£600 - £800
297* Tapestry. A long panel depicting a halberdier, Continental, 17th/early 18th century, large portion of a tapestry, woven in wool, in shades of blue, green, and brown, with a full-length depiction of an armed guard or soldier wearing a plumed helmet, carefully trimmed to image, edged with gimp braid and mounted on olive green velvet, with outer border of metallic gold braid, 3 green velvet tabs to top edge for hanging, 193 x 53 cm (76 x 21 ins)
(1)
£300 - £500
298* Tapestry. An Aubusson verdure tapestry panel of musicians, France, circa 1700, large wool tapestry fragment cut from a larger piece, woven in shades of green and brown, depicting a group of countryfolk, the main figure standing and playing a violin, to his left a male figure turned away, and to his right the head and shoulders of two men and a woman, a little threadbare in places (and with some old stitches of consolidation), 1 x 1 cm hole towards right-hand edge, 54 x 119.5 cm (21.25 x 47 ins), framed (63.5 x 128.5 cm), framer’s label
‘Rowley Frames, 140 Church Street, Kensington’ on backboard (1)
299* Toile de Jouy. A waistcoat front of wallpaper ‘The Four Seasons’ by Lee Jofa, France, circa 1920, wallpaper blocked in blue and white, cut to form the shape of an 18th century-style gentleman’s waistcoat, with standing collar and pocket flaps, buttons and edges in blue paint to match, a little scuffed in two places, with some very minor losses, two small red marks to lower right, 52 x 42 cm (20.5 x 16.5 ins), mounted on cream card, glazed gilt moulded frame (84.5 x 65 cm)
A most unusual item, perhaps made as a decorative feature for a dressing room or upmarket gentleman’s outfitters, or maybe as an ingenious piece of marketing employed by a retailer of the wallpaper. Lee Jofa is a prestigious fabric and furnishing brand established in 1823; it is now owned by Kravet Inc. which continues to supply high quality wallpapers, fabrics, and other items of home furnishing. (1) £100 - £150
£300 - £500
300* Versace. A pair of Chinese Emperor cushions, Italy: Versace, 20th or 21st century, 2 printed velvet cushions, with an image of a Chinese Emperor seated on an ornate golden throne on each side, blue and yellow colourways to one side, and orange and red to the other, each with gold fringing and a gold tassel at the corners, printed name ‘Atelier Versace’ to each side, 57 cm (22.5 ins) square, 15 cm (6 ins) deep, together with 4 other cushions: a pair of red and gold damask cushions, with woven label ‘Gallery of Antique Costume & Textiles, London’, fringed trim worn, one cushion with 11 cm frayed split to one side; a large yellow silk cushion with metalwork embroidery and spangles, silk shredded (with occasional loss of threadwork); and a hand-embroidered cushion depicting 2 children dressed as pierrots (unfinished, and with a couple of small holes), various sizes (6)
£100 - £200
Lot 297
THE PAMELA FONTANA ANTIQUE LACE COLLECTION
Mrs Pamela Fontana (1932-2023) began collecting antique lace, costume and associated accessories some fifty years ago. What started out as a small hobby turned into a passion and very generous sharing of all things lace, resulting in a website entitled 'Lace For Study' (no longer running), with visitors from around the world. Her abiding wish was to share with and educate the lace community, by whom she was greatly respected, not just in the UK but more widely, particularly in Germany, Sweden and further afield. Her wide-ranging collection, offered here, consists of some several thousand individual items, and includes a number of rare and early pieces.
301* Alençon. A group of lace edgings, a lappet, and cuffs, France, 18th & 19th century, finely worked needlepoint lengths, a double lappet, a finely-worked collar, and a pair of black velvet-lined cuffs, with various dainty floral patterns, 10 x 248 cm (4 x 97.5ins) and smaller, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (approx. 30)
£200 - £300
302* Bedfordshire. A group of lace items, mid 19th-early 20th century, comprising 9 collars, a collar and matching cuffs, a pair of cuffs, 3 single cuffs, a doilie edge, a neck tie, 2 pairs of lappets, a mat, a pair of short sleeves, and 4 edgings, together with 4 edgings of Buckinghamshire lace, one black, 2 matching, plus a pair of tambour work sleeves, circa 1850-1860, and a tambour work fall cap, circa 1900, both possibly Coggeshall, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (37)
£100 - £150
303* Brabant. A flounce of bobbin lace, Belgium, circa 1750, wide ivory length, worked with large stylised leaves, flourishes, and volutes, scalloped edge, some scattered small holes, and a few faint fox spots, 24 x 197 cm (9.5 x 77.5 ins), together with 23 other items of 18th century Flemish lace, mostly lengths, and a few collars, largest edging 27 x 334 cm (10.75 x 131.5 ins), plus 11 items of 19th century Flemish lace, comprising 3 collars, one a Duchesse bobbin collar, circa 1870s, and 8 edgings, 2 matching, largest 4.5 x 359 cm (1.75 x 141 ins), smallest 15 x 20 cm (6 x 8 ins), all labelled with various information (place of origin, date, when and where purchased, price paid) (35)
£300 - £500
304* Branscombe. A group of lace items, mid 19th-early 20th century, comprising: 10 collars and berthas, a modesty panel, a pocket, a pair of doilies, a parasol cover, 2 pairs of cuffs, a single cuff, and 9 lengths or fragments, largest 10 x 96.5 cm (4 x 38 ins), together with 9 other lengths of Devonshire lace, 4 18th century, including a long edging, circa 1730-1750, 3.5 x 253 cm (1.5 x 99.5 ins), 4 circa 1860-1870, including 3 matching lengths of Brussels-style lace, width 8 cm (3.25 ins), length 109, 116, and 87 cm (43, 45.75, and 34.25 ins), and a dress trim circa 1910, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (38)
£100 - £150
305* Bruges. A large lace evening coat or dress trim, circa 1900, cream bobbin lace, with large floral and foliate motifs amongst scrolls, 26 cm (10 ins) at widest point, overall length approximately 245 cm (96.5 ins), together with:
A group of lace collars, late 19th/early 20th century, 9 cream or ivory bobbin lace collars, including 2 berthas, various condition, shapes, and sizes, plus 11 other pieces of Bruges lace, mid 19thearly 20th century, comprising 8 lengths (including 2 pairs), largest (joined to form a circle) 12 x 200 cm (4.5 x 78.75 ins), smallest 6 x 32 cm (2.25 x 12.75 ins), a lappet, and 2 cuff trims, all labelled with various information (place of origin, date, when and where purchased, price paid) (21)
£300 - £400
306* Brussels. A bobbin and Point de Gaze length, circa 1880, cream lace, worked with oval panels of drawer handle motifs enclosing a flower spray, on a ground of meandering flowers and leaves, occasional breaks in brides, a few minor marks, 16 x 200 cm (6.25 x 79 ins), together with a quantity of other Brussels lace, including 7 lengths and a pair of cuffs of 18th century lace, the lengths 4 x 113 cm (1.5 x 44.5 ins) and shorter, modesty panels, lappets, collars, fragments and lengths, some with raised petals, most labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (approx. 35)
£150 - £200
307* Brussels. A fine lace cap back, circa 1735-1745, cream bobbin lace, worked with a symmetrical palmette design, with border of similar motifs to lower edge, a few tiny breaks in border, but overall in very good condition, 22 x 21 cm (8.5 x 8.25 ins), together with another lace cap back, made 1840s/50s from earlier Flemish bobbin lace, 23 x 23 cm (9 x 9 ins) (2)
£200 - £300
Lot 304
Lot 305
Lot 306
308* Brussels. A group of 8 lace collars & berthas, 19th-early 20th century, cream bobbin lace, some incorporating Point de Gaz and other infills, most labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes
(9)
£200 - £300
309* Brussels. A large lace flounce, Belgium, 19th century, white bobbin lace edging, with repeated large flower spray within an arching frame, between further flower sprays, scalloped edge, join 29 cm in from right-hand edge, some small holes (mostly towards join), and occasional repairs, 29 x 340 cm (11.5 x 133.75 ins), together with 16 other items of Belgian lace, comprising: 4 early 19th century collars of Rosaline lace; a pair of cuffs of the same, circa 1860/70; 2 large bobbin lace berthas, circa 1880-1900, one incorporating Point de Gaz; a short length of 18th century needlelace; 2 Brussels lace collars, late 19th/early 20th century; 2 Brussels lace lappets, also late 19th/early 20th century; a large length of early 20th century bobbin lace with stiffened gimp, 52 x 138 cm (20.5 x 54.5 ins); a mid 19th century altar frontal; and a mid 19th century lace-edged ciborium cover, all labelled with various information (place of origin, date, when and where purchased, price paid) (17)
£150 - £200
310* Continental. A large flounce of unused Flemish or Milanese lace, circa 1880s, cream bobbin tape lace, threads carried over on reverse, scalloped edge, 24 x 483 cm (9.5 x 190 ins) (1)
£150 - £200
311* East Europe. A group of lace items, 19th century-early 20th century, 18 white and cream lace items, some Russian, including a panel of coarse linen filet lace edged with wide lace, 48 x 198 cm (19 x 78 ins), collars, lengths and flounces, cloths and doilies, etc., together with 18 other European lace items, some labelled with country of origin, e.g. Germany, Andalucia, Indrija, Bohemia, Austria, plus 3 pieces from other countries (2 Chinese and 1 Middle Eastern), all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (40)
£100 - £200
314* Fans. A lace fan, Paris: Kees, circa 1890, folding fan of cream hand-made lace, small brown mark to left-hand side, mounted on carved and pierced bone sticks, 32.5 cm (12.75 ins), with cream tassel, housed in original cream silk-lined box, the hinged lid interior with label ‘Ernest Kees, 28, Rue du 4 Septembre, Paris’, and with contemporary ink manuscript ownership name dated ‘Paris 1890’, top of lid with faint adhesive marks at ends, rear right-hand corner of box stained, together with:
312* East Midlands. A group of lace items, early 19th-early 20th century, comprising a large collar trimmed with narrow black velvet ribbon, 4 other collars, 3 headpieces (one black), 2 black bonnet veils, a black cape shawl, a pair of cuffs, a single cuff, and 30 lengths and fragments, some black, largest an altarcloth edging, circa 1850, width 12 cm (5 ins), length of front 250 cm (98.5 ins), length of sides 103 cm (40.5 ins), all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (44)
£100 - £150
313* English. A length of needlelace, circa 1650-1700, cream needlelace, worked with a pattern of volutes and stylised flowers, occasional breaks in picot brides, 11.5 x 105 cm (4.5 x 41.25 ins)
Provenance: Collection of Pat Earnshaw; Collection of Anne Swift. (1) £100 - £200
A Point de Gaze lace fan, late 19th century, folding fan of cream handmade lace, some light toning, mounted on mother of pearl sticks, 32 cm (12.5 ins), plus another lace fan, mounted on bone sticks with carved decoration of grasses and ferns inlaid with silver (rubbed in places), upper guardstick with repair near head, 29.5 cm (11.5 ins), plus An Edwardian spangled fan, folding fan, the ivory gauze and satin leaf decorated overall with silver spangles of various shapes (including flowers and pointed ovals) and onlaid mother of pearl (some small losses), a few very small brown marks, mounted on carved and pierced mother of pearl sticks highlighted in gilt, upper guard neatly repaired, 24 cm (9.5 ins), in original card box with hinged lid, and another 26 fans of various styles and materials, 19th-20th century, including: a folding fan of applied lace motifs on gauze, with bone sticks; and a folding fan of cream satin with painted scene on recto and painted foliage on verso, the bone sticks with cut-out lettering in Spanish ‘Recuerdo’ (30)
£200 - £300
315* Figurative Lace. A length from a bed hanging, North Italian or Austrian, circa 1750, a large length of cream bobbin lace, with repeated pattern of foliate stems incorporating peacocks, turkeys, stags and a doe, a dovecote, and various birds, on a lattice ground, both sides with added 19th century machined narrow lace edging, occasional breaks and loose threads, 2 very small marks, 29.5 x 171.5 cm (11.5 x 67.5 ins)
Rare survival of a large portion of 18th century lace, most likely from a bed hanging, with a pleasing design of birds, animals and a dovecote. For similar see: Emily Reigate, An Illustrated Guide to Lace, Antique Collectors’ Club, 1986, p. 69. (1)
£500 - £800
316* Flemish. A lace flounce, Belgium, circa 1680, cream bobbin lace, worked with meandering stems of stylised flowers, some breaks in brides, and one small area of light toning, but generally in good condition, 26.5 x 210 cm (10.5 x 82.5 ins) (1)
£200 - £300
319* Flemish. A large lace flounce, Belgium, circa 1690-1710, wide length of cream bobbin lace, worked with meandering scrolls, large flowers, and leaves, some breaks and losses to picot brides, some foxing (particularly to one end), 22 x 270 cm (8.5 x 106 ins), together with 3 other Flemish cream bobbin lace flounces: the first circa 1700, scattered small holes, 32 x 261 cm (12.5 x 102.75 ins); the second late 17th century, some breaks and repairs, 20 x 309 cm (8 x 121.5 ins); the third circa 1660-1680, cut down, later edging to short sides and one long side, 23 x 116 cm (9 x 45.75 ins), all 3 with old Phillips label, plus 4 matching pieces of a Flemish flounce, circa 1680, 14 cm (5.5 ins) wide, longest 157 cm (62 ins), shortest 30 cm (11.75 ins), and another length similar made into a bertha circa 1830s, all labelled with various information (place of origin, date, when and where purchased, price paid)
(9)
£200 - £400
317* Flemish. A large flounce of tape lace, Belgium, 2nd half 17th century, dark cream lace edging, occasional breaks in picot brides, 28 x 195 cm (11 x 76.75 ins), together with 2 other pieces very similar, a few breaks, 1 length with central vertical join, the other with 2 holes (7 x 10 cm and 5 x 5 cm) towards one end, 28 x 176 cm (11 x 69.25 ins) and 27 x 211 cm (10.5 x 83 ins) (3)
£150 - £200
318* Flemish. A large lace flounce, Belgium, circa 1680-1720, ivory bobbin lace, finely worked with candelabra design, scalloped edge, some very faint foxing and a few picot brides broken, but overall in very good condition, 31 x 295 cm (12.25 x 116 ins)
Pamela Fontana notes that the pattern is a derivation of Point de France, and that this impressive piece, surviving in unusually good condition, may have been used to trim a cotta (a short surplice).
