Peter Petrou | Outward Bound 24 February 2026

Tuesday 24 February 2026

Tuesday 24 February 2026 | 10am

VIEWING

London Viewing | Highlights

A selection of lots will be on view Monday 2 - Friday 13 February at our London Gallery, 15 Cecil Court, London WC2N 4EZ, as follows:

Monday-Friday | 11am - 5.30pm Weekends | Closed For more information, please contact 0203 971 2500 | london@sworder.co.uk

Stansted Viewing | Auction

Viewing will be held at our Stansted Auction Rooms, Cambridge Road, Stansted Mountfitchet CM24 8GE, as follows: Friday 20 Febuary | 10am - 4pm Sunday 22 February | 10am - 1pm Monday 23 February | 10am - 4pm

BIDDING

Auction to be held at Sworders Fine Art Auctioneers, Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE IN PERSON Attend the live auction in person ONLINE Bid live at www.sworder.co.uk (0% surcharge)

SWORDERS DELIVERY SERVICE

Sworders offer a delivery service for item(s) purchased. Please see our website for further details.

SCAN TO BROWSE THE FULL CATALOGUE

T 01279 817778 E privatecollections@sworder.co.uk

IMPORTANT INFORMATION

STORAGE OF LOTS

Sworders and Abels Partnership

Furniture and large items, and small items if they form part of the same invoice, not collected within seven working days of the auction will be removed by Abels Moving Services Ltd (Abels), at your expense, and delivered to their depot at Potters Bar, where they will be subject to collection, administration and storage fees - see below.

Charges

Collection Fee

Collection from Sworders £25 per collection of 1 – 5 items and £50 per collection of 6-10 items listed on an invoice (plus VAT )

Items will be stored free of charge for 7 days from the Sworders collection date.

Storage Charges

Storage charges will commence on the 8th day after being collected by Abels at £4.00 per lot, per day.

Additional charges will be made for items exceeding 8 x 8ft.

A Levied Liability Charge (LLC) of £0.08p / per £1k value of goods.

Abels will charge to the client for storage, shipping and delivery. All costs associated with collection and storage are payable directly to Abels and must be paid prior to collection of the lot(s).

You will need to provide your ID at the time of collection, or prior notification, where your items are being collected by a third party.

Abels Terms & Conditions can be found at www.abels.co.uk/website-terms-and-conditions/. (All subject to VAT and 6.72% insurance on total admin charge).

Collection is by prior appointment, made directly with Abels Monday – Friday, 8.30am – 4.30pm (No weekend collections)

Abels Moving Services Ltd

The Heights, East Cranborne Road Potters Bar EN6 3JN

02045 294315 collectionsPB@abels.co.uk

These charges are set by Abels; once collected, Sworders will be unable to answer questions relating to items and recommend you contact Abels directly.

See Sworders Terms and Conditions for more information.

Jay Arenski | Lifelong Friend and Business Partner

There are dealers who accumulate, and there are dealers who listen. Peter Petrou has always belonged to the latter category. For more than four decades he has moved through the art and antiques world, guided not by fashion or doctrine, but by instinct - assembling objects that resist tidy categories and refuse to behave. In a market increasingly defined by specialisation, Peter has remained a rare generalist - a dealer whose instinct for the anomalous has shaped how cross-cultural objects are understood and valued.

Peter Petrou | Outward Bound brings together works from both his stock and his private collection. It marks a moment of transition, but not of conclusion: a continuation of a life spent looking, questioning, and matching remarkable objects with the right custodians.

Peter has always believed that dealers are not conquerors but caretakers. Objects, for him, are never trophies. They are witnesses. A carving may hover between myth and definition; a fragment may carry the memory of two empires at once; a ceremonial object may retain its authority long after context has shifted. His eye is drawn to the moment when an object slips its assigned identity and becomes something more - when craftsmanship gives way to wonder, and history becomes so tangible you can almost feel it.

This instinct was learned early. Born to Greek parents in 1950s London, Peter studied law before abandoning it for an apprenticeship with Charles-Marie Guillois, the French war hero turned furniture dealer. ‘Objects carry histories,’ he learned. ‘Our job is to listen.’ By the 1980s, he was trading at Alfies Antique Market and Camden Stables; by the 1990s, he had secured a coveted shop on Westbourne Grove. His stands at Olympia, Grosvenor House, PAD and The Winter Show became legendary for their theatre and fearless juxtapositions - objects placed not to shout, but to speak to one another.

Trying to define a ‘Petrou aesthetic’ misses the point. Egyptian mummies might sit beside Black Forest carvings; Polynesian artefacts converse easily with Roman fragments; natural wonders sit comfortably against modernist lines. Dyslexic since childhood, Peter found clarity not in text but in material. ‘If I saw something twenty years ago, I can remember it today.’ His visual memory became his superpower, supported by a formidable library of auction catalogues, monographs and obscure ethnographic texts - his tools for testing a hunch, deepening a mystery, or unlocking a forgotten history.

That generosity of instinct was always shared. I first understood it fully over a cup of tea in Peter’s densely packed Westbourne Grove shop. A lady, browsing, accidentally knocked into a deeply carved Anglo-Indian jardinière, piled high with ostrich eggs. One toppled and smashed on the floor. There was a gasp. The lady apologised repeatedly. Peter calmly reassured her. When the apologies continued, Peter suddenly stood up, picked up another ostrich egg, and hurled it theatrically behind him. It exploded spectacularly.

‘Why did you do that?’ the lady asked, horrified. ‘If you’re going to smash something, darling,’ Peter replied, smiling, ‘at least enjoy it. Have a bit of theatre. I want you to remember your visit to my gallery with a smile.’

That same spirit filled Christmas at Peter and Leo’s. Pete would buy the biggest Christmas tree imaginable - so large it never fitted through the door. Out came the saw and the base was trimmed until it finally surrendered entry. Once inside, it was beautifully decorated, and our children would stand in genuine awe. The house was packed with precious art and antiquities, from Benin to Rome, yet everything coexisted effortlessly. There was never anxiety about children or dogs racing through at full speed. Objects lived as part of life, not behind glass. Christmas at the Petrous’ was never precious - it was joyful.

We would sit around the table talking about the past year: the highlights and the finds, the pieces that got away, the thrillers and the sleepers. Glasses were raised to discoveries past and to new ones still waiting to be found.

Gathered together now, this collection makes clear the lifelong conversation Peter has had with the objects he has loved and lived with.

Outward Bound takes its title from movement, not conclusion. As Peter prepares to relocate to Brittany for a change of scenery, this is no winding down and certainly no retreat! The red Volvo still has miles left in it, and Peter’s eye remains as sharp, restless and curious as ever.

‘You keep looking and finding, dear boy - that’s the gig. The voyage of discovery goes on...’

A large Chinese export charger, Qianlong (1736-1795), decorated in bianco-sopra-bianco with scrolling flowers picked out in pink and with a gilt band to the cavetto

39cm diameter, 5cm high

£300 - 500

Provenance: Christie’s, ‘Asian Art and Indian and Islamic Art’, 12-13 October 2006, lot 319.

LOT 2

An elm altar table, Qing dynasty (1644-1911), Chinese, the planked top with cleated ends, raised on stretchered supports 108cm wide, 38cm deep, 88cm high

£400 - 600

LOT 3

A pair of large Canton ‘butterfly’ vases, Qing dynasty (1644-1911), Chinese, each painted in famille rose enamels with a kaleidoscope of butterflies, the flared neck with applied chilong, 39.5cm wide, 39.5cm deep, 91.5cm high (2)

£6,000 - 8,000

A carved wood and gesso moulded figure of the eight-armed Avalokiteshvara, 19th-20th century, Chinese, modelled in a praying position with six arms enclosing the body

114cm wide, 52cm deep, 203cm high

£1,500 - 2,500

5

An elm altar table, Qing dynasty (1644-1911), Chinese, of typical form, with a shaped apron, over square supports

109cm wide, 38cm deep, 88.5cm high

£300 - 500

A Chinese export gilt-brass automaton table clock, early to mid-19th century, probably Guangzhou workshops, the arched gilt-brass case surmounted by an orb finial over a glazed door and shell and husk cresting, the sides fitted with pierced and chased oval fret panels and raised on four leaf-scroll feet on a fixed plinth, the convex white enamel dial with pierced gilt-brass hands and chased gilt spandrels, surmounted by a painted automaton scene depicting the figure of Chronos within a landscape, the twin-chain fusee movement with knife-edge verge escapement, short disc bob pendulum and bell strike, back-wound and engraved with Prince of Wales’ feathers

22cm wide, 15cm deep, 39cm high

£7,000 - 9,000

LOT 7

A scholar’s rock on stand, Qing dynasty (1644-1911), Chinese, the stone with a large opening, and of a brownish-green tone, raised on a twisted and knurled root carved stand

81cm high (2)

£4,000 - 6,000

8

An Ottoman hexagonal painted and giltwood ceiling panel, probably 19th century, decorated with a tessellation of geometric sections around a central dodecagonal star with an attached gilt tulip-shaped knop, the border painted with scrolling flowering foliage

150cm diameter

£3,000 - 5,000

Provenance: Sotheby’s, 9 April 2008, lot 299.

A hardwood, ivory and mother-of-pearl chest-on-stand. late 19th/early 20th century, Syrian, the hinged top enclosing a void interior, the panelled front profusely inlaid with geometric patterns, on a conforming stand 144cm wide, 57.5cm deep, 107cm high (2)

£2,000 - 3,000

LOT 10

An Anglo-Indian teak and bone-inlaid window seat, late 19th/early 20th century, Hoshiarpur, the back with a shaped top over splats, open

LOT 12 

Attributed to Giuseppe Parvis (Italian, 1831-1909), a Moorish-design cabinet, c.1880-1890, walnut, ebony, mother-of-pearl and ivory, the star-shaped mashrabiya pediment above a lobed arch and mirror, flanked by turned columns, the base section with a pair of geometric inlaid doors and a drawer below, on bun feet

145cm wide, 59cm deep, 242cm high

£4,000 - 6,000

Giuseppe Parvis (1831-1909) holds an important position in late nineteenth-century Italian furniture design, in particular, for his eclectic engagement with non-European sources, especially North African and Islamic visual traditions. In a period marked by colonial expansion and intensified Mediterranean exchange, Parvis incorporated Moorish and Maghrebi motifs into furniture that combined exotic ornament with European forms. His works feature geometric surface patterning, horseshoe arches, cusped profiles, and inlaid or polychrome decoration, adapted from Islamic architectural vocabulary.

These designs were not literal reproductions but informed reinterpretations, integrated into cabinets, seating and interior ensembles, intended for cosmopolitan bourgeois and exhibition settings. Shown at international expositions, Parvis’s North African-inspired furniture reflected contemporary fascination with ‘the Orient’, while demonstrating Italy’s role as a cultural intermediary between Europe and the Mediterranean world.

LOT 13

Georges Claude Michelet (French, 1873-1946), Portrait of a Spahi signed ‘G. C. Michelet’ l.l. and dated ‘1932’ l.r., oil on canvas 76 x 55cm; framed 90 x 68cm

£2,000 - 3,000

LOT 14

Attributed to Rafael Rus Acosta (Spanish, 1856-1912), three similar painted gesso Alhambra plaques, early 20th century, Spanish, Granada, each featuring triple colonnaded arches and decorated in polychrome, one impressed with maker’s mark largest 48 x 50cm (3)

£2,000 - 3,000

A large Qajar moulded and underglaze-painted pottery figural tile, late 19th century, Persian, decorated with a musician and figures in a garden scene to a cobalt-blue ground, enclosed within a trailing foliate border, framed tile 38.5 x 48.5cm, 57 x 67cm overall

£3,000 - 5,000

Provenance: Bonhams, London, ‘Islamic and Indian Art including Sikh Treasures and Arts of the Punjab’, 23 October 2018, lot 77.

16

A gilt-brass Japonesque mantel timepiece, Circa 1880, French, the movement stamped ‘Victor Athanase-Pierret’, modelled as an ornate gong stand, the tic-tac movement with an enamelled cartouche dial on dragon brackets, the stand with column supports, united by a pierced panel on a trestle base 30.5cm wide, 10cm deep, 41cm high

£600 - 800

LOT 17

LOT 19

Manner of WAS Benson, an Arts and Crafts steel and copper smoker’s stand, circa 1900, the scroll arms supporting a planished copper ashtray, above a removable shaped dish, over an intertwined scrolling foliate tapering stand

39.5cm wide, 46.5cm deep, 117.5cm high

£400 - 600

LOT 18

Hippolyte Peyrol (French, 1856-1929), ‘Protection’, circa 1890, bronze group of a seated Great Dane, stood over a sleeping child, signed to the base ‘H. Peyrol’ 34cm diameter, 55cm high

£1,500 - 2,500

A Gothic Revival brass fender, mid-19th century, with ball finials over a brass rail, the panelled front with pierced stylised rosette motifs

138cm wide, 32cm deep, 49cm high

£300 - 500

LOT 20

Karen Green (American, contemporary), ‘Zampa and Ami’, 2014, a copper and gilt-copper weathervane, modelled as two cats, raised on a hewn wooden plinth, stamped ‘Green 2014’

98.5cm wide, weathervane 89cm high, 105cm high overall

£3,000 - 5,000

LOT 21

A Nimy majolica pottery stick stand, 20th century, Belgian, modelled as a silver birch tree trunk with stylised decoration, with Nimy factory marks to the underside 38cm wide, 28cm deep, 67cm high

£100 - 150

LOT 22

Attributed to James Herbert McNair (1868-1955), a pair of Gothic Revival oak folding library chairs, each carved frame with pierced trefoil roundels, with adjustable slung leather-upholstered seat and armrests 67cm wide, 93cm deep, 106cm high (2)

£1,500 - 2,500

James Herbert McNair (1868-1955) was a Scottish architect, designer and artist, closely associated with the Glasgow Style and the emergence of modern design in Britain. Born in Glasgow, he trained and worked as a draughtsman in the office of the architect John Honeyman, where he met Charles Rennie Mackintosh. They, together with Margaret and Frances Macdonald, formed the influential group known as ‘The Four’, whose work helped define a new decorative language at the turn of the twentieth century. They developed a distinct Art Nouveau style, blending Celtic art and Symbolism in painting, design and metalwork, achieving Continental recognition and influencing British design with their unique aesthetic of flowing lines, natural forms and symbolic imagery.

LOT 23

Three Arts and Crafts lanterns, late 19th century, the first a copper example, in the manner of WAS Benson, with a pierced scrolled frame supporting a satin glass shade, the second a brass and stained-glass lantern, of tapering form, with leaded glass panels, stamped ‘Rd 548973’, the third a brass and moulded glass lantern, of tapering form, with caged glass panels, all to a planished ground Large brass lantern 22cm wide, 22cm deep, 51cm high, copper lantern 14cm wide, 14cm deep, 34cm high, small brass lantern 14.5cm wide, 14.5cm deep, 20.5cm high (3)

£300 - 500

LOT 24

A pair of penwork and inlaid octagonal tables, 20th century, in the manner of Liberty, each top inlaid with a leaping antelope, the sides decorated with apple trees above an arcaded frieze 36cm wide, 36cm deep, 50cm high (2)

£800 - 1,200

(4)

£1,000 - 1,500

Exhibited: The Fine Art Society, London, ‘Architect-Designers from Pugin to Voysey: The John Scott Collection’, 3-25 June 2015, no. 67.

