Christies 1

LONDON

22 JANUARY 2014

22 January 2014 AUCTION

Wednesday 22 January 2014 at 10.30 am 8 King Street, St. James’s London SW1Y 6QT VIEWING

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AUCTIONEERS

Hugh Edmeades, Gemma Sudlow AUCTION CODE AND NUMBER

CONDITIONS OF SALE

In sending absentee bids or making enquiries, this sale should be referred to as O B E L I S K - 6 4 5 4

This auction is subject to Important Notices, Conditions of Sale and to reserves. [25]

AUCTION RESULTS

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Private ColleCtions and Country House sales

Orlando Rock Executive Director, International Head of Decorative Arts

Andrew Waters Director & Head of Department

Amjad Rauf Director of European Collections

Gemma Sudlow Associate Director, Specialist

Amelia Walker Associate Director, Specialist

Adrian Hume-Sayer Associate Director, Specialist

Robert Jenrick International Business Director, Decorative Arts

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SERVICES

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CONSULTANT Fernando Moreira International Expert Advisor in 17th, 18th and 19th Century Gilt-Bronze 78 quai de l’Hôtel de Ville 75004 Paris

CONDITIONS OF SALE This auction is subject to Important Notices, Conditions of Sale and to Reserves BUYING AT CHRISTIE’S For an overview of the process, see the Buying at Christie’s section. christies.com

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Stanley House: the Residence of Michael Inchbald At the western end of Knightsbridge, where the tall, gloomy ‘Pont Street Dutch’ houses give way to a little stuccoed Chelsea quartier with some pretensions to urban planning, stands Stanley House, a surprisingly large and grand doublefronted house in the Italianate taste, built in 1855 by the Chelsea speculator John Todd for his own occupation. The tiers of creamy-white columns, pilasters, friezes and runs of balustrading, offset against a ground of apricot-coloured stucco, give it the proprietorial air of a little palazzo. But its relatively conventional exterior belies an extraordinary interior, only hinted at by the enormous pair of plate-glass doors that shelter beneath its columned portico, each one garnished with a snarling lion mask in patinated bronze. Inside, in the little mirrored vestibule, the funereal obelisks fanking the front door are endlessly refected, providing a spectacular prelude to the home of Michael Inchbald, whose death in February 2013 robbed architectural and interior design of one of its most daring and stylish exponents. Michael Inchbald was born in 1920, the eldest son of Geoffrey Inchbald, a City solicitor, and his wife Rosemary. His mother’s brother, Courtenay Ilbert, formed the great horological collection – said to be the fnest ever formed – that is now in the British Museum. The family home was a large house – Halebourne in Chobham, Surrey, and Michael Inchbald showed a precocious interest in architecture and interior design. He won a Daily Telegraph drawing competition for teenagers when he was nine, and was later forbidden to win the school art prize on the grounds that it was ‘unfair’ to the other boys. At home, Michael would drastically remodel entire rooms and then wait and see if his father noticed when he got back from work. Michael Inchbald went to Sherborne School and then studied architecture at the Architectural Association, lodging from 1945 with his uncle Courtenay in the capacious, clockflled house in Milner Street. The young Inchbald was initially allocated a single bedsit room, but he soon asked his uncle for another – pointing out that a gentleman had to have one room to live in, and another in which to work. He got his way, and both were soon stylishly tricked up with things he had spotted in antique shops and salerooms – eighteenth-century French

and English furniture and a painting by Horace Vernet in the sitting room, while a Panini kept company with Empire pieces in the ‘Vogue Regency’ bedroom-cum-study. The fat was featured in Ideal Home in 1947, and later in House and Garden. He was also making his mark in contemporary design – he won prizes for the design of oil heaters and a safety ashtray in the 1946 The Shape of Things to Come exhibition, and was involved in the Britain Can Make It exhibition of the same year. In 1955 his stylish wicker ‘Mambo’ chair won the National Design Prize and was later exhibited in the 1957 Milan Triennale. After leaving the AA early, he contemplated emigrating to America, but his marriage in 1955 and the death of his uncle Courtenay the following year opened up other opportunities – not least the refurbishment of the large house in Milner Street which he took on. The lower foors were converted as an offce for his fedgling interior design business, while the rooms upstairs were stylishly adapted as living quarters which combined his interest in contemporary design and new materials, with a fearless sense of colour and a taste for theatrical display. Here he arranged his antique furniture, pictures and sculpture, as well as some of his uncle’s fnest clocks. Executed between 1957 and 1959, and published in House and Garden magazine in 1960, the interiors of Stanley House confrmed Michael Inchbald’s reputation as an up and coming young interior designer – equally confdent and assured in a modern or traditional idiom. In its frst incarnation, Stanley House gives a good idea of his evolving style and ingenuity – from the Entrance Hall with its metallic wallpaper and tented doorcases, to the chintz-hung Ante Room upstairs, which doubled as an impromptu Dining Room, which had been conjured up from uncle Courtenay’s dated bathroom. Off this lay the two main living rooms, a clear blue-painted Bedroom to the left, which converted into a comfortable Drawing Room during the day – the bed dividing in two and rolling back to form two matching sofas, while the pedimented bookcasebedhead became an overmantel with shelves of books and carefully-chosen, colour-coordinated ornaments. It must have been an extraordinary nightly transformation, although no-one quite knows what happened to the large polar bear skin that

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Stanley House, before renovation circa 1957.

Stanley House, with its new apricot façade. 8

lay on the foor between the opposing sofas. Across the Ante Room lay another, much larger, Drawing Room. When the two pairs of double doors were fung apart, the view from the Inchbald bed was a palatial three-room enflade, terminating in a great mirror. Everything was arranged in grand vistas - as if awaiting the photographer. The large Drawing Room, which extends the full depth of the house, was where the fnest pieces of furniture and works of art were displayed, shown off against soft coral-red walls. The key pieces were French – the great greenish-grey marble Rococo chimneypiece surmounted by a portrait of the duc de Penthièvre, a grand ormolu-mounted bureau plat, a series of imposing commodes, and a pair of Neo-Egyptian bronze and ormolu candelabra. But there was also an Adam-style giltwood mirror with a cresting of hippocamps, a pair of Japanese bronze deer, and a Renaissance damascened helm. Six of Uncle Courtenay’s best clocks were accorded pride of place, notably a disarmingly modern-looking Breguet skeleton clock which stood on the chimneypiece, which bore the cypher of Napoleon I, picked out in diamonds. Another horological wonder was a curious Augsburg timepiece in the form of a lion, which has moving eyes and roars on the hour, and there was a crucifx clock surmounted by a pelican, which told the hours with its beak. Many of the smaller, precious, objects were confned to gilt-framed back-lit wall cupboards, but every surface was littered with carefully arranged ‘tablescapes’ contrived of bronzes, precious boxes and neatly graduated piles of art books. But this wasn’t a conventional ancien règime interior – the handsome geometric foor is made from hard-wearing, 5th grade linoleum, carefully cut and laid to Mr Inchbald’s design (and, he claimed, the frst use of lino in a nonfunctional setting) . At the far end of the room was a modern Solarium, said to be a frst in any London house, which Inchbald designed and cantilevered out over the garden. The rusticated fanking walls of the light-flled space – executed in bleached natural cork – open to reveal a desk, storage, and an ingenious mechanical draughting board. Much of the drama of the room was enhanced by its carefully planned lighting. A pair of bronze tripod tables with illuminated opal glass tops act as uplighters, while Mr Inchbald would ruthlessly cut away the sides of expensive tôleware lampshades and drill holes in antique tables to direct and disguise illumination, or lose electrical fex. But other lighting solutions were surprisingly makeshift - dangling lightbulbs were taped behind sculptures, so as to light them dramatically from behind, and a discreet spotlight stuck in the anus of one of the Japanese bronze deer directs its gentle beam onto a superb Vulliamy regulator clock. When asked by the Daily Mail; ‘doesn’t a room like this interfere with your work when you’re designing something like the QE2?’, he retorted, ‘But I believe the more you design for the future, the more you should know about the past. You’ve got to have a

feeling for the great heritage of civilisation. Surrounding yourself with beautiful things gives you a standard’. Amazingly, Michael Inchbald’s great frst foor Drawing Room survived into the second decade of the twenty-frst century, much as he frst arranged it in 1959. It is true there had been some changes; the fame-coloured walls changed to a rich yellowish ochre, and there was the inevitable ebb and fow of furniture and objets d’art. Next door, the cunningly disguised matrimonial bedroom was superseded by a little royal blue painted cabinet, hung with Old Master drawings and a Tudor portrait of an ancestor – but still housing a discreet bed. More changes were wrought downstairs, past the Egyptian anthropoid coffn mask on the landing, where Mr Inchbald created a stylish Dining Room in about 1967, with acid-drop coloured foral wall coverings and a glass and perspex oval table. Across the Hall with its silvered wallpaper was Mr Inchbald’s Study, like some interior in a Roman palace, dominated by a pair of massive seventeenth-century presses, with Italian throne chairs, Roman busts and, behind an antique screen, a door to a secret fat – as remote from Knightsbridge as one could imagine. Michael Inchbald confessed that the carefully orchestrated theatre of Stanley House sometimes intimidated his clients. One can see why, although they included the Duke of St Albans, duchesse Sonia de Liancourt and the Earls of Perth, Dartmouth and St Aldwyn, as well as contemporary celebrities – the flm director, John Schlesinger, the author, Alistair Horne, and the banker, Henry Tiarks. But if Inchbald’s cool blend of neoclassical and modern never approached the popularity of John Fowler in his domestic work, his success in the commercial sector – as the interior designer for several American banks, the headquarters of Plessey, and a series of remarkable interiors in luxury hotels – certainly approached that of his chief rival, David Hicks. Among the most celebrated of these was the Ballroom of the Berkeley Hotel, Knightsbridge, lined with crystal white marble with silvered joints, and whose twenty icicle chandeliers were refected in its mirrored ceiling. He also caused a sensation with the River Room at the Savoy, with its seasonally interchangeable colours schemes – ice blue for the summer, a cosy red velvet for winter. Further commissions followed, although his Arabian Nights themed Forty Thieves Restaurant in the Post House Hotel near Heathrow had to be hastily rechristened when Trust House Forte took it over prior to completion! Nor were Inchbald’s talents confned to dry land – he worked on state rooms for the liners Carpathia, Franconia, and the Windsor Castle, and designed the frst-class saloon aboard the QE2, where he compensated for the low ceiling height and vast expanse of foor, with a latticed ceiling and upswept, trumpet-shaped columns. Inchbald-designed down to its safety ash-trays, the Queen’s Room was acclaimed as ‘the most successful marine interior ever conceived’.

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radiators were cunningly disguised as Regency dwarf bookcases, while a bevy of plaster vestal virgins were dragooned into lighting the main corridor. The Sunday Telegraph pronounced it ‘more sumptuous than any other government offces’, while Terence Musgrave, Curator of the Royal Pavilion, Brighton, thought it had ‘an atmosphere of handsome, masculine dignity that evokes the years when this Imperial offce of the Crown was engaged in planning some of the grandest events of its long history’.

The First Class Saloon or Queen’s Lounge on the QE2.

Inchbald’s sleight of hand combining old and new is evident in his work for Dunhill in Duke Street, St James’s, where a dingy showroom with an irregular foor plan and fve different ceiling levels, was transformed by mirrored vitrines and dark woodwork, evoking a great Baroque library. Another opportunity came in 1972, with a commission to refurbish the headquarters of the Crown Estate Commissioners at 13-15 Carlton House Terrace. With great resourcefulness, Inchbald rifed the storerooms of Windsor Castle for surplus furnishings,

So many of Michael Inchbald’s interiors have been swept away, it is ironic that his name is now best known from the eponymous Inchbald School of Design, which his wife Jacqueline set up in 1960, to teach design and art history. Established in a single basement room in Stanley House, it was the frst interior design school in Europe. After their marriage was dissolved in 1964, the School was continued by Mrs Inchbald – and is still going strong today – although Mr Inchbald always felt rather equivocal about the success of the School that bore his name! But Michael Inchbald’s real legacy are the interiors he created at Stanley House. As Stephen Calloway elegantly put it in an article in Harpers and Queen in 1988: ‘Michael Inchbald is a rare character. Among vociferous and self-opinionated designers he is diffdent, among interior decorators he is a true connoisseur of beautiful things; a man of taste, not of fashion’. Tim Knox Director of the Fitzwilliam Museum, Cambridge

Note about Literature: Michael Inchbald’s interiors at Stanley House have appeared in international magazines and books several times since their formation in the late 1950s, and as such almost every item in this collection has been published at least once; the list of publications includes but is not limited to: Stephen Calloway, ‘Vistas Welcome’, Harpers and Queen, 1988. Guy Oliver, ‘The House of Inchbald’, Country Life, 10 April 2003, pp. 92-7. James Stourton, Great Houses of London, London, 2012, pp. 280-5. Peter York, The World of Interiors, January 2014, p. 94-103. Michael Inchbald at his desk concealed behind the rusticated cork wall.

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“He was one of the few people working at the time who understood that making the shell of a room right was as important as the content.”

David Mlinaric

“The wonderful semester that I spent at the Inchbald School of Design transformed my life and my understanding of Interior Design and confrmed my passion for my chosen career! Mr Inchbald was a visionary designer with remarkable taste and an unerring eye for detail, a fair for creating dramatic and extraordinary interiors. He was the best possible role model, who shared his vast erudition and knowledge with great enthusiasm and generosity of spirit. He enhanced my life, his teaching and dedication inspired me and has enabled me to become the interior designer that I wished to be. I am privileged that he was my mentor!”

Soledad Suarez de Lezo

“Attending Inchbald School of Design changed the course of my life. It is a channel for the talent to surface. Having the chance of meeting Michael Inchbald in his house and visiting his rich collection under his guidance was a great infuence.”

Zeynep Fadillioglu

“Having attended the Inchbald School of Design in the late 70’s, it was inevitable that as students of this iconic school, we were aware and in awe of his innovative work. I had the pleasure to visit his house and was instantly struck by his innate sense of proportion and ability to mix styles to create an eclectic yet harmonious space. His quote, to frst get the “bones” of a house correct, has always remained with me as sound advice.”

Lady Henrietta Spencer-Churchill

“Michael Inchbald had it all going on in the sixties! An innovator with the unerring eye and taste for antiques which he progressively juxtaposed with modern bold colour and the ‘new wave’ fashion for synthetic materials. This wonderful mélange of classical and modern taste, with a dash of theatricality and a great understanding of scale, hugely infuenced me and was further instilled when I later became chief designer for the equally legendary David Hicks (a peer of Michael Inchbald). As a young student at the Inchbald School of Design, I was deeply impressed by Stanley House, the family house in Chelsea, which announced its presence rather graphically amidst its discreet neighbours.”

Stephen Ryan

“Michael Inchbald’s legacy is that he taught eager students like me that beautiful objects, regardless of when or where they were made, could be mixed together to great effect. This was truly innovative in the late 1960s, and the fact that we today think nothing of such combinations is a tribute to his genius. His own palatial house in Milner Street was a testament to his design philosophy, with a glass front door (another inventive Inchbald device) giving way to a richness of objects and textures that continued to develop, and continued to inspire.”

Christophe Gollut

1 AN ENGLISH GOLD-PAINTED CAST-IRON LION’S MASK MOUNT EARLY 20TH CENTURY

14Ω in. (37 cm.) high; 14º in. (36 cm.) wide £800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: By repute, these masks were made for the Great Exhibition in 1921. Purchased by Michael Inchbald in the early 1960s with two others, which were installed on the glass doors at the entrance to Stanley House.

2 A PAIR OF WILLIAM IV BRASS OIL LAMPS CIRCA 1830-40

Each with glass storm shade, later ftted for electricity 16Ω in. (42 cm.) high £2,000-3,000

(2)

$3,300-4,900 €2,500-3,600

3 AN ITALIAN GILTWOOD OVERDOOR CARVING LATE 18TH/EARLY 19TH CENTURY

Carved with a pair of mermaids holding berried laurel swags hung from a squared urn carved with anthemion and laurel, on a palmette-carved plinth, re-gilt 21Ω in. (55 cm.) high; 53 in. (135 cm.) wide, approx. £1,000-2,000

$1,700-3,300 €1,300-2,400

PROVENANCE: Purchased by Michael Inchbald from Fleuront, 26 February 1957.

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A PAIR OF OVAL CARVED MARBLE PORTRAIT PROFILE RELIEFS OF THE EMPERORS TITUS AND GALBA

TWO OVAL CARVED MARBLE PORTRAIT RELIEFS OF ROMAN EMPERORS

ITALIAN, PROBABLY 18TH CENTURY

Each in a moulded rouge marble frame; one inscribed ‘TITVS’ the other ‘GALBA’ in black marble inlay 19æ in. (50 cm.) high, overall (2)

Each depicted facing to sinister with a laurel wreath in their hair; relief illustrated on the left probably depicting Galba; each mounted on a later marble ground and in a giltwood frame 15 in. (38 cm.) high; 19 in. (48.5 cm.) high overall (2)

£10,000-15,000

£5,000-8,000

PROVENANCE: Purchased from Jeremy Ltd, King’s Road, London.

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$17,000-25,000 €13,000-18,000

ITALIAN, PROBABLY LATE 17TH CENTURY

PROVENANCE: Purchased from Roger Muirhead, London.

$8,200-13,000 €6,100-9,700

6 A CARVED OVAL MARBLE PORTRAIT RELIEF OF VESPASIAN ITALIAN, 16TH CENTURY

In a moulded giltwood frame 22Ω in. (57 cm.) high; 28Ω in. (72.5 cm.) high overall £15,000-25,000

$25,000-41,000 €19,000-30,000

PROVENANCE: Purchased by Michael Inchbald from Shield and Allen, King’s Road, London, 21 August 1973, £95.

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A GEORGE IV PATINATED BRONZE AND ORMOLU HANGING COLZA OIL LAMP

A PAIR OF ENGLISH BLACKED IRON AND BRASS ADJUSTABLE X-FRAME MUSIC STOOLS

FIRST HALF 19TH CENTURY

BY C.H. HARE, EARLY 20TH CENTURY

The shaped dish with berried acanthus fnial, Bacchus mask to each end and hawk within a laurel wreath to each side, surmounted by a faming urn fnial, later ftted for electricity 13Ω in. (34 cm.) wide, approx.