(1)
£200 - £400
320* Flemish. A long length of lace, Belgium, late 17th century, cream bobbin lace, worked in linen thread with meandering stems terminating in flowers, 8.5 x 506 cm (3.5 x 199 ins)
An unusually long and robust piece of early lace. (1)
£100 - £200
321* Flemish. A pair of alb cuffs, Belgium, circa 1675-1700, cream bobbin lace, worked with meandering flower stems, a few tiny breaks or marks, otherwise in very good condition, 24 x 25 cm (9.5 x 9.75 ins), together with:
A collar, Belgium, circa 1700, cream bobbin lace, finely worked in a French style, 1 or 2 breaks in picot brides, but overall in very good condition, remade with machine-edging circa 1830s, overall size 76 x 85 cm (30 x 33.5 ins)
(3)
£150 - £250
322* Flemish. A very large flounce, Belgium, circa 1690-1700, cream bobbin lace, some breaks, fraying, and small losses, sometime re-edged, 61 x 284 cm (24 x 112 ins)
(1)
£300 - £500
323* Flemish. An unusual length of lace, Belgium, circa 1630-1650, a scalloped edging of cream bobbin lace, worked with tightly rolled scrolls and loops, lightly toned, 11 x 215 cm (4.25 x 84.5 ins), together with a quantity of other 17th century Flemish lace (a few labelled circa 1700), mostly lengths (longest 9.5 x 436 cm/3.75 x 171.5 ins), but including collars, cuffs, and fragments, all labelled with various information (place of origin, date, when and where purchased, price paid) (35)
£300 - £400
£150 - £200
324* French. A group of lace items, 18th-19th century, comprising 5 lengths of Argentan lace, 18th century, largest 18 x 305 cm (7 x 120 ins), smallest 4 x 36 cm (1.5 x 14 ins), and 17 other pieces of French lace, including a flounce of ecclesiastical tape lace, 24 x 109 cm (9.5 x 43 ins), a pair of early 18th century Point de France cuffs (remade late 19th century), a portion of tambour work (scattered holes), a circa 1900 Cluny silk bobbin lace runner (with label stating ‘gifted via June Prince from old lady in Rowlands Castle’, and a bobbin collar, circa 1835-1835, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (22)
325* Handkerchief. A whitework wedding handky, Continental, late 19th century, finely worked overall on a fine cotton ground, with large cornerpieces of meandering flower and leaf stems, with a pheasant in 2 opposing corners, and a pair of ovals in the other 2 opposing corners (the ovals filled with flowers in one corner, but blank due to removal of initials in the other), scalloped edges, 47.5 cm (18.75 ins) square, together with 5 lace-edged handkerchiefs, and a Honiton lace handky edging (reused as a collar), plus: 8 handky cases/bags various, late 19th/early 20th century; approximately 55 nightdress/pyjama cases, variously embroidered, lace or lace-trimmed, quilted silk, initialled, etc.; a number of pillowcases and cushion covers, and a few other textile items, including: an Art Nouveau embroidered satin collar; a 1920s bust bodice of machined torchon lace, with woven label ‘D.H. Evans’; a lace boudoir cap; a pair of early 19th century knitted child’s mittens; and 2 lace-trimmed baby shirts (2 cartons)
£200 - £300
326* Honiton. A group of collars, Devon, 19th century, 28 white or cream bobbin lace collars and berthas, some with needlepoint, worked with flowers, leaves, and other motifs, one with butterflies, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (28)
£200 - £300
327* Honiton. A group of lace items, Devon, 18th-early 20th century, comprising: a pair of lappets, circa 1780; 2 collars with matching cuffs; a collar with matching pocket trims; 2 pairs of cuffs; a pair of cuffs joined to make a collar; 5 single cuffs; 2 similar short edgings, one made into a cuff; 7 dress fronts or modesty panels; 2 bonnet veils (one black); a fall cap; a fichu; and a large portion of a wedding veil, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (36) £150 - £250
328* Honiton. Six lengths of lace, Devon, 18th century, 6 edgings of ivory or cream bobbin lace, some holes, joins, and repairs, largest 4.5 x 176 cm (1.75 x 69.25 ins), smallest 5 x 45 cm (2 x 17.75 ins), together with 21 lengths of 19th century Honiton lace, some matching, various condition, largest 13.5 x 184 cm (5.25 x 72.5 ins), smallest 9.5 x 32 cm (3.75 x 12.5 ins), all labelled with various information (place of origin, date, when and where purchased, price paid) (27)
£150 - £200
329* Irish. A group of Irish crochet items, mid 19th-early 20th century, handmade white and cream cotton lace, some very finely worked, including lengths (one measuring 10.5 x 3.39 cm/4.25 x 133.5 ins), collars, cuffs, doilies, together with: 11 Limerick lace items, including a fichu, circa 1830s, and 3 collars; a pair of cuffs, a collar, and a late 19th century length (6.5 x 124 cm/2.56 x 49 ins, all Youghal lace; and 10 items of Carrickmacross lace, most with machined appliqués, including a large portion of a wedding veil, and 2 smaller panels cut from another veil, 2 collars, and a pair of cuffs, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (62)
£200 - £300
330* Italian. A group of lace items, 17th century-circa 1900, comprising lengths and fragments, collars, cuffs, flounces, a small panel, etc., various styles of bobbin and needlelace, including some peasant lace, some pieces matching, the majority North Italian, some with places identified e.g. Cantu, Genoa, Burano, Abruzzi, Pescocostanzo, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (approx. 45)
£200 - £400 Lot 331
331* Lace. An assorted collection of lace, 18th-20th century, mostly cream or white, but some black, mainly handmade bobbin and needlelace, but including a few pieces of chemical lace, and one piece made by an early Pusher lace machine, including Chantilly, notably a large black shawl (some wear), Bruges, tambour work, tatting, crochet, Torchon, Yak lace, filet, knitted, tape lace, Maltese, Valenceinnes, peasant lace, Flemish, Bedfordshire, Le Puy, Venetian, etc., e.g. mats and doilies, lengths and edgings, mittens, shawls, cuffs, altar cloth trims, lappets, collars, bonnet veils, modesty panels, shelf trims, a beaded jug cover, table and tray cloths, a baby pillow, an apron, together with A group of blonde lace, circa 1820s-1840s, comprising: a small shawl, the lower section of a bonnet veil, a mass headpiece, a shawl collar (some wear), and 10 lengths and flounces, most labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes, plus 5 books related (Trésor de l’Art Dentellier, by A. Carlier de Lantsheere, 1922; Histoire de la Dentelle, by Mme Bury Palliser; The Art & Craft of Old Lace, by Freiherr Alfred von Henneberg, B.T. Batsford, 1931; and 2 copies of Encyclopédie des Ouvrages de Dames, by Thérèse de Dillmont) (3 cartons)
£300 - £500
332* Lille. A group of lace edgings, early 19th-early 20th century, finely worked with dainty patterns, some matching, 18 x 98 cm (7 x 38.5 ins) and smaller, together with a confirmation or first communion veil, and a single lappet, both of Lille lace, a length labelled ‘Le Puy 1860-1870’, and a mid 19th century bonnet veil of Swiss lace, all labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (26)
£100 - £200
336* Milanese. A large flounce of lace, Italy, circa 1650-1700, length of cream tape lace incorporating finely worked infills, with large scrolling design of flowers, floral urns, and flourishes, occasional breaks in picot brides, bobbin lace edgings to upper and lower edges, 21 x 323 cm (8.25 x 127 ins)
Provenance: Anne Swift Collection.
(1)
£400 - £600
337* Milanese. A large flounce, Italy, circa 1650-1675, cream linen bobbin lace, with scrolling floral stems, 5 joins, occasional tiny breaks or loose threads, but overall in very good condition, 33 x 437 cm (13 x 172 ins)
(1)
£300 - £500
333* Mechlin. A large group of lengths, Belgium, early 18th century-later 19th century, 57 finely worked white or cream lengths, comprising 37 18th century lengths, largest 5 x 243 cm (2 x 95.5 ins), smallest 7.5 x 16 cm (3 x 6.25 ins), and 20 19th century lengths, largest 10 x 358 cm (4 x 141 ins), smallest 5 x 22 cm (2 x 9 ins), various condition, most labelled with various information (place of origin, date, when and where puchased, price paid) (57)
334* Mechlin. A single lappet, Belgium, circa 1745-1760, cream bobbin lace lappet, with finely worked mirror image pattern of palmettes between floral swags, 9 x 81 cm (3.5 x 32 ins)
Pamela Fontana speculates on the attached label that this item may be a double frill for a gentleman.
(1)
£200 - £300
335* Milanese. A large flounce of bobbin lace, 3rd quarter 17th century, cream linen thread, worked with large fleurons and volutes, incorporating stylised flowers and leaves, later running stitch to top edge, some breaks in picoted brides, especially at ends, and a few repairs, 30 x 194 cm (11.75 x 76 ins)
(1)
£300 - £500
338* Milanese. A long length of Milanese furnishing lace, Italy, circa 1680-1700, cream linen bobbin lace, with scrolling pattern of volutes, flourishes, and large stylised flower heads, some breaks in brides, and a few faint fox spots, 16 x 756 cm (6.25 x 297.5 ins)
Pamela Fontana notes that this unusually long length of early bobbin lace was probably used as furnishing for a bed.
(1)
£200 - £300
£150 - £200
339* Milanese. A part border of lace for a falling table, Italy, circa 1600-1650, 3 sides of a wide border of cream bobbin tape lace incorporating fine infills, with a scrolling design of flourishes and volutes, brides broken in places, 3 small brown stains, width 27 cm (10.5 ins), length of 2 longest sides 94 cm (37 ins), length of short side 74 cm (29 ins)
Provenance: Pat Earnshaw Collection.
341* Milanese. A wide bobbin edging, Italy, circa 1660-1690, cream linen thread, worked with large stylised flower heads and leaves, amongst volutes and flourishes, occasional breaks and a few faint fox spots, 15 x 237.5 cm (6 x 93.5 ins), together with 17 other pieces of Milanese lace, 17th century and later, comprising 13 lengths, a pair of dress trims, a pocket trim, and a confirmation veil, plus 6 other pieces of Italian lace, 17th century and later, comprising a mid 19th century fall cap, and 5 lengths, largest 10 x 86 cm (4 x 34 ins), shortest (17th century reticella) 8.5 x 35.5 cm (3.25 x 14 ins), all labelled with various information (place of origin, date, when and where purchased, price paid)
Provenance: From the Collection of Pat Earnshaw (first item). (24)
£200 - £300
£300 - £500
Pamela Fontana’s label states that this is part of a table cloth for a falling table. (1)
340* Milanese. A wide alb flounce, Italy, 1st half 18th century, bobbin lace worked in cream linen thread, with sinuous floral and foliate stems, top sometime edged with cream linen tape, occasional breaks and several small holes, joined to form a circle, overall length 24 x 289 cm (9.5 x 114 ins), together with 15 other pieces of Milanese lace, 17th century and later, comprising 11 lengths, a statue surround, a pair of lappets, and a pair of cuffs, labelled with various information (place of origin, date, when and where purchased, price paid) (17)
£200 - £300
342* Point de Gaze. A long length of lace, circa 1860, wide cream lace edging, with large roses between oval floral wreath device, the latter flanked by volutes and terminating in 3 leaves at lower edge, top edge with floral swags, with floral sprays between, a few tiny holes and marks, 9 x 448 cm (3.5 x 176 ins), together with 7 other lengths of cream or ivory Point de Gaze lace, including 2 matching (with a number of holes), various condition, largest 5.5 x 177 cm (2.25 x 69.5 ins) and 11 x 138 cm (4.25 x 54 ins), smallest 6 x 32 cm (2.25 x 12.5 ins), and a fragment of wide Point de Gaze lace, trimmed to lower edge as well as sides, 22 x 48 cm (8.25 x 19 ins), most labelled with various information (place of origin, date, when and where purchased, price paid) (9)
£300 - £500
345* Venetian. A long length of Gros Point lace, Italy, circa 1625-1675, dark cream needlelace flounce, deeply padded, and with occasional plain brides, the design forming large stylised floral motifs, volutes, and flourishes, occasional breaks, 12 x 403 cm (4.75 x 158.5 ins)
Provenance: Anne Swift Collection. (1)
£400 - £600
343* Valenciennes. A flounce of lace, France, 3rd quarter 19th century, wide length of white lace, worked with repeated large flower and leaf motif, with semé smaller flower heads and dots, and a scalloped flower and leaf border, 17 x 405 cm (6.75 x 159.5 ins), together with other lengths and pieces of Valenciennes lace, comprising 12 18th century, largest 5 x 209 cm (2 x 82 ins), smallest 5 x 16 cm (2 x 6.25 ins), and 19 19th century, including 2 collars, largest edging 7 x 278 cm (2.75 x 109.5 ins), smallest 6 x 21 cm (2.5 x 8), plus several pieces of machine-made Valenciennes lace, all labelled with various information (place of origin, date, when and where purchased, price paid) (approx. 35)
£200 - £400
344* Venetian. A length of Flat Point lace, Italy, circa 1700, cream lace length, with finely worked filling stitches, remains of old monogrammed wax seal attached by thread to one end, 9 x 153.5 cm (3.5 x 60.5 ins), together with another length of Venetian Flat Point, circa 1700, 7 x 255 cm (3 x 200 ins), and 3 lengths of Venetian Coralline lace, circa 1700, 17.5 x 120 cm (7 x 90.5 ins), 6 x 153 cm (2.25 x 61 ins), and 8 x 109 cm (3.25 x 43 5 ins), plus 10 other pieces of 17th or early 18th century Venetian lace, including a circa 1700 Point de Neige flounce later made into a collar, each labelled with various information (place of origin, date, when and where purchased, price paid) (15)
£300 - £400
346* Venetian. A shaped panel of Gros Point lace, Italy, circa 16601690, dark cream needlelace panel, deeply padded, with intricate infills and embellished brides, the design forming large stylised floral motifs, volutes, and flourishes, occasional breaks in brides, dimensions at largest points, 28.5 x 94 cm (11.25 x 37 ins), together with: 4 short lengths of Venetian Gros Point, 2nd half 17th century, 22 x 46 cm (8.5 18 ins) and smaller; a reworked piece of mid 17th century Venetian Gros Point, 10 x 128 cm (4 x 50.25 ins); a collar and pair of cuffs of Venetian Rose Point, circa 1670-1690, and 2 small pieces of the same of a similar date, 18 x 22 cm (7 x 8.5 ins) and 9 x 44 cm (3.5 x 17 ins); 2 lengths of 17th century style Venetian Gros Point, 19th century, 23 x 71 cm ( 9 x 28 ins) and 10 x 358 cm (4 x 141 ins); a late 19th century Burano copy of Point de Venise, 10.5 x 137 cm (4 x 54 ins), and a pair of cuffs similar, various condition, and 8 other pieces of late 19th century Venetian or Venetian-style lace similar (including a collar, a pair of cuffs, and a dress front panel), each labelled with various information (place of origin, date, when and where purchased, price paid) (24)
£300 - £500
£150 - £200
347* Whitework. A collection of whitework items, 18th-early 20th century, most handworked, including a number of broderie anglais items, drawn threadwork, cuffs, collars, fragments and borders, a finely worked Regency sleeve with Prince of Wales feathers and flowers, an early Victorian fine muslin blouse front, a mid 19th century baby bonnet, etc., some items incorporating lace, 2 items with old manuscript names (a collar with ‘M. Moore’ and a pair of cuffs with ‘Annie J. Watson’), most labelled with various information (place of origin, date, when and where purchased, price paid), various condition and sizes (approx. 60)
LACE: OTHER VENDORS
348* Bedcover. A large marriage coverlet, circa 1870-1890, composed of cream tape lace with needlelace fillings, joined with picoted bars, and with inset needlelace figurative panels: a central oval depicting playful cupids, one lying asleep under a tree, having his nose tickled by another with a leaf frond, framed by trees; and ovals of a single cupid at each corner and the centre of each side, scallop-edged chevron border, some scattered toning, and one or two breaks in brides, 240 x 308.5 cm (94.5 x 121.5 ins), together with a pair of large figurative lace cushion covers, early 20th century, with central panel depicting a pair of dancing figures, 63 cm (2.74 ins) square, and a lace tea cosy depicting on each side a teapot flanked by cups and saucers, lined with padded rose pink satin, 27.5 x 33 cm (10.75 x 13 ins)
Provenance: The Collection of Eileen Hope Robbins (1937-2015), Wappenham, Northamptonshire; bequeathed to her son, the present owner. A very pretty bedcover, with its theme of cupids undoubtedly made as a wedding coverlet.