John Pollard Seddon (1827-1906) was a prominent British architect and designer associated with the Gothic Revival and the Arts and Crafts movement. Trained under Thomas Leverton Donaldson, Seddon’s practice combined architectural commissions with furniture, metalwork

Two Arts and Crafts copper lanterns, late 19th century, each of riveted construction, the first with moulded satin glass shades, the second with green glass shades 21.2cm wide, 21.2cm deep, 33cm high and 17.5cm wide, 17.5cm deep, 31cm high

(2)

£400 - 600

A pair of silk embroidered ecclesiastical banners, 19th-20th century, each decorated in floral and foliate patterns, in Perspex frames, together with a similarly embroidered stole banners 20cm wide, 244.5cm long, stole 27cm wide, 185cm long (3)

£500 - 700

A Victorian painted barometer, late 19th century, the centre painted with trees beside a lake, enclosed within a gilt border, the corners painted with butterflies amongst foliage, complete with a curved thermometer

55cm wide, 10cm deep, 55cm high

£200 - 300

A gilt and patinated bronze lamp by Hobbs Lamps, c.1990, in the form of an owl perched on a naturalistic base, stamped with maker’s mark to the reverse, from an edition of thirty

29cm wide, 24cm deep, 67cm high to terminal

£1,000 - 1,500

Two Arts and Crafts lanterns, late 19th century, the first, a brass example with yellow glass shades, the second, a copper example with amber glass shades, each of riveted construction

29cm wide, 29cm deep, 32cm high and 21.5cm wide, 21.5cm deep, 30.5cm high (2)

£400 - 600

31

A pair of carved walnut duellin Gabrie late 19th century, French, each intricately carved in the form of a dragon holding a crescent-shaped bevelled plate the first 40cm wide, 69cm high, the second 41cm wide, 54cm high (2)

£1,000 - 1,500

32cm

£200 - 300

LOT 34

Alan Clarke for Poole Pottery, c.2000, ‘The Planets’, a set of nine pottery chargers, each representing the planets, numbered 117 from a limited edition of 500, with maker’s marks to the underside, complete with boxes

44cm diameter

(9)

£600 - 800

Literature: Leslie Hayward, ‘Poole Pottery: Carter & Company and Their Successors 1873-2011’, Richard Dennis, 2011, pp. 206 and 207.

Produced as a limited edition to mark the ‘Alignment of the Planets’, 5 May 2000, and manufactured by Poole, Dorset.

LOT 35

A pair of Soviet commemorative space

rocket night lamps, c.1970s, Russian, commemorating the 1961 ‘Vostok-1’ flight, on which cosmonaut Yuri Gagarin (1934-1968) became the first human to journey into outer space

39.5cm high (2)

£100 - 200

LOT 36

A Soviet pottery charger by the Kuznetsov Porcelain Factory, early 20th century, Dulevo, Russia, made for the Eastern market, with ikat-style decoration, printed and impressed marks to base 36cm diameter

£200 - 400

Provenance: Iconastas, Piccadilly Arcade, St James’s, London, W1.

Literature: Victoria Z Rivers, ‘Culture on a Platter: Politicization of Central Asian Ikat Patterns’, 2004.

A similar example can be found in the British Museum, collection number 2019,8025.1.

LOT 37

Franz Dorrenbache (German, 1870-1943)

a pewter wine cooler, produced by Kayserzinn, of oval form with elephant trunk handles to either side, decorated in relief with a depiction of a hunting scene

49cm wide, 30cm deep, 21cm high

£1,000 - 1,500

LOT 38

A large cloisonné charger, Meiji period (1868-1912), Japanese, decorated with flowers against a turquoise ground enclosed within a foliate border

60.8cm diameter, 6cm high

£300 - 500

LOT 39

Spare lot

LOT 40 

A collection of lawn bowls, early 20th century, to include a set of four lignum vitae examples, with ivory inlaid roundels numbered 1-4 and ‘RHS’ to the reverse, two similar examples, with roundels inscribed ‘B’, and four further examples largest 12.2cm diameter (10)

£100 - 150

A pair of carved linden wood Black Forest elbow chairs, c.1900, Swiss, attributed to Peter Trauffer of Luzern and St Moritz, made for the Indian market, each with faux bamboo rails and arms, the backrest carved with a pair of elephants amongst foliage, the solid seat raised on elephant-head supports fitted with ivory tusks 66cm wide, 60cm deep, 130cm high, 47cm to seat (2)

£3,000 - 5,000

Literature: J Arenski, G Daniels and J Daniels, ‘Swiss Carvings: The Art of the “Black Forest’: 1820-1940’, Woodbridge: Antique Collectors’ Club, 1986, p. 132, pl. 210.

42

A collection of blue and white Vung Tau Cargo porcelain lids, 17th century, later mounted by Alberto Pinto, c.1992, consisting of Chinese Kangxi blue and white porcelain pot covers arranged on painted boards, comprising six rectangular boards, eight circular boards, five smaller circular boards, and nineteen individually mounted circular boards rectangular boards 52 x 27cm, large circular boards 32cm diameter, small circular boards 20cm diameter, individually mounted boards 12cm diameter (38)

£2,000 - 3,000

Provenance: Recovered from the ‘Vung Tau’ (c.1690) wreck site, c.1990; Christie’s, Amsterdam, ‘The Vung Tau Cargo’, 1992; Alberto Pinto, Paris.

A collection of blue and white Vung Tau Cargo porcelain lids, 17th century, later mounted by Alberto Pinto, c.1992, consisting of Chinese Kangxi blue and white porcelain pot covers arranged on painted boards, comprising six rectangular boards, eight circular boards, two smaller circular boards, and thirty-one individually mounted circular boards rectangular boards 52 x 27cm, large circular boards 32cm diameter, small circular boards 20cm diameter, individually mounted boards 12cm diameter (47)

£2,000 - 3,000

Provenance: Recovered from the ‘Vung Tau’ (c.1690) wreck site, c.1990; Christie’s, Amsterdam, ‘The Vung Tau Cargo’, 1992; Alberto Pinto, Paris.

LOT 43

A collection of blue and white Vung Tau Cargo porcelain lids, 17th century, later mounted by Alberto Pinto, c.1992, consisting of Chinese Kangxi blue and white porcelain pot covers arranged on painted boards, comprising nine rectangular boards, four elongated rectangular boards, two circular boards, and forty-five individually mounted circular boards rectangular boards 52 x 27cm, elongated boards 15 x 103.5cm, circular boards 20cm diameter, individually mounted boards 12cm diameter (24)

£2,000 - 3,000

Provenance: Recovered from the ‘Vung Tau’ (c.1690) wreck site, c.1990; Christie’s, Amsterdam, ‘The Vung Tau Cargo’, 1992; Alberto Pinto, Paris.

A green-lacquered chinoiserie standard mid-20th century, the slender fluted baluster column on a circular spreading base

46cm wide, 46cm deep, 143cm high

£200 - 300

LOT 46 

A pair of Art Deco coromandel, ebonised and ivor pedestal cupboards, c.1930, in the manner of Heal’s, each of stepped form, the upper cupboard over a central drawer complete with an ivory-inlaid and ebonised band, over a further cupboard and stepped plinth 35cm wide, 36.5cm deep, 150cm high (2)

£2,000 - 3,000

century, each fitted with a gilt-brass nozzle 9cm diameter, 30cm high

Lyon and Turnbull, Private Collection of Keith

A chromed champagne bottle holder, of recent manufacture, the front engraved ‘Congratulations’ 11cm diameter, 41cm high

Piero Fornasetti (Italian, 1913-1988), a four-panel ‘Libreria’ screen, c.1955, the four sections each decorated in trompe l’oeil as bookshelves to one side and a classical interior

200cm wide, 3cm deep, 207cm high

£8,000 - 10,000

A pair of 21-inch terrestrial and celestial library globes, of recent manufacture, after the late 18th-century Cary originals, fitted with brass meridian rings, each housed in shagreen-covered and faux ivory stands, united by a stretcher and mounted with a brass compass overall 66cm diameter, 66cm deep, 120cm high, the hemispheres 53.5cm diameter (2) £15,000 - 20,000

LOT 53

A group of eight milliner’s hat blocks, early 20th century, of varying styles and forms, each raised on a later ebonised display stand largest 36cm high, smallest 28cm high (8)

£1,000 - 1,500

51

An Hermès, Paris, printed silk scarf, c.1980, by Julie Abadie, ‘Brise de Charme’ pattern, within a glazed frame 90 x 90cm; framed 100 x 107cm £300 - 500

LOT 52

Spare lot

A group of six milliner’s hat blocks, early 20th century, of various styles and forms, each raised on a later ebonised display stand largest 37cm high, smallest 28cm high (6)

£1,000 - 1,500

LOT 55

Spare lot

A bronze jardinière by Genryusai Seiya, Meiji period (1868-1912), Japanese, formed as a procession of elephants, impressed seal mark

40cm diameter, 23cm high

£1,500 - 2,500

A carved teak side table, late 19th/early 20th century, Indian, the rectangular top with a central carved roundel and banded border, raised on twin elephant supports, on a moulded and carved base

79cm wide, 67cm deep, 62cm high

£1,000 - 1,500

A bronze garniture, Meiji period (1868-1912), Japanese, consisting of a koro and two covered vases, each with a lion dog finial, and decorated with relief cast panels of birds amongst blossom the koro 20cm wide, 15cm deep, 27cm high (3)

£1,000 - 1,500

LOT 60

Spare lot

LOT 64

A group of three Samurai ‘jingasa’ hats, Edo period (1603-1868), Japanese, comprising two lacquered and one basketweave example

36, 42 and 44cm diameter (3)

£600 - 800

LOT 63

A pair of bronze cylindrical vases, Meiji Period (1868-1912), Japanese, each body cast with dragons chasing a pearl above a turtle, the base with four elephant-head supports 13cm wide, 13cm deep, 31cm high

£300 - 500

LOT 66

A lacquered ‘sumiakabako’ red-cornered cosmetics box, Edo period (1603-1868), Japanese, red-lacquered cloth over wood, decorated in gold with mon depicting cranes, bamboo and flowers, fitted with gilt-metal fittings

36cm wide, 28cm deep, 24cm high

£400 - 600

Provenance: From the collection of Victoria, Lady de Rothschild.

LOT 65

A group of Samurai ‘jingasa’ hats, Edo period (1603-1868), Japanese, to include a tataki–nuri example and a basketweave example, together with a solid lacquered fan the largest 46cm diameter

£400 - 600

and lacquered decoration, with a pierced metal burner and cover

53cm wide, 21cm deep, 19cm high

£800 - 1,200

A baku, is the mythical Japanese dream-eater, traditionally depicted in chimerical form. In its most familiar guise, the creature combines an elephant’s trunk, the eyes of a rhinoceros, tiger’s paws and an ox-like tail. Revered as a guardian against troubled sleep, the baku was believed to devour nightmares, its image frequently adorning protective talismans and lacquered headrests intended to safeguard the sleeper through the night.

modelled seated in padmasana, his hands in bhumisparsa and dhyana mudra, inlaid throughout with multicoloured glass fragments and heightened with gilt highlights, raised on an associated octagonal throne, similarly decorated, with mythical beast supports 110cm wide, 105cm deep, 135cm high, 192.3cm high overall (2)

£2,000 - 3,000

LOT 69

A Sendai tansu, Meiji period (1868-1912), Japanese, having a single drawer with a cupboard beneath, all within heavy iron bindings, with ornate lock plate

55cm wide, 45cm deep, 50cm high

£400 - 600

LOT 70

A pear wood, paulownia and white-metal-mounted ‘ich un nong’ stackable cabinet, Late Joseon dynasty (1392-1910), Korean, constructed in two sections, with decorative panelled inlays, fitted throughout with metal mounts in the form of cranes and other auspicious symbols

89cm wide, 41cm deep, 139.5cm high

£400 - 600

Provenance: Spink, London.

71

A keyaki kettle hook, second half of the 19th century, Japanese, of typical ‘J’-shaped form

40cm wide, 14cm deep, 56cm high

£600 - 800

LOT 72

A group of seventeen wooden kokeshi dolls, 20th century, Tohoku, Japanese, each of traditional form and with painted polychrome decoration largest 45cm high (17)

£500 - 700

LOT 73

A group of nine black-lacquered Samurai ‘jingasa’ hats, Edo period (1603-1868), Japanese, each black-lacquered and bearing gilt mon the largest 45cm diameter (9)

£1,500 - 2,500

LOT 74

A group of nine black-lacquered Samurai ‘jingasa’ hats, Edo period (1603-1868), Japanese, each decorated with gilt mon the largest 48cm diameter (9)

£1,500 - 2,500

Portrait of Queen Christina of Sweden, three-quarter-length, in a silver coat and veiled tall hat, with discarded armour at her feet oil on canvas

70 x 59cm; framed 95 x 84cm

£5,000 - 7,000

Provenance: The collection of Professor Alessandro Parronchi; Soprintendenza alle Gallerie, Firenze.

Exhibited: The Nationalmuseum Stockholm, ‘XI Exhibition of the Council of Europe’, 1966.

In 1654, Queen Christina of Sweden (1626-1689) renounced her Protestant throne to convert to Catholicism and moved to Rome. Depicted in shining robes and an ornate headdress, she stands by a rocky cliff at sunset, looking toward the reflected image of a helmeted figure - probably her father, Gustavus Adolphus. The discarded armour and flag at her feet symbolise her decision to relinquish behind military power and national duty in favour of personal, intellectual and spiritual freedom.

LOT 77 ▲

James Doran-Webb (b.1967)

‘Godwin Owl’, 2021

molave driftwood and bronze, titled and dated on an applied plaque to the base

96cm wide, 137cm high

£1,000 - 1,500

LOT 78 ▲

James Doran-Webb (b.1967)

‘Plato of the Forest’, 2020

molave driftwood and bronze, signed, titled and dated on an applied plaque to the base

25.5cm wide, 29cm deep, 86cm high

£1,000 - 1,500

A Black Forest carved linden wood figural dog group, early 20th century, Swiss, probably retailed by Ed. Binder & Co., modelled with a dog and three pups on a rocky naturalistic plinth 56cm wide, 26cm deep, 25cm high

A carved linden wood Black Forest piano stool, 19th century, Swiss, carved in the form of a bear cub holding the 34cm wide, 28cm deep, 54cm high

c.1900, Swiss, the solid seat with a pierced and carved back, centred with a bear cub amongst scrolling foliage, the whole raised with two standing bear supports to either end

140cm wide, 48cm deep, 86cm high, 47cm to seat

£5,000 - 8,000

LOT 82

Spare lot

A carved linden wood Black Forest armchair, c.1910, Swiss, the top rail, carved ‘CW’ above a standing bear amongst oak foliage, over a carved and shaped solid seat, raised on stylised supports

66cm wide, 62cm deep, 119.5cm high, 47.5cm to seat £1,500 - 2,500

A carved linden wood Black Forest coat hook attributed to the Ruef c.1890, Swiss, in the form of an eagle, modelled on a branch with two hooks, the wings highlighted with pyrographic decoration

30.5cm wide, 10cm deep, 53cm high

£300 - 500

and inlays, and highlighted in polychrome, raised on splayed supports 76cm wide, 66cm deep, 86cm high

(2)

£2,000 - 3,000

Provenance: The Guinness Family, Elvedon Hall, Suffolk

LOT 86

A Tantric Buddhist gilt-bronze repoussé mask, late 19th/early 20th century, Tibetan, modelled with bulging eyes, pronounced eyebrows and a wide toothy grin

29.5cm wide, 8cm deep, 30cm high

£200 - 300

LOT 87

A large gilt copper-alloy figure of Shadakshari Lokeshvara, first half of the 20th century, Tibetan, cast seated in dhyanasana on a double-lotus pedestal embracing his consort, Shakti, the inner arms held to his chest in anjalimudra, the secondary arms positioned to the side in karanamudra and holding a vajra in the right hand and a lotus in the left, Shakti holds aloft a kartika and kapala

54cm wide, 42cm deep, 74cm high

£5,000 - 8,000

Provenance: The Kienzle Family Collection, Stuttgart, Germany; Acquired between 1950 and 1985 by siblings Else (1912-2006), Reinhold (1917-2008) and Dr Horst Kienzle (1924-2019), during their extensive travels in Asia. Subsequently inherited by Dr Horst Kienzle and bequeathed to the Museum für Asiatische Kunst, Radevormwald, Germany. Released through museum deaccession in 2024.

Shadakshari Lokeshvara is one of the thirty-one forms of Avalokiteśvara described in the Sādhanamālā, a collection of sādhana texts that provide detailed ritual instructions. He personifies the Buddhist six-syllable mantra Om mani padme hūm. The four-armed (caturbhuja) emanation of Avalokiteśvara is regarded as the patron deity of Tibet and is believed to be incarnated in the lineage of the Dalai Lamas. The widely recited Tibetan mantra Om mani padme hūm, meaning ‘praise to the jewel in the lotus’, invokes the compassion of the bodhisattva Shadakshari Avalokiteśvara.