Each black leather seat with gilt Greek key border, cast to the frames ‘C.H. HARE & SON PATENT APPD FOR NO. 18969’ 23º in. (59 cm.) high (adjustable); 19 in. (48 cm.) wide; 13 in. (33 cm.) deep

£1,200-1,800

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$2,000-2,900 €1,500-2,200

A DIRECTOIRE BRASS-MOUNTED MAHOGANY CONSOLE DESSERTE CIRCA 1795, IN THE MANNER OF CLAUDE CHAPUIS

The rectangular mottled green marble top above a panelled frieze with a long drawer, on futed baluster supports joined by an undertier, and toupie feet with a blue-bordered label inscribed 124 35Ω in. (90 cm.) high; 45 in. (114 cm.) wide; 16æ in. (42.5 cm.) deep £2,500-4,000

$4,100-6,600 €3,100-4,800

PROVENANCE: Purchased by Michael Inchbald from a dealer at the Chelsea Antiques Fair, circa 1957.

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£1,200-1,800

(2)

$2,000-2,900 €1,500-2,200

10 A REPOUSSE COPPER ELECTROTYPE PORTRAIT PROFILE ROUNDEL OF HOMER CAST AFTER JULIUS TROSCHEL, LATE 19TH CENTURY

Signed Troschel and named in Greek lettering omhros, in a moulded parcel-gilt and ebonised frame 20 in. (51 cm.) diameter, overall £500-800

$810-1,300 €600-950

ADD IMAGE 31244022

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11 A WILLIAM III GILT-GESSO OVAL MIRROR LATE 17TH CENTURY

The plate within a moulded frame carved with shells, oak, laurel and stiff-leaves, within imbricated C-scrolls, surmounted by a plumed Herculean helmet fanked by fags, with naval trophies to the sides and with a pair of cannon and a mortar at the apron, previously gilded and with earlier layers of decoration, stencilled to the back with the English Royal Arms and an indistinct 19th century trader’s mark 44 x 30æ in. (112 x 78 cm.) £10,000-15,000

$17,000-25,000 €13,000-18,000

PROVENANCE: Purchased by Michael Inchbald from ‘Ferry’ at Cowley (Nr. Uxbridge), prior to 1978. 20

This striking oval mirror displays the symbols of naval warfare and military might: Minerva’s plumed helmet applied with a lion’s head, emblematic of defence, wisdom, power and justice; the anchors representing hope; the ship’s rigging, scallop shells, swords, mortar and cannon. It was almost certainly made to commemorate the successful outcome of the Nine Years’ War (1688–97), fought between the Grand Alliance, a coalition led by the Anglo-Dutch Stadtholder/King William III (d. 1702), including the Holy Roman Emperor Leopold I, King Charles II of Spain, Victor Amadeus II of Savoy, and the major and minor princes of the Holy Roman Empire against King Louis XIV of France. Although primarily a land battle, fghting extended to the sea, and during the course of the war England’s feet almost tripled in size to dominate other European naval forces. The war culminated in the Treaty of Ryswick (1697) where Louis XIV agreed to recognise William III as King of England, give up his attempts to control Cologne and the Palatinate, end French occupation of Lorraine, and restore Luxembourg, Mons, Courtrai, and Barcelona to Spain. The Dutch were allowed to garrison a series of fortresses in the Spanish Netherlands as a barrier against France. Strasburg and some towns of Lower Alsace were the only acquisitions made since the Treaty of Nijmegen that France retained.

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12 A PAIR OF FRENCH SILVERED-BRASS PHOTOPHORES 18TH CENTURY

Each with octagonal spreading stepped base and baluster faceted shaft, with original glass storm shade 18º in. (46.5 cm.) high (2) £2,500-4,000

$4,100-6,600 €3,100-4,800

PROVENANCE: Purchased by Michael Inchbald from Aveline, Paris, £618-7-6.

13 AN ENGLISH OAK REFECTORY TABLE 17TH CENTURY AND LATER

The planked top above an oval-carved frieze on turned cup-andcover legs and block feet joined by side stretchers, the top old and reused, the frieze previously with draw-leaf section, previously with long peripheral stretchers 29º in. (74 cm.) high; 83º in. (211.5 cm.) wide; 27º in. (69.5 cm.) deep £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald.

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14 A CARVED MARBLE BUST OF A ROMAN EMPEROR ITALIAN, 19TH CENTURY

With veneered coloured marble shoulders; on a circular marble socle 25æ in. (65.2 cm.) high; 31Ω in. (79.6 cm.) high, overall £7,000-10,000

$12,000-16,000 €8,500-12,000

PROVENANCE: Purchased by Michael Inchbald from H. M. Luther Antiques, George Street, London, 6 September 1967, £240.

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15 AN ITALIAN PORTOR MARBLE INKWELL EARLY 18TH CENTURY

Of sarcophagus form, with associated lead central well and lacking other ftments 3 in. (7.5 cm.) high; 9Ω in. (24 cm.) wide; 6¡ in. (16 cm.) deep £600-900

$990-1,500 €730-1,100

PROVENANCE: Purchased by Michael Inchbald in Florence, possibly when visiting Ferragamo there.

16 AN ITALIAN WALNUT SMALL CREDENZA 17TH CENTURY AND LATER

The hinged top above a panelled frieze and pair of panelled doors between lapetted terms, on a later moulded plinth with shaped brackets 32 in. (81 cm.) high; 28æ in. (73 cm.) wide; 14 in. (35.5 cm.) deep £1,000-1,500

$1,700-2,500 €1,300-1,800

PROVENANCE: Purchased by Michael Inchbald from an antiques shop in Florence, circa 1968/9, when he was there visiting Ferragamo regarding the shop he designed for him on Bond Street.

17 A PAIR OF LOUIS XIV-STYLE WALNUT AND BEECH SIDE CHAIRS INCORPORATING SOME LATE 17TH CENTURY ELEMENTS

Each with modern loose linen covers printed with point d’Hongerie pattern, restorations and replacements 45 in. (114 cm.) high; 23º in. (59 cm.) wide; 19 in. (48 cm.) deep (2) £700-1,000

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$1,200-1,600 €850-1,200

18 AN ITALIAN WROUGHT-IRON AND BRASS FALDISTORIO 17TH CENTURY AND LATER

The folding base with baluster fnials and later etched leather seat, one fnial replaced, the feet later 29Ω in. (75 cm.) high; 28æ in. (73 cm.) wide; 21 in. (53 cm.) deep £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Purchased by Michael Inchbald from Antiquus (Dr. Raffaelo Amati).

19 A DUTCH WALNUT FAUTEUIL EARLY 18TH CENTURY

The rectangular concave back and seat covered in later tasselled crimson velvet centred by a shield, with downswept acanthus-carved arms terminating in sunfowers, on turned baluster and block legs joined by stretchers, the rails increased in height by approx. one inch 43º in. (110 cm.) high; 25æ in. (65.5 cm.) wide £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Purchased by Michael Inchbald from Ciancimino.

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20 A ROMAN MARBLE TOGATUS CIRCA 1ST CENTURY A.D.

Standing with his weight on his left leg, the right bent at the knee, wearing a tunic under a long voluminous toga praetexta that drapes diagonally across the body and over his left shoulder, with a small fap of fabric rolled over the gathered diagonal, a bulla, hanging on thick cord, around his neck, at his foot a circular scrinium or capsa, a case for storing scrolls of papyri, on integral base 44 in. (110.8 cm.) high £30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: The Property of Mr T. H. Robsjohn-Gibblings, of Athens; Sotheby’s London, 9 December 1985, lot 137. The statue depicts a youth wearing the toga praetexta, worn by freeborn males until their late teens when they would set aside their childhood bulla and assume the adult’s toga virilis.

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27

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23

A LARGE PAINTED DRUM

AN INDIAN MAIL AND LAMELLAR SHIRT

18TH/19TH CENTURY, POSSIBLY ITALIAN

LATE 17TH CENTURY

The rims red-painted, the body painted with blue and white chevrons and with a red spread-eagle to one side, with looped leather strap to one side 30Ω in. (77.5 cm.) high; 24Ω in. (62 cm.) diameter

Of riveted iron rings open at the neck and with rows of narrow overlapping iron plates to the front, rear and fanks, on a ‘T’-shaped mounting board Approx. 25Ω in. (65 cm.) long

£500-800

£1,000-1,500

$820-1,300 €610-970

22 A RARE STATE HALBERD OF A SAXON ELECTORAL GUARD LATE 17TH/EARLY 18TH CENTURY

With broad double-edged blade with low medial ridge and etched with an electoral crown with crossed palm fronds above a bed of fowering foliage on each side, turned base, large crescentic axeblade and waved tapering rear-fuke respectively etched on each side with the crowned coat of arms of the Electors of Saxony and the tail of a serpent, the rounded centre between deeply etched on each side with the monogram ‘C G Z I’ surrounded by a laurel wreath, faceted tapering socket with turned cushion-shaped mouldings above and below, shortened side-straps, and later wooden haft 86 in. (218 cm.) high overall £700-1,000

$1,200-1,600 €850-1,200

PROVENANCE: Purchased by Michael Inchbald from R.J. Wigington, Stratford, 11 May 1972. This halberd is very similar in shape to those carried by the guard of Friedrich August I (the Strong), Elector of Saxony (1694-1733), which are differently monogrammed with the initials FAC (The Kretzschmar von Kienbusch Collection of Armor and Arms, Princeton University Press, 1963, p. 254).

28

$1,700-2,500 €1,300-1,800

PROVENANCE: Purchased by Michael Inchbald at Olympia from Edward Hurst, Salisbury, 1995, £1,300. This shirt is of the type associated with the large group captured in 1689 following the defeat of the Adilshahi dynasty at the siege of Adoni by Maharajah Anup Singh and subsequently installed in the armoury at Bikaner, Rajasthan.

24 TWO PARTIZANS 17TH CENTURY

The frst with short blade with prominent medial ridge on each side, shaped axe-blade and downturned rear-fuke etched on each face with a panel of foliage, tapering cylindrical socket, and two side-straps, one marked ‘O.V.K. No. 10’, on textile-covered haft heightened with brass studs, the second with short tapering blade of fattened diamond section, small pierced axe-blade and rearfuke, on later wooden haft 86º in. (219 cm.) and 81Ω in. (207 cm.) high overall (2) £600-900

$990-1,500 €730-1,100

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25

25

AN ITALIAN ARMILLARY SPHERE BY CERVELLATI, BOLOGNA, CIRCA 1800

The manuscript graduated scales applied to wood and papiermâché, supported on walnut stand, signed to polar circle ‘Luigi Cervellati Forma in Bologna’ 12 in. (31 cm.) high £6,000-9,000

26

$9,900-15,000 €7,300-11,000

A 10-INCH EQUINOCTIAL RING DIAL BY THOMAS BLUNT, LONDON, LATE 18TH CENTURY

Signed ‘T Blunt London’ chapter ring with hours I-XII-I-XII divided to one minute, equinoctial ring with degree scale in four quadrants and declination scale to reverse, the bridge with sliding pinhole gnomon on calendrical and zodiac scales, supported on later brass stand 13 in. (33 cm.) high £5,000-8,000

$8,200-13,000 €6,100-9,700

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald. This rare ring dial formed part of the famed Ilbert Collection of clocks, watches and horology (see lots 114-117 for clocks from the Ilbert Collection).

27 AN ENGLISH GARDEN ARMILLARY SUNDIAL 19TH CENTURY

Of wrought iron construction, with polar circles, tropics, ecliptic and equatorial with brass hour dial ‘IIII-XII-VIII’, central axis gnomon 50 in. (127 cm.) high £4,000-6,000

$6,600-9,800 €4,900-7,200

PROVENANCE: Purchased by Michael Inchbald from Harriet Wynter, King’s Road, London, circa 1970. 27

LITERATURE: H. Wynter & A. Turner, Scientifc Instruments, London, 1975, p. 124.

28 A PAIR OF ENGLISH TABLE GLOBES BY CARY, LONDON, CIRCA 1833

‘CARY’S NEW TERRESTRIAL GLOBE … Made & Sold by G. & J. CARY, 86 ST. James’s Street Jany 4 1833’ and ‘CARY’S NEW CELESTIAL GLOBE…’, each comprised of 12 hand-coloured engraved gores, graduated brass meridian and hour rings, on facsimile stands 18 in. (46 cm.) high (2) £6,000-9,000

$9,900-15,000 €7,300-11,000

PROVENANCE: Purchased by Michael Inchbald from A.J. Reffold, Pont Street, London, 2 August 1967, £210.

29 AN ITALIAN TERRESTRIAL GLOBE BY CASSINI, ROME, 1790

‘GLOBO TERRESTRE delineato sulle ultime osservazioni con i viaggi e nuove scoperte del Cap. Cook, Inglese. IN ROMA, Presso la Calcografa Camle, 1790. Gia. Ma. Cassini, Somco. inc.’ the 12-inch globe comprised of twelve hand-coloured engraved gores and two polar calottes, supported in graduated brass meridian and horizon rings on carved marble base 23 in. (59 cm.) high £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Purchased by Michael Inchbald from Raffaello Amati, Antiquus, Pimlico Road, London. 31

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32

A POLYCHROME PAINTED BRASS LECTERN IN THE FORM OF AN EAGLE

A BRONZE MORTAR AND PESTLE

FIRST HALF 20TH CENTURY

The body decorated with six vertical ribs 6Ω in. (16.5 cm.) diameter; 4Ω in. (11.5 cm.) high; the pestle 9 in. (23 cm.) long

On an integrally cast semi-spherical stand 21º in. (54.1 cm.) high, overall £1,000-1,500

$1,700-2,500 €1,300-1,800

£600-800

(2) $990-1,300 €730-970

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33

A SOUTH-EAST ASIAN BRONZE RAIN DRUM

A SPANISH COLONIAL EMBOSSED-METAL BOUND DOMED CASKET

19TH/20TH CENTURY

The top with concentric bands and applied with four groups of three frogs, the tapering body with double-strap handles, a procession of three elephants descending down one side and further ring bands, old repairs 19¿ in. (48.5 cm.) high; 27¬ in. (70 cm.) diameter £400-600

$660-980 €490-720

PROVENANCE: Purchased by Michael Inchbald from Raffaello Amati, Antiquus, Pimlico Road, London, circa 1976.

32

TUSCAN, 16TH/17TH CENTURY

16TH/17TH CENTURY

Applied overall with foliate and star-embossed lozenge panels, the hinged lid centred by a displayed bird fanked by snails, fanked by standing colonial fgures, all over the remains of metal-threaded yellow material 9Ω in. (24 cm.) high; 16 ¡ in. (41.5 cm.) wide; 8Ω in. (21.5 cm.) deep £500-800

$820-1,300 €610-970

34 A LOUIS XIV WALNUT FAUTEUIL A CREMAILLIERE LATE 17TH/EARLY 18TH CENTURY

The arched reclining back, seat and cushion covered in tasselled olive-green velvet, on turned baluster arm supports with ratcheted iron adjustable mechanism, on turned baluster legs and stretchers The back 48Ω in. (123 cm.) high, when fully upright; 25Ω in. (65 cm.) wide £2,500-4,000

$4,100-6,600 €3,100-4,800

PROVENANCE: Purchased by Michael Inchbald at the Chelsea antiques fair from a Northern dealer, circa 1987.

35 AN ITALIAN VERONA, CARRARA, VERDE ANTICO AND BLACK MARBLE TABLE TOP LATE 17TH/EARLY 18TH CENTURY

Old restorations, on a modern aluminium base with castors The top: 52 x 28Ω in. (132 x 72.5 cm.) The base: 14 in. (35.5 cm.) high £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Purchased by Michael Inchbald from an antiques dealer in Crawford Street.

34

36 A PAIR OF YELLOW SCAGLIOLA CYLINDRICAL COLUMNS PROBABLY ITALIAN, 19TH CENTURY

Losses 91 in. (231 cm.) high, approx. £4,000-6,000

(2) $6,600-9,800 €4,900-7,200

PROVENANCE: Possibly the pair of columns purchased by Michael Inchbald from Luther & Cade, George Street, London, 23 October 1958, £29.

37 A PAIR OF POLYCHROME PAINTED PLASTER BUSTS OF THE EMPERORS AUGUSTUS AND AGRIPPA AFTER THE ANTIQUE, ITALIAN, PROBABLY 19TH CENTURY

Each on a polychrome plaster socle; bust of Augustus inscribed ‘AVGVSTO’ and bust of Agrippa inscribed ‘M.AGRIPPA’ Each 36 in. (91.6 cm.) high, overall (2) £2,000-3,000

$3,300-4,900 €2,500-3,600

35

38 A PAIR OF ITALIAN WALNUT BOOKCASES LATE 17TH/EARLY 18TH CENTURY

Each with moulded projecting architectural cornice above a pair of panelled doors flled with wire grilles, enclosing three shelves, with a further pair of doors to the lower section, on a later stepped mahogany plinth designed by Michael Inchbald 97Ω in. (247.5 cm.) high; 80 in. (203 cm.) wide; 20Ω in. (52 cm.) deep (2) £20,000-40,000

$33,000-66,000 €25,000-48,000

PROVENANCE: By repute, the Earls of Devon, Powderham Castle, Devon. Purchased by Michael Inchbald from David Drey, London, circa 1970.

36

This imposing pair of Italian walnut bookcases is similar to a pair of bookcases with gilt-metal enrichments photographed circa 1960 at Powderham Castle, Devon, in the Ante-Room, beside the celebrated pair of padouk-veneered, brass-inlaid and gilt-metal mounted bookcases, supplied for the Library in 1740 by John Channon (d. 1779), now in the Victoria & Albert Museum, museum no. W.1-1987 (Lady Paulina Pepys, Powderham Castle, Devon: an illustrated survey of the historic home of the Courtenay family, Derby, 1960, plate 6). The 1762 and 1803 inventories for the house refer respectively to other bookcases in addition to those cited above including ‘Two Mahogany Do. [bookcases] plain with close Pediments & Carv’d Capitals’ and ‘3 Mahog Do. [bookcases] with Pilasters… and cups with Pediments’, which, despite being described as mahogany, may conceivably be the present examples (C. Gilbert, T. Murdoch, John Channon and brass-inlaid furniture 1730-1760, New Haven and London, 1993, p. 140; Devon Heritage Centre, Ms. L1508M/F/Household/1). Sir William Courtenay, de jure 6th Earl of Devon of Powderham Castle (d. 1735), and his son, also Sir William, later Viscount Courtenay (d. 1762) made extensive improvements to Powderham Castle; the latter was responsible for the superb rococo plasterwork on the hall and staircase walls and it is his coat-of-arms over the doorway leading into the Marble Hall.

The related bookcases in the Ante-Room at Powderham Castle.

Michael Inchbald was related to the Earls of Devon at Powderham through his mother, Rosemary Evelyn Inchbald née Ilbert (d. 1958), and it is therefore likely not only coincidence or the design of his new library circa 1970 that inspired him to buy these bookcases from David Drey. In 1704, the 6th Earl of Devon married Lady Anne Bertie, daughter of the Earl of Abingdon. The marriage produced fve sons and seven daughters; the fourth daughter, Bridget, married William Ilbert of Bowringslea, Devon. Michael Inchbald’s great-grandfather, Reverend Peregrine Arthur Ilbert (d. 1894), a direct descendant of this marriage, had six sons, including Sir Courtenay Peregrine Ilbert (d. 1924) of Troutwells, Penn, Buckinghamshire, parliamentary draftsman, acting Viceroy of India and Michael Inchbald’s great-uncle, and Arthur Ilbert (d. 1899) of Westbrook Upwey, Dorset, a merchant and Michael Inchbald’s great-grandfather, who by family tradition was ‘the richest taipan in Shanghai’ (P. Inchbald, Jack of All Trades: And His Family, privately published, 1999, p. 41).