Renowned lace expert and historian Eileen Robbins first became interested in lace as a child growing up in the village of Wappenham, Northamptonshire, where she was born (and where she also died). Alongside her fascination with lace she had a keen interest in history. Eileen won a scholarship to Towcester Grammar School, going on to graduate with a Masters degree in English, Latin and History from London University. She was particularly interested in the history of her home village, and especially that of the lacemakers of Wappenham. As well as buying lace from a variety of sources, Eileen was bequeathed lace and equipment from the lacemaking villagers as they passed away, building up a wide-ranging collection from different countries and eras. In the late 1970s she frequented Audrey Fields’s lace shop in Alfies Antique Market, Marylebone, London. Eileen had several jobs in teaching and librarianship, all the while carrying out her own researches into lace-making, and later on she used her lace collection as an educational tool to teach others about the craft. For over 20 years in the latter stages of her life Eileen was a valuer and antiques dealer, going on to appear on ‘Bargain Hunt’.
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£100 - £200
349* Binche. Two matching lengths of lace, Belgium, 18th century, cream lace edgings finely worked with elaborate flourishes, each 8 x 90 cm (3.25 x 35.5 ins), accompanied by a letter on Corsham Court headed notepaper dated 20th August 1905 from Dorothea RugglesBrise to Mrs Duff identifying the lace as Binche, together with: A flounce of Honiton lace, late 19th/early 20th century, handmade cream lace, with machined edging, possibly for a bonnet, with scattered foliate sprigs and roundels, and a wide scalloped border, finished at both ends, 31 x 113 cm (12.25 x 44.5 ins), together with a matching flounce, finished on left-hand edge, and cut on righthand edge, 36 x 102 cm (14.25 x 40 ins), plus
351* Lace. An early 20th century French door curtain, large ecru panel, the lower portion of cotton filet crochet lace, depicting Neptune in his horse drawn chariot, with Triton guiding the horses, captioned below ‘Le Triomphe de Neptune’, diamond border to upper and lower edges, the latter incorporating a scalloped bobble fringe (some very light soiling, one bobble missing), the upper portion of heavy linen with graduating vertical stripes of drawn threadwork, and a border of the same, upper edge with buttonhole stitch border and hanging loops, 203 x 173 cm (80 x 68 ins), together with a large Art Nouveau white linen bedcover, with whitework embroidery and cutwork depicting stylised flowers and leaves, wide insertions and border of filet crochet lace, 2 corners with faint watermarks, 220 x 189.5 cm (86.5 x 74.5 ins)
(2)
£100 - £200
£150 - £200
Two matching lengths of Honiton lace, late 19th/early 20th century, 2 cream lace edgings, occasional breaks and light fox marks, one length with obvious join, width 9.5 cm (3.75 ins), length 175 cm (69 ins) and 170 cm (67 ins), and other lace and embroidered (mostly whitework) items, some machined, including an uncut handembroidered whitework bodice front and back on a single piece of muslin (foxed), 2 long lengths of Maltese lace, Carrickmacross, etc. (approx. 45)
350* No Lot
352* Milanese. A large flounce of lace, Italy, late 18th/early 19th century, linen bobbin lace, with a scrollwork pattern incorporating floral and foliate motifs, very occasional small breaks or holes, 23 x 295 cm (9 x 116 ins)
(1)
£80 - £120
353* Venetian. A fine flounce of Venetian rose point lace, Italy, 17th or early 18th century, dark cream needlelace, expertly worked in fine linen thread, with flowers, swags, urns, meandering stems, scrollwork, and volutes, with intricate raised work and infills, lefthand edge finished, right-hand edge cut, 2 small metal hooks sewn 4 cm apart to top edge (with minor associated small green mark), 3 x 1.5 cm blue stain, but overall in very good condition, 30 x 232 cm (11.75 x 91 ins)
A very beautiful, finely worked flounce of early lace, surviving in very good condition.
(1)
£400 - £600
Lot 351
354* Animal Fan. Cat fan, early 20th century, a small French fontange fan, the gauze leaf hand-painted with a kitten peeping out from amongst foliage, a blue ribbon tied around its neck, single tiny hole near bottom edge, wooden sticks with brown tassel, 18.5 cm (7.25 ins), together with: Eagle fan, early 20th century, a large French fontange fan, gauze double leaf, recto with large painted eagle, its feathers heightened with gold and black spangles, signed B. Lachelin lower left, the mother of pearl monture stained gold and gilt decorated, 35.5 cm (14 ins), in original yellow silk-lined box (defective), the lid interior gilt-stamped ‘Benjamin Lachelin Éventailliste 32, Avenue de l’Opera, Paris’, plus
Dog fan, 20th century, an Oriental folding fan, the paper leaf painted with two Pekingese dogs amongst foliage, wooden sticks, 21.5 cm (8.5 ins), and 12 other animal-themed fans, including 3 depicting cats, 5 dogs, 2 birds of prey, one pandas, and one a moth or butterfly, generally good condition, various forms and sizes (15) £150 - £200
355* Ballooning Fan. A handmade 4-way fan depicting the early days of ballooning, late 18th century, a surprise fan opening 4 ways, each opening hand-painted with a different scene of early ballooning attempts and related, the scenes captioned and dated in contemporary ink manuscript, floral decorations to the borders and reserves, each opening additionally painted with a different background colour, some dampstaining and marks, the individual leaf sections connected by paper tabs (one tab split), wood monture, 28 cm (11 ins)
This unique fan displays four hand-painted early ballooning designs and attempts:
The 1670 vacuum airship design of Francesco Lana de Terzi, comprising 4 copper foil balloons or spheres attached to a small wooden boat with a sail.
The first untethered, free flight with human passengers on 21st November 1783: Francois Pilatrê de Rozier and Francois Laurent, Marquis of Arlanders in a hot air balloon made of paper and silk, designed and made by the Montgolfier brothers.
The first manned hydrogen balloon flight, by Jacques Charles and NicolasLouis Robert, on 1st December 1783.
The successful flight of Jean-Pierre François Blanchard, on 2nd March 1784, in a hydrogen balloon with his own design of flapping wings or oars. The following year Blanchard made the first successful aerial crossing of the English Channel.
(1)
£500 - £800
356* Cantonese Fan. A Cantonese gilt black lacquer brisé fan, 19th century, the obverse bearing a central cartouche with a gilt landscape scene, surrounded by a design of pavilions and other buildings, many on stilts over water, with boats, trees and foliage, and various figures, the reverse illustrated with a similar scene, the guards highlighted with red, some small highlights in red elsewhere, gilt rubbed in places (mainly to lower part of obverse, and to reverse), showing more of the red beneath, 19.5 cm (7.75 ins), together with:
A Cantonese gilt black lacquer brisé fan, late 18th century, both sides bearing the same design of three central cartouches, each with an abstract foliate design, against a background of fruiting vines on a diaper trellis, surrounded by a border of abstract foliate design, the lower sticks with a similar central cartouche on the vines and trellis background, the tips bearing a honeycomb pattern, the guards with similar designs and a small metal thumbhold near the head, generally rubbed, one guard repaired, a few tiny edge chips, two sticks with short hairline crack, 27.5 cm (11.75 ins), plus:
A Cantonese? gilt dark red-brown lacquer brisé fan, late 19th century, the obverse bearing a design of Chinese dragons, above water with various fish and other sea creatures, the reverse showing foliage including bamboo, with flowers, birds and insects, many highlighted with red, a little rubbed in places, one stick with short hairline crack, 20 cm (7.75 ins)
(3)
£200 - £300
Lot 355
357* Caricature Fan. Vanity Fair caricature fan, circa 1872, a wooden brisé fan, the sticks with pierced decoration at the top, obverse hand-painted with 15 full-length male figures after Vanity Fair caricatures (one to each stick), the verso with numerous handcoloured Victorian die-stamped monograms (plus a crest with motto), two laid onto each stick, remainder of each stick handpainted with foliage, incorporating birds, flowers, shells, insects, and animals such as a mouse, a lizard, and a red squirrel, the guards each bearing the hand-painted coat of arms and monogram of the fan’s owner, varnished overall, occasional minor rubbing, loop with fine brown tassel, 23.5 cm (9.25 ins)
The caricatures on each stick, from left to right, are: William Henry Lytton Earle Bulwer; Campbell Tait, Archbishop of Canterbury; Surgeon William Fergusson; Sir Frederick Pollock; Hugh Lupus Grosvenor, Marquis of Westminster; Robert Montagu; Sir Roderick Impey Murchison; John Jackson, Bishop of London; Thomas Carlyle; Robert Bulwer, Lord Lytton; The Duke Of Sutherland; Benjamin Disraeli; John Ruskin; Serjeant William Ballantine; Marquis of Lorn. The original caricatures were all published in Vanity Fair during 1870, with the exception of two that were published in 1869 (Disraeli and Tait) and one in 1872 (Ruskin).
358* Chinese Fan. Mother of pearl brisé fan, 19th century, a highly carved mother of pearl brisé fan, both sides entirely filled with detailed Oriental scenes of figures amongst pavilions and trees, some standing on terraces or paths, some carrying tools or other objects, the top of each stick with a carved figure or bird against trees and pavilions, 3 sticks neatly repaired, one guard with small stain at head, later ribbon, 18 cm (7 ins) (1)
£200 - £300
£200 - £300
The coat of arms on each guard seems to belong to a member of the Jones family of Llanfair Dyffryn Clwyd, Denbighshire. The cross on the armorial is unusual and possibly Catholic. The armorial shows the Cross of Calvary, cross crosslet on degrees (steps). These steps represent the Christian graces of faith, hope and charity. According to Sylvanus Morgan, in Sphere of Gentry, one Edward Jones of Llanfair Dyffryn Clwyd, Denbighshire, used this armorial. Although the monogram isn’t his, it could well be that of another member of the Jones family of Llanfair Dyffryn Clwyd: the monogram appears to be ‘A.J.’ Also in support of this is the crest, which depicts a cubit arm in armour, in the gauntlet a spear, the head imbrued. This is the crest of Jones of Wales. (1)
Lot 359
359* Chinoiserie Fan. A Chinoiserie lac burgauté folding fan, late 19th century, the paper double leaf hand-painted with indoor scenes of ladies and men dressing and applying make-up etc., wooden monture, the gorge and guards japanned black, the gorge with design of flowers and foliage, painted in metallic colours, with cut-away portions, and a central section of applied mother of pearl with gilt design, the guard with simple foliate design to upper part, the leaf reverse with hand-painted floral design with dragonfly, on a green background, folds rubbed, top edge a little frayed, a couple of minor marks, 24 cm (9.5 ins), together with:
A Chinoiserie japanned brisé fan, 19th century, the black japanned bamboo sticks decorated on both sides with gilt scenes of pavilions amongst trees and foliage, set on islands or raised on stilts above water, each side with two Chinese figures painted in colours, the figures fishing (one from a boat) or carrying goods, printed ownership label ‘L. Duchet’ to one stick, lightly rubbed in places (mainly to black japanning), one stick with repaired split to top section, ribbon sometime renewed, 22.5 cm (9 ins)
Provenance (second item): The Collection of Lucien Duchet, bearing his label.
Fans from the extensive collection of French lawyer Lucien Duchet were exhibited at the Exposition Universelle in Paris in 1900. Christie’s South Kensington held a sale on 26th May 1981 which included items from the collection, entitled ‘Fans from the Lucien Duchet collection and other fine fans’.
(2)
£300 - £400
360* Classical Fan. Selene and the Four Seasons, late 18th century, an unmounted and untrimmed fan leaf, obverse with hand-coloured mixed method engraving, depicting Selene (or possibly Aurora/Eos) in her chariot, accompanied by her daughters: the Horae, or Four Seasons, some very faint creasing at top, minute nick lower right, wide margins, image size 18.2 (at centre) x 48 cm (7 x 19 ins), window mounted, framed and glazed (42.5 x 58.5 cm)
(1)
361* Cricket. The Eton Fan, 1875, a folding fan, the double leaf of blue paper, recto printed in gilt with date and title ‘The Eton Fan, Lord’s July 9th and 10th’ within an ornamental cartouche, to either side a further cartouche, one listing the Eton Players, the other the Harrow Players, stylised cricket bats, stumps and balls above, verso with decorative advertisement for Eugene Rimmel, Perfumer by Appointment to their Majesties ..., listing various items sold by Rimmel, including perfumes, powders, musical photographic albums, Easter eggs, etc., a little spotted and rubbed in places, a few small tears or splits, verso repaired over one stick, wooden monture, 24.5 cm (9.75 ins), with a facsimile copy of the Eton Harrow cricket match fan (of an unknown year), and a small archive of material related to the Eton Harrow cricket matches and the associated commemorative fans
£150 - £200
The 1875 Eton vs Harrow cricket match ended in a draw. Two notable players on the Eton team were Alfred Lyttelton (who went on to play for Middlesex & England 1876-1887), and Herbert Whitfield (played for Sussex 1878-1885). (1)
£100 - £150
362* Crystal Palace. The Crystal Palace Fan, circa 1854, a double paper leaf fan, recto with three orange tinted lithographs, the central oval view depicting The Crystal Palace and Park, Sydenham, the two circular side views showing The Pompeii House, and The Alhambra Court, ornamental decorations between each scene, printed title above, dusty, some foxing and toning, folds somewhat rubbed with several short splits (one with unobtrusive repair), repaired short surface tear at far right, verso plain pale pink (soiled), wooden monture, 24 cm (9.5 ins)
The Crystal Palace was originally designed and built to house the Great Exhibition of 1951. After the exhibition closed, it was decided to relocate the building to Penge Place, on top of Sydenham Hill. The reconstruction of the new Crystal Palace began in 1852 and took two years, the completely redesigned building opening on 10th June 1854. The fan was possibly made to commemorate the reopening of this splendid edifice, with its numerous courts illustrating the art of Pompeii, Alhambra, and other places and eras. (1) £150 - £250
363* Dance Fan. Quadrille Fan: containing an Explanation of the Quadrille Figures, selected from the Quadrille Panorama, by Thomas Wilson, London: published by R. and E. Williamson, March 25th 1819, a bone cockade fan, the double paper leaf engraved on one side in black, blue and red, with numerous explanatory diagrams, each captioned with the name of the figure described, publisher’s imprint to lower edge, the other side printed with text explaining the technical terms, title to upper edge, a further publisher’s imprint to lower edge, simply carved bone sticks and guards, a further title ‘The Quadrille & [Co]tillion Panorama’ adhered to guards, toned and a little rubbed in places, some staining and old repairs, short (7 mm) split to one fold, the narrow strip next to one guard (on the text side) sometime strengthened, open diameter 19 cm (7.5 ins), length 24.5 cm (9.5 ins), closed length 15.5 cm (6 ins)
Rare. Although the British Library lists a copy of this quadrille fan by Thomas Wilson, Dancing Master, it seems that theirs is an unmounted leaf. The ‘Regency Dances’ website also describes and illustrates an apparently unmounted leaf. These are the only two examples of this interesting fan which we have located, and therefore no other mounted copy has been found.