Two opium pipes, late 19th/early 20th century, Chinese, each with a burnished yixing bowl and fitted with paktong mounts and ivory inlays, each mounted on a later ebonised plinth 60 and 58cm long (2)

£600 - 800

LOT 89

A set of four pierced and lacquered screen panels, late Qing dynasty (1644-1911), Chinese, each of geometric design centred with a figure, within a glazed frame each 73 x 25cm (4)

£1,000 - 1,500

Provenance: The late Sir John Craven, The Barn, Long Newnton, Tetbury, Gloucestershire.

LOT 90

A burrwood stand, 19th century, Mongolian, the rectangular top over a moulded edge, raised on short cabriole legs 34cm wide, 22cm deep, 15cm high

£600 - 800

Provenance: Christie’s, South Kensington, ‘Seward Kennedy’s Cabinet of Curiosities’, 22 November 2016, lot no. 137.

LOT 91

Spare lot LOT 88 

LOT 92

A ceremonial feather and beadwork headdress, 20th century, Papua New Guinea, the brown and ochre feathers, and red and white beads, mounted around a woven raffia halo, with central strap, mounted on a brown linen ground 75cm wide, 78cm high

£600 - 800

LOT 93

A tooled leather and hardwood ‘petaca’ chest, early 18th century, Viceroyalty of Peru, with repoussé decoration and stamped foliate motifs, fitted with iron bands and a decorative iron lock 92cm wide, 50cm deep, 58cm high

£2,000 - 3,000

Four reticulated silver bazuband armbands, 20th century, Indian, Rajasthan, consisting of three similar, each strung on multicoloured cotton threads, one stamped ‘R.R.J.’, and a Bahir-type band, constructed of seven rows of three buds 760ozt (4)

£400 - 600

A group of ten silver rings, 20th century, to include North African and Middle Eastern examples, some set with polished glass pieces, one with enamelled decoration 4.7ozt (10)

£400 - 600

A pair of silver bracelet cuffs, early 20th century, Turkmenistan, each with fire-gilded and engraved decoration, and set with oval carnelian tablets

7.5cm wide, 5.5cm deep, 5cm high; 8ozt (2)

£300 - 500

LOT 97

A coco de mer (Lodoicea maldivica) box, 19th century, with polished white-metal hinges 32cm wide, 20cm deep, 19cm high

£300 - 500

LOT 98

A group of hardwood tribal furniture, 20th century, to include a Bamileke stool with figural supports, together with a Massim stool, Trobriand Islands example, Papua New Guinea example, and three zoomorphic headrests stool 31cm wide, 60.5cm high, the largest headrest 77cm wide (5)

£300 - 500

100

99

A small polychrome blind fret-carved casket, early 20th century, decorated with standing figures holding rifles, within a snake border, set with an iron clasp and a twisted wire handle 17cm wide, 13cm deep, 9cm high

£100 - 150

A small Pitcairn Island wooden turtle, 20th century, stamped to the underside ‘Pitcairn Island John Christian’ 18cm wide, 12cm deep, 8cm high

£100 - 200

LOT 101

A Tuareg iron-bound casket, early 20th century, Mauritania, the domed top and sides inlaid with pierced cut steel, brass and copper, further set with studs and a pierced brass hasp lock

53cm wide, 29cm deep, 21cm high

£500 - 800

LOT 102

A Bamileke wooden stool, 20th century, Cameroon, with carved anthropomorphic leopard and mask supports with pokerwork detailing 29cm wide, 28cm deep, 41cm high

£100 - 200

LOT 103

An Ashanti stool, early 20th century, Ghana, carved wood, the crescent-shaped seat on column supports and a pierced lower section 63cm wide, 31.5cm deep, 76.5cm high

£200 - 300

LOT 104

A dugout hardwood table, 20th century, Senufo, Ivory Coast, with a dished top on four supports 155cm wide, 60cm deep, 37cm high

£200 - 300

A carved figural group, early 20th century, Democratic Republic of Congo, modelled as a figure wearing a manilla seated on a stool, a kneeling figure opposite holding a bowl, signed ‘Malale E/ville Mission St Jean’, with a paper label ‘Wood Carving from one piece of wood Bought in Elizabethville (Kinshasa) in 1932...’ and numbered ‘88’, raised on an ebonised plinth 32cm wide, 7cm deep, 22cm high, overall 37.5cm wide, 12.5cm deep, 25cm high

£500 - 800

Provenance: Purchased in Elizabethville, Kinshasa, 1932.

LOT 106

An Igbo-Ukwu bronze bowl, 19th century/20th century, West African, Nigerian, of rounded form, with banded and studded decoration 24cm wide, 16cm deep, 17cm high

£200 - 300

LOT 107

An Igbo embroidered dance garment, mid-20th century, Nigerian, decorated with stylised lizards and geometric motifs, complete with a hood 48cm wide, 20cm deep, 130cm high (2)

£800 - 1,200

LOT 108

Two similar Berber Kabylia silver anklets, early 20th century, Algeria, each set with coral pieces, one with enamelled decoration and signed ‘ndoui’ to the rim 10.5 and 11cm high (2)

£400 - 600

Provenance: The Romy Rey Collection, London.

LOT 109

Two strings of mala beads, 20th century, Tibetan, one strung with wooden, stone and iron beads, the other Rudraksha 45 and 57cm long (2)

£100 - 150

LOT 110

Twelve Tuareg white-metal rings, 19th-20th century, Niger, each with engraved decoration, five inscribed with Islamic script largest 4.2cm long (12)

£300 - 500

Provenance: The Romy Rey Collection, London.

LOT 111

Three silver belts, 20th century, Central Asia, comprising: a Caucasus niello belt buckle, decorated with hearts and foliate chasing, fitted with a pin clasp on a leather band, one Turkomen set with silver and silver-gilt panels, fitted with carnelian stones on a leather ground, the other with pierced cast-silver foliate panels with articulated links and hook clasp niello belt 24 x 11cm, 92cm long overall, the other two 5.5 x 86cm and 7 x 77cm (3)

£400 - 600

Provenance: The Romy Rey Collection, London.

LOT 112

Three silver torques, 20th century, Afghanistan, Nuristan, each set with coloured stones and blue glass beads, the largest with engraved decoration and suspended bell adornments largest 20.5 x 25cm (3)

£200 - 400

LOT 113

Six Nepal/Naga multi-strand bead necklaces, early 20th century, Northeast India, each necklace with coloured glass beads on fibre cord

72 to 100cm long (6)

£100 - 200

Provenance: The Romy Rey Collection, London.

LOT 114

A Baga snake, probably 20th century, Guinea, the body carved with relief decoration and polychrome pigment

28cm wide, 27cm deep, 119.5cm high

£500 - 800

Provenance: The Romy Rey Collection, London.

LOT 115

A cyclopic figure, 20th century, Fon people, Republic of Benin, of carved wood with polychrome decoration, depicted standing with a snake wound around the head

61.5cm high

£600 - 800

Provenance: Sotheby’s, London, 3 December 1984, lot 153; Sotheby’s, London, ‘1000 Ways of Seeing: The Private Collection of the late Stanley J Seeger’, 5 March 2014, lot 194.

LOT 116

A bronze currency bracelet, 20th century, Cross River, Nigeria, of twisted braid form, with flattened terminals

17.5cm diameter, 10cm deep

£400 - 600

Provenance: Colette Ghysels Collection, Brussels.

A polished Lytoceras ammonite half, Madagascan, Jurassic, raised on a metal display stand

118cm wide, 120cm high

£2,500 - 3,500

A Significant Kauri Gum Bust of Tama-i-whakanehua-i-te-rangi, New Zealand, circa 1860

This important 19th-century kauri gum bust is a striking portrait of Tama-iwhakanehua-i-te-rangi (d. circa 1853), the rangatira (chief) of the Te Whānau-aRuataupare and Te Whānau-a-Te-Ao hapū subtribes of Ngāti Porou in New Zealand. Tama-i-whakanehua was among the hundreds of rangatira whose signature appears on the Treaty of Waitangi (Te Tiriti o Waitangi), signing it on 9 June 1840 at Tokomaru Bay.1

A complicated and pivotal moment in New Zealand history, the Treaty of Waitangi was an agreement between Maori tribes and the British Crown and is recognised as New Zealand’s founding document.2 The Treaty of Waitangi was viewed as the cessation of sovereignty to the British Imperial Government, allowing the non-indigenous population to conduct their own affairs in consultation with the Maori population. The Treaty implicitly recognised the Maori as the indigenous population of New Zealand while simultaneously recognising the British Crown as the land’s controlling force. The Treaty of Waitangi is understood by scholars as the government of a former colony endeavouring to apply a concept of partnership between settlers and indigenous communities.3 However, the Maori understanding of the Treaty differed from that of the Crown. The Maori perspective was that this cessation of governing the land did not negate Maori sovereignty and included the Maori obtaining full rights of British citizenship. The Crown stated that the Maori had ceded sovereignty to the Crown and did not consider the indigenous population as British, thereby preventing the indigenous population from accessing specific public institutions and denying them full political rights. The Treaty was never ratified into law, however, it is the basis for considering criteria concerning Maori land claims as well as being viewed as a symbol of Maori protest.4

As a signee of this fascinating and impactful treaty, it is unsurprising that Tamai-whakanehua would be depicted with remarkable directness, power and in such a regal commanding manner. His face is richly adorned with moko (facial tattoos), which likely faithfully represent the moko belonging to the sitter - moko are unique to individuals, with moko designs also serving as signatures on land grants and the Treaty of Waitangi.5 Moko are singularly different from the Pacific tatau (tattoo), as moko grooves are carved into the skin as deep as 6mm, resulting in a three-dimensional impression.6 This distinctive depth can be clearly discerned in the intricate rendering on the bust. Six groupings of three grooves of moko occupy Tama-i-whakanehua’s forehead, elegantly curving around both ends of his eyebrows. The ends near the temples curve to a point, while the connecting, centrally positioned, moko extend down the contours of the nose, with adjoining moko circling near his eyes. The other moko markings span the central length of Tama-i-whakanehua’s cheekbones and cheeks while the sides of the face remain bare. From his cheeks, the moko continues around his chin and beneath his lower lip, with further intricate patterns situated above Tama-i-whakanehua’s lip and beneath his nose. The depicted moko resplendently convey the detail and artistry of the practice and the individual beauty of each pattern.

Tama-i-whakanehua’s broad smile relays tranquil confidence and respectability, and exudes a warmth which is often absent in European bust portraiture. The strands of hair are textured and detailed, as is the fabric of his clothing. With its commanding size and life-like proportions, this portrait bust expresses the subject’s authority, power and prestige, reflecting European artistic convention, yet remains distinct from the stylistic and material influence of European art.

This bust is made out of the fossilised resin of a kauri Agathis australis tree, known also as kauri gum (Maori: kāpia). Considered to be one of the most important trees of New Zealand,7 kauri features in Maori creation mythology. When Tane, the god of the forests and forest creatures, separated his parents Rangi nui (Sky Father) and Papa-tu-a-nuki (Earth Mother) in order to bring forth light and beauty into a dark world, it is fabled that he grew like a kauri tree. The tree appears frequently in New Zealand literature and art. The trees were also widely used for the built environment of New Zealand cities in the 19th and 20th centuries.8 Maori traditionally used kauri for canoe construction9 and prior to European colonialism, strands of boiled kauri were chewed by Maori as delicacies. Kauri also had many other practical uses, such as being wrapped in flax and burnt to attract eels for night-time fishing and used as an insecticide. The deep black cinders from kauri fuel were also refined into ink for moko, 10 adding an interesting intersection of the use of kauri for this bust with the intricate depiction of moko on its surface. Just as the kauri tree has mythic origins, symbolic meaning of carving and sculpture was also rooted in Maori myth. The first known carvings were said to have been stolen from the house of the sea god Tangaroa, elevating the act of carving, sitters and the carved objects to spiritual status.11

Kauri gum carving became especially widespread after the arrival of Europeans to New Zealand, due to the desire for the creation of souvenirs for sale. European patrons commissioned works from expert carvers, with Maori artisans frequently learning their trade from ancestors, the techniques passed from generation to generation.12 Very few examples of Kauri gum heads are as fine or as elaborate as this depiction of Tama-i-whakanehua, with other notable examples including Maori portrait busts in the Kauri Museum,13 in the Te Ahu Museum14 and notable 19th-century busts comparable with this depiction in the British Museum.15 However, none of these examples are as expertly carved or in as fine condition.

All of these components result in a piece of tremendous historical interest, significance and cultural richness. The spiritual connotations of the bust’s material properties, kauri’s importance to Maori and New Zealand heritage, Tama-iwhakanehua-i-te-rangi and his involvement in the historic Treaty of Waitangi and the artistic expertise of its creator, isolate this rare kauri gum object as an artefact of immense value. An emblem of the crossroads of civilisations, the bust encapsulates a fusion of cultures, merging Maori and European influence and tradition to create a work recognisable to Maori as well as European peoples.

1 Tama-i-whakanehua-i-te-rangi, New Zealand History, (2017) https://nzhistory.govt.nz/politics/treaty/signatory/9-38 [accessed 11 December 2025].

2 Therese Crocker, ‘History and Treaty of Waitangi Settlement Process’, Journal of New Zealand Studies, NS18 (2014), 106-117 (p. 107).

3 Noel Cox, ‘The Treaty of Waitangi and the Relationship between the Crown and Maori in New Zealand’, Brook. J. INT’L. Vol. 28:1, (2002), 1-31 (pp. 3-4).

4 Mary Katharine Duffié, ‘The Treaty of Waitangi and Its Relationship to Contemporary American Indian Sovereignty Issues’, Wicazo Sa Review, Vol 14, No. 1, Indigenous Residence and Persistence (Spring 1999), 45-59, (p. 46).

5 Lynne Heidi Stumpe, ‘Restitution or repatriation? The story of some New Zealand Māori human remains’, Pacific Ethnography, Politics and Museums, No. 17, (2005), pp. 130-140 (p. 131).

6 Ngarino Ellis, ‘ “KI TŌ RINGA KINGĀ RĀKAU Ā TE PĀKEHĀ?” DRAWINGS AND SIGNATURES OF “MOKO” BY MĀORI IN THE EARLY 19TH CENTURY’, The Journal of Polynesian Society, Vol. 123, No. 1, (March 2014), 29-66, (p. 30).

7 Maria Fadiman, ‘Kauri (Agathis Australis) Ethnobotany: Identity, Conservation and Connection in New Zealand’, The Florida Geographer, Vol. 41 (2010) 4-21 (p. 6).

8 Gretel Boswijk, ‘A History of Kauri’, in Australia and New Zealand Forest Histories, ed.by John Dargavel (Kingston, Australia: Australian Forest History Society Inc, 2005), 19-26 (p.19).

9 Gregory A. Steward & Anthony E Beveridge, ‘A review of New Zealand kuri (Agathis australis (D.Don) Lindl.): its ecology, history, growth and potential for management for timber.’, New Zealand Journal of Forestry Science, 40 (2010) 33-59, (p. 47).

10 Jannine Randerson, ‘Kaipa: fossils and remedies: more than human survivors’, p. 2.

11 Douglas Newton,’Te Maori: Maori Art from New Zealand Collections’, Archeology News, Vol. 37, No. 6 (November/December 1984), 54-57 (p. 55).

12 Roger Neich, Carved Histories, Rotorua Ngati Tarawhai Woodcarving, (Auckland, New Zealand: Auckland University Press, 2001), p. ix.

13 ‘Object Record’, Kauri Museum https://kaurimuseum.catalogaccess.com/objects/4263 [accessed 21 December 2025].

14 ‘Kauri Gum Collection’, Te Ahu Museum, https://collection.teahumuseum.nz/objects/2643/kauri-gum-collection [accessed 21 December 2025].