39 A FRENCH WALNUT BERGERE A OREILLES 18TH CENTURY AND LATER

Covered in close-studded Fortuny-pattern green chintz, restorations and replacements 40Ω in. (103 cm.) high; 28º in. (71.5 cm.) wide £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Anonymous sale; Sotheby’s London, 2 December 1983, lot 18 (£1,300).

40 TWO LOUIS XIV WALNUT AND TAPESTRY FAUTEUILS EARLY 18TH CENTURY

Each arched back, slightly outcurved arms and seat covered in associated close-nailed Beauvais tapestry depicting foliage and fruit-flled urns, on turned baluster and block legs and stretchers, restorations 42æ in. (108.5 cm.) high; 26º in. (66.5 cm.) wide, and slightly narrower; the seat 23 in. (56 cm.) deep, and slightly shallower (2) £2,500-4,000

$4,100-6,600 €3,100-4,800 37

~41 A DUTCH SILVER-MOUNTED TORTOISESHELL BOOK BINDING AMSTERDAM, 1740, MAKER’S MARK INDISTINCT, POSSIBLY AHB FOR ABRAHAM HENNEBO

Oblong, the covers and spine each applied with shaped silver mounts with engraved with hatched chevron and scroll ornament, with two hinged hasps, marked on corner mounts and hasps, one hasp with later Dutch tax mark, the binding enclosing a Dutch bible published in 1670 7¿ x 5 x 1æ in. (18 x 13 x 4.5 cm.) £500-800

$820-1,300 €610-970

PROVENANCE: Purchased by Michael Inchbald from Black Antiques (ex. Burlington Gardens and then Monte Carlo).

q42 TERENTIUS Afer, Publius (185-159 B.C.). Comoediae. Paris: Typographia Regia, 1642. 2° (368 x 255mm). Half title, engraved title, engraved headpieces and initials. (Occasional light staining.) Contemporary calf with gilt arms of Louis XIV [Olivier 2494 fer 7] within gilt borders, his gilt cypher on covers and spine (front cover, spine and edges rubbed, some staining). Provenance: Louis XIV (binding) — early annotations — Earl of Dalhousie (book label); Folio Society. A copy of Terentius’ work in a contemporary calf binding with the gilt arms and cypher of Louis XIV. £3,000-5,000

$5,000-8,200 €3,700-6,000

q43 LATHAM, Charles. In English Homes. The internal character, furniture and adornments of some of the most notable houses of England historically depicted from photographs. London and New York: Country Life, George Newnes, and Charles Scribners’ Sons, 19091908. 3 volumes, 4° (397 x 272mm). Half-tone reproductions throughout. (Some leaves in volume 1 loose and worn in the edges.) Contemporary blue cloth, spines and front covers stamped in gilt, edges gilt (extremities rubbed, hinges of volume 1 split, some wear). A mixed edition. Together with: another copy of volume 2. RICHTER, Gisela Marie Augusta. Ancient Furniture: a History of Greek, Etruscan and Roman Furniture. Oxford: The Clarendon Press, 1926. 4° (282 x 220mm). Coloured frontispiece and numerous illustrations. Original blue cloth gilt (spine lightly faded and stained, corners lightly bumped). FIRST EDITION. (5) £300-500 38

$500-820 €370-600

q44 MACQUOID, Percy and Ralph EDWARDS. The Dictionary of English Furniture from the Middle Ages to the late Georgian Period. London: Country Life, 1924-27. 3 volumes, 2° (401 x 280mm). Colour-printed and monochome frontispieces, colour-printed plates, monochrome illustrations in the text. (Vol. III with some light marginal dampstaining.) Original green cloth gilt, top edges gilt (extremities a touch rubbed). FIRST EDITION with photographs and cuttings tipped-in. (3) £500-800

$820-1,300 €610-970

q45 TIPPING, H. Avray (1855-1933). English Homes. London and New York: Country Life, George Newnes Ltd, and Charles Scribner’s Sons, 1920-1928. 7 volumes (of 9), 4° (392 x 270mm). Half-tone illustrations throughout. (Occasional light wear.) Contemporary blue cloth with contrasting spines, spines and front covers stamped in gilt, edges gilt (extremities rubbed, some soiling). A nearly complete set in mixed edition of this important reference, lacking 2 volumes: Period I-II volume II, and Period III volume I. Together with: another related volume. Sold as a periodical not subject to return. (8) £1,000-1,500

$1,700-2,500 €1,300-1,800

q46 MACQUOID, Percy (1852-1925). A History of English Furniture. London and New York: Lawrence & Bullen Ltd, and G. B. Putnam’s Sons, 1904-1908. 4 volumes, 2° (380 x 280mm). 59 (of 60) colour plates, and half-tone illustrations throughout. (Lacking volume 1 frontispiece, this possibly never bound-in, another plate loose but present, occasional marginal wear.) Original red cloth, stamped in gilt on the spines and upper covers, top edges gilt (spine evenly faded, light soiling, extremities lightly rubbed). Provenance: Alistair Tayler (inscription in volume 2). (4) £500-800

$820-1,300 €610-970

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47 A GERMAN GILTWOOD SIX-LIGHT CHANDELIER 19TH CENTURY

Carved overall with berried acanthus, foliage, shells and C-scrolls, the pierced corona suspending a triform lyre-shaped body centred by an urn, issuing three pairs of branches, later ftted for electricity 38 in. (96.5 cm.) high; 27 in. (68.5 cm.) wide, approx. £4,000-6,000

$6,600-9,800 €4,900-7,200

48 No Lot 49 A SET OF EIGHT LOUIS XV WHITE-PAINTED CANED CHAISES BY PIERRE REMY, MID-18TH CENTURY

Each with channelled and foliate-carved frame, with cartoucheshaped back and on cabriole legs, two stamped P*REMY, some replacements to rails; together with two further chairs en suite of a later date; each with tie-on squab cushion covered in crimson cotton 36º in. (92 cm.) high (10) £4,000-6,000

$6,600-9,800 €4,900-7,200

PROVENANCE: Purchased by Michael Inchbald from Bennison, 62 Pimlico Road, London, 26 January 1967, £600. Pierre Rémy, maître in 1750.

40

41

50 A GEORGE II SILVER EPERGNE MARK OF JOHN EDWARDS, LONDON, 1736

The shaped oval base with pierced border and on four leaf-capped scrolling legs with shell feet, with central detachable oval bowl with scalloped rim, with two tiers of four detachable branches, the lower tier with fxed oval dishes with scalloped rims, the upper tier with detachable circular dishes with scalloped rims, interchangeable with spool shaped sockets and plain wax-pans, the dishes each engraved with a coat-of-arms, the wax-pans each engraved with a crest, marked under each dish, the frame unmarked 19æ in. (50 cm.) wide 149 oz. 12 dwt. (4,654 gr.) The arms are those of Ilbert impaling Courtenay for William Ilbert (d.1751), of Bowringsleigh, co. Devon and his wife Bridget (17121790), daughter of Sir William Courtenay 2nd Bt. (1675-1735), of Powderham Castle, co. Devon, whom he married in 1734. £30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: William Ilbert (d.1751), of Bowringsleigh, co. Devon. A Gentleman [Cooling Galleries Ltd., 92 New Bond St.]; Christie’s, London, 19 February 1936, lot 73 (£195 to Courtenay Ilbert). Courtenay Ilbert (1888-1956) and by descent to Michael Inchbald. The newly married William Ilbert acquired both silver and furniture for his family seat, Bowringsleigh, located just to the west of the Devon town of Kingsbridge. The house dates from the 14th century, however, in William Ilbert’s time much of the 15th century and 17th century work would have been in evidence, rooms which survived the later bold remodelling in the late 1860s and early 1870s by the architect Richard Coad. Simon Jervis in ‘A 1739 Suite of Seat Furniture at Bowringsleigh’ The Journal of the Furniture History Society, vol. XXIX, p. 38-43 records William Ilbert’s purchase of a suite of seat furniture from the London upholsters Elizabeth Hutt and Sons in 1739. The epergne, from the French ‘pargner’, to save, came into use in England at the beginning of the 18th century and was made in many forms to be used as a centrepiece on the table. The baskets and bowls would have held various sweetmeats and condiments to be used at the table.

(alternate arrangement with dishes)

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43

51

53

A PAIR OF GEORGE III AND A PAIR OF GEORGE IV SILVER SALT-CELLARS

TWO GEORGE I SILVER PEPPERETTES

THE FIRST WITH MARK OF ROBERT GARRARD, LONDON, 1816, THE SECOND WITH MARK OF RICHARD SIBLEY, LONDON, 1824, RETAILED BY MAKEPEACE

Spool-shaped, the domed foot chased with acanthus and foral bands, the bowls applied with acanthus, each engraved with a crest, each marked underneath, two further stamped ‘London Makepeace’ 3¡ in. (8.6 cm.) wide and smaller 29 oz. 19 dwt. (932 gr.) The crest is that of Hoare. (4) £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from Tessiers, Bond Street, London, December 1981.

~52 A GEORGE III SILVER TEAPOT AND STAND LONDON, 1784, UNRECORDED MAKER’S MARK B.M

Shaped oval, bright-cut and engraved with fowers, swags, trophies and cartouches, one cartouche engraved with a crest, the domed hinged cover with bright-cut bands and an ivory fnial carved as a pineapple, with wood handle, the stand engraved with a cartouche and crest, marked underneath teapot and stand, the teapot further marked inside cover 11 in. (27.9 cm.) wide gross weight 18 oz. 18 dwt. (588 gr.) £600-800

44

$990-1,300 €730-970

ONE WITH MARK OF CHARLES ADAM, LONDON, 1715, THE OTHER WITH MARK OF JOHN GIBBONS, LONDON, 1719

Each baluster on domed foot with reeded band, with pierced detachable covers, each marked underneath, the frst further marked on cover 3Ω in. (9 cm.) high 6 oz. 5 dwt. (195 gr.) (2) £300-400

54

$500-660 €370-480

A QUEEN ANNE SILVER CHOCOLATE-POT MARK OF ROBERT TIMBRELL AND JOSEPH BELL, LONDON, 1706

Tapering cylindrical, the scroll spout with hinged cover, with wood handle, the domed hinged cover with hinged baluster fnial, marked near rim and on cover bezel 10¡ in. (26 cm.) high gross weight 27 oz. 4 dwt. (846 gr.) £3,000-5,000

$5,000-8,200 €3,700-6,000

55 A CARVED MARBLE FIGURE OF A STANDING WOMAN, PROBABLY A FEMALE SAINT ITALIAN, LATE 17TH OR EARLY 18TH CENTURY

On an integrally carved marble plinth; sold with a red fabriccovered pedestal 63 in. (160 cm.) high £5,000-8,000

$8,200-13,000 €6,100-9,700

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56 BENJAMIN WATERHOUSE HAWKINS (1807-1894) Six Plates of Eagles, from: John Edward Gray (1800-1875), Illustrations of Indian Zoology a set of six hand-coloured lithographs, on wove paper, 1830-1834, with binding holes along the left sheet edges, occasional pale foxing, generally in good condition, each framed Image: 450 x 300 mm. (and similar); Sheet: 476 x 337 mm. (and similar)

£2,000-3,000

(6)

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from Julia Boston, London, 18 November 1994, £2,500.

57 A SET OF FOUR FRENCH ORMOLU THREE-BRANCH WALL-LIGHTS 20TH CENTURY, OF LOUIS XVI STYLE

Each knotted tasselled drapery backplate hung from a ribbon bow, issuing three ribbon-tied, ribbed, trumpet-shaped branches with pinecone fnials, drilled for electricity 45 in. (114.5 cm.) high (4) £4,000-6,000

$6,600-9,800 €4,900-7,200

58 A FROSTED GLASS OVAL DINING-TABLE DESIGNED BY MICHAEL INCHBALD

On Perspex cruciform support (illustrated opposite in situ) 27¡ in. (69.5 cm.) high; 76Ω in. (194 cm.) wide (a set of four)

46

£500-800

$820-1,300 €610-970

47

48

59

60

A LOUIS XVI GILTWOOD MIRROR

AN ITALIAN GILT-METAL MOUNTED REPOUSSE SILVERED-COPPER SANCTUARY LAMP

LATE 18TH CENTURY

18TH CENTURY

The rectangular divided bevelled plates within a moulded beaded and egg-andfoliage carved frame 65Ω x 30æ in. (166.5 x 78 cm.)

The baluster-shaped body cast and chased with stiff-leaves, acanthus and beading, suspended from three later acanthuscast handles and chains, drilled for electricity 22Ω in. (57 cm.) high, excluding chains; 13Ω in. (34 cm.) diameter, approx.

£2,000-3,000

$3,300-4,900 €2,500-3,600

£800-1,200

$1,400-2,000 €970-1,400

61 A PAIR OF LOUIS XVI GREENPAINTED CHAUFFEUSES CIRCA 1770

Each with channelled frame on turned tapering stop-futed legs, the oval padded back and seat covered in closenailed green velvet, redecorated 33Ω in. (85 cm.) high (2) £800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: Purchased by Michael Inchbald from Mrs. Casey, 217 King’s Road, London, 30 January 1964. 49

62 A NEAR PAIR OF ITALIAN BRECHE VIOLETTE MARBLE PANTHER MONOPODIAE PROBABLY 19TH CENTURY AND ONE INCORPORATING SOME ANTIQUE ELEMENTS

One lacking lower plinth, variations in carving and restorations 26æ in. (68 cm.) high, and slightly smaller (2) £6,000-10,000

$9,900-16,000 €7,300-12,000

PROVENANCE: Purchased by Michael Inchbald from J.J. Reffold, Pont Street, in the 1950s.

63 A SWEDISH PORPHYRY TABLE TOP PROBABLY 19TH CENTURY

Etched to the underside ‘34 / 21 ƒ’ 33º x 21 in. (84.5 x 53 cm.) £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from Edric van Vredenburgh, 37 Bury Street, London, 5 September 1984, for £400.

64 A PAIR OF ITALIAN PATINATED BRONZE AND MARBLE BUSTS OF NUBIAN CHILDREN BY RAIMONDO PEREDA, MILAN, CIRCA 1880

One depicted with a cowled robe, the other with a red-painted tasselled cap, signed R Pereda / Milano to the reverse, each on a green serpentine waisted socle with octagonal base 21Ω in. (55 cm.) high and 20 in. (51 cm.) high (2) £15,000-25,000

$25,000-41,000 €19,000-30,000

PROVENANCE: Purchased by Michael Inchbald from Lynde Albury, 10 September 1954. Raimondo Pereda (1840-1915) was born in Lugano and studied at the Accademia de Brera in Milan. He exhibited in Munich from 1870 to 1884 and at the Paris Salon in 1879-80. His works were also shown in Parma and London, at the Philadelphia Centennial Exhibition in 1876 and at the 1889 Paris Exposition Universelle. Pereda became an honorary member of the Brera Academy and was a member of the Swiss Federal Commission of Fine Arts. Principally sculpting in Carrara marble, here Pereda adopts the radical vogue for polychrome sculpture which had frst been made fashionable by the French sculptor Charles Cordier from the mid-19th century. Cordier combined bronze and marble to create legitimate ethnographic portraits, and although Pereda’s choice of subject is more sentimental, the realism is no less startling. The use of white marble with bronze faces for orientalist subjects was also adopted successfully by Pereda’s Milanese contemporaries Pietro Calvi (d. 1884) notably for his busts of Othello and Selika, and Luigi Pagani (d. 1904) for a pair of magnifcent busts of Nelusko and Selika, sold ‘Property from the Collection of Peter Glenville and Hardy William Smith’, Christie’s, New York, 28 October, lot 170 ($321,100).

65 A PAIR OF ITALIAN GREEN SCAGLIOLA COLUMNS LATE 19TH CENTURY

42º in. (107 cm.) high £1,500-2,500 50

(2) $2,500-4,100 €1,900-3,000

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Andreas von Einsiedel © The World of Interiors

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66 GEORG PHILIPP RUGENDAS (AUGSBURG 1666-1742) A mounted horseman (recto); Study of a melancholic head (verso) with inscription ‘Rugendas’ (verso) red chalk, black ink framing lines 4Ω x 3æ in. (11.2 x 9.1 cm.)

£600-800

$990-1,300 €730-970

PROVENANCE: Purchased by Michael Inchbald from J.S. Maas & Co, Clifford Street, London, 19 October 1961, £45.

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67 BOLOGNESE SCHOOL, MID 16TH CENTURY Saint George and the Dragon with inscription ‘Julio Clovio’ black chalk, pen and brown ink, brown wash, grey bodycolour added along the upper edge by another hand 18æ x 14º in. (47.7 x 36 cm.)

£3,000-4,000

$5,000-6,600 €3,700-4,800

PROVENANCE: Purchased by Michael Inchbald from Alister Mathews, Bournemouth, 1 May 1961 (cat. 52, no. 328). 68

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69

FOLLOWER OF CARLE VERNET A horseman in Persian robes on an Arab stallion with inscriptions ‘Carle Vernet/ F.S.’ and ‘Cheval Persan’

ATTRIBUTED TO ADAM FRANS VAN DER MEULEN (BRUSSELS 1632-1690 PARIS) A mounted cavalier bearing a sword

black chalk and graphite, heightened with white 14Ω x 10æ in. (36.6 x 27.3 cm.)

oil counterproof, reworked in grey wash, indistinct watermark 14Ω x 11º in. (37 x 28.5 cm.)

£300-500

$500-820 €370-600

£800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: F.H. Scott, Addiscombe, by 1833 (according to an inscription on the verso of the mount). 53

70 ENGLISH SCHOOL, CIRCA 1555 Portrait of Edward Courtenay, 1st Earl of Devon (1523-1556), half-length, in a black jerkin tied by points and a ruff, leaning on a stone ledge, ruins beyond inscribed ‘En puer, ac insons et adhuc juvenilibus annis / Annos bis septem, carcere claus eram, / me pater his tenuit vinclis, que flia solvit, / sors mea sic tandem veritur a superis’ (upper left) and with identifying inscription ‘E. Cortenay Comes Devonie’ (lower right) oil on panel 43æ x 31æ in. (110.2 x 80.7 cm.)