According to the title, the fan is based on The Quadrille Panorama. This small book was actually titled The Quadrille and Cotillion Panorama, a copy of which, dated 1818, is held by the British Library. The ‘Library of Dance’ has a copy of the second edition (1822) which can be viewed online, in which the imprint states ‘Published March 30th 1822, by R. & E. Williamson, Engravers, 14 Moore Place, Lambeth, where may be had, and at the Music Shops, The Quadrille Fan, containing the Diagrams of this Work’. It seems that the frontispiece of the Panorama was simply reprinted and cut into a circular shape to create the diagram leaf of the fan, with the frontispiece title excised and added to the guards. The other leaf, with the explanatory text, has been adapted and reduced from the body of the book.
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364* Dance Fan. The New Dance Fan for 1797, Pubd. by the Proprietor Novr. 1, 1796, folding paper fan, stipple engraved leaf with central oval of figures dancing with a garland of flowers, surrounded by musical notation and choreography for sixteen dances, toned, lightly rubbed in places, two small repaired tears (one to blank left margin, one to border above a song), couple of tiny marks to central engraving, single tiny pinhole to top right border, wooden monture, 25.5 cm (10 ins) Schreiber 61, p.13.
The dances include: ‘Fontainblau Races’; ‘Little Peggy’s Love’; ‘Miss Douglas Brighton’s Jigg’; ‘Miss Biggar’s Strathspey’; and ‘Countess of Sutherlands Reel’.
(1)
£500 - £800
£300 - £500
365* Decorative Fan. A hand-painted and pierced lace paper fan, circa 1800, folding paper leaf of pierced lace paper alternating with stripes of watercolour flowers in pale and dark blue, and gilt flowers (browned from acid burn), within a blue and gold painted floral border, some light discolouration and foxing, 1 or 2 small holes, small paper repair on verso (approximately 1 x 1.5 cm), mounted on pairs of alternating blue floral painted/filigree bone sticks (one of the latter with 2 splits strengthened on verso), guardsticks carved with a figure, pair of birds, and an urn, and highlighted in blue paint, small area of surface loss to upper guard, 26.5 cm (10.5 ins), housed in the original Dutch floral papercovered cardboard fan box with pull-off lid, together with:
An engraved and hand-painted paper fan, circa 1790s, the double leaf obverse with 3 sepia stipple engraved oval vignettes of lovers, the remainder of the leaf covered with a hand-painted geometric design in black and silver, the reverse plain, numerous repairs, mainly to the reverse and the bottom edge of the obverse, obverse with few small fox spots and tiny marks, plain bone sticks, front guard with simple carved pattern, rear guard repaired, 26.5 cm (10.5 ins)
366* Decorative Fan. A lace and satin fan, early 20th century, folding fan with faux ivory monture, cream satin leaf with wide cream lace border, the loop with cream tassel on long twisted cord, some foxing (mainly to lace), 32.7 cm (12.75 ins), together with 2 ostrich feather fans (one in contemporary card box), a selection of ostrich and snowy egret feathers for adorning hats, 6 pairs of long gloves, 8 pairs of short gloves (most leather or kid, 2 pairs fabric), and a small number of other accessories (a carton)
£80 - £120
367* Dumas (M., 19th century). A lace and painted fan, late 19th century, folding leaf of handmade lace inset with a large cream grosgrain silk panel painted in watercolour, depicting Euterpe in the heavens playing the violin, accompanied by 4 cavorting putti, signed lower left, mother of pearl monture, elaborately carved, pierced, and highlighted in silver and gilt, with figures, flower urns, scrollwork, etc., 32.5 cm (12.75 ins), original ivory silk box (a little dusty and marked), with deep buttoned ivory silk interior, and initials ‘L.L.’ in gilt to hinged lid
Provenance (second item): Formerly in the collection of Lord Oranmore & Browne, of Carrabrowne Castle in the County of Galway and of Castle Macgarrett in the County of Mayo (noted by the current owner). (2)
£200 - £300
In 2006 Christie’s sold a folding fan painted by M. Dumas which belonged to Princess Margaret, accompanied by a note in Queen Mary’s hand: ‘Fan which belonged to Queen Alexandra given her by her sister Marie Empress of Russia - given to Princess Margaret of York by her grandmother Queen Mary, 1932’ (Christie’s, London, ‘Property from the Collection of Her Royal Highness The Princess Margaret, Countess of Snowdon’, 14th June 2006, lot 325).
(1)
£200 - £400
369* Lace Fan. A folding fan of Carrickmacross lace, late 19th/early 20th century, the folding cream lace leaf worked with trailing stems of flowers, leaves, and shamrocks, mother of pearl monture, 29 cm (11.5 ins), together with A folding fan of Carrickmacross lace, late 19th/early 20th century, the folding cream lace leaf worked with stems of daffodils, tulips, and other flowers, with leaves and tendrils, on a semé roundel ground, a few faint fox spots, mother of pearl monture, pierced, carved, and highlighted with gilt, with flower and foliate stem decoration, rear guard with break towards head neatly supported with small metal plate on reverse (rivets visible on front), 27.5 cm (10.75 ins)
(2)
£200 - £300
£300 - £500
368* Lace Fan. A fan of 17th century Italian lace, the leaf of point plat needlelace, lightly toned in places, occasional breaks to brides, mounted on later (19th century) elaborately pierced and carved mother of pearl fontange monture with bone ribs (one of latter with slight loss at end), a number of breaks to sticks, each sometime neatly repaired on verso with mother of pearl, 29 cm (11.5 ins), together with 12 other folding lace fans, including: a boxed fan with gilt monogram on upper guard; an Art Nouveau fontange fan with a leaf of Brussels(?) needlelace depicting a large stylised flower flanked by acanthus leaves, mother of pearl monture; a fan with the lace leaf backed by pink satin, pierced and carved bone monture; a large boxed lace fan, also with pierced and carved bone monture; 5 fans with mother of pearl monture, 3 with black lace leaf (one with monogram in centre of leaf, one in Duvelleroy box, and the third with gilt monogram on upper guard); and a fan of black Chantilly lace, tortoiseshell monture, with large white metal monogram on upper guard (loop broken), plus 4 unmounted lace fan leaves, 2 of Brussels lace (17)
370* Lace Fan. A Honiton lace fan, late 19th/early 20th century, folding fan, the lilac moiré silk leaf appliquéd with lace motifs, consisting of two exotic birds holding a swag of flowers and leaves in their beaks, a butterfly above, flanked by butterflies and flies, lace border to edges, lined with cream silk on verso (the lining with 1.5 cm split to top of one fold, with associated loss of 5 cm lilac edging, and tiny loss of lace edging on recto), elaborately carved and pierced bone monture, 27 cm (10.75 ins), together with A Honiton lace fan, late 19th/early 20th century, folding cream lace fan, mother of pearl monture, inlaid with floral decoration, 23 cm (9 ins), slightly toned, original black paper-covered box, lined with purple silk, plus another boxed Honiton lace fan similar Honiton was a ‘part lace’. Individual motifs were made separately and then incorporated into a larger piece by a different maker. The best Honiton lace often featured naturalistic flowers and insects.
(3)
£200 - £400
371* Marlborough. Les Grandes Funerailles du Fameux Duc de Malborouk [sic], circa 1780 (or earlier?), double paper leaf folding fan, obverse with engraved titled hand-coloured scene, showing a funeral procession, with a corpse (of ‘Mr. D’Malbrouk’) being carried on a bier by 4 attendant officers, an officer carrying a huge sword ‘Le Grand Sabre’, and 2 further officers carrying poles on which are displayed a cuirass and a pair of trousers, a tomb behind the procession, to the front a page leading a horse, the page speaking to a caricatured Madame Malbrouk standing atop a tower, a key to the various characters printed beneath, together with several verses of the song, text truncated, implying that originally the leaf was made for a larger fan, toned, with stains and marks (mainly towards reserves), one small area of loss (infilled) to text, some short splits to folds (most repaired), plain reverse with repaired areas, wooden monture (deficient), 27.5 cm (10.75 ins)
Rare. We have found no other example of this unusual fan portraying the French folk song ‘Malbrouck s’en va-t-en guerre’, which mocks the English military leader the Duke of Marlborough. The only other fan of this subject that we have seen bears three individual vignettes (see Schreiber Collection 38, p.71/2), rather than the single large scene that decorates this fan.
It is likely that the folk song (which the English adapted to become ‘For He’s a Jolly Good Fellow’) started life shortly after the Battle of Malplaquet in 1709, at which John Churchill, first Duke of Marlborough, was wounded (although not killed, as the song would have it). It is generally believed that the song was handed down by tradition only, with no written records of it until it suddenly became hugely popular in the 1780s. However, C. D. Brenner’s article ‘The Eighteenth-Century Vogue of “Malbrough” and Marlborough’ (The Modern Language Review, vol. 45, no. 2, 1950, pp. 17780) mentions a Parisian scandal sheet of 1778 ‘Espion Anglois’ which speaks of this song, implying that “the song had not been as unknown in Paris as the authorities would have us believe” (p. 179). This fan is possibly an earlier depiction of the ‘Malbrouck s’en va-t-en guerre’ song than the other fan mentioned above, which is more commonly found.
The key printed beneath the illustration explains that the trousers being carried aloft are ‘La Culotte de peau qui ne porte rien’. A further officer in attendance is listed as ‘Le Rossignol’, perhaps intended to be the person singing the folk song.
(1)
£150 - £250
372* Military Fan. Spanish-American War Patriotic Fan, circa 1898, a colour lithographed palmette or Jenny Lind fan, the blades of pansy-shaped paper backed with blue fabric, each embossed recto bearing the portrait of a U.S. military leader of the Cuban campaign against a background of pansy petals: Theodore Roosevelt, John C. Watson, William R. Shafter, William McKinley, Charles Dwight Sigsbee, Winfield Schley, Robley Evans, and Richmond P. Hobson, the first pansy recto depicting an abstracted American flag, the verso of the final pansy showing an abstracted Cuban flag, edges a little toned and creased, a few tiny edge chips or fraying, first pansy with adhesive attachment to stick failing (consequently toned and creased, with some losses to paper), wooden sticks, the first with remnants of paper ‘flagpole’ adhered to recto, one stick sometime repaired, linking thread partially replaced, 22 cm (8.75 ins), together with: The Carrousel of Bordeaux fan, France, circa 1888, large double paper leaf folding fan, recto with colour lithograph after M. de Fonrémis, depicting cavalrymen of the 6th Regiment, wearing uniforms of Lauzun’s Hussars before the Revolution (1807-1888), the background showing the city of Bordeaux, its coat of arms on a trophy of pennants, rifles etc. on the right, on the left a trophy of sabres with flags of the Emperor’s Hussar regiments, and names of defeated cities (Dresden, Borodino etc.), plain verso cream, a little toning (mainly to verso), one or two fox spots, folds lightly rubbed, one segment with short repaired tear, verso with several splits and tears, wooden monture, 35.5 cm (14 ins), plus: To Welcome the American Fleet fan, 1908, a Japanese double leaf folding fan, the leaves of textured paper, recto with printed dinner menu, titled and dated October 22, 1908, on a gold background, across the top the entwined flags of Japan and the United States of America, verso with a simple floral design of lilies and pinks against a silver ground, the same two flags entwined above, silver somewhat tarnished, some soiling (mainly to top of leaves, more so on verso), edges frayed, a few splits to folds, monture of lacquered wood, the guards with simple floral design in gold and red, 19.5 cm (7.75 ins), with another 12 political, royal commemorative and military fans, most 20th century, including a fan depicting a kookaburra above a boomerang inscribed ‘65 Australian Infantry Battalion’, generally good condition (one fan defective), various forms and sizes
First item: The Smithsonian’s National Portrait Gallery displayed an example of this fan in their exhibition ‘1898 U.S. Imperial Visions and Revisions’ (April 28 2023-February 25 2024), which was described as belonging to a private collection. A similar patriotic American fan is held by the Cornell University Library. Their example portrays different leaders (for example Roosevelt is missing) and has no U.S. flag. (15)
£150 - £200
373* Naval Fan. Admiral de Winter Surrendering his Sword to Admiral Lord Duncan, 1797, folding fan, stipple engraved paper leaf, published by B. Coker, 118 Fleet Street, November 20th 1797, the central vignette scene with border of sewn spangles (some missing), to either side a trophy with poem, hand-painted tartan border to top edge containing printed title, silver edges (tarnished), decorative bone monture, couple of repaired tears to bottom edge, top edge slightly frayed, 25 cm (10 ins)
Not in the Schreiber catalogue.
374* Parmentier (Eugénie, died 1875). Decorative fan, 1861, folding fan, double canepin (skin) leaf hand painted on both sides, recto with a large and detailed outdoor scene of various groups of figures, including walking or sitting courting couples, with numerous cupids around them, a boat seemingly arriving with more cupids, signed and dated lower right, the reserves painted with floral ornamentation heightened with gold, the leaf verso painted with a central scene of 4 cupids holding up a sheet bearing the faint initials of the artist, signed lower right, the reserves with colourful floral design and gilt ornamentation, folds and edges of leaves lightly rubbed in places, one fold with tiny nick to top edge, single fold near one guard with an almost imperceptible infill at top (possibly original as paintwork appears contemporary), the mother of pearl sticks richly carved and gilt, depicting more couples against backgrounds of abalone (one edge sliver of abalone missing, two slivers with a single tiny hole each - one with a couple of associated hairline cracks), one lover carrying a small gilt dog, the guards likewise carved and gilt, one depicting a young man, the other a young woman, one guard neatly repaired near head, jewelled rivet pin, 28 cm (11 ins), contained in a J. Duvelleroy fan box
A handsome fan in good condition, notwithstanding the condition points noted.