15 ‘Oc,+.5767’, British Museum, https://www.britishmuseum.org/collection/object/E_Oc-5767

Manner of Benedetto Boschetti, A carved rosso antico marble mask, 19th century, Italian, of Greek theatrical form, raised on a polished black marble plinth mask 27cm wide, 40cm high, 56cm high overall

£10,000 - 15,000

Provenance: Daniel Katz, where purchased by Count Manfredi della Gherardesca.

This dramatic mask, carved in richly veined rosso antico, exemplifies Benedetto Boschetti’s mastery and significance as a grand tour carver. The mask represents a stylised Greek theatrical figure, with furrowed brow, open mouth, and voluminous beard, evoking the expressive, larger-than-life masks of ancient Greek theatre. The polished deep red stone, prized for its association with Roman antiquity, enhances the sculptural presence and visual intensity of the work. Likely produced in Boschetti’s celebrated workshop on Via Condotti in Rome, such pieces were highly sought after by grand tour collectors and connoisseurs of luxury classical objets d’art. The piece embodies the taste of the period, combining scholarly knowledge of classical forms with technical virtuosity. Through its dynamic expression, rich material and meticulous carving, the mask exemplifies Boschetti’s role in translating ancient motifs into refined decorative objects for a cosmopolitan audience seeking to demonstrate their wealth and new-found enlightenment.

A carved lacquered cabinet, 20th century, Chinese, with a pair of carved doors with dragons amongst foliage, opening to reveal five long drawers, over two further drawers, shaped supports and a moulded plinth

104cm wide, 51.5cm deep, 156cm high

£3,000 - 5,000

Spare lot

LOT 123

Sergio Bustamante (Mexican, b.1949)

African elephant head, c.1975, painted papier mâché, signed ‘Sergio Bustamante 12/100’

82cm wide, 75cm deep, 146cm high

£1,000 - 1,500

LOT 124

A carved hardwood table, 20th century, Nigerian, in the Benin tradition, the figural top within a palm leaf border, on carved stile supports united by wavy stretchers

92.5cm wide, 46cm deep, 63cm high

£100 - 150

LOT 122

A carved hardwood jardinière stand, 20th century, Chinese, with a marble inset top, on dragon supports united by a circular pierced undertier 33cm diameter, 22cm high

£150 - 250

LOT 125

A large carved Massim feasting bowl, 19th century, Trobriand Islands, Papua New Guinea, with geometric decoration to the top edge and remnants of lime pigment, with two integral carved handles

59cm diameter, 23cm high

£200 - 400

Provenance: The collection of Harry Beran, Cambridge.

128

A group of five tribal hats and headdresses, 20th century, Thai, comprising of three Akha Hill Tribe women’s headdresses, each constructed from woven palm leaf fibres, and adorned with shell beads, metal studs and seedpods strung on red cord, together with two embroidered children’s hats, adorned with pom-poms largest 27cm wide, 22cm deep, 15cm high (5)

£200 - 400

Provenance: Virginia Bond Textiles.

129

A carved hardwood occasional table, early 20th century, Indian, the circular top with scrolling foliate brass inlay within a carved elephant border, on folding octagonal support together with a similar larger example early 20th century, with pierced and carved base 30cm diameter, 31cm high, and 44.5cm diameter, 47.5cm high (2)

£200 - 300

LOT 126

A palm leaf dowry chest, early 20th century, Lombok, Lesser Sunda Islands, in the form of a Sasak house, with a small drawer to each gable end, decorated in arching panels with cowrie shells on a woven ground, with carved bone applications

38cm wide, 29cm deep, 41.5cm high

£300 - 500

LOT 127

A collection of woven baskets, 20th century, Vietnamese, to include three belt-mounted examples, with woven straps the largest 35cm diameter, 57cm high (6)

£200 - 400

A matched pair of bronze rain drums from the Karen Hill tribe, 18th-19th century, Golden Triangle, Southeast Asia, each top centred by a star within concentric rings and mounted with stylised animals, including frogs and a snail, the waisted sides with lug handles and conforming decoration 63cm diameter, 47cm high (2)

£4,000 - 6,000

Provenance: Acquired in 1982 in Chang Rai in Thailand.

Literature: P and E Lewis, ‘Peoples in the Golden Triangle’, 1984, p. 273.

The Karen Hill people of mainland Southeast Asia maintain cultural traditions in which music and sound are integral to ritual and agricultural practices. Rain drums are ceremonial instruments historically employed in rites intended to invoke rainfall and ensure agricultural fertility. Their use is grounded in an animistic cosmology that understands sound as a means of mediating relationships between human communities, ancestral spirits and environmental forces. As material culture, Karen rain drums are significant ethnographic objects, offering insight into indigenous systems of belief, subsistence and ritual practice.

Nine Tuareg white-metal tisek rings, 20th century, North African, each set with a polished carnelian slice within an engraved shank largest 2.5cm wide, 1cm deep, 9cm high (9)

£400 - 600

Nine Tuareg silver rings, 20th century, Mali, each of traditional form, with applied balls, some inlaid with copper largest 2cm wide, 2cm deep, 1.5cm high; 10ozt (9)

£350 - 450

Three metal torques, Probably 20th century, Nepalese, each with engraved and turned decoration largest 20cm wide (3)

£150 - 200

Provenance: The Romy Rey Collection, London.

LOT 134

A dugout and chip-carved wooden box and cover, 20th century, West African, in the form of a fish set with mirrored glass eyes and with all-over carved decoration, with a central figure wearing a helmet and holding a broad-bladed sword 47cm long, 17cm wide, 10cm high (2)

£300 - 500

LOT 136

A near pair of Wayang kulit painted shadow puppets, 20th century, Javanese, each of painted and gilded buffalo hide, and horn, depicting ‘Bima’ characterised by Kuku Pancanaka, both with articulating arms and long curved thumbnails, one dated 1938 88cm high (2)

£100 - 150

LOT 137

A large gilt-copper jardinière, 19th-20th century, North African, decorated with a central band of Kufic script below a band of stylised animals

44cm diameter, 37.5cm high

£150 - 250

LOT 138

A large carved and lacquered standing Buddha, Mandalay period (1853-1948), Burmese (Myanmar), clad in a thickly folded robe, inset with multicoloured glass ‘beads’, the slender figure standing on a flat disc of the moon held within a lotus blossom

75cm wide, 25cm deep, 178cm high

£1,000 - 1,500

140

A brass-alloy model Shiva Mukhalingam stupa cover, 19th-20th century, Western India, typically modelled with almond-shaped eyes below arched eyebrows, with jewellery and a moustache, all surmounted by a crown

20cm wide, 19cm deep, 30cm high

£400 - 600

Provenance: Robert Barley Sculpture and Antiques, where purchased by Count Manfredi della Gherardesca.

LOT 141

A near pair of hardwood and mother-of-pearl inlaid occasional tables, 20th century, Syrian, each with a hexagonal recessed top over arched supports, decorated with terrazzo-type inlay within panels the first 43.5 diameter, 47cm high, the second 41cm diameter, 48cm high (2)

£400 - 600

LOT 139

A group of seven Wayang kulit shadow puppets, late 19th to early 20th century, Javanese, to include an elephant example wearing a red saddlecloth with gilt edging elephant 65cm wide, 43cm high (7)

£400 - 600

LOT 142

A bronze figure of Rama, 19th century, South Indian, modelled standing, his left hand holding a bow, an arrow in his right, dressed in a short dhoti secured with a lion-mask belt and adorned with jewellery, the face with almond-shaped eyes flanked by elongated earlobes, surmounted by a conical headdress, mounted on a waisted pedestal over a square stepped plinth bronze 27cm wide, 16cm deep 54cm high, 82cm high overall (2)

£1,500 - 2,500

This bronze figure depicts Rama, the seventh incarnation of Vishnu and a widely worshipped Hindu deity embodying good morality and pure spirit. Rama can be identified by the arrows tied to his back and the tall Mukuta crown. His bow and arrow are his typical attributes.

LOT 143

Spare lot

An Anglo-Indian hardwood side table, 19th/20th century, Indian, the rectangular top with a carved foliate frieze, raised on wrythen carved column supports united by a stretcher

164cm wide, 45cm deep, 87.5cm high

£500 - 700

Two carved wooden owls, late 19th/20th century, Burmese, each of simplified form, possibly formers for lacquerwork

43 and 49cm high (2)

£400 - 600

A graduated set of eleven Kunke or rice measuring bowls, 20th century, Indian, each of typical form, with brass mounts to the carved palm wood body, with stylised shell decoration, complete with a fitted pointed cover for the smallest bowl largest 33cm diameter, 33cm high (12)

£500 - 700

Provenance: A private collection, London. For a related grain measure in solid brass, see Untracht, 1993, fig.37, p.33.

Two telescopic silver ritual horns, 19th century, Tibetan, of crescent shaped form, each with chased and repoussé decoration, one with a parcel-gilt dragon mask, the other with coral and turquoise inlay below the mouth

37 and 39cm wide (2)

£1,000 - 1,500

LOT 148

A large bronze figure of Kartikeya, late 19th/early 20th century, South Indian, Tamil Nadu, modelled with twelve arms holding various attributes, such as the tulwar sword and the vel spear, and six faces (Shaumukha) surmounted by a tiered headdress, the principal right hand raised in abhaya mudra and his vahana, a peacock, positioned at his feet, mounted on a stepped plinth 35cm wide, 29cm deep, 82cm high overall £1,500 - 2,500

Provenance: Annonymous auction, Sri Lanka, 1973; Lyon and Turnbull, ‘Asian Works of Art’, 13 September 2023. Karttikeya, also known as Skanda, Subrahmanya, Shanmukha, Murugan, and Seyyon, is the Hindu god of war. Son of Shiva and Parvati and brother of Ganesha, his legends appear in many versions across Hindu traditions. Revered since ancient times, he was worshipped in North India as Mahasena and Kumara, and remains a major deity in South India, especially Tamil Nadu, as well as in Sri Lanka, Singapore, Malaysia, and Mauritius, where Tamil communities venerate him as Murugan.

LOT 150

Two Naga bead necklaces, 20th century, Northeast India, each with rows of coloured glass beads and bone spacers, one with an aluminium shankh shell-shaped clasp, and the other with a square aluminium clasp and with bell pendants approximately 56 and 60cm long (2)

£600 - 800

Provenance: The Romy Rey Collection, London.

151

Four Ladakh beadwork chest ornaments, 20th century, North Indian, each strung with glass, hardstone, bone, brass skulls, bells and other beads on a fabric ground largest 26 x 17cm (4)

£400 - 600

Provenance: The Romy Rey Collection, London.

LOT 149

Five Naga chank and fishtail pendant necklaces, early 20th century, Northeast India, each with brass and coloured glass beads, all with pendants, including two plain chank pendants with pierced attachment holes to the tops, a large fishtail pendant with a human face to the top and a ribbed body, a double fishtail pendant, and a double chank pendant with relief human masks to the front plain chank pendants 30 and 58cm long, fishtail pendant 50cm long, double fishtail pendant 41cm long, and double chank pendant with masks, 42cm long (5)

£400 - 500

Provenance: The Romy Rey Collection, London.

A pair of brass-mounted teak processional horses, late 19th century, Indian, each modelled in a standing position, with the body set with rosettes 66cm long, 15cm wide, 70cm high (2)

£2,000 - 4,000

A pair of large lacquered and painted wooden horses, 19th-20th century, Indian, each with one foreleg raised 35cm wide, 128cm high, 140cm long (2)

£1,000 - 1,500

LOT 154 ▲

Emma Bennett (b.1974)

Untitled (Skeletons)

mixed media on paper

96 x 193cm; framed: 124 x 220cm

£500 - 700

LOT 155

A didactic anatomical model of the inner ear retailed by Adam Rouilly, 19th century, French, plaster, composite and papier mâché, having removable numbered elements, raised on a turned wooden stand 17cm wide, 9cm deep, 26cm high

£200 - 300

LOT 156

Dr Louis Thomas Jerôme Auzoux (French, 1797-1880),

a sectional model of the human eye, c.1891, French, papier mâché and plaster, with a glass lens, inscribed ‘Anatomie Classique du Dr Auzoux 1891’

28cm wide, 17cm deep, 22cm high

£800 - 1,200

LOT 157

A didactic model of a common carp (Cyprinus carpio), 20th century, German, produced by SOMSO, with removable numbered internal organs, the grey-painted base inscribed ‘SITUS-MODELL VOM KARPFEN’, and labelled with a key

40cm wide, 19cm deep, 43cm high

£200 - 400

Édouard Martinet (French, b.1963)

Ant reclaimed steel

55cm long, 46cm wide, 19cm high

£2,000 - 3,000

Franz Josef Steger (German, 1845-1938) and Carl Ernst Bock (German, 1809-1874), a pair of didactic scagliola panels of scarab beetles, mid-19th century, German, Leipzig, each rectangular panel inset with copper maker’s label ‘BOCK STEGER LIPS’ to the edge

80 x 60cm (2)

£800 - 1,200

160

Dr Louis Thomas Jerôme Auzoux (French, 1797-1880), an anatomical model of a Cockchafer (Melolontha vulgaris), c.1875, French, papier mâché, composite and fabric, made in cross section with removable organs, each numbered and secured with pins and brass catches, raised on a display stand within a Perspex case 45cm wide, 27cm deep, 13cm high £4,000 - 6,000

56cm long, 65cm wide,

£2,000

A model of the 26-gun corvette HMS ‘Eurydice’, early 20th century, fully rigged with wooden spars and two lifeboats, the hull painted black to the waterline with copper below, mounted on crutches in a glazed display case 102cm wide, 50cm deep, 80cm high

£1,000 - 1,500

HMS ‘Eurydice’ was a Royal Navy 26-gun corvette launched in 1843, later converted into a training ship for naval cadets. She is best remembered for her tragic loss in 1878, when she capsized and sank off the Isle of Wight during a sudden snow squall while returning from a training cruise in the Caribbean. Over 300 crew and cadets were aboard, and only two survived, making it one of the worst peacetime maritime disasters in British naval history. The disaster prompted significant changes in naval training practices and safety procedures.

A cased model of the Russian 66-gunship ‘Pobedonosec’ (c.1780), 20th century, fully rigged and armed, the planked and pinned hull finished in black and white with timber below, within a glass and brass case the ship approximately 48cm high, the glazed brass-framed case approximately 103cm wide, 48cm deep, 86cm high

£1,000 - 2,000

Provenance: Barnwell Manor, Northamptonshire.

A teak and brass-bound campaign decanter box, 19th century, with inset brass handles to the cover and to each side, engraved ‘Wm Durrant’, the interior fitted with four divisions with associated hobnail-cut decanters

23cm wide, 23cm deep, 27cm high

£200 - 400

LOT 166

A near pair of hardwood and mother-of-pearl inlaid occasional tables, 20th century, Syrian, the largest with a hexagonal top, the smaller with an octagonal top, each over arched supports and decorated throughout with geometric patterns

42cm wide, 46cm high and 43.5cm wide, 50.5cm high (2)

£400 - 600

LOT 164

A lacquered brass three-inch six-draw portable astronomical telescope, mid-19th century, French, with friction-fitting brass cover to the 3-inch lens, and carrying strap loops to the rayskin-covered body tube, an opposing shuttered eyepiece, in original hardwood box with three additional eyepieces

157.5cm long extended, 37cm closed, box 46.5cm wide, 20cm deep, 11.5cm high

£300 - 500

LOT 167

A reproduction MK. V copper and brass US Navy diving helmet, 20th century, constructed in sections, bearing a plate to the chest ‘Morse Diving Equipment Company’ and with date ‘8-29-41’ 39cm wide, 42cm deep, 54cm high (3)

£200 - 400

168

LOT 168

A nickel-plated crown bullseye Goliath desk timepiece by Elgin, early 20th century, the enamelled dial with three subsidiary dials, inscribed ‘8 Days Elgin’, the backplate stamped ‘28201638 8 Days Elgin National Watch Co. made in U.S.A.’ 17cm wide, 21cm high

£400 - 600

LOT 169

A large brass circular tray, 19th century, engraved to the centre with a coat of arms, incorporating a winged crown and inscribed with the motto ‘Deus Prosperat Justos’ 73cm diameter

£200 - 300

LOT 171

A Renaissance Revival carved oak centre table, second half of the 19th century, the mitred hexagonal top with a fretwork edge, above a tableted frieze, on guilloché carved supports united by stretchers, terminating in substantial paw feet 113cm wide, 98cm deep, 86.5cm high

£1,500 - 2,500

Provenance: Barnwell Manor, Northamptonshire.