£60,000-80,000

$99,000-130,000 €73,000-97,000

PROVENANCE: The Dukes of Bedford, Woburn Abbey, by 1727, and by descent to, Hastings Russell, 12th Duke of Bedford; his sale; Christie’s, London, 19 January 1951, lot 126, as Mor (220 gns. the following). Colonel A.V. Dower Gander, T.D. (1898-1980), until at least 1956. Anonymous sale; Bonhams, London, 17 April 1980, lot 51, as Hans Eworth (£7,000). with Lane Fine Art, London, 1980, from whom acquired by the present owner. EXHIBITED: London, The British Institution, 1820, no. 183; 1846, no. 149. LITERATURE: H. Walpole, Anecdotes of Paintings in England, collected by G. Vertue, London, 1782, I, p. 220, as Antonio More [sic]. G. Vertue, ‘Notebooks, II’, The Walpole Society, XX, 1932, p. 40, as ‘supposed to be painted by ... Zuchero; consequently not so - because he was not then in England’. G. Scharf, A Descriptive and Historical Catalogue of the Collection of Pictures at Woburn Abbey, London, 1890, p. 7, no. 10. L. Cust, ‘The painter HE’, Walpole Society, II, 1913, p. 21, as Hans Eworth. F.G. Hill, Edward Courtenay, reprinted from ‘Numismatic Chronicle’, V, 1925/6, p. 3 [267]. R. Strong, The English Icon: Elizabethan & Jacobean Portraiture, New York, 1969, p. 130, no. 84, as Steven van der Meulen. C. Foley, ‘A Forgotten Heritage’, The World of Interiors, December 1982-Januaruy 1983, as unattributed. ENGRAVED: G. Barrett, 1797. T. Chambars. J. Cochran. W. Freeman.

54

The sitter was the second, but only surviving son of Henry Courtenay, Marquess of Exeter (1498/9-1538) and his second wife, Gertrude, and also the great-grandson of Edward IV. As a young child, Courtenay enjoyed the privileges and protection of royal relations and spent most of his childhood under the care of the dowager queen of France and Duchess of Suffolk, Mary Tudor. While at court, Courtenay’s father became entangled in the divorce controversy between Henry VIII and Katherine of Aragon and his decision to support Katherine and collude with Cardinal Reginald Pole proved fatal. In November 1538, when Courtenay was only twelve, he was imprisoned with his mother and father in the Tower of London. Two months later, he witnessed his father’s execution for treason. Although Courtenay and his mother were not guilty of any specifc crime, the family’s Aragonese sympathies made them a potential danger to Henry VIII and they were stripped of their right to inherit Henry Courtenay’s lands and title. Courtenay’s mother was released nearly two years later, in 1540, but as Courtenay was a serious dynastic threat he remained imprisoned for thirteen more years. Isolated from the outside world, Courtenay’s only pleasure was studying and one of his most notable accomplishments was a translation of Tratatto utilissimo del benefcio di Gieusu Cristo crocofsso verso I Cristiani, which he dedicated to the Duchess of Somerset, in an effort to gain favour with Edward VI. It was not until Mary ascended the throne in 1553 that Courtenay found any reprieve: he was released immediately from the Tower, created 1st Earl of Devon and a Knight of Bath, and had much of his inheritance restored. Courtenay enjoyed great popularity - he was touted as the ‘fower of the English nobility’ by Reginald Pole and tipped as a prospective husband for Mary. When Mary decided on a Hapsburg match with Philip II, Courtenay transferred his interest to Elizabeth. Mary’s decision to marry a foreigner was unpopular and Sir Thomas Wyatt, along with Sir James Croft, Sir Peter Carew, and the Duke of Suffolk conspired to overthrow Mary and instate Elizabeth, with, hopefully, Courtenay as her husband. Courtenay’s role and support of the plot remains largely unknown, but it is speculated that he was planning on inciting rebellions in Devonshire and Cornwall. At his execution, Wyatt publicly exonerated Elizabeth and Courtenay for their suspected participation and Courtenay was moved from the Tower of London to Fotheringhay Castle, where he was confned for a further year. On his release, he was exiled to the Continent and travelled frst to Brussels and then to Italy, where he consorted with other disgruntled exiles who wanted him to return and marry Mary, Queen of Scots. Before this plan could come into fruition, Courtenay died of a fever at Padua, although suspicions that he was poisoned remain to this day. This portrait captures Courtenay during his brief period of freedom in the 1550s and the rich symbolism in the picture alludes to his infamous imprisonment: behind his head are the towers of a ruined castle, symbolic of his former family seat, seized by Henry VIII; the foliage on the towers hints at a regrowth of fortune; and Courtenay’s more relaxed posture, without any accoutrements of war or weapons, can be seen as emblematic of his newly found freedom. This painting is a poignant portrait of a man whose life was dominated by imprisonment and foiled plots and who, ultimately, was doomed to live in the ‘shadow of the White Rose’ (J. Taylor, The Shadow of the White Rose: Edward Courtenay, Earl of Devon, 1526-1556, New York, 2006, p. 2).

55

71 A CHINESE TAXIDERMY BOAR’S HEAD LATE 19TH CENTURY

The head mounted on an oak shield inscribed ‘SHOT AT THE MOUZAN HILLS IN THE PROVINCE OF KIANG-SU / CHINA. WEIGHT 428 lbs.: JANUARY 1880’ (believed to be a world record at the time) 26 in. (66 cm.) high; 19Ω in. (49.5 cm.) wide £1,000-1,500

$1,700-2,500 €1,300-1,800

PROVENANCE: Shot by Charles Chantrey Inchbald (1856-1940) in 1880 whilst in China; and by descent to his grandson Michael Inchbald.

72 A CHINESE ARCHAISTIC BRONZE BALUSTER VASE 17TH CENTURY

Cast with a geometric design, with dragon mask handles suspending loose rings, ftted for electricity 19√ in. (50 cm.) high £1,000-1,500

$1,700-2,500 €1,300-1,800

PROVENANCE: Brought back from China in the 1870s by Arthur Ilbert (d. 1899) of Westbrook Upwey, Dorset, a merchant and Michael Inchbald’s great-grandfather, who by family tradition was ‘the richest taipan in Shanghai’ (P. Inchbald, Jack of All Trades: And His Family, privately published, 1999, p. 41).

73 A CHINESE HARDWOOD LOW SQUARE TABLE 20TH CENTURY

With pierced trellis frieze, the top later veneered in burr-walnut 12 in. (30.5 cm.) high; 28√ in. (73.3 cm.) square £500-800

56

$820-1,300 €610-970

74 A PAIR OF FRENCH ORMOLU, BRONZE AND MARBLE FLUTED COLUMN OIL LAMPS LATE 19TH CENTURY

Each base mounted with cupids and Flora masks, ftted for electricity, with card shade 22æ in. (57.5 cm.) high, excluding ftments £2,000-3,000

(2)

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from Montague Marcusson Ltd., London, July 1959.

75 A PAIR OF LOUIS XV-STYLE LACQUERED BRASS CHENETS 19TH CENTURY

Cast with scrolling berried acanthus, stamped ‘1688 C.C.’ 14º in. (36 cm.) high; 12æ in. (32.5 cm.) wide £500-800

76

(2)

$820-1,300 €610-970

A PAIR OF NORTH ITALIAN GILT-METAL MOUNTED WALNUT BEDSIDE COMMODES EARLY 19TH CENTURY

Each grey-veined white marble top above a frieze drawer and two further drawers between stop-futed columns, on later tapering block feet, one with old shipping label beneath inscribed ‘H.H. Ilbert…’ 26æ in. (68 cm.) high; 22√ in. (58 cm.) wide; 17æ in. (45 cm.) deep (2) £2,500-4,000

$4,100-6,600 €3,100-4,800

PROVENANCE: Purchased from the Iver Garden Hotel sale, circa 1945, by Rosemary and Geoffrey Inchbald; the hotel became the Inchbald family home.

57

77 AN ETCHED AND GILT CLOSE-HELMET NORTH ITALIAN, LATE 16TH CENTURY

With one-piece skull with roped comb, visor, prow-shaped upperbevor and lower-bevor shaped to the chin, all pivoting at the same points, and gorget-plates front and rear of two plates each, the whole with later etched and gilt bands involving classical warriors surrounded by scrollwork and bordered by narrow roped bands, the comb with a larger vignette on each side involving a gilt classical fgure (visor and lower gorget-plates later) 13Ω in. (34 cm.) high £10,000-15,000

$17,000-25,000 €13,000-18,000

PROVENANCE: Prince Peter Soltykoff (1804-1889), Paris. Sold Hotel Drouot (Me Bonnefans de Lavialle), 18-22 April 1854, probably lot 129 or 130. The Metropolitan Museum of Art, New York; sold Christie’s London, 22-23 November 1960, lot 138 (140 gns.). Prince Peter Soltykoff was the grandson of Count, later Prince, Nicolas Soltykoff, president of the Council of Ministers of Tsar Alexander I. He came to Paris in 1840 where he assembled a vast collection of medieval treasures, which he housed in two hotels built specifcally for the purpose. The Soltykoff Collection of medieval art was the most celebrated private collection of its kind and comprised armour, glass, enamels, watches, ivories, manuscripts and other pieces. Prince Peter Soltykoff’s vast collection of medieval objects was disposed of in several sales in Paris in 1854 (when this helmet was sold), 1861 (where the entire collection sale of Oriental Arms and Armour was cancelled and purchased en bloc by Napoleon III), 1879 and after his death in 1889.

77 (details)

77

78 A BELGIAN CAVALRY OFFICER’S HELMET CIRCA 1870

With white-metal skull, brass mounts including scrolled crest with original black horse-hair plumes and large lion-mask to the front; together with a Belgian Light Cavalry offcer’s sabre, third quarter of the 19th century, with curved blade etched with scrollwork, trophies and an inscription, brass three-bar guard cast and chased with scrollwork and oak leaves, and ribbed dark horn grip; A Belgian Light Cavalry trooper’s sabre, third quarter of the 19th century, with brass three-bar guard; and a Cuirassier’s breast-plate, almost certainly Belgian, circa 1850, of steel with domed brass lining-rivets The helmet 13 in. (33 cm.) high (not including chinstrap or plume) (4) £1,200-1,800

$2,000-2,900 €1,500-2,200

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Andreas von Einsiedel © The World of Interiors

79 A CARVED MARBLE BUST OF JULIUS CAESAR ITALIAN, LATE 18TH OR 19TH CENTURY

Set into pink marble shoulders and on a circular marble socle 13æ in. (35 cm.) high; 17æ in. (44.5 cm.) high, overall £2,500-3,500

$4,100-5,700 €3,100-4,200

PROVENANCE: Purchased by Michael Inchbald from Crowthers of Syon Lodge, on 22 October 1952. Syon Lodge was built by Robert Adam for the 2nd Duke of Northumberland in 1770 as a Dower House on the northern border of the Syon estate. In 1928 it was bought by Bert Crowther from the 7th Duke. Crowther was an inveterate collector and dealer and Syon Lodge quickly became home to an astonishing range of beautiful antique objects and drew a glittering array of the rich and famous, including Jane Fonda, Michael Douglas, John Lennon and Sir Paul McCartney. Just before his death in 1952, and in the same year Michael Inchbald acquired the present bust, King George VI and his Queen Elizabeth visited Crowther purchasing chimneypieces for the Royal Lodge at Windsor and a life-size statue of Father Time for the gardens at Sandringham.

80 A PAIR OF GILT-BRONZE MODELS OF LIONS ITALIAN, 19TH CENTURY

Each modelled with one paw raised on a sphere on a naturalistic gilt-bronze plinth and rectangular bronze base 11 in. (27.5 cm.) high; 13æ in. (35 cm.) high, overall (2) £6,000-8,000

60

$9,900-13,000 €7,300-9,700

81 A PAIR OF REGENCY PATINATED BRONZE AND ORMOLU TWO-LIGHT FIGURAL CANDELABRA CIRCA 1810-20

Each in the form of a winged maiden holding aloft a foliate urn in each hand with frosted glass storm shade, on a Rouge griotte square plinth, drilled for electricity 37æ in. (95.5 cm.) high (2) £25,000-35,000 PROVENANCE: By repute, the Earls of Lonsdale, Lowther Castle.

$41,000-57,000 €31,000-42,000

The Egyptian style that became the height of fashion in both Regency England and Napoleonic France in the early 19th Century can be attributed to Napoleon’s Egyptian Campaign (1798-1801), which inspired the publications of the scientifc study of ancient Egyptian remains, art and culture. Between the years 1806-9, William Lowther, 1st Earl of Lonsdale (d. 1844), a wealthy coal magnate, commissioned the architect Robert Smirke (d. 1867) to aggrandise Lowther Castle, Cumbria. It is possible that it was around this date that objects such as this intriguing pair of fgural candelabra and other items of Egyptian taste were acquired. The present candelabra could possibly be those sold from the Lonsdale collection in 1947 – ‘A pair of candelabra, with bronze Egyptian female fgures, bearing or-molu branches for two lights each’, sold Christie’s London, 5 March 1879, lot 281. The design of these candelabra in the ‘antique’ fashion directly relates to the oeuvre of French bronziers working in Paris circa 1800-1810, notably PierrePhilippe Thomire and Claude Galle. However, the construction, chasing and modelling of the fgures, with their sectional wings and more ‘romanesque’ appearance, are all characteristic of the work of English manufacturers, such as the Liverpool partnership of George Bullock and William Stoakes, who supplied related ‘Bronzed French Figures’ to Broughton Hall, Yorkshire in 1805 at a cost of £36.4.6 (sold Christie’s London, 13 January 2000, lot 116). 61

82

83

A SAMUEL ALCOCK & CO. ‘IMPROVED PORCELAIN’ PARIAN BUST

A ROYAL COPENHAGEN WHITE BISCUIT BUST OF NAPOLEON I

CIRCA 1835, BROWN PRINTED MARK

SECOND HALF 19TH CENTURY, BLUE WAVE MARK AND 13, IMPRESSED ENERET TO REVERSE

Probably Prince George William Frederick Charles, 2nd Duke of Cambridge, modelled three-quarter-length, to the right, wearing uniform, on gilt-lined square base, minor wear to gilding 8Ω in. (21.5 cm.) high £250-400

$410-660 €310-480

Modelled after the sculpture by Bertel Thorvaldsen, in the Empire style, three-quarter length, wearing a berried laurel wreath, a shield suspended from his shoulder, supported on an eagle with outstretched wings, the reverse moulded with a palm 9¬ in. (24.5 cm.) high £700-1,000

$1,200-1,600 €850-1,200

PROVENANCE: Purchased by Michael Inchbald from Ian Askew Antiques, London, 28 October 1958, £10.

84 TWO CONTINENTAL WHITE BISCUIT PORCELAIN BUSTS AND A MODEL OF A LION 19TH CENTURY, VOLTAIRE BUST INCISED W.LITTLER TO BASE, INDISTINCT INCISED LETTERS AND NUMERALS TO SECOND BUST, LION WITH BLUE DOT MARK

The frst modelled as Voltaire looking to the right on a waisted socle moulded with laurel leaves, chipped to footrim, the second modelled as Henri IV of France, threequarter length on a waisted socle and square plinth, the lion modelled seated on its haunches on a blue and gilt lined base, chipped to corner of base and re-gilt The tallest 7 in. (17.7 cm.) high (3) £600-800

62

$990-1,300 €730-970

85 A CAUGHLEY OVIFORM TEAPOT AND COVER CIRCA 1785-90

The ribbed body painted en grisaille with the Prince of Wales feathers issuing from a gilt crown above the motto ICH DIEN within a gilt and blue oval seeded cartouche, gilt with trailing leafy branches below ribbon-tied swags and a blue and gilt guilloché border, within gilt lined rims, minute chipping, some rubbing to gilding 5º in. (13 cm.) high £1,000-1,500

$1,700-2,500 €1,300-1,800

PROVENANCE: Courtenay Ilbert (1888-1956) and by descent to Michael Inchbald. Caughley porcelain painted with royal subjects was frequently decorated by Chamberlain’s enamellers and gilders. The account books for the factory show that an ornate service with the Prince of Wales’s feathers was sent to Turner’s London warehouse. On 9 April 1790 a tea and chocolate service which included two teapots decorated with ‘Princes Feather’ at a cost of £3 were delivered. See Geoffrey Godden, Caughley and Worcester Porcelains 1775-1800, London, 1969, pp. 76-77, fg. 73 for a large cup from the same service in the Victoria and Albert Museum, London.

86 ROBERT CHARLES GOFF (1837-1922) Figures promenading on Rotten Row, Hyde Park, London signed ‘R Goff’ (lower right) pencil and watercolour with touches of bodycolour on paper 5º x 7º in. (13.4 x 18.4 cm.)

£700-1,000

$1,200-1,600 €850-1,200

EXHIBITED: London, The Rembrandt Head, 1893, no. 79.

87 ATTRIBUTED TO EUGENE BOUDIN (1824-1898) Cheval stamped with the initials ‘E.B’ (Lugt 828; lower right) pencil and watercolour on paper 4¬ x 6¡ in. (11.7 x 16.2 cm.)

£1,000-2,000

$1,700-3,300 €1,300-2,400

PROVENANCE: Purchased by Michael Inchbald from Alister Mathews, Bournemouth, 1 May 1961 (cat. 59, no. 224).

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88 ATTRIBUTED TO MICHELANGELO MAESTRI (D. 1812, ROME) Six Classical and Allegorical scenes including studies of the Muses bodycolour, possibly over etched outline, one watermark J HONIG & ZOONEN, each in a moulded giltwood frame 18º x 14º in. (46 x 36 cm.)

£5,000-8,000

(6)

$8,200-13,000 €6,100-9,700

~89 A FINE BRONZE MODEL CARRONADE MID-19TH CENTURY

With tapering three-stage sighted barrel with large threaded cascabel, mounted on an ebony trolley with iron elevation adjusting screw, the trolley ftted to ivory rails forming a pivoting deck-mount, the whole mounted on a mahogany base with two futed ivory capstans linked to the barrel and mount by ropes and pulleys The base 11Ω in. (29 cm.) long, the barrel 5¬ in. (14.3 cm.) £1,500-2,500

$2,500-4,100 €1,900-3,000

Carronades were so named for their place of design and manufacture in Carron, Scotland. They were designed for warships for easy manoeuvrability. 64

65

~90

~92

AN ENGLISH IVORY SAND-TIMER

A CIRCULAR TURNED IVORY BOX

19TH CENTURY

GERMAN, 17TH/18TH CENTURY

With spindle supports 7¿ in. (18 cm.) high

4æ in. (12.2 cm.) diameter

£800-1,200

~91

$1,400-2,000 €970-1,400

A GROUP OF IVORY DESK OBJECTS

£2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from Grays Antiques Market, London, circa 1984-5, £120.