Eugénie Parmentier née Morin (died 1875), was a French portrait and miniature painter who featured in the Paris Salon of 1859-1867 and obtained a medal in 1864.
A rare commemorative fan, celebrating the victory of the British fleet over the Dutch navy (who were aligned with the Revolutionary French) on 11th October 1797. This was not only a decisive victory for Admiral Duncan, but it also marked the end of Dutch sea power and the eclipse of the Dutch navy as a significant force in European history. Fans commemorating the British naval victories of the French Revolutionary and Napoleonic Wars are rare, and most that survive celebrate Nelson’s victory at Trafalgar. (1)
£200 - £300
We have found few examples of fans painted by this artist. One such fan, held by the Royal Collection Trust (RCIN 3584), is believed to have been a wedding gift to Queen Mary (1867-1953). The Fan Museum holds another single example, called ‘A Party of Cherubs’. It is claimed that this fan once belonged to Queen Isabella II of Spain (1830–1904). The third and final example we have seen was sold by Christie’s on 19 September 2000, lot 112. (1)
£400 - £600
375* Surprise Fan. A brisé 4-way wood fan, circa 1800, opening 4 ways, with pierced guards and sticks, the sticks with 3 stipple engravings applied to each of the 4 openings, the engravings colour printed and hand finished, the sticks further decorated with hand painted floral swags and borders, a couple of tiny chips to engraving edges, a few short splits to sticks (two longer splits repaired), 27 cm (10.5 ins), together with another similar brisé 4-way wood fan, circa 1800, with 3 stipple engravings per opening as above, some splits and stains, one stick partly replaced, 27 cm (10.5 ins)
Unusual four-way fans, also called ‘surprise’ fans. (2)
£200 - £300
Lot 374
376* Coalport porcelain. Coalport porcelain plates (6), circa 1805, richly decorated in the Church Gresley pattern, with central floral decoration within a geometric border of pink roses, gilded and on yellow ground, the underside decorated in iron red floral sprigs and a double cobalt ring to the centre, 22 cm diameter (6)
£150 - £200
377* Fairyland lustre. A collection of small bowls, including an ‘Ordinary Lustre’ octagonal bowl designed by Daisy Makeig-Jones, the exterior decorated with fruit on a bronze ground, the interior similarly decorated on a turquoise lustre ground, the base with a gold Portland vase backstamp, a shallow dish, decorated with a turtle on a turquoise lustre ground, the underside in a mottled blue and purple ground, gold Portland vase backstamp, hairline, 9.5 cm diameter and other examples (7)
£100 - £150
378* Fairyland lustre. A Wedgwood Fairlyland lustre bowl, circa 1920, the exterior decorated with gold dragons on a green ground, the interior similarly decorated on a mottled lustre ground, the base with a gold Portland vase backstamp and numbered Z4831 F, 10.5 cm high x 23 cm diameter (1)
£100 - £150
379* Fairyland lustre. A Wedgwood Fairlyland lustre pedestal bowl, circa 1920, decorated with dragons in gold and purple on a mottled light blue ground, the base with a gold Portland vase backstamp and numbered Z4829, 14 cm high x 20 cm diameter (1)
£150 - £200
380* Fairyland lustre. A Wedgwood Fairlyland lustre shoulder vase, circa 1920, decorated in coral and bronze lustre in the Chinoiserie style with trees, pagodas, boats and landscapes, with gold Portland vase backstamp and numbered Z5404, 22 cm high (1)
£200 - £300
381* Fairyland lustre. A Wedgwood Fairyland lustre miniature tyg, the exterior decorated with gold butterflies on a mottled green ground, the interior with a mottled amber colour, the base with gold Portland vase backstamp, numbered Z4832 [?], 5 cm high, together with another tyg, decorated with a gold butterflies on a cream lustre ground, the interior with a mottled amber colour, the base with gold Portland vase backstamp, numbered Z4832, 5 cm high, plus a heart shape trinket box and cover decorated in a gold with a bird on a mottles blue ground, similarly decorated interior on an amber ground, gold Portland vase backstamp, numbered Z6294, 11 cm long (3) £100 - £150
382* Fairyland lustre. A Wedgwood Fairyland lustre shoulder vase, circa 1920, decorated with fairies in a fantasy landscape, the base with Portland vase backstamp and numbered Z4968, 21.5 cm high (1) £700 - £1,000
383* Fairyland lustre. An unusual Wedgwood Fairyland lustre octagonal bowl, the interior with a gold coat of arms for ‘Dunelm Lodge No 4079’ which was founded in 1920, decorated with exotic birds on a turquoise ground, the exterior with Chinese dog of fo and other mythical beasts on marbled dark green ground, the base with a gold Portland vase backstamp, 6 cm high x 10.5 cm across, together with a collection of similar Fairyland lustre bowls, various sizes and decoration including butterflies, exotic birds, dragons etc plus a small vase damaged (11)
£200 - £300
384* Leeds Pottery. A Leeds creamware pierced pedestal urn with lid, the body of oval form and pierced geometric pattern on pedestal support upon a square base and 4 legs, 26 cm high (1)
£100 - £150
385* Moorcroft. A Moorcroft pottery Carp pattern vase designed by Sally Tuffin, circa 1991, of baluster form decorated in high-relief tube-lining with a stylised fish swimming amidst curling aquatic foliage and waves, in rich tonal glazes of deep teal, cobalt, jade green, ochre, and coral pink against a shaded celadon ground, impressed and painted marks to base, 31.7 cm high (1)
£150 - £200
Lot 382
Lot 382 (verso)
Lot 385
386* Parian busts. A group of three Parianware busts, including a portrait bust of Lord Byron, stamped ‘J & T B’ ‘Byron’, on socle base, 31cm high, a Worcester parian bust of professor John Wilson, modelled from bust by Fillans by W. H. Kerr, original paper label to the reverse, on socle base, 29 cm high, plus one other, unmarked (3)
£150 - £200
387* Parian figure. A Copeland Parian figure titled ‘Go To Sleep’, late 19th century, modelled as a seated young girl with a terrier dog in her lap, raised on a circular base, chipped, the reverse inscribed ‘J Durham.SC 1862, impressed marks and manufacturer’s mark, 45cm high (1)
388* Parian figures. A collection of Victorian parian figures, including a figure ‘Rock of Ages’, circa 1850, modelled by Robert Cooke, depicting a young woman kneeling with her hands outstretched before a grave, 45 cm high, a Victorian Copeland figure of Sir Walter Scott, modelled after The Scott Memorial Statue by J Steell, stamped to the reverse, 35 cm high, damaged with some repairs, an owl match holder, modelled as two courting owls, the pedestal inscribed ‘matchmaking’, 19 cm high, plus one other (4) £100 - £150
£150 - £200
£150 - £200
389* Parian figures. Three Victorian parianware figures, including a Minton figure of Miranda, circa 1860, modelled by John Bell and signed ‘Bells Miranda’, 41 cm high, a Minton figure of Dorothea by John Bell, 34 cm high, plus one other (3)
Lot 386
Lot 387
Lot 388
390* Parian figures. Four Victorian parianware figures, including a figure of Terpsichore playing the lyre, 45.5 cm high, unmarked, a figure of ‘Highland Mary’, shown with a bowed head, wearing a tasseled shawl and holding a book, 40 cm high, unmarked, a figure of Beatrice, full length draped female figure with one hand raised to her chest, 44.5 cm high, unmarked, plus one other (4) £200 - £300
391* Parianware bust. A Copeland Parian bust of Clytie The Water Nymph, signed C. Delpech, Art Union of London 1868, 36 cm high, together with a smaller example, unsigned, 27 cm high (2) £100 - £150
Each lot is subject to a Buyer’s Premium of 22% (Lots marked * 26.4% inclusive of VAT @ 20%)
150
392* Parianware. A Victorian parian figure modelled as ‘Comedy’ after W. Boynton Kirk, the classical female, standing by a tree and modelled wearing drapery, holding a piper in one hand and a mask in the other, on an integral square base, unsigned, 45.5 cm, together with a female companion modelled in classical drapery standing by a classical pillar and holding a dagger (damaged), on an integral square base, 44 cm high, plus a Victorian parian centrepiece modelled as a heron in the reed after Gustavsberg, 34 cm high (3)
£100 - £150
Lot 390
393* François-Théodore Legras (1839-1916). A pair of cameo glass Vases by Legras, circa 1900–1910, each of baluster form with gently flared rim and spreading circular foot, the frosted ground with graduating tones of amber, overlaid in dark green, decorated with landscape of trees before a horizon, the foreground with low-lying shrubbery and shaded terrain, one vase with a small area of loss to the upper rim, 36 cm high (2)
394* Glass canes. A collection of 19th century and later glass walking canes, including Nailsea type examples, other examples with traditional shepherd’s crook handles and straight shafts, predominantly in pale green and celadon tones, several with internal spiral lattice and air-twist decoration, others with ribbed, wrythen or knopped moulding, two examples with bulbous pommel terminals and flared ends. with twisted colours, the longest 122 cm smallest 27 cm (17) £200 - £300
£200 - £300
Lalique. A pair of modern Lalique glass birds, Perdrix Inquiete, model 1241 and Perdrix Couchee, model 1255, originally designed in 1939, each with a frosted and polished finish, signed ‘Lalique France’ with trade label, 18 cm high and 13 cm high, in good condition
- £200
395* Lalique. A modern Lalique frosted and clear glass ‘Gregoire’ toad, modelled in seated position, the base signed Lalique France, 13 cm long (1)
£80 - £120
396* Lalique. Cristal Lalique, Enfants 13400, a set of 6 clear and frosted liqueur or shot glasses, signed Lalique France, 4.5 cm high, in good condition and with original card box (1) £100 - £150
397*
(2)
£150
398* Nailsea glass. A Nailsea glass flask, with white ground and green pulled or swirled decoration, 18 cm long, a clear glass rolling pin, with knop handles, 41.5 cm long, and other items (small carton)
£70 - £100
399* Paperweights. A collection of glass paperweights, including a Webb Corbett facetted yellow uranium glass paperweight, other makers such as Perthshire, Baccarat and other designs, largest 8 cm, smallest 5 cm (8)
£100 - £150
400* Paperweights. A collection of glass paperweights, including Perthshire, Whitefriars and other millefiori designs, largest 8 cm, smallest 6 cm (8)
£100 - £150
401* Paperweights. A large collection of Victorian green glass dump paperweights and related items, various sizes and forms, largest 16 cm, smallest 5 cm high (28)
£150 - £200
402* Paperweights. A large collection of Victorian green glass dump paperweights and related items, various sizes and forms, largest 17.5 cm, smallest 6 cm high (28)
£150 - £200
COLLECTABLES
405* Anglo-American Telegraph Company. A rare cotton flag, 19th century, the Union Jack surrounded by 13 stars and a yellow and blue shield featuring a lightning bolt, with rope lanyards, 120 x 190 cm, together with a large Royal Navy cotton ensign, circa 1900, Union-Jack on a white ground with rope lanyards, patchmarks and general wear commensurate with age, approximately 123 x 255 cm, plus an American cotton ensign circa 1908-1912, stitched with 46 stars and stripes, with rope lanyards, fraying and some holes, 110 x 212 cm
£200 - £300
403* Advertising pot lids. A large collection of Victorian ceramic pot lids, comprising 10 with bases, 27 without, plus 1 mounted in a frame, various makers, including American Dentifrice, 11.5 cm diameter, presented in a circular wooden frame, Home Made Potted Meats, 9 cm diameter, Burgess’s Genuine Anchovy Paste, 9 cm diameter, Areca Nut Tooth Paste, 6.5 cm diameter, S. Maw Son & Thomas White Cherry Toothpaste, 7 cm diameter and many other examples, together with approximately 38 Victorian glass ink bottles, various shapes and colours including blue and green (76)
404* Angel. A Continental carved wood polychrome angel, 18th century, the young male carved with gilt wings and one hand on his chest, 30 cm wide
(1)
£200 - £300
The Anglo-American Telegraph Company was founded after the failed attempt of laying a second cable by the Atlantic Telegraph Company in 1865. The new telegraph company took over the assets of the New York, Newfoundland, and London Telegraph Company and later merged with The French Transatlantic Cable Company in 1869. The new company set out to recover the lost cable using the CS Albany and CS Medway, working together with The Atlantic Telegraph Company until the two merged in 1873. They then went on to lay two more cables in 1873 and 1874 from Hearts Content, Newfoundland to Valentia Island by CS Robert Lowe in 1873 and CS Minia in 1874.