LOT 172

Spare lot

LOT 173 

A pair of ebonised and ivor y-inlaid Savonarola-type chairs, mid-19th century, Italian, possibly Florence, of typical form, each top rail inlaid with an oval ivory plaque depicting a putto, flanked with a pair of scrolled arms topped with carved masks and foliate-carved ivory inlay, all over a dished seat and ‘U’-form supports 60cm wide, 51cm deep, 84cm high, 37cm to seat (2)

£1,000 - 1,500

LOT 170

A cast iron heraldic lion by John Crowley and Co., 119th century, shown in a recumbent position, stamped to the reverse ‘Published at the Act directs by John Crowley and Co. Sheffield, Dec. 1847’

74cm wide, 10cm deep 37cm high

£200 - 300

LOT 174

An unusual highly decorated iron-bound strongbox, 16th-17th century, German or Polish, the studded exterior with handles to either side, the lid lifting and the front opening to reveal a fitted, papered and gilt-highlighted interior, set with numerous drawers, wells and secret compartments, and lined with contemporary printed sheets depicting religious scenes of processing figures and verses in Early Modern German 57cm wide, 42cm deep, 41cm high £3,000 - 5,000

LOT 175

A carved wooden, ebonised and parcel-gilt figure of Saint Jerome, 18th century, Italian, shown half-length, his left arm raised, mounted on an associated shaped plinth base, with moulded sides and scroll feet 85cm wide, 78cm deep, 117cm high (2)

£3,000 - 5,000

A Greek marble funerary stele, Hellenistic period, 2nd -1st century BCE, in the form of a naiskos, the pediment with a central roundel and corner acroteria, enclosing a rectangular recessed panel carved in high relief and flanked by columns, the relief depicts a boat on a stylised, undulating sea with four male figures: a central standing, draped figure assisting a seated helmsman holding a rudder, a further figure at the prow, wearing a short tunic and grasping the mast while unfurling the sail, and a fourth seated figure at the stern, holding a long oar, beneath the scene are five lines of inscribed Greek verse, translating as: ‘Many are the forms of death and the ends of life appointed for unhappy mortals. I was Hermes, son of Hermes and the worthy Isidora, nurtured and raised on this island until the age of twenty, when I died and swiftly departed the sweet light’

45.2cm wide, 9.5cm deep, 62.5cm high

£12,000 - 15,000

Provenance: A private collection, UK, acquired in the 1970s; Bonhams, London, ‘Antiquities’, 23 October 2013, lot 228 (£56,250 inc. BP); Bonhams, London, ‘Antiquities’, 28 November 2019, lot 97 (£18,812.50 inc. BP).

99

£8,000

LOT 179

North Italian School, 17th century

Adoration of the Kings oil on canvas

266 x 211cm, unframed

£8,000 - 10,000

55 x 195cm; framed 60 x 200cm

£1,500 - 2,000

LOT 182

A carved limewood panel, late 17th century, Northern European, Orpheus Charming the Animals, within a later partial parcel-gilt frame, Opheus shown seated playing a violin, within a wooded and glade surrounded by animals

panel 80 x 71.5cm, 102 x 95cm overall

£7,000 - 9,000

Provenance: Yehudi Menuhin (1916-1999), London; Sotheby’s, London, 11 May 2004; Pelham Galleries, London.

This seventeenth-century carved wooden panel depicting Orpheus Charming the Animals exemplifies the persistence of classical mythology within early modern Northern European visual culture. Rendered in relief, the composition centres on Orpheus as the civilising force of music, his lyre animating a dense assemblage of animals that gather in harmonious attentiveness. Stylistically, the panel aligns

with Netherlandish decorative carving associated with domestic interiors, where mythological subjects often functioned as moralising allegories. Orpheus here may be read as an emblem of concord, eloquence, and the power of art to impose order upon chaos, resonating with humanist ideals circulating in the Dutch Republic during the seventeenth century. It is important to note that the face of Orpheus in this work bears striking resemblance to that of Louis XIV, suggesting that perhaps the work was completed for a French patron.

Angelica Stopford Sarsfield (Irish, 1861-1946)

‘Plym’, a Jack Russell oil on board

50 x 37cm; framed 56.5 x 43.5cm

£300 - 500

A cast iron whip stand in the manner of Coalbrookdale, 19th-20th century, modelled as a chihuahua holding a whip in its mouth, over a removable lily pad drip tray 61cm wide, 23cm deep, 60.5cm high

£400 - 600

LOT 186

A pair of carved walnut recumbent soldiers, 16th-17th century, Continental, from a Gethsemane scene, each depicted sleeping whilst wearing armour and holding a halberd

84cm wide, 44.5cm high and 66cm wide, 43cm high (2)

£4,000 - 6,000

Provenance: The collection of Aso O Tavitian; Peter Finer, London.

LOT 188

A pair of hardwood Savonarola-type elbow chairs, 20th century, each of typical form, with brass and copper inlay

65cm wide, 58cm deep, 116cm high, 53cm to seat (2)

£300 - 500

LOT 189

A near pair of hardwood and mother-of-pearl inlaid occasional tables, 20th century, Syrian, each with a hexagonal top over arched supports, decorated with terrazzo-type inlay 42 and 43.5cm wide, 46 and 50.5cm high (2)

£400 - 600

190

A large bronze figure of the Hindu goddess Deepalakshmi, 20th century, Indian, modelled standing holding a diya bowl, with parrots on her shoulders, and raised on a stylised lotus base

76cm high

£300 - 500

Deepalakshmi is a revered form of the Hindu goddess Lakshmi, symbolizing prosperity, auspiciousness, and spiritual illumination. She is traditionally depicted holding oil lamps (deepas), representing the dispelling of darkness and the bestowal of good fortune. Closely associated with Diwali and domestic worship, Deepalakshmi embodies both material abundance and divine light.

LOT 191

A pair of brass-inlaid hookah bases, 19th-20th century, Indian, each bell-shaped body rising to a flaring mouth, the dense brass and silvered-brass inlay composed of spiralling foliage and flowers

23cm diameter, 21cm high (2)

£300 - 500

LOT 192

A rosewood and ivor y-inlaid octagonal table, late 19th/early 20th century, Indian, Hoshiarpur, the top inlaid with a pair of elephants to the centre, surrounded with scrolling foliate inlay, on raised pierced and shaped supports

41.8cm diameter, 45cm high

£300 - 500

LOT 193

Two carved hardwood occasional tables, 20th century, Indian, the first with an octagonal top, carved in relief with scrolling vines and stylised leaves, raised on a folding base, the second with a circular top, carved in relief with banded foliage, on a conforming pierced and carved folding base the first 57cm wide, 54.5cm high, the second 45cm wide, 48cm high (2)

£200 - 300

LOT 194

Spare lot

LOT 195

An orientalist brass and silvered table centrepiece, late 19th century, French, the sconces, formerly holding glass inserts, raised on a central knopped stem and three arms supported by camels, on a circular base

30cm diameter, 37cm high

£600 - 800

LOT 196

Spare lot

LOT 197

An artist’s adjustable chair by Glenister of High Wycombe, c.1890-1900, the underside of the solid swivel seat stamped ‘J.P.’, over a circular footrest on an iron base

50cm wide, 50cm deep, 106.5cm high, 60cm to seat

£600 - 800

LOT 198

A walnut and marquetry console table, 19th century, Italian, the rectangular moulded top with foliate inlay, over a conforming frieze and cabriole supports 124cm wide, 50.5cm deep, 82cm high

£400 - 600

LOT 199

A large pierced-metal and stained-glass lantern, early 20th century, Moroccan, of architectural form with arabesque decoration

53cm wide, 53cm deep, 154cm high

£400 - 600

Provenance: Sotheby’s, New York, ‘Property from the Collection of Mrs Antenor Patino’, 1 November 1997, lot 35.

LOT 200

An octagonal occasional table, early 20th century, Syrian, set with mother-of-pearl, bone, and Arabic script, a Punjab brass-inlaid octagonal occasional table, early 20th century, with pierced sides, and one other smaller example

Syrian table 31cm wide, 31.5cm deep, 47.5cm high, Punjab table 35cm wide, 36cm deep, 36cm high, final smaller table 29cm wide, 29cm deep, 32cm high (3)

£200 - 300

201

Spare lot

202

A cast iron fireback, probably 19th century, of arched form, with a rope-twist edge, the arch cast ‘1626’ over an anchor, fleur-de-lys motifs, rosettes and berries

75cm wide, 65cm high

£500 - 800

LOT 203

A bronze sundial plate signed Charles Bryne, London, mid-18th century, engraved with an animalistic sun, Roman numerals and a Latin inscription reading ‘utque redit viam constans quam suspiris umbra funax homines non reditura sumus Anno Dom 1742’

46cm diameter

£2,000 - 3,000

Provenance: The George Withers Collection.

The translation: ‘And thus, steadfast, you return to the path which you long for; like a shadow, fleeting, we humans shall not return’.

LOT 204

A set of four enamelled glass apothecary jars, second half of the 20th century, Italian, with enamelled labels inscribed ‘Ung Hidar’, ‘R Tamar’, ‘Sale Se’ and ‘Colombo’, each with a domed cover with a hot-worked fruit-form finial 13cm wide, 13cm deep, 31cm high (8)

£800 - 1,200

LOT 205

Italian School, 19th century

An oval banded alabaster panel painted with St Francis of Assisi receiving the stigmata the saint depicted kneeling in a landscape, the natural striations of the stone serving as rays of divine light

16 x 12cm

£300 - 500

LOT 206

An Egyptian Revival carved and polychrome-painted alabaster panel, c.1925, French, depicting the goddess Hathor in profile framed by hieroglyphs 39.5cm wide, 9cm deep, 99cm high

£1,000 - 1,500

French Egyptomania experienced a resurgence in the 1920s and 1930s, stimulated by archaeological discoveries, most notably the opening of Tutankhamun’s tomb in 1922. Within the context of Art Deco, ancient Egyptian motifs were reimagined in bold, stylised forms that emphasised symmetry and abstraction. The goddess Hathor, associated with fertility, music, and protection, proved especially resonant; her iconography, cow’s horns framing a solar disc, was adapted for architectural decoration, sculpture, jewellery and the decorative arts.

An Egyptian Revival parcel-gilt, cedar and ivor y-inlaid cabinet, c.1920, French, the hinged lifting top with gilded knob enclosing a void interior, the front with conforming knob over a pierced and carved frieze, on four square legs, decorated with an ivory-inlaid hieroglyphic border

44.5cm wide, 40.5cm deep, 73cm high

£2,000 - 3,000

This cabinet is a reproduction of an original from Egypt’s 18th dynasty (c.14th century BCE), discovered by Howard Carter in the tomb of King Tutankhamun and now housed in the National Museum of Cairo.

LOT 208

A pair of large brass cobras, 20th century, Indian, each with a chased body simulating scales and a coiled base 20.5cm wide, 30cm deep, 30cm high (2) £300 - 500

LOT 209

A Dutch East India Company (V.O.C.) silver ingot, c.1739/40, Rooswijk Cargo, stamped ‘A VOC’, with assay master’s mark of a rampant goat 4cm wide, 15cm long, 3cm high, 62.5ozt £4,000 - 6,000

Provenance: This solid silver ingot was recovered in 2004 from the wreck of the Dutch East Indiaman ‘Rooswijk’; built in 1737, the ship foundered on Goodwin Sands in 1739.

A carved hardwood and ivor y-inlaid occasional table, 19th-20th century, Indian, the octagonal top profusely carved with foliate motifs and with an ivory-inlaid centre, raised on a pierced folding stand

61cm diameter, 65cm high

£300 - 500

Two similar Victorian stoneware spirit barrels, late 19th century, each with sprigged decoration over a red and black banded ground, the largest inscribed ‘Whisky’, the smaller, ‘Brandy’ largest 33cm high (2)

£300 - 400

A Roman lead ingot or pig, c.1st century BCE, of plain elongated trapezoid form ingot 70cm wide, 14.cm deep, 9.5cm high, stand 75cm wide 19cm deep, 15.5cm high

£600 - 800

Provenance: Found by a detectorist c.2009 near Ilam, on the River Manifold in the Staffordshire Peak District.

Roman lead pigs were standardised ingots of lead produced throughout the Roman Empire, primarily from the 1st century BCE onward. Cast in distinctive rectangular or curved forms, they were often stamped with inscriptions naming the emperor, mine owner, or place of origin, providing valuable historical evidence of Roman administration and trade. These ingots were widely used as raw material for plumbing, roofing, water pipes, and various industrial and domestic applications across the empire.

A silver-plate-mounted coco de mer tea caddy, late 19th century, with a pierced strapwork hinge and scrolled handle, opening to reveal a shaped interior, raised on four dolphin-form supports 32cm wide, 16cm deep, 29cm high

£1,500 - 2,500

LOT 214 

An Indo-Portuguese teak, rosewood, ebony and ivory ‘Contador’ cabinet, 17th century, Goa, formed in two sections, the upper section fitted with sixteen drawers, each with ivory handle and escutcheon, the whole flanked with wrythen bronze handles, the lower section fitted with two short over one long drawer, raised on carved figural nagini mermaid supports, the whole inlaid with concentric motifs 95cm wide, 51cm deep, 134cm high £12,000 - 18,000

Portuguese-Goan furniture emerged from the early sixteenth century within the colonial milieu of Goa, the administrative centre of the Portuguese Estado da Índia. Following the Portuguese conquest in 1510, European furniture forms were introduced into a region with sophisticated indigenous woodworking traditions and abundant tropical hardwoods, particularly teak, rosewood and ebony. Local artisans adapted Iberian Renaissance and later Baroque models to regional materials, climate and techniques, producing a distinctive hybrid style. For related cabinets, see Pedro Dias, ‘Mobiliário Indo-Português’, 2013, pp. 274-281.

A group of fifteen wrought-iron eel gleaves, 18th and 19th century, probably East Anglian, of various designs largest 18cm wide, 63cm high (15)

£1,000 - 1,500

After Thomas Rowlandson, early/mid-20th century, German, a group of thirty-six hand-coloured erotic prints

33 x 25cm (36)

£400 - 600

A stone corbel of a man, probably 14th century, the subject holding his head and looking aghast, inscribed to the reverse with placement number

26cm wide, 27cm deep, 17cm high

£800 - 1,200

LOT 218

A group of industrial formers, early 20th century, carved wood, used in the production of gears, cogs and sprockets the largest 12cm wide, 7.5cm deep, 39cm high

£400 - 600

A teak and gilt-brass campaign chest of drawers by Army & Navy CSL, mid to late 19th century, in two sections, having two short over two long drawers, set with recessed handles and hasps and raised on turned feet, complete with painted pine packing case with a pair of doors opening to reveal a single shelf, inscribed ‘Major Beale Norfolk Regt.’ and ‘Major Cap. H K Beale 9th Regt.’

106cm wide, 54cm deep, 122cm high

£1,200 - 1,800

Commissioned in 1881, Beale served mostly in India and South Africa, and was well decorated for his efforts. He retired in 1903 after command of the 3rd Battalion of the Norfolks, but was re-engaged for service at the outbreak of the First World War. He was promoted Lieutenant Colonel two years later, matching his late father Lieutenant Colonel H G Beale’s rank (India Staff Corps).

104 x 105cm; framed 123 x 124cm, in an Empire giltwood frame

£2,000 - 3,000

LOT 223

French School, early 19th century

Portrait of a hunter, half-length, holding a clay pipe and hat, his gun over his right arm oil on canvas

82 x 64cm; framed 97 x 78.5cm

£1,000 - 1,500

A Scottish ‘other ranks’ ostrich feather bonnet and a brigade of guards bearskin cap, 20th century, the bonnet with red, white and black diced brim, black silk cockade backing a silver regimental badge, and a red feather hackle, each with gilt-brass chinstraps, on later acrylic stands 30cm high, 60cm overall (2)

£200 - 300

Provenance: The Bellamy Collection, County Down, Northern Ireland.