LATE 19TH-EARLY 20TH CENTURY

Including: A Victorian silver-mounted paper-knife, Birmingham, 1892; a further example with silver handle, Chester, 1900; a further plain example; a hand-seal with plated matrix engraved with the cypher JI; a ten-inch ruler; and two magnifying glasses, one with brass surround The frst: 12¿ in. (30.7 cm.) long (7) £600-900

$990-1,500 €730-1,100

PROVENANCE: The frst: Purchased by Michael Inchbald from Sue & Allan Thompson, 15 Flood Street, London, January 1988. The hand-seal: Purchased by Michael Inchbald from Adolfo Llanos of Antiquarius, October 1985.

66

~93 A GROUP OF IVORY GENTLEMAN’S OBJECTS LATE 19TH-EARLY 20TH CENTURY

Including: an Anglo-Indian pocket-watch case with engraved hinged interior; a shoe-horn with steel pick; two brushes; a small pen-knife with steel blade; a Thomason-type brass and bone corkscrew with brush to handle; and an ivory and glass cuffink-box The frst: 2º in. (5.5 cm.) high; 4¿ in. (10.3 cm.) square (7) £500-800

$820-1,300 €610-970

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95

A RED AND BLACK LACQUER LOW TABLE

A PAIR OF LOUIS XVI GREY-PAINTED BERGERES A LA REINE

20TH CENTURY, IN THE NEGORO STYLE

11Ω in. (29 cm.) high; 41Ω in. (105.5 cm.) wide; 29æ in. (75.5 cm.) deep £800-1,200

BY CLAUDE II SENE, CIRCA 1780

$1,400-2,000 €970-1,400

PROVENANCE: Purchased by Michael Inchbald from H. Woods Wilson, Pimlico Road, London, 8 April 1987, £1800.

Each with channelled frame on turned tapering stop-futed front legs headed by panelled rosettes, and toupie feet, the padded rectangular back, arms, seat cushion and bolster cushion covered in striped green silk, stamped C SENE 35æ in. (90.5 cm.) high; 27º in. (69 cm.) wide (2) £7,000-10,000

$12,000-16,000 €8,500-12,000

PROVENANCE: Purchased by Michael Inchbald from Villars, 11 quai Voltaire, Paris, circa 196061, for 12000 FF (approx. £960).

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96 AN IRISH GEORGE II GILTWOOD MIRROR MID-18TH CENTURY

The later rectangular plate within a pierced rocaille, foliate-carved and C-scroll frame surmounted by a fowering two-handled urn cresting, re-gilt, restorations to cresting 47 x 24Ω in. (119 x 62 cm.) £1,000-1,500

$1,700-2,500 €1,300-1,800

(a set of four)

97 A SET OF FOUR FRENCH ORMOLU THREE-BRANCH WALL-LIGHTS LATE 19TH CENTURY, IN THE LOUIS XVI STYLE, IN THE MANNER OF JEAN-CHARLES DELAFOSSE

Each with faming urn fnial supported on a tapering panelled backplate cast with foliate entrelac and hung with a laurel swag, issuing three squared scroll branches hung with drapery, drilled for electricity 25Ω in. (65 cm.) high (4) £7,000-10,000

$12,000-16,000 €8,500-12,000

PROVENANCE: George, 9th Duke of Roxburghe (1913-1974), 2 Carlton House Terrace; sold Christie’s London, 31 May 1956, lot 33 (£89-5-0).

98 A SET OF FOUR LOUIS XVI BEECH CHAISES CIRCA 1770

Each with channelled moulded frame, the oval back and bowed seat covered in close-nailed cream leather, on turned tapering stopfuted legs headed by roundels, previously decorated 34Ω in. (87.5 cm.) high (4) £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from J. Gordon & Gordon, Edinburgh, 9 December 1959, £175.

69

99

100

A ROMAN MARBLE HEAD OF ZEUS

A ROMAN MARBLE TORSO OF HERACLES

CIRCA 2ND-3RD CENTURY A.D.

CIRCA 1ST-2ND CENTURY A.D.

Slightly turned to the left, with curly hair bound in a fllet, articulated eyes and full beard 9Ω in. (24 cm.) high

Standing with his weight on his right leg, his left advanced, depicted nude, with well-defned musculature, the Nemean lion skin draped over his shoulders, the paws knotted on his chest, falling down the back and swept to the left, remains of support on proper right hip and under right buttock 21 in. (53.3 cm.) high

£6,000-10,000 PROVENANCE: Anonymous sale; Christie’s, London, 10 July 1987, lot 232.

$9,900-16,000 €7,300-12,000

£40,000-60,000

$66,000-98,000 €49,000-72,000

PROVENANCE: Purchased by Michael Inchbald from Spink & Son, London in the early 1960s. 70

71

101

102

A CYPRIOT LIMESTONE MASK OF ZEUS

A ROMAN MARBLE CINERARY URN

CIRCA 5TH-4TH CENTURY B.C.

CIRCA 1ST-2ND CENTURY A.D.

With tightly curled locks on forehead, and long curling hair framing the head, crowned with a berried wreath, with full beard and moustache, lidded almond shaped eyes, and slight smile on lips 16æ in. (42.5 cm.) high

On faring foot, with strigillation around the body and futed handles 15º in. (38.7 cm.) high

£10,000-15,000

$17,000-25,000 €13,000-18,000

PROVENANCE: Anonymous sale; Sotheby’s London, 24 February 1964, lot 142.

£30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: Purchased by Michael Inchbald from Mallett & Son Antiques, London, 16 September 1985. For similar strigillated urns cf. B. Palma, I Marmi Ludovisi, Storia della Collezione, Museo Nazionale Romano, Le Sculture, vol. IV, Rome, 1983, fgs 111-2.

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104

AN EGYPTIAN BRONZE HEAD OF A CAT

AN EGYPTIAN LIMESTONE HEAD FROM A SARCOPHAGUS LID

LATE PERIOD, DYNASTY 26-30, CIRCA 664-332 B.C.

Hollow cast, the naturalistically-modelled face with large eyes, pupils and nostrils incised, the alert ears both pierced 4 in. (10.1 cm.) high £8,000-12,000

$14,000-20,000 €9,700-14,000

PROVENANCE: Purchased by Michael Inchbald from Spink & Son, London, in the early 1960s.

PTOLEMAIC PERIOD, CIRCA 332-30 B.C.

Highly-polished, wearing a plain tripartite wig, the face with fnely-detailed ears, eyebrows and cosmetic lines in relief, the full lips pursed into a slight smile, with rounded chin 16¿ in. (41 cm.) high £40,000-60,000

$66,000-98,000 €49,000-72,000

PROVENANCE: Purchased by Michael Inchbald from Spink & Son, London, in the early 1960s For a similar head from an anthropoid sarcophagus, cf. Museum of Fine Arts, Boston, inv. no. 12.1511.

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105 A SWEDISH ORMOLU, BRONZE, EGYPTIAN PORPHYRY AND CUT-GLASS THREE-LIGHT CANDELABRUM INCORPORATING EARLY 19TH CENTURY ELEMENTS

The circular beaded base surmounted by a gadrooned urn issuing three branches, three further arms and a central faceted obelisk issuing six arms, all hung with swags of faceted drops, some with a light purple colour, ftted for electricity 30æ in. (78 cm.) high £3,000-5,000

$5,000-8,200 €3,700-6,000

~106 AN EARLY LOUIS XV ORMOLU-MOUNTED ROSEWOOD AND WALNUT-CROSSBANDED SERPENTINE BOMBE COMMODE CIRCA 1730-40

The moulded Rouge de Maine marble top above three short and two long drawers veneered à quatre fâçes, with rocaille and acanthus escutcheons and fgural handle-plates, with a shaped apron and on splayed feet below pierced espagnolette and foliate chutes, the marble resupported, the mounts re-gilt 33Ω in. (85 cm.) high; 53º in. (135 cm.) wide, approx.; 28 in. (71 cm.) deep, approx. £7,000-10,000

$12,000-16,000 €8,500-12,000

PROVENANCE: Miss A. Le Guillon; sold Sotheby’s London, 14 October 1960, lot 161 (400 gns.).

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107 A PAIR OF CARVED ALABASTER FIGURES OF A FRANCISCAN MONK AND A NUN ANTWERP, LATE 15TH/EARLY 16TH CENTURY

The monk depicted lying on a cushioned support 26 in. (68æ cm.) high, each £6,000-9,000

(2) $9,900-15,000 €7,300-11,000

PROVENANCE: Purchased by Michael Inchbald from Edric van Vredenburgh, London, on 6 February 1984, £2,300. The style and lineation of the drapery, with the crisp folds and large hoods, along with the proportion of the fgures and their oval faces, are comparable to the work of several masters carving in wood in Antwerp in the late 15th and early 16th century. In particular the carving of the nun compares to a depiction of the Virgin fainting at the foot of the cross, as well as a number of other works now held in the Rijskmuseum in Amsterdam (J Leeuwenberg, Beeldhouwkunst in het Rijksmuseum, Amsterdam, 1973, nos. 143, 147, 155 and 157). 78

~108 A GILT-BRONZE-MOUNTED IVORY CASKET SICULO-ARABIC, 12TH CENTURY

4Ω x 5¿ x 4 in. (11 x 13.4 x 10.5 cm.) £30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: By repute, William Waldorf Astor II, 3rd Viscount Astor, Cliveden, Buckinghamshire. COMPARATIVE LITERATURE: Riyadh, King Faisal Center for Research and Islamic Studies, The Unity of Islamic Art, Hoare ed., Kent, 1985. R. Randall, Masterpieces of Ivory from the Walters Art Gallery, Baltimore, 1985, no. 229, pp. 151, 156-157. T. Higuera, Objetos e Imangenes de al-Andalus, Madrid, 1994, p. 30.

During the 12th-century Norman occupation of Sicily, Islamic artists thought to be working in Palermo produced a wide variety of objects in ivory, mainly for the European market and often for Christian use (Randall, loc. cit., p. 151). These caskets, including the present one, were made from thin sheets of ivory worked from tusks taken from African elephants. The supply of these tusks came to Sicily through trade routes controlled by the Fatimids in Egypt (Rosser-Owen loc. cit., p. 24). The sheets were pinned together and then strengthened by the addition of gilt-copper or bronze mounts. Unlike earlier Spanish ivories, from which the Sicilian workshops drew their inspiration, these caskets were intended for a broad range of usage, perhaps as gifts, diplomatic or personal. A similar casket was included in the 1985 exhibition The Unity of Islam (op. cit., no. 174, pp. 196-7), and is also attributable to a Sicilian workshop at around the same date. Another casket with Arabic inscription around the cover and with similar mounts to those found here is in the Instituto Valencia de Don Juan, Madrid, (Higuera, loc. cit.) is indicative of the geographical spread of such pieces. A comparable casket was sold in these rooms on 10 February 2012, lot 703 (£55,250).

Cliveden, Buckinghamshire

The present casket was reputedly in the collection of William Waldorf Astor II, 3rd Viscount Astor (1907-1966) at Cliveden, Buckinghamshire. Astor inherited the Italianate mansion from his father as a wedding present for his marriage to Nancy Langhorne in 1906. Nancy and William transformed Cliveden into a centre of European political and literary life with guests from Churchill and Lloyd George to George Bernard Shaw and Gandhi. 79

109 A TERRACOTTA FIGURE OF A RIVER GOD FLORENTINE, EARLY 18TH CENTURY

Depicted seated on an integrally modelled rocky base, with paper label to the underside 13Ω in. (34.5 cm.) high £30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: The Collection of Prince Ruspoli, Rome; anonymous sale, sold Christie’s London, 13 May 1965, lot 35 (£357). COMPARATIVE LITERATURE: A. Gonzales-Palacios, Nostalgia e invenzione. Arredi e arti decorative a Roma e Napoli nel Settecento, Rome, 2010, no. 78. The fgure previously belonged to Mario Ruspoli, 2nd Prince of Poggio Suasa (1867-1963). The origins of the family can be traced back to the Ruspoli of Florence in the 13th Century. In 1721 Pope Benedict XIII conferred to Francesco Maria Ruspoli the title of Principe Romano, for himself and his descendants, ad infnitum so the family could conserve the prestige of their ancestors. Francesco Maria bought the Palazzo Ruspoli in Rome from the Caetani family and was a great friend of the composer Georg Frideric Handel, who wrote and performed Salve Regina during his stay in the Palazzo. 80

Michael Inchbald’s purchase of this terracotta from the late Prince Ruspoli’s collection caused lively discussion at a dinner with the daughter of the late prince - Princess Francesca Ruspoli - in the late1960s, when the designer revealed that he was the owner of her old treasured possession. The fgure in the present lot is the almost exact same as in a model of a River God (A. Gonzales-Palacios, loc cit.) in biscuit porcelain by Filippo Tagliolini (f 1781–1812) who worked at the Royal Porcelain Factory at Naples. Tagliolini used models after the antique as well as those of the most celebrated ‘modern’ sculptors, and therefore it is likely that the present model was well known in artistic circles in Italy by the end of the eighteenth century.

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110 A PAIR OF CARVED MARBLE BUSTS OF AUGUSTUS AND FAUSTINA THE YOUNGER AFTER THE ANTIQUE, ROMAN, 17TH CENTURY

Empress with onyx and marble veneered shoulders; Augustus with alabastro forito, onyx and marble veneered shoulders; each on a circular marble socle 28æ and 27 in. (72.3 and 68.4 cm.) high; 34Ω and 31Ω in. (87.7 and 80.2 cm.) high, overall (2) £100,000-150,000

$170,000-250,000 €130,000-180,000

PROVENANCE: Possibly John Ker, 3rd Duke of Roxburghe (1740-1804), Floors Castle, Scotland and by descent to George, 9th Duke of Roxburghe (1913-1974), 2 Carlton House Terrace; sold Christie’s London, 31 May 1956, lot 12 (£100). COMPARATIVE LITERATURE: J. Ingamells, A Dictionary of British and Irish Travellers in Italy 1701-1800, London, 1997, pp. 826-7. 2 Carlton House Terrace, The Royal College of Pathologists, London, 2010, p. 3.

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Augustus was the founder of the Roman Empire and its frst Emperor, ruling from 27 BC until his death in 14 AD. Faustina was the daughter of Antoninus Pius and Faustina the Elder, as well as a great-niece to Hadrian. For a time she was engaged to Lucius Verus, however her father ended the engagement and then arranged her betrothal to her maternal cousin Marcus Aurelius. When Antoninus Pius died in March 161 AD, her husband and Lucius Verus succeeded her father’s throne and co-ruled the Empire. Contemporary literature was not kind to Faustina and represented her as a scurrilous personality recalling stories of her adulterous encounters with sailors and gladiators and going as far as to suggest that her son Commodus was the product of one such union. The current busts were sold from the collection of the 9th Duke of Roxburghe (1913-1974) at Christie’s London in 1956. They were formerly housed in 2 Carlton House Terrace, the London residence that the Duke and Duchess let from the Crown Estates from 1923 until the outbreak of the Second World War. King George IV had authorised the demolition of Carlton House and promoted John Nash to design grand terraced houses that could be sold on to the nobility, after he had moved into Buckingham Palace upon ascending

to the throne. Sir Arthur Collins, nephew of the 8th Duke, recounts that ‘The Roxburghes used the house very much for the London Season only .. the big event was entertaining King George V and Queen Mary annually to dinner in Derby week’ (2 Carlton House Terrace, loc. cit.). The majority of the furnishings at 2 Carlton House Terrace were transported from Floors Castle, the ancestral home of the Roxburghe family in south-east Scotland, and it is likely that this is where the present busts were originally situated. With their large scale, homage to classical antiquity, and beautiful juxtaposition of rare marbles, onyx and alabastro forito, the busts were typical of the British aristocratic Grand Tour taste. The 3rd Duke of Roxburghe visited Italy in 1760, travelling south from Venice to Naples, via Florence and Rome. Like many of his fellow Grand Tourists, he amassed a superb art collection, including a large portrait by Pompeo Batoni (Scottish National Portrait Gallery, inv. no. 2940), as well as the greatest private library of his age which, when sold in 1812, inspired the formation of The Roxburghe Club, which still meets today to commemorate the collection and subsequent record-breaking sale.

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111 GIOVANNI BATTISTA TIEPOLO (VENICE 1696-1770 MADRID) Caricature of a standing man wearing a wig, cloak and tricorn hat, seen from behind pen and brown ink, brown wash, the corners cut 7º x 4º in. (18.3 x 10.5 cm.)

£7,000-10,000

$12,000-16,000 €8,500-12,000

PROVENANCE: The collection of the Valmarana family, Vicenza. Paul Wallraf. Anonymous sale; Christie’s London, 26 March 1963, lot 323. This was one of 32 caricatures by Tiepolo in Paul Wallraf’s collection, many of which showed standing men seen from behind. The series probably has an element of earthy humour: as noted in the 1963 catalogue, all the fgures seem to be in the act of urinating. 84

112 AN ITALIAN YELLOW SCAGLIOLA COLUMN 19TH CENTURY

45Ω in. (115.5 cm.) high £500-800

$820-1,300 €610-970

113 A REGENCE-STYLE OAK FAUTEUIL 19TH CENTURY

The arched back, outcurved arms, and seat covered in grospoint needlework depicting fower-flled urns, the frame carved with trailing husks, acanthus and shells, the seatrails centred by confronting C-scroll clasps, on cabriole legs 43 in. (109.5 cm.) high; 26 in. (66 cm.) wide £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Purchased by Michael Inchbald from Mallett, Bourdon House, prior to 1978. This chair, with its arched straight back and outscrolled arms, is close in design to a pair of Régence fauteuils executed in giltwood and gilt-gesso, sold from the collection of Lady Baillie, Leeds Castle, Kent, Sotheby’s London, 13 December 1974, lot 238 and subsequently anonymously at Christie’s London, 8 December 1994, lot 527 (£76,300).

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THE ILBERT COLLECTION Michael Inchbald’s uncle Courtenay Adrian Ilbert (1888-1956) formed one of the greatest horological collections of the 20th century. It comprised some 2,300 watches, 210 clocks and 40 marine chronometers. He began collecting clocks and watches whilst still at Eton and after retiring from his engineering career in the early 1930s devoted most of his life to his pursuit of horology. The Antiquarian Horological Society was founded in his dining room at Stanley House on 1st October 1953. The vast majority of the collection was catalogued for auction at Christie’s in 1958. Predominantly as a result of a generous donation, the sale was cancelled and the collection acquired by the British Museum, where it has received international acclaim ever since. Some sixty years later his name is still much revered in horological circles and his authority on the subject has seldom been surpassed. The following four lots and the brass ring dial (lot 26) were retained by the family and inherited by Michael Inchbald at Stanley House.