(3)
£200 - £300
406* Austrian bronze. Two Austrian cold-painted bronze birds, early 20th century, one a study of a standing chick with its head raised, probably by Franz Bergman, 6 cm high, together with another cold-painted bronze in the form of a standing game bird, likely a pheasant, on an oval base, 10.5 cm high
(2)
£100 - £150
407* Bath chair. A Victorian bath chair, iron frame with cream floral upholstery, two large 8-spoke wheels and a smaller front wheel, the control post with wooden handle bars, 148 cm long (1)
£100 - £150
409* Dante Alighieri (1265–1321). A substantial Art Nouveau carved marble figure of Dante, circa 1900, wearing long drapery and a hood, holding a book and on an integral marble base, 74 cm high (1)
£1,000 - £1,500
408* Chandelier. A French gilt metal chandelier, 19th century, of circular form with blue enamel coats of arms in shields, the pierced rim with fleur de lys supporting 12 lights each with blue enamel ivy decoration, supported on 5 substantial chains, 67.5 cm diameter (1)
£300 - £500
410* Fire grate. A George III cast iron hob grate, fluted throughout with a central patera, 51 cm high x 81 cm wide (1)
£200 - £300
411* Fossil. Allothrissops mesogaster (Agassiz), Jurassic period, Bavaria, a fossilised fish set in a rectangular matrix, 13.5 x 24 cm, presented in a glazed display frame, frame size 20 x 30.5 cm (1) £100 - £150
412* Garden urn. A marble urn, 19th century, of ovoid pedestal form with everted rim, the lower section carved with leaves on a square base, 38 cm high, weathered (1)
£200 - £300
413* Gypsy caravan. A scratch built wooden model of a gypsy caravan (vardo), the planked arched roof with three windows, over side panels with window and shutters, spoke carriage wheels, 23 cm high x 43 cm long, together with 6 further wooden models, comprising stage coach, 29 cm high x 60 cm long and 5 carts, largest 66 cm, smallest 34 cm (7) £150 - £200
414* Handel floor lamp. A 20th century floor lamp by the Handel Company, with pine woods sunset shade, patinated bronze, and painted slag glass shade with metal overlay and painted highlights depicting pine forest, on tapering, quadripartite base with scroll feet, 163 cm high (1)
£700 - £1,000
415* Industrial Art. A theatre floodlight, circa 1950s, mounted on a tripod base, approximately 190 cm long (1)
£100 - £150
416* Leather cases. A tooled leather travelling case, circa 1900, rectangular form with brass lock and leather carrying handle, 43 cm high x 52 cm wide x 27 cm deep, together with another leather case of rectangular form with a brass Bramah lock, 16 cm high 57.5 cm wide x 25 cm deep (2)
£150 - £200
417* Lieberich (Nikolai Iwanowitsch, 1828-1883). Peasant girl on horseback, later iron casting, circa 1905, indistinctly signed, 41 cm high x 45 cm (1)
£500 - £700
418* Minerals. A large collection of world minerals, including Cerussite, Barite, Mibladen mining district, Morocco, Silicon Carbide, Sweden, Mtorolite, Zimbabwe, Jamesonite, Tresungers Mine, Port Isaac, Cornwall, Azurite, Malachite, Bisbee, Arizona, United States of America, a nice comprehensive collection displayed in 11 trays and boxes (1)
£200 - £300
419* Mirror. A Florentine gilt gesso wall mirror, late 19th century, of rectangular form with ornate carved and gilded foliate scroll frame, 88 x 100 cm, later glass (1)
£300 - £500
420* Peacocks. A substantial pair of lead garden statues modelled as peacocks, early to mid 20th century, raised on a triangular bevelled base, 60 cm high (2)
£300 - £500
421* Pewter. A George I pewter plate by Nicholas Jackman of Walbrook, London, circa 1720, of typical plain form, the base with touch marks for Nicholas Jackman, ‘lackman made in London’, X quality mark, and previous owner’s triad of initials S over SE, which signifies a marriage plate, 24 cm diameter, together with a mixed collection of pewter ware including a lidded tankard dated with initials and dated 1704, lacking one foot, 18 cm high, chocolate pot and other items
Nicholas Jackman was admitted to the Yeomanry of Pewter Makers in 1699. He became a master of the company in London in 1735. (13)
£100 - £200
422* Rowing memorabilia. A collection of Victorian rowing memorabilia belonging to the Reverend W.D.B. Curry, comprising a light mahogany bookcase made from a rowing boat, retaining original seat, 115 cm long x 54.5 cm wide, an ebonised corner cabinet made from a rowing boat, the carved wood pediment with a coat of arms, with an oval brass plaque engraved ‘Exeter College Eight Stroke Seat. Head of the river, 1882, 1883, 1884, winner of Grand Challenge Cup, Henley Regatta, 1882’, the hinged glass door enclosing shelves and the original seat, 131 cm high x 56 cm wide x 37.5 cm deep, two pewter lidded tankards awarded to Curry, both engraved ‘Exeter College’, one for Junior Pairs, dated 1881, 21 cm high, the other Morrell Pairs, dated 1880, 16.5 cm, a framed collection of 4 white metal prize medals, Grand Challenge Cup, Oxford University and Exeter College, approximately 50 mm diameter, Oxford ‘blue’ rowing cap, embroidered with crossed oars and ‘O.U.B.C.’, a black and white photograph of Curry in clergy uniform, framed and glazed, frame size 21 x 14 cm plus a framed family crest, watercolour on paper with the motto ‘Esto Quod Esse Videris’ (be what you seem to be), gothic ‘Oxford’ frame with brass rosettes, glazed, frame size 37.5 x 34 cm
William Dixon Blatchford Curry (1860-1938), was a Vicar. He went up to Exeter College Oxford in 1879 and graduated six years later, having rowed for his College and for Oxford University. He was ordained in Morpeth and first worked in Newcastle-upon-Tyne (where he met his wife), and was subsequently Vicar of South Hinksey near Oxford before ending up as Vicar of Hunstanton in Norfolk where he died. (8)
£300 - £500
423* Royal Exchange. A lead insurance fire mark, early 19th century, showing the Royal Exchange building with a crown above, with three fixing holes, 18 x 15.5 cm (1)
£70 - £100
424* Standard lamps. A pair of Continental iron work standard lamps, early 20th century, the top section with galleons and dog finial, amber glass, on spiral stems and circular pierced base, 184 cm high Modern wiring would be required by a professional electrician. (2) £300 - £500
425* Table lamp. An Art Nouveau painted metal and painted glass table lamp, circa 1910, of tapering hexagonal form, the domed shade set within an elaborate cast metal framework moulded with flowering vines and foliage in high relief, the panels inset with painted glass depicting a landscape with trees and distant hills, the shade surmounted by a baluster-form finial and raised on a conforming metal stem from a faceted, textured base, 60cm high (1) £150 - £200
Each lot is subject to a Buyer’s Premium of 22% (Lots
426* Tantalus. An Edwardian silver-plated tantalus, holding 3 moulded glass decanters, each with a spherical stopper, with a key, 30 cm high x 34 cm long (1)
£100 - £150
427* Taxidermy. Snowy owl circa 1920-30, a fine specimen presented on a naturalistic base, housed in a glass display case, 68.5 cm high x 45 cm wide x 26.5 cm deep
A similar example by the renowned taxidermist Rowland Ward was sold at Dominic Winter Auctioneers on 24 March 2021 for a hammer price of £7000. (1)
£700 - £1,000
428* Architect’s table. An industrial architect’s table, circa 1920, with a heavy steel frame, and a later replaced wooden writing table, 140 x 118 cm (1)
£200 - £300
£200 - £300
429* Armchairs. A pair of Charles II style oak wainscot armchairs, late 19th century, each with a shaped cresting centred by a shallow arched tablet and flanked by scroll-carved terminals, above a panelled back, the downswept arms raised on turned baluster supports, over a solid plank seat, the forelegs ring-turned and joined by stretchers on all sides, 118 cm high (2)
430* Attributed to Emile Gallé (1846-1904). A French Art Nouveau walnut salon suit, circa 1900, comprising of a canapé, fauteuils and 2 side chairs, each piece with a shaped rectangular padded back and serpentine seat upholstered in olive-green woven fabric, the frames of flowing, organic outline, the back splats finely carved and pierced with naturalistic foliate and branch motifs centred by stylised floral marquetry panels, the arms outcurved and tapering to slender supports, raised on cabriole legs with carved detail and scrolling ornament to the seat rails (4)
£400 - £600
£600 - £800
431* Bookcase. A Regency mahogany waterfall bookcase, with two substantial brass handles, 132 x cm high x 71 wide x 23 cm high and deep (1)
432* Bookcase. An Edwardian style mahogany bookcase, an unusual size with single glazed door with arched moulding, enclosing shelves, a cupboard beneath, on squat ogee supports, 169 cm high x60 cm wide x 28.5 cm deep (1)
£70 - £100
433* Bureau. A fine Queen Anne period walnut bureau, circa 1700, the hinged fall enclosing a fitted interior with drawers, pigeon holes, sliding panel inside top section to give access to the well and hidden compartments, over a kneehole recess with arched apron, flanked by three drawers with brass handles fittings, on substantial ball or onion-shaped feet, 95 cm high x 106 cm wide x 65 cm deep, a rich patina and a good original piece
See Adams (Norman), Eighteenth Century English Furniture, for a similar example. (1)
£1,200 - £1,500
434* Chairs. A pair of easy 18th century continental Baroque-style oak armchairs, each with a rectangular leather-upholstered back and seat, secured with brass studwork and edged with decorative trim, the carved arms raised on turned supports, the shaped frieze centred with scrolling foliate in the Baroque manner, raised on turned and block legs on carved paw feet, 122 cm high (2)
£200 - £300
435* Cabinet. An oak cabinet with panels depicting scenes from Shakespeare's Henry IV carved by Rhoda Bather (c. 1824-1893), circa 1880, front with hinged cabinet doors to left & right and central sliding door section, doors incorporating 9 finely carved panels in relief depicting scenes from Henry IV, parts 1 & 2, back panel of cabinet with furnture remover's paper label of 'J. & B. Blower Ltd., Removal & Storage Contractors, Shrewsbury', and ownership paper label 'Property of [Mr.] E. J. Bather', on Jacobean style oak court cupboard stand base with two drawers, decorative turned columns, and panelled back, cabinet dimensions: width 115 x depth 32.5 x height 85.5 cm (45 1/4 x 13 x 33 1/2 ins), stand base: width 125.5 x depth 47.5 x height 87 cm (47 1/2 x 18 3/4 x 34 1/4 ins), total height (cabinet & base) 172 cm (67 3/4 ins)
Provenance: Rhoda Bather (c.1824-1893), of Brome Cottage, Meole Brace, Shropshire.
Christopher Edwards, 19th Century Furniture and Works of Art, London. Benjamin Bather, thence by descent.
Rhoda Bather was the daughter of John Bather, Recorder of Shrewsbury (1781-1839) and Elizabeth Bather (née Gipps, 1787-1880). In Rhoda Bather's will, she refers to the cabinet, 'the carved cabinet with the Shakespeare carvings done by me...' which was bequeathed to her nephew Edward William Bather (1854-1930). The 9 panels in the cabinet show depictions from Henry IV, comprising Part 1, Act II, scene 2 (2 panels); Part 1, Act II, scene 4; Part 1, Act 5, scene 4 (2 panels), Part 1, Act 3, scene 3; Part 2, Act 2, scene 2; Part 2, Act 4, scene 4; and Part 2, Act 5, scene 5. (1)
£2,000 - £3,000
436* Child Chair. A Victorian period child’s rocking chair with barley twist front legs, 66.5cm high (1) £80 - £120
437* Emile Gallé (1846-1904). A carved and inlaid walnut chest, with hinged lid and shaped edge, decorated with figures carrying bundles of wood, trees and a dog, in various wood marquetry, solid panels decorated with plants and foliage in marquetry. carved uprights forming a base, signed Gallé, 65.5 cm high x 89.5 cm wide (1)
£400 - £600
438* Emile Gallé (1846-1904). A set of three walnut Art Nouveau nesting tables, with graduated tops, each top depicting a different Seascape, specimen wood inlays with nautical theme, each table signed ‘Gallé’, with some minor water marks, largest 48.5 cm x 38 cm, 68.5 cm high, smallest 36 cm x 38 cm, 64 cm high (3)
£200 - £300
439* Great Western Railway. A late Victorian mahogany GWR bookcase from the old offices of the Midland Railway, Temple Meads, Bristol, the top with two large glass door, enclosing shelves, above a base with two sliding drawers enclosing shelves, brass recessed handle stamped ‘GWR’, a further GWR stamp on the top near the cornice, general knocks, scuffs and wear commensurate with age, 259 cm high x 189.5 cm wide x 58 cm deep
Provenance: The vendor’s grandfather worked for British Rail in Bristol. He was based in the old officers of the Midland Railway next to Temple Meads Station. This closed down in the early 1980s, and the furniture and fittings were removed and sold off. He acquired the bookcase along wth several railway models (scheduled for 21 May) and the bookcase has remained in a Clifton residence until now. (1)
£500 - £800
440* Lantern. A substantial French hall lamp, early 20th century, wrought iron frame and glass shades, 145 cm long (1)
£500 - £700
441* Leaded glass table lamp. A Tiffany-style dragonfly leaded glass table lamp, late 20th century, the domed shade, constructed of individually cut and leaded opalescent glass panels in tones of turquoise and green, the design incorporates dragonfly forms with outstretched wings rendered in textured, mottled glass, the shade embellished with applied cabochon glass jewels in green, red, blue and yellow, supported on a metal base with foliate pattern, 43 cm high (1)
£100 - £150
442* Mirror. A Regency giltwood pier mirror, with inverted breakfront cornice over a pastoral scene depicting a shepherd, maiden and flock, flanked by neo-classical pilasters with Egyptian head capitals over acanthus panels, with bevel edge glass, 101 x 61 cm (1)
£150 - £200
443* Sideboard. A Victorian mahogany and inlaid bow-front sideboard, with four drawers, the top two drawers later lined with green felt, on four legs, 78 cm high x 118.5 cm wide x 59.5 cm deep (1)
£100 - £150
444* Table. A French Louis XV style walnut and kingwood parquetry and brass mounted coffee table, the rectangular top with geometric parquetry inlay, over cabriole supports, 44 cm high x 103.5 cm wide x 50 cm deep (1)
£100 - £150
445* Table. A George III mahogany games table, the serpentine fold over top enclosing green baize, on four tapered supports, 72 cm high x 90 cm wide 45 cm deep (1)
£100 - £150
446* Table. A modern abstract carved elm table, with a shaped top over four shaped supports, united by stetchers, 75 cm high x 133 cm wide x 91 cm deep (1)
£200 - £300
Lot 440
Lot 441
Lot 442
449* Barometer. A Victorian mercury stick barometer by Poli, Edinburgh, the mahogany case with an engraved brass dial, approximately 94 cm long
Provenance: Admiral Richard Curry C.B. (1772-1854), then by family descent. Richard Curry was born in 1772. He joined the Royal Navy in 1780 as a Captain’s Servant and served in HMS Amphitrite. He was posted to the Mediterranean, Halifax in Canada, West India and home. Curry is best remembered for capturing the red Jolly Roger pirate flag in the battle of Barbary Coast off the North African coast in 1780. The rare flag is now on display at Portsmouth’s Historic Dockyards. Curry received a gold medal for his services in Egypt and was awarded the CB in 1831. (1)
£100 - £150
447* Barograph. A fine barograph, early 20th century, the brass display case with bevel edge glass, housing the instrument, 15 cm high x 30 cm wide x 16.5 cm deep (1)
£300 - £500
448* Barograph. A fine barograph, early 20th century, the walnut display case with bevel edge glass, housing the instrument, 19 cm high x 37 cm wide x 21.5 cm deep (1)
£200 - £300
450* Clock. A Blackforest wall clock, 19th century, the circular enamel dial with black Roman numerals, the heavily carved case with a bulls head and hanging game, 74 x 55 cm (1)
£150 - £200
451* Clock. A German Biedermeier mantel clock by Karl Hoffer, Obendorf, circa 1850, the 10.5 cm diameter white enamel dial with black roman numerals and two winding holes, housed in an architectural mirror back case with faux marble columns and brass mounts, lacking one finial and in poor condition, 55 cm high, together with a late 19th century spelter clock and alabaster, the case modelled as an explorer with telescope, globe and dividers, 37 cm long, standing on an ebonised base (2)
£100 - £150
452* Clock. A German Biedermeier wall clock by Johann Krauth, Schwechal, circa 1850, the 14cm diameter white enamel dial with black roman numerals and signed ‘Johann Krauth in Schwechal’, three winding holes and steel hands, with engine turned brass rim, set in a highly ornate gilt moulded display case, 54 cm high x 46 cm wide x 13 cm deep, with pendulum (1)
£100 - £200
453* Clock. A German Biedermeier musical mantel clock, circa 1850, the 12 cm diameter white enamel dial with black roman numerals, two winding holes and steel hands, housed in a highly ornate case, the lower section with a hand coloured engraving to the front, a door to the rear enlosing brass musical box, with pendulum, finials missing, damage to the dial and general wear, however, the musical box appears to be working, 62 cm high (1)
£100 - £200
454* Clock. A Victorian brass skeleton clock, with a silvered dial and Roman numerals with replacement glass dome, overall 26cm wide 42cm high (1)
£100 - £150
455 Microscope. A George III Cuff type lacquered brass compound monocular microscope, circa 1800, unnamed, with rack and pinion column with urn finial, removable tube and plano cooncase mirror, supported on a mahogany base with a single drawer enclosing a few old glass slides, the lacquer and mirrored glass are worn, 48 cm high (1)
£700 - £1,000
456* Microscope. An Edwardian lacquered brass monocular microscope by R & J Beck, numbered 20465, boxed with ocular and three objectives, 12 cm high x 28.5 cm wide x 19 cm deep (1)
£70 - £100
Lot 455
457* Aboriginal. An Aboriginal wooden parrying shield, traditional elliptical form, carved with lines throughout and carrying handle, 76 cm long (1)
£150 - £200
458* Burkina Faso. A West African Lobi hardwood Zoomorphic stool, the rectangular top with traces of geometric carving and a figural head, over two outsplayed block supports, 26 cm high x 51 cm long (1)
£80 - £100
459* Burkina Faso. An African wood Lobi head, carved as a young boy, 26 cm long, together with a Senoufo carved wood female fertility figure, 43 cm high plus a carved wood mask, with traces of pigment and scarification marks, 29 cm high (3)
£100 - £150
460* Candle burner. An Indian carved wood mandir or temple candle burner, 17th century [?], a good rustic piece carved with four ceremonial cows supporting a central well, 10 cm high x 19 cm deep x 23 cm deep (1)
£150 - £200
461* Cannibal fork. A Fijian hardwood cannibal fork, late 19th century, with plain bulbous handle, two large splits, 23.5 cm long Cannibal forks were used exclusively for eating cooked and mashed flesh. Reverend Thomas Baker was the only missionary to be killed and eaten in Fiji in 1867. (1)
£200 - £300
462* Food storage. Two African food storage containers, of stitched ovoid form with a lift-off cover, one approximately 42 cm high, the other 32 cm high (2)
£100 - £150
463* Ivory Coast. A West African Dan tribe carved wood mask, with traces of white pigment to the pierced elliptical eyes, nose and mouth, the forehead inset with a cowrie shell, 23 cm long, presented on a modern display stand, overall height 28 cm
Provenance: Private collection, Gloucestershire.