LOT 221

Two gentlemen’s waistcoats, late 18th century, the first of off-white cotton, embroidered overall in gilt-metal thread with floral sprays, the second constructed from woven striped silk with a polychrome floral design, heightened in silver-metal spangles, together with a framed set of silk embroidered waistcoat panels, each framed and glazed frames 72 x 50cm (3)

£600 - 800

LOT 224

A 7mm pinfire twenty-shot revolver, late 19th century, by Lefaucheux, Paris, having sighted over and under barrels, a fluted cylinder, loading gate, ejector rod and folding trigger, fitted with a walnut grip barrel 5in, 28cm long overall

£2,000 - 3,000

Shipping Disclaimer:

Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.

LOT 226

A pair of gilt and silvered-bronze ‘Martial’ candlesticks by Antonio Iudice, 2018, each adorned with weapons and cannons, on a circular base

10cm diameter, 22cm high (2)

£300 - 500

Provenance: The collection of Count Manfredi della Gherardesca.

LOT 227

A pair of ash and hide snowshoes, late 19th/early 20th century, of typical bowed and webbed construction, each carved ‘Sergeant Vincent Cosford(?)’ to the frame

103cm long, 33cm wide (2)

£200 - 300

LOT 228

Spare lot

LOT 229

A Gothic Revival wrought-iron light fitting, early 20th century, French, the twin branches centred by a knight in armour

36cm wide, 10cm deep, 44cm high

£200 - 300

LOT 230

A large Jewish turned wooden challah pedestal dish, early 20th century, Moroccan, set with white-metal mounts in the form of the Star of David, and Rebecca at the well 56cm wide, 60cm deep, 28cm high

£800 - 1,200

LOT 231

A Bezalel School of Arts and Crafts-style wool carpet, 20th century, in the tree of life design, the field with a central palm tree on a cream ground amongst dense foliage, within a banded border set with a Hebrew inscription 214 x 130cm

£1,000 - 1,500

Featured in Anton Felton, ‘Jewish Carpets’, Antique Collectors’ Club Dist A/C, 27 December 2006, Woodbridge.

A pair of carved walnut mirrors, late 17th century and later, Northern European, each carved with putti within scrolling foliage 43cm wide, 78cm high (2)

£600 - 800

LOT 233

A carved walnut element in the form of a putto, 18th century, Italian, depicted nude and facing to his left 38cm wide, 23cm deep, 55cm high

£400 - 600

called ‘Il Lucchese’ (Italian, 1606-1675)

94 x 119.5cm; framed 108.5 x 134cm

£8,000 - 12,000

Provenance: Christie’s, New York, ‘Important Old Master Paintings Including Property From the Collection of Jacques Goudstikker’, sale 1822, 19 April 2007, lot 94.

A group of three silvered-pewter masonic staves or sceptres, early 20th century, French, the first modelled with a sunburst, the second a crescent moon with facial features, the third with the cross of St John, each over a turned and tapering shaft, raised on a later black metal stand 71, 74 and 75cm high, 77, 78.5 and 81cm high overall (3)

£3,000 - 5,000

A didactic model of the human head by Maison Auzoux, early 20th century, French, signed ‘Dr Auzous, France’, painted composite and plaster, composed of numbered parts showing the layered muscular, nervous and circulatory systems

19cm wide, 15cm deep, 34cm high

£2,000 - 3,000

237 ▲

Agostino Dessi (Italian, b.1952), ‘Michelangelo’s David’, late 20th century, carton-pierre and lacquer with a fabric backing

42cm wide, 24cm deep, 54cm high

£200 - 400

LOT 238 ▲

Teodora Axente (Romanian, b.1984) ‘White Neck’ signed ‘Teodora Axente’, inscribed with title and dated ‘2012’ verso, oil on canvas 116 x 95.5cm, unframed

£2,000 - 3,000

LOT 239 ▲

Stephen Goddard (b.1959)

Head mixed media on paper, tondo 80cm diameter; framed 117 x 117cm

£500 - 800

LOT 240 ▲

Stephen Goddard (b.1959)

‘Blind Sonnenblumen’

inscribed with title and numbered 59 to the lower edge, mixed media on paper laid on board 98 x 69cm; framed 111 x 80cm

£1,200 - 1,800

LOT 242

A set of six carved giltwood candlesticks, late 19th century, Spanish, each of lobed form, on a spreading base 21cm diameter, 33cm high (6)

£800 - 1,200

Provenance: Dreweatts, ‘The Collection Formerly from Flaxley Abbey: an Oliver Messel Commission’.

LOT 241

A pair of Chinese export toleware tea canisters, probably 19th century, each domed cover above a green-painted body, decorated with figures in a landscape between gilt key-fret bands, one numbered ‘10’, the other ‘7’ 26cm wide, 22cm deep, 44cm high (4)

£400 - 600

LOT 243

A cast iron strongbox, 19th century, the top with a plaque inscribed ‘Incombustible Systeme Bauche Brevete S.G.D.G. Usine a Gueux Marne’, the front with an applied British coat of arms, completed with studded borders 44cm wide, 33cm deep, 25.5cm high

£400 - 600

LOT 244

A George III beech and leather wig stand, early 19th century, covered in brown hide with close-nail detailing, with a hinged interior compartment, on a turned table clamp

17cm wide, 15cm deep, 45cm high

£500 - 700

Provenance: John George Joicey Bequest Collection.

LOT 245 ▲

Terence Cuneo (1907-1996)

Portrait of Raphael Djanogly JP signed and dated ‘TERENCE.CUNEO./AUGUST 1981’ l.r., oil on canvas

92 x 71cm; framed 109 x 90cm £600 - 800

Exhibited: The Mall Galleries, London, Royal Society of Portrait Painters exhibition, 1982.

Sophie Jodoin (Canadian, b.1965)

‘Resting in Zoara’ signed, inscribed with title and dated ‘2011’ verso, acrylic on canvas

97 x 130cm, unframed

£800 - 1,200

LOT 247 ▲

Renzo Vespignani (Italian, 1924-2001)

‘Al Neon’

signed and dated ‘Vespignani 1964’ l.l., also inscribed with title and dated on stretcher verso, mixed media on paper laid on canvas

133 x 100cm; framed 138 x 105cm

£800 - 1,000

LOT 248 ▲

Emma Bennett (b.1974)

‘The Blue Strap’

signed ‘E. Bennett’, inscribed with title and dated ‘2008’ verso, oil on canvas

130 x 170cm, unframed

£1,200 - 1,800

LOT 249 ▲

Emma Bennett (b.1974)

‘The Telling’

signed ‘E. Bennett’, inscribed with title and dated ‘2009’ verso, oil on canvas

91.5 x 122cm, unframed

£1,000 - 1,200

LOT 250

Sebastián Gordín (Argentinian, b.1969) ‘Los Duelistas’ veneer, fibreglass and polyester, signed, inscribed with title and dated ‘2016’ verso, from an edition of five 37cm wide, 26cm deep, 3cm high

£400 - 600

LOT 251 ▲

Catherine Starkman (French, b.1960)

Untitled abstract

signed and dated ‘C Starkman/2007’ verso, oil on canvas

120 x 170cm, unframed

£400 - 600

LOT 252 ▲

Enrique Brinkmann (Spanish, b.1938)

‘Mujer en Vomito’

signed and dated ‘Enrique Brinkmann 1986’ l.r., also signed, inscribed with title and dated verso, oil on board

100 x 81cm

£1,800 - 2,200

LOT 253

Mark Tochilkin (Ukrainian b.1958)

The orchestra signed ‘M. Tochilkin’ l.l., oil on canvas

115 x 140cm; framed 119 x 144cm

£800 - 1,200

LOT 254

Fernando Péreznieto (Mexican, 1938-2001)

‘Studio Velato per il Ritratto di Nessuno’ signed and dated ‘Pereznieto ‘84’ l.r., acrylic on paper

26.5 x 18.5cm; framed: 39 x 29cm

£200 - 300

LOT 255 ▲

Enrique Brinkmann (Spanish, b.1938)

‘La Charca’, 1987

signed and dated ‘Enrique Brinkmann 1987’ l.r., also signed, inscribed and dated verso, asphalt emulsion, oil and collage on plywood

146 x 114cm; framed 153.5 x 121cm

£1,200 - 1,500

Provenance: A private collection, Spain. Exhibited: ‘Arco 88’, International Fair of Contemporary Art, Madrid, 1988.

LOT 256

Eduardo Stupia (Argentinian, 1951-2020)

‘Landscape I’, 2013

signed ‘STUPIA’ l.r., mixed media on paper 113 x 148cm; framed 139 x 176cm

£2,000 - 3,000

Provenance: With Rosenfeld Porcini, London.

LOT 257

Mehran Elminia (Iranian, b.1975)

Untitled

signed and dated ‘M Elminia 2012’ l.l., also inscribed in Arabic l.r., oil on canvas 200 x 150cm, unframed

£400 - 600

LOT 258 ▲

Robert Muntean (Austrian, b.1982) ‘Silent Movie’ signed ‘R Muntean’ and dated ‘2012’ twice verso, oil on canvas

190 x 160cm, unframed

£1,200 - 1,800

Provenance: With Gallery Rosenfeld, London.

LOT 259 ▲

Catherine Starkman (French, b.1960) Untitled abstract signed and dated ‘C Starkman 2007’ verso, oil on canvas

120 x 170cm, unframed

£400 - 600

LOT 260 ▲

Aída Rubio González (Spanish, b.1978) ‘Erase Una Vez’ signed ‘AÍDA RUBIO GONZÁLEZ’, inscribed with title and dated ‘2010’ verso, mixed media on canvas

146 x 195cm, unframed

£800 - 1,200

LOT 261

Spare lot

262

Hannah Shin (South Korean, b.1992)

‘Meshes of the Blue’

signed ‘Hannah Shin’, inscribed with title and dated ‘2018’ verso, oil on canvas

180 x 150cm, unframed

£600 - 800

LOT 263 ▲

Vilmore Schernardi aka ‘Armodio’ (Italian, b.1938)

Untitled (Eggs)

lithograph in colours, signed ‘ARMODIO’ in pencil l.r., numbered 38/80, with blind stamp image 23.5 x 34cm; framed 36 x 52cm

£80 - 120

264

‘The Dybbuk’ a colour poster for the film based on the play by S Ansky and directed by Michael Waszynski, shown at the Everyman Cinema sheet 59.5 x 42cm; framed 70 x 50cm

£100 - 150

LOT 265

20th Century School

Clown and chair

oil and pencil on board

49 x 35cm; framed 53 x 39cm

£100 - 150

LOT 266

Fernando Péreznieto (Mexican, 1938-2001)

‘In the Court of Florence’ signed and dated ‘Péreznieto ‘83’ l.r., watercolour and gouache

49 x 69cm

£400 - 600

LOT 267

Fernando Péreznieto (Mexican, 1938-2001)

‘The Musician’ aquatint in colours colours, proof, signed and dated ‘Péreznieto ‘83’ in pencil l.r., inscribed with title

image 30 x 48cm; framed 66 x 86cm

£400 - 600

LOT 268 ▲

Maria Chevska (b.1948)

‘Eyeballing’

signed and dated ‘M. Chevska/1999’ verso, also signed, inscribed with title and dated on stretcher, mixed media on polyester 183 x 91cm, unframed

£300 - 500

LOT 269

20th Century School

Flowers and bark colour photograph

sheet 50.5 x 40.5cm; framed 65 x 54cm

£80 - 120

LOT 270

Cl... (20th century)

Stringed instrument monochrome print, indistinctly signed and dated ‘85’ and numbered 2/45 in white pencil on mount

visible 48 x 60cm; framed 73.5 x 93cm £100 - 200

TERMS AND CONDITIONS

For Specialist Live Auctions

Our conditions of business consist of:

1. Information for Buyers;

2. [Terms of Consignment for Sellers –not detailed here, but can be viewed at www.sworder.co.uk]

3. Terms of Sale for Bidders and Buyers.

1. INFORMATION FOR BUYERS

Introduction

The following notes are intended to assist Bidders and Buyers, particularly those that are inexperienced or new to our salerooms. All of our auctions are governed by our Terms and Conditions and any notices that are displayed in our salerooms or announced by the Auctioneer at the auction. Our Terms and Conditions are available for inspection at our salerooms and the Terms of Sale are printed in the back of our auction catalogues. Our staff will be happy to help you if there is anything in our Terms and Conditions that you do not fully understand.

Please make sure that you read our Terms of Sale carefully before bidding in the auction. If your bid is successful, you will be obliged to comply with our Terms of Sale.

Methods of payment

Lots must be paid for before they are collected or shipped. For those attending the auction we ask that Lots are paid for on the day of the sale. Methods by which we accept payment are detailed on our Website, including online payment upon receipt of your invoice, and these should be paid by 5pm on the Friday following the sale. We accept cash to an upper limit of 10,000 euros equivalent. Any cheques will need to be cleared before you can take the Goods away.

Collection and storage

All Lots should be paid for and collected by 5pm on the Friday following the sale. Commission Bidders should check the success of their bids and arrange payment, and collection or shipping within this time. For our specialist auctions please refer to the collection and storage requirements detailed in the catalogue and on our Website, which specifies the applicable fees.

Furniture and large items sold in our Fine Interiors, Design or Specialist Single-Owner Sale Auctions, and small items if they form part of the same invoice, not collected within seven working days of the auction will be sent to Abels Moving Services Ltd. at your expense. Refer to clause 10 in Sworders Terms of Sale for more information.

Agency

As Auctioneers we usually act on behalf of the Seller whose identity, for reasons of confidentiality, is not normally disclosed. If you buy at auction your contract for the Goods is with the Seller, not with us as Auctioneer.

Estimates Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the sale Price. The lower estimate may represent the Reserve Price (the minimum Price for which a Lot may be sold) and will not be below the Reserve Price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot. They are not definitive. Buyer’s Premium

The Terms of Sale oblige you to pay a Buyer’s Premium on the Hammer Price for each Lot purchased, at 25%, except for our Fine Wine and Spirits auctions when it is 18%. In addition, VAT is charged on these Premiums (see below).

Value Added Tax (VAT)

Items in our catalogue may be marked with a dagger † or double dagger ‡, which indicates that VAT is payable by the Buyer on the Hammer Price and the Buyer’s Premium at either the standard rate (currently 20%) or a reduced rate (currently 5%), depending upon the legal requirements relating to that Lot.

Lots which do not have either of the above symbols have no VAT payable on the Hammer Price. This is because such Lots are sold using the Auctioneers’ Margin Scheme. The VAT included within the Premium is not recoverable as input tax.

Shipping Costs are liable for VAT and are payable by the Buyer.

If you are exporting the items from the UK, you may be able to claim a reimbursement of the VAT, where:

1. you are using Sworders Delivery service.

In these cases, a zero rated (VAT exempt) invoice can be issued where the following criteria are met:

a. the items are exported within three months of the date of the auction

b. the total amount of VAT payable would exceed £75 per shipment

There is no administrative charge for clients using Sworders Delivery Service.

If you cancel shipping through Sworders Delivery Service, we will reinstate the VAT, which must be paid prior to the release of goods.

2. you arrange shipping through a private logistics company, agent or courier and the following criteria are met:

a. the invoice is paid in full, including VAT

b. the items are exported from the UK within three months of the date of the auction

c. the certificate of shipment and export documents are provided to us within a year of the date of export from the UK d. the total amount of VAT to be claimed exceeds £75 (from which you will be deducted a £25 administration fee.

See Terms of Sale clause 5 for more information relating to VAT. Inspection of Goods by the Buyer

As we act on behalf of the Seller, we are dependent on information provided by the Seller about their Goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have ample opportunity to inspect the Goods. You must inspect and investigate Lots that you might wish to bid for. Please note carefully the exclusion of liability for the description and condition of Lots set out in the Terms of Sale at clauses 16.2 and 16.4.