114 A REGENCY BRASS-INLAID MAHOGANY LONGCASE REGULATOR VULLIAMY, LONDON, CIRCA 1820, THE CASE BY T.N.LOWTHER

CASE: of stepped rectangular section with brass mouldings and line inlay overall, the sliding hood with hinged convex glazed bezel, rectangular glazed aperture to trunk door, stepped plinth to foot, stamped twice to the top of each side panel ‘T.N. LOWTHER’, DIAL: the 12 inch silvered dial of good gauge with Arabic fve minute markers to the border, subsidiary seconds to the top and hours below, inscribed ‘Vulliamy Pall Mall London’ to the centre MOVEMENT: the eight-day movement with shuttered plates joined by six robust cylindrical pillars secured by polished steel ‘tommy-bar’ bolts, the steel escape wheel mounted to the backplate, with Harrison’s maintaining power, wheels with six crossings, all pivots jewelled and with enclosed endstones, jewelled pallets, the crutch with beat adjustments, the weight pulley with six crossings and steel endplates to the pivots, brass cylindrical weight, with billet steel mercury jar pendulum 75 in. (190.5 cm.) high; 16æ in. (42.5 cm.) wide; 10º in. (26 cm.) deep Together with a framed letter to ‘Mr Vulliamy, Clock Maker, Pall Mall, London’ from Lord Cowper, dated April 25 1789, regarding the delivery of another clock and ‘that it has been greatly admired by every body’. £40,000-60,000

$66,000-98,000 €49,000-72,000

PROVENANCE: Courtenay A. Ilbert (1888-1956) and by descent to Michael Inchbald. LITERATURE: ‘The Ilbert Collection’, Watchmaker, Jeweller & Silversmith, March 1952, pp. 66-70. R.W. Symonds, A History of English Clocks, London, 1947, p. 71. The case is stamped twice by Thomas Lowther, a case maker working at 14 Clerkenwell Close and later at 42 Red Lion Street Clerkenwell, London, circa 1807-1832. Lowther is listed amongst the crafsmen used by Vulliamy and recorded in the remaining Day Books (Public Records Offce fles C/104 57 and 58) (Francis Wadsworth ‘Some Early 19th Century Workmen’, Antiquarian Horology, vol. XIX, no. 4, pp. 401-412.)

~115 A SOUTH GERMAN GILT-BRONZE AND PARQUETRY AUTOMATON LION TABLE CLOCK AUGSBURG, CIRCA 1620

CASE: the lion shown passant bearing an engraved shield with initials ‘R.D.’, with automaton eyes and lower jaw, standing on a cross-hatched ground with further lion head emerging to front corner, the stepped rectangular pewter-inlaid rosewood veneered plinth with ripple-moulded borders and inlaid panels of coconut and other specimen woods, raised on winged paw feet DIALS: to the open front of the plinth, the brass plate with silvered chapter ring with Roman hours and alarm disc, iron hand, smaller subsidiary disc showing the quarters, winding square for alarm, the rear with two subsidiary silvered indication dials for the hours and quarters, winding squares for the quarters, the time and the hours MOVEMENT: quarter striking with verge and balance wheel escapement, reinstated alarm, the movement with three plates joined by four square iron pillars with three standing barrels and gut fusee on the going train, two ‘pork pie’ shaped bells, the wheel work with three crossings, two armed iron balance wheel (pre balance spring), two iron countwheels for the hours and quarters, brass fys with end tension springs AUTOMATA: the eyes continually moving via linkage to the balance wheel, the mouth moves with hour strike 11¬ in. (29.5 cm.) high; 10º in. (26 cm.) wide; 7º in. (18.5 cm.) deep £40,000-60,000 PROVENANCE: Courtenay A. Ilbert (1888-1956) and by descent to Michael Inchbald.

$66,000-98,000 €49,000-72,000 87

116 A DANISH GILT-BRASS AND COPPER TIMEPIECE TABLE CLOCK CARL VON MANDERN, COPENHAGEN, LATE 17TH CENTURY

CASE: of square section with moulded borders and glazed shaped apertures to all sides, raised on bun feet, hinged underside DIAL: the silvered chapter ring with Roman hours and Arabic minutes to the outer ring, foliate halfhour markers, alarm disc to centre, later blued steel hands, matted centre and pierced foliate spandrels MOVEMENT: the timepiece movement with verge and balance wheel escapement, chain fuse, four turned pillars, signed ‘Carl von Mandern / Copenhagen’ ALARM: the separate later associated alarm assembly of square section with engraved panels, with two iron locating arms and trip release to upper centre; with later winding key; together with a ftted green leather veneered George III hinged box; and a modern perspex viewing case; with an undated hand written description and drawing of the two mechanisms joined together on letterhead marked ‘CARL RANCH’s / EFTERFOLGERE / KJOBENHAVN’

The table clock – 2¡ in. (6 cm.) high; 3 in. (7.6 cm.) square; the alarm – 2º in. (5.7 cm.) high; 2æ in. (7 cm.) square; the leather case – 7º in. (18.4 cm.) wide £10,000-15,000 PROVENANCE: Courtenay A. Ilbert (1888-1956) and by descent to Michael Inchbald. 88

$17,000-25,000 €13,000-18,000

117 A SOUTH GERMAN PARCEL-GILT, SILVER AND EBONY CRUCIFIX CLOCK AUGSBURG, FIRST QUARTER 17TH CENTURY, THE MOVEMENT POSSIBLY BY CASPAR BOHEMUS

CASE: the fnial as an eagle sitting in its nest, its head inclined below indicating the hours to the revolving chapter ring, with fgure of Christ to the ebony crucifx fanked to the base by fgures of the Virgin Mary and St. John the Evangelist shown standing on a naturalistic domed base with skull and crossbones and with shaped oval aperture to further chapter ring to front, the drum-shaped base hinged to the pierced and engraved gallery to the spreading octagonal foot with strapwork, foliage and winged cherub heads raised on bun feet DIALS: gilt Roman chapter ring to fnial and silvered Roman chapter ring to base; MOVEMENT: the striking movement with stackfreed regulation to the going train, verge escapement with dumb bell/foliot and hog’s hair bristles, countwheel, with internal teeth, to bell, the gilded plates joined by four square section pillars, the top potance in the form of a stylized sea monster, the backplate stamped ‘C.B.’ fanking a shield, possibly for Caspar Bohemus 11 in. (28 cm.) high; 4¡ in. (11 cm.) wide; 3Ω in. (8.9 cm.) deep £15,000-25,000

$25,000-41,000 €19,000-30,000

PROVENANCE: Courtenay A. Ilbert (1888-1956) and by descent to Michael Inchbald. LITERATURE: Britten’s Old Clocks and Watches and their Makers, Seventh Edition, 1956, p. 32, pl. 16.

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118 A PAIR OF CARVED MARBLE MODELS OF HOUNDS ENGLISH, LATE 18TH/EARLY 19TH CENTURY

Each on an integrally carved base Each 8Ω in. (21Ω cm.) high £3,000-5,000

(2) $5,000-8,200 €3,700-6,000

PROVENANCE: Purchased by Michael Inchbald from Mallet, Bourdon House, 30 July 1982 as ‘English, circa 1800’, £975.

119 A BRONZE MODEL OF A PACING HORSE ITALIAN, PROBABLY 18TH CENTURY

On a rectangular marble base; with a dark brown patina with lighter high points 11æ in. (30 cm.) high, 13Ω in. (34 cm.) overall £8,000-12,000

$14,000-20,000 €9,700-14,000

PROVENANCE: Swiss Private Collection, until sold at Sotheby’s London, 16 November 1962, lot 17A, as 16th century (£800).

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120 CIRCLE OF JEAN-MARC NATTIER (PARIS 1685-1766) Portrait of Louis-Jean-Marie de Bourbon, duc de Penthièvre (1725-1793), full-length, in a breastplate with the sash of the Order of Saint Esprit and the badge of the Order of the Golden Fleece, holding a marshal’s baton with the feur-de-lys, standing by his velvet furlined mantle and plumed helmet, in a rocky coastal landscape oil on canvas, with an arched top 72Ω x 48¿ in. (184 x 122.6 cm.)

£20,000-30,000

$33,000-49,000 €25,000-36,000

PROVENANCE: Anonymous sale; Sotheby’s London, 29 June 1960, lot 88 (£250). The only son of Louis-Alexandre de Bourbon, comte de Toulouse, and his wife Marie Victoire de Noailles, Louis-Jean-Marie was a grandson of Louis XIV and his mistress the Marquise de Montespan. After his father’s death in 1737 he succeeded to his military titles and posts at the age of twelve. He served under his maternal uncle the Maréchal de Noailles, and fought with distinction at Dettingen in 1743 and at Fontenoy in 1745. On 2 July 1743 he was promoted to Maréchal de Camp (Field Marshal) and the following year to Lieutenant Général. He was a member of both the Order of the Golden Fleece and the Order of the Holy Spirit. As the possessor of one of the largest fortunes in Europe, Louis-Jean-Marie was a very attractive marriage candidate, especially considering his close links with the French royal family. In 1744, Louis married Marie Thérèse Félicité d’Este, Princess of Modena (1726-1754). She was the daughter of Francesco III d’Este, sovereign Duke of Modena and of Reggio. The young couple occupied a suite of apartments at Versailles until the reign of Louis XVI of France. They had seven children, only two of whom survived infancy. His wife died in childbirth in 1754. Deeply hurt by his loss, the duke never remarried. Louis died in 1793 at his Château de Bizy. Only his daughter Louise Marie Adélaïde survived him and through her marriage to Louis-Philippe-Joseph d’Orléans, known to history as Philippe Égalité, the vast fortune passed into the house of Orléans. Autograph versions of the present composition include a half-length, sold at Christie’s London, 21 April 1989, lot 69 (£100,000) and a bust-length version sold at Sotheby’s New York, 17 January 1985, lot 144 ($27,500).

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~121 A FRENCH RENAISSANCE IVORY-MOUNTED, VERDE ANTICO-INLAID WALNUT MINIATURE MEUBLE-A-DEUX-CORPS PROBABLY 19TH CENTURY, IN THE MANNER OF JACQUES ANDROUET DE CERCEAU

The broken triangular pediment centred by a later niche with a fgure of an apostle, above a pair of panelled felded doors between columns, the lower section with a pair of drawers above a pair of doors carved with profle portraits medallions of Roman soldiers, on bun feet 15¡ in. (39 cm.) high; 8º in. (21 cm.) wide; 4 in. (10 cm.) deep £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald.

~122 A LOUIS XIV ORMOLU-MOUNTED CONTRE-PARTIE ‘BOULLE’ BRASS AND TORTOISESHELL-INLAID BRACKET CIRCA 1700

Inlaid overall with latticework, scrolling and trailing foliage, with a later platform, old restorations 9 in. (23 cm.) high; 10º in. (26 cm.) wide; 5Ω in. (14 cm.) deep £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Purchased by Michael Inchbald from Mallett, 26 February 1992, £1,100.

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123 CIRCLE OF JAN MASSYS (ANTWERP C. 1509-BEFORE 1575) Peace crowning Justice oil on panel 34Ω x 45√ in. (87.5 x 116.5 cm.)

£8,000-12,000

$14,000-20,000 €9,700-14,000

PROVENANCE: Anonymous sale; Christie’s, London, 29 May 1981, lot 56, as J. Massys (£1,700). with Lane Fine Art, London, as ‘School of Fontainebleau’, where acquired by the present owner. EXHIBITED: Manchester, City Art Gallery, Between Renaissance and Baroque, 1965, no. 109, as French School, circa 1550-60.

LITERATURE: L. Buijnsters-Smets, Jan Massys. Een Antwerps Schilder uit de zestiende eeuw, Zwolle, 1995, p. 229, no. C66, under ‘ten onrechte aan Jan Massys toegeschreven schilderijen’. The subject recalls the Biblical text of Psalm 85, verse 10: ‘Righteousness and peace have kissed each other.’ It was popular among artists of the 16th century, particularly during the early decades of the Dutch Revolt of the Seven Provinces against the Spanish supremacy. This panel is particularly close in composition to a picture now in a private collection, Antwerp (sold American Art Association, New York, 16 February 1911, lot 118). Other variants of the subject include a painting by Marten de Vos, now in the Hermitage, Saint Petersburg (inv. no. ??7724) and another by Jacob de Backer (sold Christie’s New York, 27 January 2000, lot 54).

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124 A PAIR OF FRENCH ORMOLU, CUT AND MOULDED CLEAR AND COLOURED GLASS FIVEBRANCH WALL-LIGHTS LATE 19TH/EARLY 20TH CENTURY

Each pierced openwork backplate supporting a tall palm hung with drops and issuing fve squared scrolling branches with foliate drip-pans and hung overall with faceted, cabochon and foliate-shaped drops, ftted for elecricity 43 in. (109 cm.) high (2) £8,000-12,000

$14,000-20,000 €9,700-14,000

PROVENANCE: George, 9th Duke of Roxburghe (1913-1974), 2 Carlton House Terrace; sold Christie’s London, 31 May 1956, lot 35 (£65-2-0).

125 A SET OF THREE GEORGE III POLISHED STEEL FIRE-IRONS LATE 18TH CENTURY

Comprising a pair of tongs, a poker and shovel, each with fattened bun fnial The poker: 26æ in. (68 cm.) long £700-1,000

(3)

$1,200-1,600 €850-1,200

PROVENANCE: Purchased by Michael Inchbald at Olympia from Timothy Wilson Antiques, Bawtry, Yorkshire, on 20 February 1987, for £220.

126 A PAIR OF LOUIS XIV POLISHED STEEL BALUSTER ANDIRONS LATE 17TH/EARLY 18TH CENTURY

20 in. (51 cm.) high; 14 º in. (36 cm.) wide £2,000-4,000

(2) $3,300-6,600 €2,500-4,800

PROVENANCE: Purchased by Michael Inchbald from Csaky’s Antiques, 20 Pimlico Road, London, 10 April 1985, for £1500.

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The bay window in the drawing room at Eythorpe, circa 1935.

Syrie Maugham in her ‘all-white’ room, photographed by Cecil Beaton, early 1930s.

127 A LOUIS XV GREY-PAINTED MARQUISE MID-18TH CENTURY

The rectangular padded back with back cushion above padded outscrolled arms and a serpentine moulded seat with squab cushion, on cabriole legs, covered in ochre velvet, redecorated 39 in. (99 cm.) high; 28 æ in. (73 cm.) wide; 44 in. (112 cm.) deep, approx. £5,000-8,000

$8,200-13,000 €6,100-9,700

PROVENANCE: Syrie Maugham (1879-1955). Michael Inchbald noted that this chair was “the original from which Syrie had simpler unmoulded copies made”, including one made for her own use in the Drawing Room at Eythrope Park, Buckinghamshire, photographed circa 1935 and reproduced in a watercolour of the bay window corner of the drawing room by Victoria Neel (the frst illustrated here; P.C. Metcalf, Syrie Maugham. Creating Glamorous Interiors, New York, 2010, pp. 91 & 95). With its large, low, deep seat and rich and comfortable upholstery, it is of the type depicted in the famous Jean-François de Troy painting entitled La Lecture de Molière, painted in 1730 (sold from the collection of the Marquess of Cholmondeley, Houghton Hall, Norfolk; Christie’s London, 8 December 1994, lot 147, £3,961,500).

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128

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A LOUIS XV GILTWOOD FAUTEUIL A LA REINE

A PAIR OF CHARLES X ORMOLU-MOUNTED CHINESE CELADON PORCELAIN SQUARED CONG-FORM VASES

BY JEAN-BAPTISTE TILLIARD, CIRCA 1760

The cartouche-shaped back, outcurved arms and serpentine seat carved with rocaille, acanthus and foliate-trails, on cabriole legs, upholstered à chassis in blue damask-patterned cut-velvet, stamped TILLIARD, re-gilt 39 in. (99 cm.) high; 29 in. (73.5 cm.) wide £8,000-12,000

$14,000-20,000 €9,700-14,000

PROVENANCE: Anonymous sale; Sotheby’s London, 14 October 1960, lot 177. Sold by Michael Inchbald to Mrs Sanotirs Surenne (sp.?), Ovington Street, London. Sold by her to Bill Redford, from whom re-purchased by Michael Inchbald. Jean-Baptiste Tilliard, maître in 1717, and Jacques-Jean-Baptiste Tilliard, maître in 1752. The celebrated menuisier Jean-Baptiste Tilliard (1685-1766) established one of the most important workshops in Paris in the rue de Cléry, ‘Aux Armes de France’. In 1728 he received the title of maître menuisier du Garde-Meuble du Roi, and his distinguished clientèle included the Prince de Soubise and the marquise de Pompadour. Tilliard often employed other skilled sculpteurs such as Nicolas Heurtaut, Damien Quintel and Toussaint Foliot, whilst he retailed much of his oeuvre through the marchand-mercier Julien-Etienne Olivier. Tilliard worked closely with his son Jacques-Jean-Baptiste (1723-1798), who continued to use the same stamp after his father’s retirement in 1766; and as they both worked together at the same time and in he same style, this fauteuil could have been made by either father or son. 98

THE PORCELAIN 18TH CENTURY, THE MOUNTS CIRCA 1820-30

Each vase decorated with raised fat bands, mounted with an everted futed neck issuing twin scrolled bifurcated handles hung with berried laurel garlands and terminating in ram’s masks, on a circular stepped base cast with Greek key and on scroll and lion’spaw feet, one vase cracked and restored 15 in. (38 cm.) high (2) £30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: The René Fribourg Collection, 11 East 84th Street, New York; sold Sotheby’s London, 28 June 1963, lot 148. This unusual form of squared porcelain vase mounted with early 19th century ormolu is similar to a single vase with rococo mounts including a chinoiserie canopy in the James A. de Rothschild Collection at Waddesdon Manor, Buckinghamshire (G. de Bellaigue, The James A. de Rothschild Collection at Waddesdon Manor, London, 1974, pp. 756-8, no. 198). As in the case of this pair of vases, which were catalogued in the Fribourg collection as being 18th Century in their entirety, the bronzes of the Waddesdon vase were regarded as 18th century until 1965, after which they became accepted as 19th century.

99

130 AN INDIAN WHITE MARBLE GARDEN CHAIR 19TH CENTURY

With pierced trellis back and arm supports, restorations 38Ω in. (98 cm.) high; 23æ in. (60.5 cm.) wide; 20æ in. (53 cm.) deep £600-900

$990-1,500 €730-1,100

PROVENANCE: Purchased by Michael Inchbald on 25 May 1957.

131 A NORTH INDIAN VEINED WHITE MARBLE SQUARE LOW TABLE 19TH CENTURY

The moulded top on lotus-carved baluster legs, all carved from a single piece of marble 9æ in. (25 cm.) high; 33æ in. (85.5 cm.) square £2,500-4,000

$4,100-6,600 €3,100-4,800

PROVENANCE: Jean-Claude Ciancimino. Purchased by Michael Inchbald from Micel Dumez-Onor, 109 Mount Street, 17 December 1983, £2,500.