(1)
£200 - £300
464* Musket. A North African snaphaunce musket, 19th century, the 122 cm steel barrel bound onto the wooden stock, ornate lock, the fishtail butt inlaid with ivory and red swirl decoration, with ramrod, overall length 157 cm
Ivory Act UK registration submission reference: KK4MERUU. Overseas buyers should note the information on our shipping page regarding the import/export of ivory and other CITES regulated items. CITES licence applications and any exportation/importation requirements are the responsibility of the buyer.
(1)
£200 - £300
465* Republic of Congo. A Basuku carved wood helmet mask, carved as a male head with traces of white pigment to the eyes, mouth and ears, carved hair and remains of cloth to the neck, 27 cm high, presented on a wooden stand for display (1)
£100 - £150
466* Tanzania. A Tanzanian Hehe one-piece carved wood stool, the circular dished top with carved geometric decoration, over four curved supports, 24 cm high x 30 cm long (1)
£100 - £150
467* Tribal Art. A collection of Australian Aboriginal artefacts, comprising a hardwood parrying shield, of tapered form with carrying and handle and carved with geometric carving throughout, 55 cm long, together with a matching club, carved in the same design, 47.5 cm long, plus two other clubs, one polychrome painted, 59 cm long, plus a hardwood digging stick, 70.5 cm long (5)
£200 - £300
468* Tribal art. A pair of African hardwood figures, each carved as two figures, one on top of the other, 60 cm high, each mounted on a modern base, overall height 65 cm, together with an African cattle herding stick, bound in metal, 86 cm high, mounted on a metal base, plus a Zulu cowrie shell ceremonial belt, 68 cm long (4)
£100 - £150
469* Tribal art. An Aboriginal hardwood club, carved with a geometric design, 73 cm long, together with an unidentified Polynesian hardwood club, with a flared head, 84 cm long, a Malayan bade bade dagger, the 25 cm curved blade with a wooden hilt, overall length 33 cm, in its wood and horn scabbard plus two further tribal items (5)
£200 - £300
470* Tribal art. An African [?] carved wood soldier, probably a colonial English or French boy soldier of the ealy 19th century, wearing tall shako and having once held a flag pole, 63 cm high, some loss and damage (1) £80 - £100
471* Tribal Art. An African Chokwe carved wood club from Angola, with a rounded four sided head with geometric carving leading to a plain handle and turned end, 55 cm long, together with another similar club with a more rounded head, 56 cm long, an African knobkerrie, the small spherical head with four relief carved knops leading to a long handle, length 90 cm, two African axes including one with nailed decoration and engraved axe head, 37 cm long, plus a Sudanese hardwood Dinka club, the elongated swollen shaft with carved reeded decoration, 73.5 cm long (6) £400 - £600
472* Tribal Art. An African hardwood figure of Christ, carved in Corpus Christi with outstretched arms, arms detachable, some general loss, 87 cm long (1)
£150 - £200
Lot 468
Lot 470
Lot 471
473* Tribal Art. An African hardwood walking stick, probably late 19th century, the pommel carved as the head of a young boy, the haft carved with repeating diamond shape decoration, some loss and a split, 114 cm long, together with six African carved wood figures, various tribes, including a Nigerian Yoruba figure of a young boy, probably an ibeji, wearing semi-precious stone necklace and cowry shell belt, 20 cm high (7)
£200 - £300
474* Tribal Art. An African zoomorphic carved wood box, in the form of a beast with a tapered scaly head and geometric repeating decoration and carrying handle to form the tail, the base with four legs, 52 cm long (1)
£80 - £120
475* Tribal masks. An African wooden ceremonial mask, carved as the devil, black, red and white pigment, elongated horns and characterful face, 40.5 cm long, together with a carved wood ram mask, 37 cm long, plus a Bete wooden mask from the Ivory Coast, brass studded decoration, 25 cm long (3)
£150 - £200
476* Tulwar. Indian tulwar, 19th century, the 90 cm curved steel blade with traditional hilt and knuckleguard, overall length 105 cm, rusted throughout, together with an Indian arrow, the steel head with koftgari work, overall length 72.5 cm (2)
£100 - £150
477* Yoruba. A pair of Nigerian Yoruba Edan brass work staffs, each modelled with a male head, and linked by chain, 23 cm long, presented on a modern stand for display, together with another Yoruba metalwork Edan oshugbo figure, 24 cm high, presented on a modern stand for display (2)
£150 - £200
Lot 475
Lot 473
478* Bowl. A Chinese celadon glaze bowl, the centre with incised decoration and repeating geometric rim, the base plain with no markings, damaged, 35 cm diameter, together with another similar, damaged, 31 cm, plus Chinese figures. A pair of Chinese blanc de chine porcelain figures of Buddhist lions, seated supporting hexagonal spill holders on their backs, on rectangular pedestal bases 20 cm high, together with a figure of Quanyin seated, robed on a lotus throne base, a few minor chips and loss, 23.5 cm high, plus a Chinese blue and white porcelain octagonal plate, decorated with figures, buildings and landscape, the rim with foliate decoration, 30 cm across and other items (8)
£100 - £150
479* Chinese export. A Chinese Vung Tau Cargo celadon pottery vase, thickly potted and of high shouldered tapered form, in pale green tones, a small chip to rim, some surface cracking, Christie’s label to base, 18 cm high
In 1989, a Vietnamese fisherman made the chance discovery of the ‘Vung Tau Cargo’ by trawling the sea-bed on the Southern Coast of the Socialist Republic of Vietnam. The cargo was salvaged by the state-owned Vietnam Salvage Corporation in a joint-venture operation with the Singapore-based Swedish diving expert, Sverker Hallstrom. The salvaged contents was subsequently sold at Christie’s Amsterdam in a two-day sale of 1011 lots on 7 and 8 April 1992. (1)
£100 - £150
480* Comport. A Chinese cloisonne and bronze comport, early 20th century, the dished lobed top over a pedestal on a domed foot, the whole piece profusely polychrome with dragons in a cloudy sky, on a light blue ground, 16.5 cm high, 24 cm diameter (1)
£100 - £150
481* Dogs of Fo. A pair of Chinese Famille Verte pottery dogs of Fo, Kangxi period, each modelled as a spill vase with characterful expression, mounted on a rectangular base,16 cm high, together with a turquoise glaze shishi, restored, 21 cm long (3)
£100 - £150
482* Games box. A Chinese Export lacquer games box with games counters, early 19th century, the rectangular box and cover, finely decorated in gold and polychrome lacquer on a black ground, depicting an extensive riverside pavilion landscape populated by figures, boats, and architecture, all within an ornate floral and geometric border, the sides similarly embellished with scrolling motifs and repeating decorative patterns, the interior fitted with 4 smaller boxes contains bone games counters, each with lid decorated with gilt lacquer landscape scenes, the central compartment housing a set of 8 trays painted with playing cards, 6 depicting court figures in European-style attire, the box with some minor wear, rubbing, and minor loss to lacquer at extremities, 30.5cm x 26.5cm x 9cm (1)
£200 - £300
483* Indian bronze. Indian bronze, 18th century, modelled as baby Krishna or “butter thief”, 9 cm high x 9 cm long, together with a bronze modelled as Nandi or “sacred bull”
£400 - £600
(2)
484* Jade. A Chinese carved jade dog of Fo, mottled green and black stone, mounted on a hardwood base, 12 cm high (1)
£100 - £150
485* Jade. A Chinese jade two handle wine cup, probably 18th century, carved with three rows of studs, the handles carved as dragons, 11 cm across (1)
£300 - £500
Lot 483
486* Japanese box. A Japanese lacquer documents box, Meiji period (1868-1912), the rectangular box with raised fan decoration on gold and bronze sprinkled ground, the cover enclosing a lift-out tray, 16 cm high x 41 cm wide x 32 cm deep, contained in original pine box (1)
£150 - £200
487* Koi. A 20th century Japanese bronze sculpture of a koi carp, the nicely detailed bronze koi modelled in motion, 46 cm long together with a Japanese booze vase modelled as a leaping fish, with mouth open, 15.5 cm high plus 1 other (3)
£100 - £150
488* Snuff bottle. A Chinese cameo glass snuff bottle, carved with green bamboo tree and foliage on a milk glass ground, with stopper but lacking spoon, 6 cm high, together with three further snuff bottles including a cinnabar laquer style example, carved with pagodas and landscapes, with stopper, 9 cm, plus various Chinese miscellanea including four soapstone wax seals including one carved with a tree, 8 cm high, jade style carving of a bird, 9.5 cm high, hardstone dog of Fo and other items (a carton)
£100 - £200
489* Table. A Kashmir lacquered occasional table, 19th century, profusely decorated throughout with exotic birds and flowers, the circular lobed top over open twist pedestal on three curved supports, some loss and age wear, 52 cm diameter x 65 cm high (1)
£500 - £800
490* Mixed silver. Elizabeth II cased set of silver coffee spoons by William Suckling Ltd, Birmingham, 1962, of plain form with “coffee bean” mounted handle, 43g, a cased set of silver spoons by Daniel & Arter, Birmingham, 1925, 68g, a continental silver trinket box, with shaped edge, lid with scrolling foliate decoration, 35g, a silver wine tasting cup London, 1998, with shallow round bowl and handle formed as a vine branch with leaves and grapes, 26g and other items, approximate total weight 284g (small carton)
£150 - £200
493* Pocket knives. A silver pocket knife by Eugene Leclere, Sheffield 1933, the grip engraved with a signature and 5 cm steel blade, overall length 13.5 cm, together with 3 silver and mother of pearl fruit knives, plus a George III silver and mother of pearl folding fruit fork for travelling or campaign use, overall length 16.5 cm
(5)
£100 - £150
491* Mixed silver. A Victorian silver bon bon dish, Birmingham, 1900, with scallop rim on three paw feet, 5 cm high, 64g, a George V silver candlesticks by Henry Moreton, Birmingham, 1927, of plain form, weighted, a George V silver napkin ring by Roberts & Belk Ltd, Sheffield, 1929, plain body with beaded rim, 33g, and other items, approximate total weight 339g (small carton)
£300 - £400
492* Ottoman Empire. An Ottoman white metal mirror case, 19th century, thin sheet metal embossed with a vase of flowers amongst acorns and buds, 26.5 cm diameter, approximately 425g (1)
£200 - £300
494* Sugar caster. A George V silver sugar caster by Henry Wilkinson, Sheffield,1923, of pedestal urn form embossed with rococo scrolls, the base engraved ‘Dr W Main from EW in appreciation of great kindness to General Widdrington C.M.G., D.S.O., J.P.., D.L. 1942’, 22.5 cm high, 354g (1)
£300 - £400
495* Tea service. A Japanese silver Meiji period (1868-1912) four piece tea service, comprising of teapot of globular, large twin handled bowl, a small jar, and a pedestal sauce boat, The teapot of globular form, finely decorated in low relief with a continuous design of bamboo leaves and stems on a subtly textured ground, the angled spout, loop handle, and lid finial modelled as bamboo, The twin handled bowl with gently flared sides, with bamboo-form handles, similarly decorated with bamboo sprays. The small jar of compressed globular form, marked to base Arthur Bond, Yokohama, sterling, the sauce boat raised on a short circular foot, both decorated with bamboo motifs, largest 15cm high, smallest 6cm high, approximately 1329g
Teapot armorial crest.