Condition reports

We may be able to assist Buyers unable to view by emailing a condition report, but these are based solely on our own opinion and are for guidance only and no responsibility is accepted for their accuracy. Intending Buyers are strongly encouraged to view.

Shipping of Goods

We offer a delivery service for Lots purchased, either by shipping ourselves, in partnership with Bradleys Shipping Services, or use of a third party logistics company. Estimates for Shipping Costs for smaller items may be calculated pre-sale on our website under each Lot and are based on value, size and your chosen UK destination. For items purchased the actual cost can be added to your account and paid online after the sale. If you purchase multiple Lots from the same auction, we will combine packaging/ deliveries to reduce the Shipping Costs. Lots for which Shipping Costs cannot be automatically calculated, such as furniture, you can obtain a bespoke Shipping Cost from our website to any destination in the world after you have purchased an item, by clicking the link in your invoice.

Estimates of Shipping Costs on our website are based on the low estimate, whilst the actual cost is based on Hammer Price. Furniture and large items sold in our Fine Interiors, Design of Specialist Single Owner Sale Auctions, and small Items if they form par of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd., the cost of which you will be liable for. See clauses 9 and 10 in the Terms of Sale for Title and Collection of Purchases and Costs relating to Collection Services, for more details.

Electrical Goods

These are sold as ‘antiques’ only for their historical or decorative attributes. If you buy electrical Goods for use you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

Export of Goods

If you intend to export Goods you must find out:

a. whether an export licence is needed; and b. if there is a prohibition on importing Goods of that character e.g. because the Goods contain prohibited materials.

Restricted Items

We do not sell items that are prohibited under UK legislation from sale.

The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. For goods that contain ivory, you should satisfy yourself that they are correctly registered or certified and meet the exemption criteria as set out in applicable legislation.

If you intend to export goods that may fall to be a protected species, or one that requires to be registered or listed as exempt, you should find out:

a. whether you need an export licence

b. if there is a prohibition on the export of goods of that nature outside of the UK or on the import of goods into your intended country, for example, if the goods contain prohibited materials such as elephant ivory or protected fauna and flora

Post 1950 Upholstered Furniture

All items of furniture included in a sale are offered for sale as works of art. The items may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, they should not be used in a private dwelling.

Furniture made of Brazilian Rosewood (Dalbergia nigra)

To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture items must have an Article 10 certificate in place, prior to being offered for sale.

If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number.

It is the responsibility of commercial Buyers to ensure that they obtain a copy of the appropriate certificate, or the certificate reference number, after purchase from Sworders Fine Art Auctioneers. Items are marked with this sign §.

Bidding

Bidders are required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a Commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction to allow us sufficient time to carry out the necessary checks. In some cases, we may require a deposit to be paid against Lot, prior to confirming your bid. Lots will be invoiced to the name and address as registered for bidding. You may need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please enquire in advance about our arrangements for telephone or online bidding. Please note that we may refuse to register you, if you do not provide us with all the information and documentation that we ask for or at our discretion.

Commission bidding

You may leave Commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyers’ Premium and/or any applicable VAT). We will execute Commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical Commission bids we may prefer the first bid received (where this can be reasonably ascertained). We recommend leaving Commission bids online via our Website, though please contact us about leaving bids by telephone or fax/email. All absentee bids should be received at least 30 minutes before the auction commences; we cannot guarantee to execute Commission bids received after this time.

Telephone bidding

If you are unable to come to the auction it may be possible to bid on the telephone for higher value Lots. Please note that this service is generally for Lots with an estimate of £500 or more. The number of lines may be limited so we urge serious telephone bidding only and ask that you be prepared to bid over the top estimate. It is advisable to leave a maximum covering bid in case we are not able to contact you by telephone. All lines must be booked and confirmed in writing before the day of the auction and preferably some time in advance. Telephone bidding involves many variables and whilst we take every care to ensure the smooth operation of this service, we cannot be held liable if your bids are missed for any reason.

Online bidding Lots purchased via a live online bidding service may be subject to an additional Commission charge on the Hammer Price payable by the Bidder, in accordance with rates specified by the online service. These are charged at 0% if bidding via Sworders Website. If bidding through other online bidding platforms, you will be charged additional surcharges, which will be payable to us on top of the Hammer Price and our Buyer’s Premium at their advertised rate.

Artist’s Resale Right Lots marked with a ▲ indicate the item is subject to additional Artist’s Resale Right charges, payable by the buyer.

Financial Checks

As auctioneers we may have to conduct various checks into our customers under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 (as amended), under sanctions legislation and other related legislation.

If you are successful in your bid, and your hammer total is in excess of £6,000.00, you may need to provide the documentation, as set out below, unless we confirm we already have this information from you:

a. For individuals

1.a.1. official photo identification (driving licence, passport or equivalent); and

1.a.2. proof of address (less than three months old)

b. For corporate entities

1.b.1. the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address

1.b.2. details and ID documentation for directors and beneficial owners of the entity

c. For trusts and estates

1.c.1. details and ID documentation for executors/trustees; and 1.c.2. details of beneficiaries and settlor

We may ask you for further information if we deem this necessary. We may use third party software, to enable you to provide us with your identification documents, to verify your identity and ensure compliance with our legal responsibilities.

If you are bidding for another person (your “principal”) you will be required to provide the above information for yourself and your principal, along with a signed letter from your principal authorising you to bid on his/her behalf.

If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of, or cancel, any contract made by you and the Seller in the event you have made a successful bid.

TERMS OF CONSIGNMENT FOR SELLERS

Not detailed here, but can be viewed at www.sworder.co.uk

3. TERMS OF SALE FOR BIDDERS AND BUYERS

Please note that if you register to bid and/or bid at auction this signifies that you agree to and will comply with these Terms of Sale. Please note that these Terms of Sale relate to auctions conducted by an Auctioneer only, where the opportunity is available to view the lots. We have separate terms for online only auctions and those where viewing is not available.

1. Definitions and interpretation

1.1 To make these Terms of Sale easier to read, we have given the following words a specific meaning:

In these Terms of Sale, the words ‘you’, ‘yours’, etc. refer to you as the Buyer. The words ‘we’, ‘us’, etc. refer to the Auctioneer. Any reference to a ‘Clause’ is to a clause of these Terms of Sale unless stated otherwise.

2. Information that we are required to give to Consumers

2.1 A description of the main characteristics of each Lot as contained in the auction catalogue.

2.2 Our name, address and contact details as set out herein, in our auction catalogues and/or on our Website.

2.3 The Price of the Goods and arrangements for payment as described in Clauses 4, 5, 8, 9 and 10.

2.4 The arrangements for collection or delivery of the Goods as set out in Clauses 9 and 10.

2.5 Your right to return a Lot and receive a refund if the Lot is a Deliberate Forgery as set out in Clause 15.

2.6 We and Trader Sellers have a legal duty to supply any Lots to you in accordance with these Terms of Sale.

2.7 If you have any complaints, please send them to us directly at auctions@sworder.co.uk.

2.8 We also refer you to your warranties as a Bidder and Buyer as set out in Clause 6.

‘Auctioneer’ means GES & Sons Ltd trading as Sworders Fine Art Auctioneers, a company registered in England and Wales with registration number 6858916 and whose registered office is located at Cambridge Road, Stansted Mountfitchet, Essex CM24 8GE or its authorised Auctioneer, as appropriate;

‘Art Market Participant’ means an art market business registered with HMRC under the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017;

‘Bidder’ means a person who places a bid for Goods at our auction;

‘Bidding Platform’ means the bidding platform on which the online auction is held operated by the Auctioneer, or by a third party service provider on the Auctioneer’s behalf;

‘Bidding Platform Fee’ means the fee equal to a % of the hammer price charged on the sale of a Lot, as advertised on the bidding platform on which the online auction is held, operated by a third party service provider;

‘Buyer’ means the person who makes the highest bid for the Goods accepted by the Auctioneer;

‘Buyer’s Premium’ means the commission we charge you on the purchase of a Lot;

‘Commission’ means the Commission that we charge a vendor on the sale of their Goods;

‘Consumer’ means an individual acting for purposes which are wholly or mainly outside that individual’s trade, business, craft or profession;

‘Deliberate Forgery’ means: (a) an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source; (b) which is described in the catalogue as being the work of a particular creator without qualification; and (c) which at the date of the auction had a value materially less than it would have had if it had been as described;

‘FCA’ means the Financial Conduct Authority;

‘Goods’ means the Goods that have been consigned to us for sale at our auction;

‘Hammer Price’ means the level of the highest bid for a Lot accepted by the Auctioneer and recorded in the Auctioneer’s sale book;

‘Lot(s)’ means the goods that we offer for sale at our auctions;

‘Money Laundering Legislation’ means the Money Laundering, Terrorist Financing and Transfer of Funds (Information on the Payer) Regulations 2017 and related legislation, together with any applicable terrorist financing legislation and legislation on restrictive measures;

‘Premium’ means the Premium charged to the Buyer on the sale of the Goods in accordance with the Terms of Sale as set out in clause 4;

‘Price’ means the total of the Hammer Price, Premium, Shipping Costs (if applicable) and any applicable VAT;

‘Principal’ means a person or entity you are acting on behalf of for the purposes of the consignment of the goods to the Auctioneer;

‘Proceeds’ means the Price less the Commission, the Premium, Shipping Costs, any expenses incurred to your account and any applicable VAT;

‘Reserve’ means the minimum Price at which the Goods may be sold;

Restrictive Measures’ means economic or financial sanctions, export controls, embargoes or any other restriction on trade under the laws of the European Union, the United Kingdom or the United States, or in the jurisdiction in which you, your Principal, or any agent acting for you does business;

‘Sale Proceeds’ means the net amount due to the seller;

‘Seller’ means the owner of the Goods and any agent who consigns the Goods for sale on the owner’s behalf (if applicable);

‘Shipping Costs’ means the charges applied to the shipping of all Goods purchased, should the Buyer ask for Sworders shipping agent to deliver the Goods (if applicable);

‘Terms of Consignment’ means the Terms on which we agree with sellers to offer Lots for sale in our auctions, as agent on their behalf;

‘Terms of Sale’ means the Terms of Sale for Bidders or Buyers at our auctions (as updated from time to time);

‘Total Amount Due’ means the hammer price for a Lot, the Premium, any applicable artist’s resale right royalty, any service charge or fee levied by an independent bidding platform through which the successful bid was placed, any VAT due and any additional charges payable by a defaulting buyer under these terms of sale;

‘Trader’ means a Seller who is acting for purposes relating to that Seller’s trade, business, craft or profession, whether acting personally or through another person acting in the Trader’s name or on the Trader’s behalf (such as an agent and/or the Auctioneer);

‘VAT’ means any value added tax or equivalent sales tax; and

‘Website’ means our Website available at www.sworder.co.uk.

3. Bidding procedures and the Buyer

3.1 You must register your details with us before bidding and provide us with any requested proof of identity and billing information, in a form acceptable to us. You must also satisfy any security arrangements we have in place before entering the auction room to view or bid. If you are bidding on behalf of someone else, you will be required to provide us with all information on the ultimate owner of the goods as we may require, to satisfy our checks under the Money Laundering Legislation.

3.2 We strongly recommend that you attend the auction in person. You are responsible for your decision to bid for a particular Lot. If you bid on a Lot, including by telephone and online bidding, or by placing a Commission bid, we assume that you have carefully inspected the Lot and satisfied yourself regarding its condition and other characteristics.

3.3 If you instruct us we may execute Commission bids on your behalf. We will confirm receipt of your instruction by sending you an email acknowledging your request and confirming your bid. Neither we nor our employees or agents will be responsible for any failure to execute your Commission bid, unless our failure to do so is unreasonable. Where two or more Commission bids at the same level are recorded, we have the right to prefer the first bid made (where this can be reasonably ascertained).

3.4 The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. The Auctioneer shall retain discretion on the running of the auction and retains the right not to accept a bid and to prefer a bid over any other bids received at the same time. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

3.5 Bidders will be deemed to act as Principals, even if the Bidder is acting as an agent for a third party.

3.6 We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

3.7 We may refuse to accept any bid if it is reasonable for us to do so.

3.8 Bidding increments will be at our sole discretion (but will be in line with standard auction practice).

3.9 If you participate in the auction using the services of an Independent Bidding Platform, other than Sworders Live, you will incur an additional fee or additional commission payable to that platform. We will collect this fee as part of the Total Amount Due if you are successful in your bid.

4. The purchase Price As the Buyer, you will pay:

a. the Hammer Price;

b. a Premium of 25% plus VAT of the Hammer Price or 18% plus VAT for our Fine Wine and Spirits Auction;

c. any artist’s resale right royalty payable on the sale of a Lot; and d. any Independent Bidding Platform fee payable on a Lot; and e. any VAT due.

5. Value Added TAX (VAT)

5.1 As the Buyer, you shall be liable for the payment of any VAT applicable on the Hammer Price, Premium and Shipping Costs (if applicable) due for a Lot, at the appropriate rate prevailing by law at the date of the auction. Please see the symbols used in the auction catalogue for that Lot and the ‘Information for Buyers’ in our auction catalogue for further information. Please see 5.6 for the conditions to be fulfilled before the VAT charged on the Hammer Price may be cancelled or refunded upon exporting from the UK

5.2 Lots affixed with (†): VAT on the Hammer Price and Buyer’s Premium is imposed on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the UK and is not operating under a Margin Scheme.

5.3 Lots affixed with (‡): A reduced rate of Import VAT on the Hammer Price of 5% is payable. This indicates that a Lot has been imported from outside the UK.

5.4 Lots affixed with [Ω]: Standard rate of 20% of Import VAT on the Hammer Price and premium is payable. This applies to items that have been imported from outside the UK and do not fall within the reduced rate category.

5.5 Lots affixed with [Ω] or ‡ when these lots are released to buyers in the UK, the buyer will become the importer and must pay Sworders the import VAT at the rates noted above on the hammer price. The buyer should also note that the appropriate rate will be that in force on the date of our release and not that in force at the date of auction or payment.

5.6 Export from the UK: For lots offered under the VAT Margin Scheme and lots with [Ω] or ‡ symbols attached; you may be eligible to have a VAT refund in certain circumstances if the lot is exported. Should you show us proof of export within three months of collection a VAT refund may be arranged. No VAT amounts will be refunded where the total refund is under £75. Bank/transfer charges relating to any refund will be borne by the buyer and will not be reimbursed. Please note that all customs formalities of the destination country are the responsibility of the buyer.

6. Buyer Warranties

6.1 You warrant, and where you are acting on behalf of someone else, you will procure that your Principal warrants, that:

6.1.1 the funds to be used for the purchase of the lot(s) are not connected with, nor derived from, any criminal activity, including

without limitation tax evasion, money laundering or terrorist financing;

6.1.2 neither you, or an agent acting for you, nor your Principal, are to the best of your knowledge either under investigation, nor have you been charged with or convicted of without limitation tax evasion, money laundering, terrorist financing or other criminal activities; and

6.1.3 neither you, nor any agent acting for you, nor your Principal, are subject to restrictive measure or owned, partly owned or controlled by person(s) subject to such restrictive measures.

6.4 Where you are bidding on behalf of another person and you are an Art Market Participant, you warrant that:

(i) you have conducted appropriate customer due diligence on the ultimate Buyer of the goods, in accordance with all applicable Money Laundering Legislation (ii) upon request, you will provide us, or any independent third party auditor (employed at our cost), with any identification and any other relevant documents you have obtained for customer due diligence purposes on the ultimate buyer of the goods (iii) you consent to us relying on this due diligence; and (iv) you will retain for a period of not less than five years the documentation evidencing the due diligence

6.5 Where you are acting on behalf of another person and you are not an Art Market Participant, you warrant that you will provide accurate and complete information about your Principal to us.

7. The contract between you and the Seller

7.1 The contract for the purchase of the Lot between you and the Seller will be formed when the Auctioneer records the winning bidder in the sale book accepting the highest bid for the Lot at auction, unless due diligence information required by us under the Money Laundering Regulations in accordance with our internal procedure remains outstanding, in which case the contract will be formed when that information is accepted by us as complete.