~132

~133

AN ANGLO-INDIAN BRASS-MOUNTED IVORY, EBONY, HARDWOOD AND SADELIWORK TABLE CABINET

AN INDO-PORTUGUESE COLONIAL TORTOISESHELL, IVORY AND HARDWOOD TABLE CABINET

MID-18TH CENTURY

EARLY 18TH CENTURY

With panelled sides, top and eight drawers, with carrying-handles to the side, the original doors removed in the late 19th century (but present) 12 in. (30.5 cm.) high; 18æ in. (47.5 cm.) wide; 12Ω in. (32 cm.) deep

The fall-front enclosing an arrangement of eight drawers, with side carrying-handles, on later block feet, losses 9æ in. (25 cm.) high; 15¡ in. (39 cm.) wide; 10æ in. (27.5 cm.) deep

£6,000-9,000

$9,900-15,000 €7,300-11,000

PROVENANCE: Purchased by Michael Inchbald from David Tremayne, King’s Road, London, 29 September 1980, £950. 100

£5,000-8,000

$8,200-13,000 €6,100-9,700

PROVENANCE: Purchased by Michael Inchbald from Frank Collins, 233 Westbourne Grove, London, 4 June 1981, £725.

132

133

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134 A PAIR OF LOUIS XVI GILTWOOD FAUTEUILS BY LOUIS DELANOIS, CIRCA 1770

Each oval padded back and bowed seat carved with guilloche, with futed arm supports, on turned tapering futed legs headed by rosettes and toupie feet, later covered in blue velvet, re-gilt, one stamped L DELANOIS, the other partially stamped 37º in. (94.5 cm.) high; 24æ in. (63 cm.) wide (2) £7,000-10,000 PROVENANCE: By repute, the Dukes of Roxburghe. Louis Delanois, maître in 1761.

102

$12,000-16,000 €8,500-12,000

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The Front Elevation for the Theatre Royal, Drury Lane, 1812.

135 A PAIR OF REGENCY PATINATED BRONZE ATHENIENNE TRIPOD TABLES CIRCA 1810

Each with everted lip above a fruiting vine-cast frieze, on tapering panelled supports headed by lion’s masks and joined by concave stretchers, on lion’s paw feet, each probably originally inset with a dish or a marble top and now inset with opaque glass 29æ in. (75.5 cm.) high; 20Ω in. (52 cm.) diameter (2) £40,000-60,000

$66,000-98,000 €49,000-72,000

PROVENANCE: Acquired from Montague Marcusson Ltd., London, in July 1959. The model for these archaeological ‘antique’ tripod tables almost certainly derives from the marble tripod altar preserved in the Museo Capitolino, Rome, illustrated in Giovanni Battista Piranesi’s Vasi, candelabra, cippi, sarcophagi, 1778 (pp. 1066-67, nos. 985 and 986). The ‘Roman’ design was subsequently modifed to refect the severe Grecian style popularised by James ‘Athenian’ Stuart (d. 1788) as seen in a set of three giltwood torcheres supplied to John Spencer, later 1st Earl Spencer, for the Great Staircase at Spencer House, London (a pair offered, ‘The Spencer House Sale’, Christie’s London, 8 July 2010, lot 1004). Although the maker of the present pair of tables cannot be attributed, the style was highly fashionable in the Regency period, appearing in designs by Thomas Hope (d. 1831). A similar marble stand/table was in Hope’s collection at the Deepdene, Surrey, in the Statue Gallery (Ed. D. Watkin, P. Hewat-Jaboor, Thomas Hope Regency Designer, New Haven and London, 2008, p. 118, fg. 7-20). Between 23 April 1810 and 8 June 1811 the frm of B. Vulliamy & Son, London supplied a group of sixteen fgural bronze

104

The Staircase, Dodington Hall, Gloucs, designed by James Wyatt, 1798-1813.

and marble six-light candelabra on comparable torchères to George, Prince of Wales, later George IV, for the Circular Drawing Room at Carlton House, Pall Mall, London (a pair of the candelabra, sold Christie’s, New York, 16 April 1998, lot 57). For the royal commission, at least eighteen craftsmen were involved in the production of the frst six pairs of candelabra and paid a total of £1174 17s 2d. The design also regularly featured in the work of the celebrated architectdesigner, James Wyatt (d. 1813), on a tripod designed by Wyatt for the dining room at Heveningham Hall, Suffolk and in particular, a pair of closely related torchères fanking the bottom of the grand sweeping staircase at Dodington Hall, Gloucestershire (J. Martin Robinson, James Wyatt (17461813) Architect to George III, New Haven and London, 2012, fg. 148, and The Wyatts, An Architectural Dynasty, Oxford, 1979, fg. 35). Wyatt’s eldest son, and pupil, Benjamin Dean Wyatt (d. 1852), also introduced a similar pair of pedestal stands as the precursor to a grand staircase in a drawing prepared for Stratfeld Saye, Hampshire for Arthur Wellesley, 1st Duke of Wellington. Four related stands were furthermore illustrated by Benjamin Wyatt on the front elevation of the Theatre Royal, Drury Lane, London published in 1813 in Observations on the Design for the Theatre Royal, Drury Lane; in 1811, Wyatt won a competition to rebuild the Theatre Royal, which had been destroyed by fre in 1809 (D. Linstrum, Catalogue of the Drawings Collection of the Royal Institute of British Architects: The Wyatt Family, Farnborough, 1974, fg. 12).

105

136 A PAIR OF EMPIRE ORMOLU, PATINATED BRONZE AND BLACK FOSSIL MARBLE SIX-LIGHT CANDELABRA ATTRIBUTED TO PIERRE-PHILIPPE THOMIRE, CIRCA 1805

Each Egyptian female fgure standing on a plinth mounted with a Canopic jar fanked by birds and on a further plinth base, holding fronds, wearing a tunic decorated with hieroglyphs and a quail-shaped headdress issuing two tiers of three scrolled candlebranches, the lower tier with Egyptian hawk nozzle bases, the upper tier interspersed with palm fronds, one branch to each now lacking and both tiers of branches turned and repositioned 49 in. (124.5 cm.) high (2) £70,000-100,000

$120,000-160,000 €85,000-120,000

PROVENANCE: Purchased by Michael Inchbald on 9 August 1953. These candelabra belong to a group whose central female fgure is based on an 1802 design by Charles Percier for a console table with uprights in the form of an almost identical female caryatid (reproduced here; H. Ottomeyer & P. Pröschel et al., Vergoldete Bronzen, Munich, 1986, vol. I, p. 336, fg. 5.3.1). A console table inspired by this design was delivered by Thomire and Duterme, possibly before 1806, to Le Brun, troisième Consul and later prince architresorier de l’Empire, which is now in the Grand Trianon (D. Ledoux-Lebard, Le Grand Trianon, Meubles at Objets d’Art, 1975, vol. I,pp. 20-21). The Grand Trianon console formed part of Le Brun’s furnishings in the Pavillion de Flore, Tuileries, and then after 1806 in the hôtel de Noailles.

Design for a console table by Charles Percier, Paris, 1800 106

Many related examples of candelabra featuring the same fgure are known. The closest pair, which include identical falcons and the same original branch arrangement (although the branches of the present pair have been slightly altered as catalogued) is in the nouveau cabinet de travail on the ground foor at Pavlovsk (reproduced here; A. Kuchumov, Pavlovsk, Palace and Park, 1975. pp. 176, 178 and 180). These candelabra were probably supplied to Czar Paul I for St. Michael’s Castle in St. Petersburg by the marchand-mercier Jérome Culot, who commissioned many of the bronzes from Pierre-Philippe Thomire. Another pair of the Pavlovsk model was supplied by Thomire to the Mobilier Impérial, later transferred to the château de SaintCloud and is now in the Grande Chancellerie de la Légion d’Honneur, Hôtel de Salm, Paris (J.M. Humbert, et al., Egyptomanie, 1994, p. 286, no. 167). A further pair was sold from the collection of M. Hubert de Givenchy, Christie’s Monaco, 4 December 1993, lot 39 and another is illustrated in Ottomeyer and Pröschel (op. cit., p. 336, fg. 5.3.3). Other examples of the model include a pair in a private collection illustrated in Humbert op. cit., p. 286, fg. 2, a pair appearing in a picture by Fedotov illustrated in M. Praz, An Illustrated History of Furnishing, 1964, p. 280, fg. 260, and a pair with three branches, sold Christie’s London, 31 May 1962, lot 80.

One of a pair of candelabra in The New Study, Pavlosk Palace

107

137 A GERMAN PARCEL-GILT SILVER CUP AND COVER AUGSBURG, CIRCA 1620, MAKER’S MARK INDISTINCT, POSSIBLY IV OR LV CONJOINED FOR LUKAS NEUSSER

Tapering lobed hexafoil on spreading foot, the beaded baluster stem with three scroll brackets, the detachable cover with a vase of fowers fnial, marked near rim and on foot, the cover, cup and foot further marked with later Austrian tax marks 12¡ in. (31.5 cm.) high 11 oz. 18 dwt. (370 gr.) £10,000-15,000

$17,000-25,000 €13,000-18,000

PROVENANCE: Purchased by Michael Inchbald from H.S. Wellby.

137

138 A GERMAN PARCEL-GILT SILVER PINEAPPLE CUP AND COVER MARK OF CHRISTOFF KREMER, NUREMBERG, CIRCA 1610

The lobed bowl on slightly domed foot with lambrequin motif, the baluster stem with beaded band and applied brackets, the cover similarly lobed with vase of fowers fnial, marked near rim, on foot and inside cover 12√ in. (32.7 cm.) high 14 oz. (436 gr.) £7,000-10,000 PROVENANCE: Purchased by Michael Inchbald from H.S. Wellby. 138

108

$12,000-16,000 €8,500-12,000

139 A QUEEN ANNE IRISH SILVER COMMEMORATIVE PLAQUE

PROVENANCE: Courtenay Ilbert (1888-1956) and by descent to Michael Inchbald.

BY CHRISTIAN KINDT, DUBLIN, DATED 1704

The arms are those of Cuthbert impaling Creichton, for Penelope Cuthbert (1684/5-1704), daughter of John Creichton (or Crichton) of co. Fermanagh, and wife of John Cuthbert, a goldsmith of Dublin. Penelope was his second wife. They married, as recorded in the inscription, on 1 January 1703/4, however a privately published history of the Crichton family (J. H. Steele, Genealogy of the Earls of Erne, Edinburgh, 1901, p. 30) records the date of the marriage as 24 December 1703.

Rectangular, chased with an interior scene with the seated fgure of Penelope Cuthbert beside a table, a squirrel at her feet, her arm resting on the memento mori of a skull beside an open Bible with a quote from the Book of Revelations, fanked by an extinguished candle and an hour-glass symbolising death, the room richly adorned room with drapery and columns and with a coat-of-arms hung on the wall, the plaque with further inscriptions, to the right St. Michael the Archangel defeats Satan, signed on the table cloth ‘C. Kindt inf:et:fec’, in an ebony and oyster-veneered frame The plaque 9æ in. (24.8 cm.) wide; the frame 15√ in. (40.3 cm.) wide The inscription on the table front reads ‘To the Memory of / Penelope Cuthbert als. Creichton. / Dautr. of Jon. Creighton Esqr. in the / Couty. of Fermanagh. Grandson of the / Earle of Dumfries in Scotland & / of Jane Sanderson Dautr. of Coll: / Sanderson in ye: Couty. of Cavan / Born Febry. 6. 1684/5 / Maryed Jan. 1st 1703/4 / Dyed Nov 23 1704’. The inscription on the wall panel reads ‘Why doe you trouble your self Dear follow me and come up.’ The inscription on St. Michael’s shield reads ‘ DANL: XXIC 1.2V / JUDEC: 9V / HEB: IIC 14V / REV: XIIC 7.9V. / ROM: XVIC 20V. / and the God of / peace shall bruise / Satan under / your feet / shortly / Amen.

£2,000-3,000

$3,300-4,900 €2,500-3,600

John Cuthbert, whose maker’s mark closely resembles his coat-of-arms, is recorded as a goldsmith of Skinners Row in Dublin. He was apprenticed to his father in 1682, becoming free in 1702, and recorded working until 1729. Christian Kindt’s maker’s mark CK is recorded in D. Bennett, Irish Georgian Silver, London, 1972, p. 314, no. 136. Bennett lists him as having been admitted as a quarter brother in 1702 and a freeman in 1707. He had at least one apprentice, William Townsend, who served him from 1718. M. S. Dudley Westropp in The Journal of the Royal Society of Antiquaries of Ireland, ‘Civic Insignia and Plate of Dublin’, vol. 17, no. 2, p. 149 records Kindt’s mark on the Great Mace of Dublin, refashioned by him and Thomas Bolton in 1717. His mark is also found on a caster on 1717, sold Christie’s London, 26 April 1942, lot 67, and a tankard of 1708. Thomas Sinsteden has suggested that he may have primarily worked as a chaser. The quantity of plate recorded in the day books for the Dublin Assay Offce is quite low. Between the years 1707 and 1713 he never submitted more than 283 ounces for assay and in 1712 only 28 ounces of plate are recorded. His work with Bolton on the Great Mace in 1717 may also have been as a chaser adding the additional ornament and royal cyphers. We are very grateful to Thomas Sinsteden for information on John Cuthbert and Christian Kindt. 109

140 A BRONZE FIGURE OF VENUS OR AMPHITRITE ATTRIBUTED TO FRANCESCO FANELLI (D. 1661), CIRCA 1645

Depicted standing contrapposto on an integrally cast square base, and a later ormolu-mounted square porphyry veneered pedestal; dark warm brown patina 18æ in. (48 cm.) high; 26 in. (66 cm.) high, overall £30,000-50,000

$50,000-82,000 €37,000-60,000

PROVENANCE: Collection of Mrs. M. Frost, sold Sotheby’s London, 19 December 1963, lot 132 (£390). LITERATURE: Die Kunst und das schone Heim, 1972, p. 688, fg. 4. M. Leithe-Jasper, Renaissance Master Bronzes from the Collection of the Kunsthistorisches Museum, Vienna, London, 1986, no. 75, pp. 274-6. COMPARATIVE LITERATURE: S. Haag and F. Kirchwger (ed.), Treasures of the Habsburgs, Vienna, 2012, p. 262. Previously ascribed to Jerome Duquesnoy, another version of this model in private hands was recently found to bear the signature of Francesco Fanelli, an Italian artist who became the court sculptor to Charles I. As such, the current bronze, along with other versions, such as those in the Kunsthistorisches Museum (Vienna, inv. no. KK 8932), Rijksmuseum (Amsterdam, inv. no. 5850) and the National Gallery of Art (Washington, inv. no. 80.4.10), have been subsequently attributed to Fanelli. The statuette in Vienna was in the collection of the Archduke Leopold Wilhelm (1614-62), the second son of Emperor Ferdinand II and regent of the Spanish Netherlands from 1647 to 1656. He amassed an extensive collection of artworks, including over 1,400 paintings and 500 sculptures, which provided the foundation of the Kunsthistorisches Museum. The statuette of Venus can be seen in the 1652 painting of the Archduke’s gallery in Brussels by David Teniers the Younger (KHM, inv. no. 739), where it appears in a prominent position on the cabinet beside the window. This provides a terminus ante quem for the creation of the present model, which is comparable in quality and facture to the version in Vienna.

110

141 A GILT-COPPER-MOUNTED PARCEL-GILT POLYCHROME ENAMEL ROUNDEL DEPICTING MARCUS AURELIUS ON HORSEBACK LIMOGES, MID-16TH CENTURY

in the early 1900s and by the time of his death his collection was vast and generally considered to be one of the best in the world, with an estimated value of some $160,000,000. The collection grew to such proportions that Charles Follen McKim was commissioned to design an Italian Renaissancestyle palazzo in New York to hold it (now the Pierpont Morgan Library).

The central panel contained within a gilt-copper circular frame decorated with four pierced gilt-copper appliqués; with a further square gilt-copper frame; containing elaborately decorated enamelled plaques; the reverse extensively inscribed in pencil 10æ in. (28 cm.) diameter, the central panel; 19 in. (48Ω cm.) overall

The breadth of Morgan’s collection resulted from his desire to acquire only the most highly prized works of all types, rather than a comprehensive selection of any one area. To help him in his search for works, Morgan used a number of experts, such as the German museum curator Wilhelm von Bode and the English dealers Thomas Agnew and Sons. In keeping with the mood of nascent national pride characteristic of America in the late nineteenth century, Morgan wished to build up a collection whose quality and range would make travel to Europe superfuous.

£30,000-50,000

PROVENANCE: John Pierpont Morgan Collection, New York. The Collection of Mrs Emily Hesslein, New York; sold Sotheby’s London, 10 May 1962, lot 124 (£270).

The current lot was later acquired by Emily Hesslein, the daughter of GermanJewish immigrants that settled in Bradford in Yorkshire in the 1860s, who herself amassed an impressive collection of French and British modern art. Her brother, Albert Rutherston, was an artist who mixed in artistic circles with Stanley Spencer, Wyndham Lewis and Spencer Gore. With Augustus John and William Orpen he became part of the ‘Three Musketeers’, known for their extroverted ‘Sladey’ behaviour.

This plaque previously belonged to John Pierpont Morgan (1837-1913), a merchant banker who in the late 19th and early 20th century was one of the most powerful men in the USA. Morgan began collecting works of art

The enamel depicts the celebrated antique bronze now in the Capitoline Museum in a fctional setting. It closely follows the horse painted by Leonard Limosin in the equestrian portrait of Henry II in the Louvre (see S. Banatte, Les Emaux peints de Limoges, Paris, 2000, p. 160, N 1247).

$50,000-82,000 €37,000-60,000

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112

142

142

143

A PAIR OF OVAL CARVED MARBLE PORTRAIT RELIEFS OF BEARDED GENTLEMEN

A PAIR OF OVAL CARVED MARBLE PORTRAIT RELIEFS OF CLEOPATRA AND DIDO

VENETIAN, LATE 17TH/EARLY 18TH CENTURY

ITALIAN, LATE 17TH CENTURY

Each within a giltwood frame Each 8Ω in. (21.5 cm.) high; 13Ω in. (34.5 cm.) high, overall £4,000-6,000

(2)

$6,600-9,800 €4,900-7,200

PROVENANCE: Purchased by Michael Inchbald from an antiques dealer in Chelsea, in the 1970s. The pronounced and vibrant depiction of the beards and hair of the two fgures is comparable to the work of the Venetian sculptors Bernardo Falconi and Orazio Marinali (see C. Semenzato, La Scultura Veneta Del Seicento E Del Settecento, Venice, 1966, nos. 12-13, 61-62, 79-82, 119).

Each in an oval giltwood frame Each 13Ω in. (34 cm.) high; 16 in. (40.5 cm.) high, overall £8,000-12,000

(2)

$14,000-20,000 €9,700-14,000

PROVENANCE: Purchased by Michael Inchbald from Julian Works of Art, 406 King’s Road, London, 27 January 1970, £75.