Armorial - gules on a chevron gold between 3 leopard’s faces, 3 crescents untinctured.Crest - cubit arms crest, embowed, grasping in the hand a spear. (4)
£2,000 - £3,000
496* Teapot. A George IV Silver Teapot by William Sharp[?], London, 1822, body of compressed circular form, standing on 4 foliate scroll feet, the body richly embossed and chased throughout with dense floral and scroll decoration with shaped cartouches to either side, the shoulder is applied with a band of leaves beneath a reeded rim, the hinged domed cover, similarly decorated, surmounted by a flowerhead finial, acanthus capped scroll handle, 11.5 cm high, 561g (1)
£600 - £800
497* Brooch. A peacock brooch, mid 20th century, modelled as a stylised bird in profile, the brooch is set throughout with colourless paste stones in pavé formation, the wings and tail with contoured feather motifs, crest and eyes with red paste stones, while the fan-shaped tail feathers are highlighted with green paste cabochons, the reverse fitted with a hinged pin and secure clasp, presented in a fitted period case, 44.2g (1)
£100 - £150
498* Brooch. A Victorian 15ct gold diamond and pearl brooch, with a central heart-shaped motif, set with a cut diamond within a star setting, surmounted by a small pearl, flanked to either side by scrolling ribbon motifs highlighted with graduated pearls, (2 missing), reverse with hinged pin, 4.2g together with a 9ct riding crop bar brooch by Rodenic Manufacturing Co, Birmingham, 1949, 3g, plus 1 other pin (3)
£200 - £300
499* Brooch. A Victorian diamond crescent brooch, designed as a tapering crescent moon, pavé-set throughout with a graduated line of round cut diamonds, mounted in white metal, stones set in shared claw settings, reverse with a hinged pin and c-clasp fitting, with contemporary oval leather case, total gross weight 4.7g (1)
£600 - £800
500* Brooch. A Victorian yellow metal garnet brooch, centred with a cluster of oval and circular-cut garnets, arranged in a floral configuration, surrounded by finely worked yellow metal leaves and intertwined stem featuring applied foliate and bead detailing, 12.4g (1)
£300 - £500
501* Brooch. A yellow metal garnet brooch, 19th century, scrolling yellow metal mount with applied foliate leaf suspending 1 oval and 2 pear shaped cut garnets, reverse fitted with a hinged pin and C-clasp, safety chain, 10.4g (1)
£300 - £400
502* Mourning brooch. A Victorian goldplated mourning brooch, circa 1850, oval, the central glazed compartment enclosing a photographic portrait, the reverse with a secondary glazed compartment containing a portrait of a gentleman, the mount of scrolling and foliate design with a suspension loop to the upper rim, pin and c clasp to the reverse, (1)
£70 - £100
Lot 499
Lot 501
Lot 497
Lot 498
COINS & BANKNOTES
505* Anne (1702-1714). Crown, 1707, silver coin, Sexto edge, fine, together with Half Crown, 1707, fine, Sixpence, 1711, very fine, Threepence, 1706, good fine, Penny, 1703, good fine (5)
£200 - £300
503* A yellow metal and Citrine rivière necklace, early 20th century, composed of a graduated line of oval cut citrines, each individually claw set and linked in yellow metal with a larger oval citrine at the centre, with concealed clasp and safety chain, approx 49 cm long, approximately 29.5g (1)
£1,000 - £1,500
504* Patek Philippe. An 18ct gold gent’s Patek Philippe Calatrava 2508 wristwatch, circa 1950-60, the 29 mm gold dial with gold hands and batons, signed ‘Patek Philippe Genève Swiss Made’, 18ct gold case stamped ‘18’, case size 35 mm, on a blue crocodile strap with 18ct gold clasp, gross weight 50g
The watch was fully overhauled and serviced in 2021 at a cost of £2739. The glass has since suffered damage. (1)
£3,000 - £5,000
506* Banknotes. Gloucester Old Bank, for Charles Evans and Sir James Jelf, 5 Guineas, 19 March 1814, serial 182, Evans signature, embossed revenue stamp, together with Gloucester Old Bank, for Charles Evans and Sir James Jelf, 1 Guinea, 27 December 1813, serial 1362, Jelf signature, embossed with revenue stamp, both inscribed in ink verso ‘Kingshead Inn Gloucester’, plus a Duke of Wellington funeral invitation card inscribed to Mr Brandon (3) £100 - £150
507* Byzantine gold coin. Byzantine Empire, Anastasius gold coin, Constantinople Mint c.491-518AD, obverse, DN ANASTASIVS PP AVG, depicting the emperor in profile, on the other side the goddess of victory Victoria writing on a shield, on the right a staurogram, 2.2g plus 1 other similar gold coin, 1.4g (2)
£300 - £500
508* Charles I (1625-1649), Briot’s Second Milled issue, Sixpence, very fine (1)
£200 - £300
509* Charles I (1625-1649). Shilling (3), one counter struck, Sixpence, all worn (4)
- £300
510* Charles II (1660-1685), Crown, 1673, V.QVINTO, third draped bust, fine (1)
£100 - £150
511* Coin collection. A mixed collection, including 1935 Crown (2), 1937 Crown (2), 1951 Crown (4), Half Crown, 1922, Florin (4), 1928, 1929, 1935, 1936 and various George V and Elizabeth II coins, variable condition (a shoe box)
£100 - £150
512* Coins. A mixed collection of coins and trading tokens, including Roman, Greek, oriental, British Empire, some with green or brown patina, some with verdigris, varying condition (a carton)
£150 - £200
Lot 509
£200
Lot 507
Lot 507 (verso)
513* Coins. A mixed collection of Roman coins and tokens, AE Asses and other Denominations of various Emperors, including Antoninus Pius, Vespasian, Hadrian, some with green or brown patina, some with verdigris, found at Knossos, varying conditions, contained in a small wooden display cabinet, by Watkins & Doncaster cabinet manufacturers, London, 19 cm x 22 cm x 23cm (1)
£150 - £200
514* Coins. Collection of various coins, 1806-1978, including George III: 1806, 1807, Queen Victoria: pennies (2), halfpenny, threepence, silver shilling, silver sixpence, Edward VII: pennies (34), halfpenny, farthing, George V: pennies (22), sixpences (3), haalf crowns (3), shillings (41), florins (46), George VI: pennies (22), sixpences (2), halfcrowns (3), shillings(41), florins (46), Elizabeth II: pennies (21), half pennies (8), three penny pieces (16), six pences (5), half crowns (5), new pennies (2), new half penny(1), contained in a metal tin (1)
£70 - £100
515* Communion tokens. Scottish communion tokens (15), comprising, Perth 1745; Saint Paul’s, Perth 1807; Scone Free Church 1844; Free Secession Church, Perth 1858; Four Parisheners of Perth Erected 1807; Perthshire Kinnoul Street Church 1841; Scone, Perthshire 1755; Scone Parish Church; Free Stephen’s Church, Perth 1843; Free Knox Perth; United Presbytarian Church, Scone 1870; Jas Craik, Scone 1833; St Leonards Church, Perth 1837; United Free Church of St Leonard’s, Perth, various condition, in manuscript packets, some with reference to Spink bought in the 1970s, together with vairous Roman and hammered silver coins, including an Elizabeth I silver sixpence, worn
A communion token is a metal token issued to members of Reformed churches in order to provide them entrance to the Lord’s Supper. There were many types issued in Scotland in the 18th and 19th centuries, but communion cards largely superseded them. (a small tin)
£100 - £200
516* Conder tokens. A collection of 18/19th century trading tokens, including Middlesex, Christ’s Hospital [School] sixpence, 1800; Peter Kempson, Copper Halfpenny, 1794; Frederick Duke of York Halfpenny, 1794; Middlesex For General Convienience 1795; Manchester Halfpenny 1793; John Wilkinson Iron Master Halfpenny, 1791; Tunstead & Happing, 1812; Wivelscombe 1811 token, Liverpool Halfpenny, 1791, Coventry Halpenny, 1792; GloucestershireBrimscombe Port, Thames and Severn Canal Halfpenny, 1795 plus an American Ten Cent coin, counter struck, ‘United with Ireland’, the reverse struck with the date 1852 and other tokens, variable condition (25)
£150 - £200
517* Edward VI (1547-53), Shilling, silver, obverse with facing bust and rose to the left and XII to the right, reverse with shield of arms, worn (1)
£100 - £150
518* Elizabeth I (1558-1603), Seventh issue, Sixpence, 1602, plus two others, one dated 1573, all worn and one drilled (3)
£100 - £150
522* George IV (1820-1830). Crown, 1821, silver coin, Secundo edge, edge bruise, very fine (1)
-
£100 - £150
519* George I (1714-27). Halfpenny, 1719, together with various copper coins, including William and Mary, 1694, Farthing, George II Half Penny (2), 1743, 1757, George III, Twopence, 1797 and other copper coins, variable condition (36)
£300 - £500
520* George III (1760-1820). New coinage, Half Sovereign, 1817, very fine (1)
521* George III (1760-1820). Recovery from Illness Medal 1789, silver, obverse bust facing right by Jean Pierre Droz below ‘Georgivs III . D.G. Mag. Br. Fr. Et. Hib. Rex’, the reverse with flaming altar and snake, olive branch and globe at feet, below inscribed ‘Sal. Reg. Rest 1789’, legend reads ‘Felictas Publica’, 35 mm diameter, 18.8g (1)
£100 - £150
523* Henry III (1216-72), Short Cross Penny, together with Charles I (1625-49), Farthing, reverse with crowned rose, Charles II (166085), Fourpence, 1670, Penny, 1675, and other coins, variable condition (6)
£100 - £150
524* Henry VI (1422-1461), Groat, Calais mint, crowned facing bust, leaf on neck, pellets by crown, the reverse with a long cross patonce, 3.9g (1)
£150 - £200
£100
£150
525* Proof coins. Armistice Centenary Poppy Coin Set designed by Tristan da Cunha, limited edition 51/1918, including Crown (plated), Crown (silver) and 1/4 Sovereign (22ct gold, 2g), mint in packaging with certificate of authenticity, together with The Life & Times of Her Majesty the Queen, including 9ct gold 1 crown (1g), boxed with certificate, Plus The Lancaster, Canada, 20 Dollars, boxed with certificate (3)
£300 - £500
526* Roman coins. Romans coins, including a Roman silver denarius coin issued by Octavian, the reverse side features a crocodile and the Latin inscription “AEGYPTO CAPTA” the obverse with a portrait of Octavian, 3.7g, a Roman bronze Otacilia Severa coin, the obverse with bust of Otacilia Severa, draped, right, the reverse SAECVLARES AVGG IIII: Hippopotamus, standing right, 4g, plus two others (4)
£150 - £200
527* Roman Empire. Julius Caesar, AR Denarius, circa 49-48 B.C. Military Mint Travelling With Caesar, the obverse showing an elephant trampling a serpent to right, CAESAR in exergue, the reverse with emblems of the pontificate, ladle, sprinkler, axe, priest’s hat, 19 mm, 4g, very fine
The depiction of an elephant trampling a serpent is thought to refer to Caesar’s victories in Gaul. (1)
£500 - £800
528* Silver coins. A collection of Victorian coins, comprising Crown, 1887, Double Florin 1887 (2), 1889, Half Crown 1887 (5), 1889, 1893, Florin 1887, condition is generally very fine and good very fine (12) £150 - £200
529* Silver coins. A collection of Victorian, Edward VII and George V silver coins, various denominations, including Double Florins (2) 1889, Half Crown (23) Victorian and later, Florin (18), Shilling (20), Sixpence (17), all worn and combined weight approximately 750g (78)
£500 - £800
and
£200 - £300
530* Silver coins. Elizabeth I (1558-1603), Shilling (2), Sixpence (4), together with James I (1603-25), Sixpence, all worn (7)
£100 - £150
531* Silver coins. George I, Sixpence, 1717, together with George II silver coins comprising ‘Lima’ Half Crown (2), 1745,1746, Shilling (4) 1736, 1745
Tetradrachm, Obverse depicting, Head of Athena (goddess of wisdom) right, wearing earring, necklace and crested Attic helme, Reverse depicting Owl standing right, head facing, closed tail feathers, 15.9 together with one other Athenian owl Silver tetradrachm coin, 16.7g (2)
£200 - £300
532* Silver coins. George III silver coins, comprising, Half Crown (4), 1816, 1817, 1819 and one worn, Shilling (3), 1787, 1816, 1819, Sixpence (2), 1787, 1817, Threepence (2), 1762, 1827, Twopence (2), 1772, 1809, Penny, 1784, together with George IV Half Crown (2), 1826, 1836 and other silver coins (24)
£150 - £200
534* Silver tetradrachm coin. Ptolemaic Kingdom of Egypt, Ptolemy XII Neos Dionysios, Tetradrachm, 65-64 BC, Obverse depicting, Head of Ptolemy facing right, Reverse depicting eagle standing left, 11.9g, together with 1 other Ptolemaic Kingdom of Egypt Silver tetradrachm coin, 13g (2)
535* Victoria (1837-1901). Crown, 1895, silver coin, old head obverse, St. George & the dragon reverse, LIX edge, very fine, together with an 1895 silver crown, St. George & the dragon reverse, very fine, plus 6 further silver crowns, comprising 1822, 1844, 1889, 1891, 1895, 1900, variable condition but mostly worn (8)
£150 - £200
537* Victoria (1837-1901). ‘Godless’ Florin, 1849 (2), together with Florin (2), obverse with ‘Gothic’ bust, 1878, 1880, Half Crown (4), 1875, 1886, 1887,1899, Shilling (5), 1865, 1878, 1887 (2), 1899 and other Victorian coins, variable condition (21)
£100 - £150
£100 - £150
536* Victoria (1837-1901). Crown, 1845, 1897, together with a George IV Crown, 1821, fine and better (3)
538* William and Mary (1688-1694). Halfcrown, 1689, silver coin, first shield reverse, Primo edge, very fine, together with another Halfcrown, 1689, fine (2)
£150 - £200
INFORMATION FOR BUYERS
AFTER THE AUCTION
Online Results: If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended.
Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form.
Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + VAT (Dominic Winter / Invaluable) or 4.95% + VAT (the-saleroom) will be added to your invoice. Please note that as from January 2025 all successful Invaluable bids are now subject to a minimum charge of the UK equivalent of $10 per lot.
METHODS OF PAYMENT
Cheque: Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted.
Cash: Payments can be made at the Cashier’s Office, either during or after the sale.
Debit Card: There is no additional charge for purchases made with debit cards in the UK.
Credit Cards: We accept Visa and Mastercard. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made.
Bank Transfer: All transfers must state the relevant invoice number. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges.
Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers.
Collection/Postage/Delivery: If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made.
Shipping: Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send we will recommend other shipping specialists.
London Deliveries: We provide a monthly delivery service to Central London only, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.
ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE")
Lots marked with AR next to the lot number may be subject to Droit de Suite.
Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is £1,000 or more.
The amount is calculated as follows:
Royalty For the Portion of the Hammer Price
4.00% up to £50,000
3.00% between £50,000.01 and £200,000
1.00% between £200,000.01 and £350,000
0.50% between £350,000.01 and £500,000
Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.
1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims.
2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice.
(b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account.
3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 22% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 20% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 22% and assents to the Auctioneer receiving the said commission.
4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due.
(b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately.
(c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day.
(d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared.
5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights:
(i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller.
(ii) Proceed for damages for breach of contract.
(b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day.
(c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due.
6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed.
(b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot.
(c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.
7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.
8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.
9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof.
10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.
11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the lower estimate, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods.
(b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions.
12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses.
13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots.
14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein.
15. These conditions shall be governed by and construed in accordance with English Law.