7.2 You may directly enforce any terms in the Terms of Consignment against a Seller to the extent that you suffer damages and/or loss as a result of the Seller’s breach of the Terms of Consignment.

7.3 If you breach these Terms of Sale, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may at our discretion provide the Seller with information or assistance in relation to that claim.

7.4 We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot).

7.5 In addition to any other rights we may have to cancel a contract for sale under these Terms of Sale, we may delay completion of a sale, delay the release of a lot or cancel the sale of a lot in the event:

7.5.1 you are in breach of your warranties in clause 6;

7.5.2 we have not completed our enquiries pursuant to the Money Laundering Legislation to our satisfaction;

7.5.3 we have reason to believe that the transaction might be unlawful for any reason or that the sale might put us under a civil or criminal liability.

8. Payment

8.1 Immediately following your successful bid on a Lot you will:

8.1.1 give to us, if not already provided to our satisfaction, proof of identity in a form acceptable to us (and any other information that we require in order to comply with our anti-money laundering obligations); and

8.1.2 pay to us the total amount due in any way that we agree to accept payment.

8.1.3 pay in full the Shipping Costs prior to the Goods being shipped, should you agree to Sworders shipping agent delivering the Goods.

8.2 If you owe us any money, we may use any payment made by you to repay these debts.

9. Title and collection of purchases

9.1 You are bound by the contract for the purchase of a lot at the recording of the winning bid in the auctioneers sale log, however, the transaction is not complete, and ownership will not pass to you and you and may not claim or collect a Lot until:

9.1.1you have paid us the total amount due, including any additional charges, in cleared funds; and

9.1.2 you have provided us with the information, and we have completed our enquiries, in relation to our responsibilities under Money Laundering Legislation, as set out in clause 8.1

9.2 You will (at your own expense) collect any Lots that you have purchased and paid for not later than 5pm on the Friday following the auction, or such later date as is specified in the printed catalogue, on our Website or agreed with us subsequently.

9.3 If you agree to using our delivery service, only when the full Shipping Costs have been paid will the Goods be dispatched. We reserve the right that some Lots will not be suitable for an automated shipping estimate and will require bespoke quotes from the shipping agent.

9.4 If you do not collect the Lot within the time period under Clause 9.2, you will be responsible for removal and storage charges in relation to that Lot – see clause 9.5 -9.7 below.

9.5 Furniture and large items sold in our Fine Interiors, Design or Specialist Single Owner Sale Auctions, and small items if they form part of the same invoice, will be removed from the premises after 4pm seven working days following the sale, by Abels Moving Services Ltd, for storage at their Potters Bar depot and subject to collection, storage and administration costs, the cost of which you will be liable for. See clause 10 for Costs relating to Collection and Storage Services

9.6 Items will be stored by Abels Moving Services Ltd free of charge for seven days from the date of collection. Storage charges will commence thereafter. All costs associated with collection and storage in these cases are payable directly to Abels Moving Services Ltd and must be paid prior to collection of the lot – see clause 10 on Costs Relating to Collection and Storage Services.

9.7 All lots must be collected by prior appointment at:

Abels Moving Services Ltd, The Heights, East, Cranborne Road, Potters Bar, EN6 3JN.

020 4259 4315

collectionsPB@abels.co.uk

Collections Monday – Friday 08:30-16:30 only.

9.8 Risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot, or it is collected by Abels Moving Services Ltd.

9.9 If you do not collect the Lot that you have paid for within thirty days after the auction, we may sell the Lot. We will pay the Proceeds of any such sale to you but will deduct any storage charges or other sums that have been incurred in the storage and sale of the Lot. We reserve the right to charge you a selling Commission at our standard rates on any such resale of the Lot.

10. Costs Relating to Collection and Storage services

10.1 These fees relate to the collection and storage of your purchases by Abels Moving Services Ltd. and are payable directly to them.

10.2 Collection from Sworders £25 per collection of 1-5 items and £50 per collection of 6-10 items listed on an invoice (plus VAT).

10.3 Free storage for one week thereafter, then:

10.3.1 £4.00 (plus VAT) per lot, per day*

*Additional charges apply for items exceeding 8 x 8ft

*A levied liability charge (LLC) of £0.08 per £1,000 value of goods is payable

*Admin fees will be payable on collection of goods from Abels Moving Services Ltd.

*All charges are subject to VAT and 6.27% insurance on total charges.

11. Remedies for non-payment or failure to collect purchases

11.1 Please do not bid on a Lot if you do not intend to buy it. If your bid is successful, these Terms of Sale will apply to you. This means that you will have to carry out your obligations set out in these Terms of Sale. If you do not comply with these Terms of Sale, we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures:

11.1.1 take action against you for damages for breach of contract; 11.1.2 reverse the sale of the Lot to you and/or any other Lots sold by us to you;

11.1.3 resell the Lot by auction or private treaty (in which case you will have to pay any difference between the Price you should have paid for the Lot, and the Price we sell it for as well as the charges outlined in Clause 9.7). Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller;

11.1.4 remove, store and insure the Lot at your expense;

11.1.5 if you do not pay us within five business days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the total amount due;

11.1.6 keep that Lot, or any other Lot sold to you, until you pay the total amount due, including Shipping and Storage Costs where applicable;

11.1.7 reject or ignore bids from you or your agent at future auctions or impose conditions before we accept bids from you; and/or

11.1.8 if we sell any Lots for you, use the money made on these Lots to repay any amount you owe us.

11.2 We will act reasonably when exercising our rights under Clause 11.1. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms of Sale.

12. Health and safety

Although we take reasonable precautions regarding health and safety, you are on our premises at your own risk. Please note the lay-out of the premises and security arrangements. Neither we nor our employees or agents are responsible for the safety of you or your property when you visit our premises, unless you suffer any injury to your person or damage to your property as a result of our employees’ or our agents’ negligence.

13. Sellers warranties

13.1 The Seller warrants to us and to you that:

13.1.1 the Seller is the true owner of the Lot for sale or is authorised by the true owner to offer and sell the Lot at auction;

13.1.2 the Seller is able to transfer good and marketable title of the Lot to you free from any third party rights or claims; and

13.1.3 as far as the Seller is aware, the main characteristics of the Lot set out in the auction catalogue (as amended by any notice displayed in the saleroom or announced by the Auctioneer at the auction), and any documentation provided to you by the seller in relation to the Lot, are correct.

13.2 If, after you have placed a successful bid and paid for a Lot, any of the warranties above are found not to be true, please notify us in writing. Neither we nor the Seller will be liable to pay you any sums over and above the total amount due and we will not be responsible for any inaccuracies in the information provided by the Seller except as set out below.

13.3 Please note that many of the Lots that you may bid on at our auction are second-hand.

13.4 If a Lot is not second-hand and you purchase the Lot as a Consumer from a Seller that is a Trader, a number of additional terms may be implied by law in addition to the Seller’s warranties set out at Clause 13.1 (in particular under the Consumer Rights Act 2015). These Terms of Sale do not seek to exclude your rights under law as they relate to the sale of these Lots.

13.5 Save as expressly set out above, all other warranties, conditions or other terms which might have effect between the Seller and you, or us and you, or be implied or incorporated by statue, common law or otherwise are excluded.

14. Descriptions and condition

14.1 Our descriptions of the Lot will be based on:

(a) information provided to us by the Seller of the Lot (for which we are not liable); and

(b) our opinion (although it is likely that we will not be able to carry out a detailed inspection of each Lot).

To Note: The actual colour of a Lot may vary from images in the auction catalogue or online listing.

14.2 We will give you a number of opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot in advance of the auction.

14.3 Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling Price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently, but not otherwise.

14.4 Please note that Lots (in particular second-hand Lots) are unlikely to be in perfect condition. Lots are sold ‘as is’ (i.e. as you see them at the time of the auction). Neither we nor the Seller accept any liability for the condition of second-hand Lots, for their fitness or purpose, or for any condition issues affecting a Lot if such issues are included in the description of a Lot in the auction catalogue, online listing, the condition report for a lot (or in any saleroom notice) and/ or which the inspection of a Lot by the Buyer ought to have revealed.

14.5 Restricted Items containing Ivory

14.5.1 The sale of lots containing ivory from Elephants, hippopotamus, narwhal, killer whale, and sperm whale are banned, subject to some exemptions. In these cases, where these items are offered for sale, we rely on information provided to us by the Seller confirming that the item satisfies the relevant legal exemptions. We will display the Ivory Declaration Submission Reference relating to the application for exemption in the Lot description. Lots marked  contain ivory material.

14.6 Post 1950 Upholstered Furniture

14.6.1 All items of furniture included in a sale are offered for sale as works of art and may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988; for this reason, they should not be used in a private dwelling.

14.7 Furniture made of Brazilian Rosewood (Dalbergia Nigra)

14.7.1 To comply with CITES Regulations on Post-1947 furniture made of Brazilian Rosewood, all post-war rosewood furniture will have an Article 10 certificate in place, prior to being offered for sale and we will display the Certificate Number in the information for each lot. These items are marked with this sign §.

14.7.2 If you are purchasing rosewood furniture for commercial purposes and not solely for your own use, CITES regulations require you to obtain your own certificate. You would need to contact the Animal and Plant Health Agency (APHA) and, as part of the process of obtaining your document, it is a requirement that you have seen sight of the Sworders’ certificate or are aware of its reference number.

14.8 Electrical items

14.8 Lots with electrical components are sold as ‘antiques’ only for their historical or decorative attributes and for display purposes only. If you buy electrical Goods for use, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.

14.9 Fire Safety

14.9 All items of furniture are sold as a Collector’s item, for display purposes and are not supplied for use. Such lots may not comply with the Furniture and Furnishings (Fire) Safety Regulations 1988 and for this reason, you must first ensure that they are refurbished and rendered compliant with any applicable furniture and safety regulations.

15. Deliberate Forgeries

15.1 You may return any Lot which is found to be a Deliberate Forgery to us within twelve months of the auction provided that you return the Lot to us in the same condition as when it was released to you, accompanied by a written statement identifying the Lot from the relevant catalogue description and a written statement of defects.

15.2 If we are reasonably satisfied that the Lot is a Deliberate Forgery, and it has been returned to us within the specified time, in the condition in which it was released to you, we will refund the money paid by you for the Lot (including any Premium and applicable VAT), You will have no right to a refund under this clause if:

15.2.1 the catalogue description reflected the accepted view of experts as at the date of the auction; or

15.2.2 you personally are not able to transfer good and marketable title in the Lot to us

15.3 If you have sold the Lot to another person, we will only be liable to refund the Price that you paid for the Lot. We will not be responsible for repaying any additional money you may have made from selling the Lot. Your rights under this clause are given to you as a Buyer in our auction; they are not given to, and may not be transferred or assigned to, any third party.

15.4 Your right to return a Lot that is a Deliberate Forgery does not affect your legal rights and is in addition to any other right or remedy provided by law or by these Terms of Sale.

16. Our liability to you

16.1 We will not be liable for any loss of opportunity or disappointment suffered as a result of participating in our auction.

16.2 In addition to the above, neither we nor the Seller shall be responsible to you and you shall not be responsible to the Seller or us for any other loss or damage that any of us suffer that is not a foreseeable result of any of us not complying with the Terms and Conditions. Loss or damage is foreseeable if it is obvious that it will happen or if at the time of the sale of the Lot, we, you and the Seller knew it might happen.

16.3 Lots are sold as antiques for their decorative attributes rather than for use, and are often of considerable age and uncertain manufacture; neither we, nor the seller, accepts liability for loss or damage to Lots, or any other loss or damage that is caused by, or results from, any inherent vice or defect affecting the Lots

16.4 Subject to Clause 15.4, if we are found to be liable to you for any reason (including, amongst others, if we are found to be negligent, in breach of contract or to have made a misrepresentation), our liability will be limited to the total purchase Price paid by you to us for any Lot.

16.5 Notwithstanding the above, nothing in these Terms of Sale shall limit our liability (or that of our employees or agents) for:

16.5.1 death or personal injury resulting from negligence (as defined in the Unfair Contract Terms Act 1977);

16.5.2 fraudulent misrepresentation; or

16.5.3 any liability which cannot be excluded by law.

17. Notices

17.1 All notices between you and us regarding these Terms of Sale must be in writing and either from your registered email address, our email address, or if in hard copy letter, signed by or on behalf of the party sending it.

17.2 Any notice referred in Clause 17.1 may be given:

17.2.1 by delivering it by hand;

17.2.2 by first class pre-paid post or recorded delivery; or

17.2.3 by email

17.3 Notices must be sent:

17.3.1 by hand or registered post;

a. to us, at our address set out in these Terms of Sale or at our registered office address appearing on our Website; and b. to you, at the last postal address that you have given to us as your contact address in writing; or

17.3.2 by email:

a. to us, by sending the notice to the following email address: auctions@sworder.co.uk

b. to you, by sending the notice to any email address that you have given to us as your contact email address in writing.

17.4 Notices will be deemed to have been received:

17.4.1 if delivered by hand, on the day of delivery;

17.4.2 if sent by first class pre-paid post or recorded delivery, two business days after posting, exclusive of the day of posting; or 17.4.3 if sent by email, at the time of transmission unless sent after 17.00 in the place of receipt in which case they will be deemed to have been received on the next business day in the place of receipt.

17.5 Any notice or communication given under these Terms of Sale will not be validly given if sent by fax, any form of messaging via social media or text message (including WhatsApp).

18. Data Protection

18.1 We respect your privacy and are committed to protecting your personal data. We do not share your data unless there is a business, or legal reason for us to do so. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our Website at www.sworder.co.uk.

18.2 We reserve the right, where we deem we are required for regulatory purposes, to reveal your identity and contact details (and

OFFICES AND CONTACTS

Stansted Mountfitchet Auction Rooms

Cambridge Road | Stansted Mountfitchet | Essex | CM24 8GE

Hertford

42 St Andrew Street | Hertford | SG14 1JA hertford@sworder.co.uk | 01992 583508

London

15 Cecil Court | London | WC2N 4EZ london@sworder.co.uk | 0203 971 2500

@swordersfineinteriors

those of your Principal) to the Seller).

18.3 In agreeing to these terms of sale, you agree that:

• should you decide to use Sworders delivery service, we may share relevant personal data that we hold with the shipping agent to allow effective communication between the shipping agent and you, and to enable delivery

• should you fail to collect your items within seven working days of the date of the auction, we may share your details with the shipping agent to allow effective communication between them and you, to arrange for the payment of storage and collection of your items from their store.

19. General

19.1 We may, acting reasonably, refuse admission to our premises or attendance at our auctions by any person.

19.2 We act as an agent for our Sellers. The rights we have to claim against you for breach of these Terms of Sale may be used by either us, our employees or agents, or the Seller, its employees or agents, as appropriate. Other than as set out in this Clause, these Terms of Sale are between you and us and no other person will have any rights to enforce any of these Terms of Sale.

19.3 We may use special terms in the catalogue descriptions of particular Lots. You must read these terms carefully along with any glossary provided in our auction catalogues or online listing.

19.4 Each of the clauses of these Terms of Sale operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining clauses will remain in full force and effect.

19.5 We may change these Terms of Sale from time to time, without notice to you. Please read these Terms of Sale carefully, as they may be different from the last time you read them.

19.6 Except as otherwise stated in these Terms of Sale, each of our rights and remedies: (a) are in addition to and not exclusive of any other rights or remedies under these Terms of Sale or general law; and (b) may be waived only in writing and specifically. Delay in exercising or non-exercise of any right under these Terms of Sale is not a waiver of that or any other right. Partial exercise of any right under these Terms of Sale will not preclude any further or other exercise of that right or any other right under these Terms of Sale. Waiver of a breach of any term of these Terms of Sale will not operate as a waiver of breach of any other term or any subsequent breach of that term.

19.7 These Terms of Sale and any dispute or claim arising out of or in connection with them (including any non-contractual claims or disputes) shall be governed by and construed in accordance with the laws of England and the parties irrevocably submit to the exclusive jurisdiction of the English courts.

These terms are based upon the recommended terms of sale by the Society of Fine Art Auctioneers and Valuers.

Updated July 2025

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