143

113

114

144 A GEORGE III GILTWOOD OVERMANTEL MIRROR CIRCA 1780, ALTERED BY MICHAEL INCHBALD

The later triple plates divided by palm trees, above a futed and rosette-carved plinth and beneath upspringing stiff leaves, surmounted by a cresting centred by a bare-chested maiden with her arms aloft, fanked by rearing horses and scrolling acanthus, re-gilt, the backboards replaced but the cresting probably original 89Ω x 73æ in. (227 x 187 cm.) £7,000-10,000

$12,000-16,000 €8,500-12,000

PROVENANCE: Purchased by Michael Inchbald from Alexis Ffrench on 9 April 1954.

145 AN ENGLISH YELLOW VELVET-COVERED AND BRASS THREE-SEAT SOFA MID-20TH CENTURY, TO A DESIGN BY MICHAEL INCHBALD

With six loose cushions, on lion’s forelegs 97æ in. (248.5 cm.) wide £2,000-3,000

$3,300-4,900 €2,500-3,600

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The Island Temple, Croome © Country Life 116

146 A GEORGE III STRIPPED PINE HALL BENCH THE DESIGN ATTRIBUTED TO JAMES WYATT, CIRCA 1800

The rectangular seat above a futed frieze on paired square tapering futed legs headed by rosettes, with ribbed toupie feet 18 in. (45.5 cm.) high; 59 in. (150 cm.) wide; 16Ω in. (42 cm.) deep £15,000-25,000

$25,000-41,000 €19,000-30,000

PROVENANCE: Almost certainly supplied by France and Bradburn circa 1800 to George William, 6th Earl of Coventry, for Croome Court, Worcestershire. Purchased by Michael Inchbald from Montague Marcusson Ltd., London, in July 1959. This antique-futed bench is designed in the Greek-revival manner, made fashionable through the publication of The Antiquities of Athens and Other Monuments of Greece in 1762 by James ‘Athenian’ Stuart and Nicholas Revett. A set of three very similar benches, possibly including this bench, was photographed in April 1915 by Country Life in a classical folly, the Island Temple, in the park at Croome Court, Worcestershire, the country seat of the Earls of Coventry (from circa 1751 until 1949) (10 April 1915, p. 487, ‘Temple Seat on Island’). A closely related bench sold Sotheby’s, London, 15 November 1996, lot 65, and subsequently, Christie’s, London, 23 May 2013, lot 37, £27,500. The latter and the present bench have identical dimensions suggesting they are part of the same set. The folly, dated circa 1800, was reattributed to the celebrated architect and furniture designer, James Wyatt (d. 1813) by English Heritage having formerly been designated as either ‘Capability’ Brown or Robert Adam, both of whom predated Wyatt at Croome as architect to George William Coventry, 6th Earl of Coventry (d. 1809). Wyatt, like fellow architect Sir William Chambers, drew on Roman sources for the exteriors of his buildings, manifested in the decorated stonework frieze of the Island Temple of foliate swags, ribbons, classical urns and rosettes. His interiors, however, were light and fanciful with furniture designs inspired by Roman and Greek antiquity (J.M. Robinson, James Wyatt Architect (1746-1813) to George III, 2011, pp. 55 and 148).

Wyatt is also known to have designed furniture for the 6th Earl, and was possibly responsible for designing the three benches for the folly. The benches represent the triclinium or three couches found in Roman dining rooms, and are arranged accordingly. A single bench from the set appears indistinctly in a photograph taken in the mid-late 19th century of the ‘Saloon’ at Croome Court (Worcestershire CRO, BA14450/279/6-7). With tapering pilaster legs capped by oval paterae tablets the design of this bench is very similar to those featured in a drawing by Wyatt for the loggia at Syon House, Middlesex for the 1st Duke of Northumberland (Robinson, op. cit., p. 45, fg. 44). It is also comparable to sideboard tables in the Dining Room at Wyatt’s celebrated commission, Heaton Hall, Lancashire, and also to a design by Wyatt for a sideboard for no. 41 Grosvenor Square, London (ibid., p. 150, fg. 143). The paterae tablets are closely related to designs featured in Mrs. Coade’s printed catalogue (1784). Wyatt, despite being unacknowledged in the catalogue, was one of the most prolifc authors of designs for this publication (ibid., p. 128, fg. 120). Furthermore, the interior of the Island Temple also features Coade stone plaques that include the Aldobrandini Wedding supplied by Mrs. Coade in July 1778 (ibid., p. 129). ‘Mrs. Coade and the Wyatts were closely involved from as early as 1771 with both James and Samuel Wyatt using Coade stone more extensively than other English architects throughout their career’ (ibid.). Equally, the present bench together with the companion pair may have been acquired by George Coventry, 9th Earl of Coventry (d. 1930) who was a prolifc collector buying from antique dealers in the late 19th/early 20th centuries.

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147 A GEORGE III SATINWOOD, AMARANTH AND ROSEWOOD-CROSSBANDED, EBONISED AND GREEN-STAINED D-SHAPED SIDE CABINET CIRCA 1790

With a frieze drawer above a chicken-wire panelled door, with simulated panelled sides, on square tapering legs, later adapted to ft a speaker 36 in. (91 cm.) high; 34 in. (86.5 cm.) wide; 14 in. (35.5 cm.) deep £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald.

148 A PAIR OF GEORGE III SATINWOOD AND TULIPWOOD-CROSSBANDED D-SHAPED SIDE TABLES LATE 18TH CENTURY

Each top with inverted breakfront corners, above a plain frieze on tapering square legs headed by burr-maple ovals, each inscribed in chalk to the underside ‘Ilbert 122’ and one with paper label inscribed ‘1026’ 29æ in. (75.5 cm.) high; 34Ω in. (87.5 cm.) wide; 16º in. (41 cm.) deep (2) £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald.

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149 (part lot)

149 GODFREY KNELLER (1646-1723); THOMAS WATSON (1750-1781) AND OTHERS A Collection of Mezzotint Portraits of the British Aristocracy

150

Including Charles Montagu, Duke of Manchester; Charles Seymour, Duke of Somerset; Thomas, Marquis of Wharton; John, Duke of Argyle and Greenwich; Henrietta, Countess of Rochester; Lady Whitmore & Barbara, Duchess of Cleveland, each laid down on the backboard, each framed P. 460 x 335 mm. (and smaller) (7)

ENGLISH SCHOOL A study of Sir Galahad for a stained glass window

£400-600

£400-600

$660-980 €490-720

inscribed ‘Sir Galahad’ (in the scroll, lower centre) and ‘centre light/ no. 4032’ (upper left and on the verso) pencil on paper 99 x 20¡ in. (251.5 x 51.7 cm.)

$660-980 €490-720

151 NICHOLAS BEATRIZET (1507 OR 1515 - CIRCA 1565) Henri II, King of France (Bartsch 3) Engraving, 1556, on laid paper, with an indistinct single circle watermark, a very good impression of the frst state (of two), before the portrait was altered to a bust portrait of Henri II directed to the right, trimmed to, on or just into the platemark, fractionally into the subject above, a made up paper loss at the upper right Sheet: 472 x 322 mm.

£800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: With Colnaghi’s, London (their stock number C. 34789 on the reverse). Lucca Penni (1504 – after 1557) was responsible for the design of the allegorical surround.

151

150

120

121

152 A DUTCH WALNUT AND AMBOYNA CABINETMAKER’S MODEL OF A BUREAU-CABINET 19TH CENTURY

The broken swan-neck pediment above a pair of arched later mirrored doors and a slope enclosing three drawers, above three further serpentine drawers and a shaped apron, the interior later adapted for electricity by Michael Inchbald and the backboards replaced 30 in. (76 cm.) high; 15º in. (38.5 cm.) wide; 7¿ in. (18 cm.) deep £1,000-1,500

$1,700-2,500 €1,300-1,800

153 A REGENCE GILTWOOD BRACKET SECOND QUARTER 18TH CENTURY

The shaped shelf supported on a scroll and acanthus-carved volute centred by a female mask, re-gilt 11º in. (28.5 cm.) high; 14¬ in. (37 cm.) wide; 6º in. (16 cm.) deep £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Purchased by Michael Inchbald from Pelham Galleries, London, 22 June 1961, £25.

122

123

154 A PAIR OF SPANISH TOLEDO ENGRAVED STEEL SCISSORS LATE 17TH CENTURY

With indistinct etched inscription and dated 1688, maker’s mark R, traces of gilding; together with a pair of Ottoman gold-damascened steel calligrapher’s scissors, 19th century The frst: 13¡ in. (34 cm.) long The second: 9√ in. (25 cm.) long (2) £400-600

$660-980 €490-720

155 A LOUIS XV SILVER-MOUNTED SHAGREEN RECTANGULAR CASE MID-18TH CENTURY

The hinged lid with carrying-handle and rocaille backplate, enclosing a crimson-velvet and gilt-thread padded interior; together with a Victorian black leather despatch box, by Wickwar, London, late 19th Century, the top embossed with the Royal Arms and with carrying-handle The frst: 2 x 12 x 6Ω in. (5 x 30.5 x 16.5 cm.), excluding handle; The second: 5æ x 18 x 12 in. (14.5 x 46 x 30.5 cm.), excluding handle (2) £500-800

$820-1,300 €610-970

PROVENANCE: The frst: A gift from Mallett of Bourdon House to Michael Inchbald in October 1985.

155

156 AN OTTOMAN SILVER-EMBROIDERED RED MOROCCO LEATHER PORTEFEUILLE

155

MADE IN CONSTANTINOPLE FOR THE IMPERIAL RUSSIAN FAMILY, EARLY 19TH CENTURY

Embroidered with martial trophies, torcheres and entwined serpents, centred by the crowned initial E beneath a doubleheaded displayed eagle 13º x 16Ω in. (33.5 x 42 cm.) £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Empress Elizabeth Alexeievna (1779-1826), née Princess Louise of Baden, wife of Emperor Alexander I of Russia (1777-1825), and by descent in the Russian Imperial Collections until the Revolution in 1917. Chateau de Sauvage at Rambouillet, where exhibited 18-19 October 1970. Purchased by Michael Inchbald from Marina Bowater, Bowater Gallery, 32 King Street, St James’s, 15 April 1971. 124

This concertina portfolio case is embroidered with the initials of Elizabeth Alexeievna, wife of the Tsar Alexander I of Russia, who was born in 1779 as Princess Louise Maria Auguste of Baden of the House of Zähringen. Her betrothal to the eldest grandson of Catherine the Great was initiated in 1792, when she and her younger sister Frederica travelled to St. Petersburg at the invitation of the Empress, and the marriage took place in 1793. She ascended to the throne with her husband in 1801 following the assassination of Paul I. She died shortly after her husband, in May 1826. In his personal papers Michael Inchbald noted that “The pieces of leather and designs sent by portfolio makers in Faubourg St. Honoré, Paris, to Constantinople to be embroideredÉ then returned to Paris to be made up and completed”. Such portefeuilles were often embroidered with the word Constantinople, the date and Ottoman motifs, such as a large dark green example with a similar brass lock (sold Sotheby’s London, 6 April 2011, lot 414, £55,250).

156

(back)

Grand Duchess Elizabeth Alexeievna, wife of future Tsar Alexander I of Russia, after Elisabeth-Louise Vigée-Lebrun, circa 1797.

125

157 A FRENCH ORMOLU THREE-LIGHT LAMPE BOUILOTTE 19TH CENTURY

The adjustable gilt-lined black tôle shade above a berried foliate boss issuing foliate-scroll branches, on a futed column and futed spreading base in a basket with pierced guilloche everted lip, ftted for electricity to a design by Michael Inchbald 32æ in. (83 cm.) high £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from Mallett, 26 February 1992, for £7,500, who electrifed it to Inchbald’s very detailed specifcations and partially regilded some elements in the process.

158 A LOUIS XIV WALNUT HIGH-BACKED FAUTEUIL EARLY 18TH CENTURY

With channelled scrolled arms, arm supports, legs and H-shaped stretchers, the rectangular back and seat later covered in sections of close-nailed 17th century Aubusson tapestry, the seat reframed 47º in. (120 cm.) high; 24æ in. (63 cm.) wide £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald.

126

~159 A LOUIS XIV WALNUT FOLDING TABOURET LATE 17TH CENTURY

The squared baluster panelled frame carved with husk trails and foliage, previously decorated, with later leopard-skin loose cover over the later leather seat 19Ω in. (49.5 cm.) high; 26º in. (66.5 cm.) wide; 18 in. (46 cm.) deep £7,000-10,000

$12,000-16,000 €8,500-12,000

Designed in the Louis XIV ‘antique’ style popularized by Jean Bérain, pliants of this type were employed almost exclusively for the Royal court, and their use was strictly regulated by the hierarchical dictates of court etiquette, whereby courtiers were required to be seated on stools in the presence of the King or Queen, who alone was permitted a chair with arms, emblematic of the power of the throne. Thus the inventory of Louis XIV’s mobilier listed no fewer than 1,323 stools at Versailles, and the tradition extended right to the end of monarchical rule in France, as even Marie Antoinette, so keen to decorate her private apartments in the latest fashions, furnished her Grand Appartement with pliants and tabourets.

127

160 A REGENCE ORMOLU-MOUNTED STAINED AMARANTH BUREAU PLAT EARLY 18TH CENTURY, SOME MOUNTS ATTRIBUTED TO BOULLE FILS

The rectangular top inset with black leather and with moulded border, above three frieze drawers, on espagnolette-headed cabriole legs with foliate scrolled sabots, the carcase resupported, some mounts struck with the C couronné poinçon, partially remounted 31æ in. (81 cm.) high; 75æ in. (192.5 cm.) wide; 35æ in. (91 cm.) deep £60,000-100,000

$99,000-160,000 €73,000-120,000

PROVENANCE: Comte de Pourtalès, probably Jamed Robert de Pourtalès (1911-1996); sold Christie’s London, 16 April 1959, lot 73 (220 guineas). The C couronné poinçon was a tax mark applied to alloys containing copper, between March 1745 and February 1749. The gilt-bronze sabots which adorn this rich bureau plat can be attributed to the atelier of André-Charles Boulle and his sons, who exclusively employed the technique of casting bronzes for furniture in cire-perdu (lost-wax). After the death of André-Charles Boulle in 1732, his sons (known as Boulle fls) sold various models of furniture and mounts, which were bought by contemporary ébénistes such as No‘l Gérard and François Lieutaud, and the mounts were employed on furniture stamped by them, such as the closely-related ebonised bureau plat formerly at Lord Byron’s home, Thrumpton Hall, Nottinghamshire (sold anonymously, Christie’s London, 9 December 2010, lot 9, £109,250). The name of Pourtalès is highly-regarded in the history of collecting, due to the renown of Comte James-Alexandre de Pourtalès (28 November 1776 - 24 March 1855), an ancestor to the vendor of this bureau plat (sold at Christie’s in 1959). The former was Chamberlain to the King of Prussia, having been made a comte in 1814. A banker, Pourtalès collected and subsequently created one of the most important galleries of antiquities and art in Paris, included paintings by Bronzino, Rembrandt and Ingres. After his death in 1855 and according to his will, the collection was sold by auction in Paris in February and March 1865. A large part of his collection was published in 1863 by Goupil & Co, Paris, and his portrait, painted by Paul Delaroche in 1846, is now in the Louvre.

128

129

161 A PAIR OF DERBY WHITE FIGURES OF FIELD MARSHAL SIR HENRY SEYMOUR CONWAY AND JOHN WILKES MP. CIRCA 1756-69

Conway standing before martial trophies, grasping a baton in his right hand, his left hand resting on a cannon, a putto holding a shield at his feet, Wilkes modelled standing wearing a long cloak, holding a quill and leaning on a pedestal on which rests a scroll, a putto at his feet supporting a tome, each on scroll moulded base, both with minor chipping to extremities and minor areas of restoration Each 12√ in. (32.7 cm.) high (2) £1,000-1,500

$1,700-2,500 €1,300-1,800

PROVENANCE: The fgure of Conway: Wallace Elliot (1866-1935); sold Sotheby’s, London, 24-26 May 1938, lot ?. Purchased in the above sale by his nephew Peter Inchbald; subsequently acquired by his brother Geoffrey Inchbald, and by descent to his son Michael Inchbald. The fgure of Wilkes: purchased by Michael Inchbald at Grosvenor House fair from William Agnew, June 1998.

162 A DERBY WHITE ‘DRY-EDGE’ ALLEGORICAL FIGURE OF AUTUMN CIRCA 1750-56

Modelled as a rustic fgure of a vintner carrying a basket of grapes over his left shoulder, wearing a wide-brimmed tricorn hat, long jacket and open shirt, breeches and an apron, standing on a rocky tree-stump mound base, restoration and minor chipping to extremities 7º in. (18.4 cm.) high £1,000-1,500

$1,700-2,500 €1,300-1,800

PROVENANCE: Wallace Elliot (1866-1935); sold Sotheby’s, London, 24-26 May 1938, lot 301 (part lot). Purchased in the above sale by his nephew Peter Inchbald; subsequently acquired by his brother Geoffrey Inchbald, and by descent to his son Michael Inchbald. See Peter Bradshaw, Derby Porcelain Figures 1750-1848, London, 1990, pp. 44-46, fg. 31 (B32) for a version of this model in the N.C. Ashton Collection.

163 A CONTINENTAL CREAMWARE MODEL OF AN EAGLE AND TWO MYTHOLOGICAL FIGURES LATE 18TH-EARLY 19TH CENTURY, PROBABLY ITALIAN

The eagle modelled with wings outstretched perched on rockwork, on a stepped rectangular plinth base, beak restored, minor chipping to wings and base; the mythological fgures modelled as Hercules and Mars, each standing with their attributes, on canted stepped bases, restoration The eagle 8Ω in. (21.5 cm.) high (3) £700-1,000

$1,200-1,600 €850-1,200

PROVENANCE: The fgures: Purchased by Michael Inchbald from Stockspring Antiques, 114 Kensington Church Street, London, circa 1987/1988, £220. The eagle: Purchased by Michael Inchbald from Jacqueline Oosthuizen, King’s Road, London, April 1993.

164 A VAUXHALL PORCELAIN WHITE EQUESTRIAN FIGURE CIRCA 1755-60

Probably representing Ferdinand, Duke of Brunswick, the Duke modelled astride his rearing steed, above military trophies on a rocky mound base, areas of restoration and replacement 8¬ in. (22.2 cm.) high £6,000-8,000

$9,900-13,000 €7,300-9,700

PROVENANCE: Wallace Elliot (1866-1935); sold Sotheby’s, London, 24-26 May 1938, lot 408 (as Longton Hall). Purchased in the above sale by his nephew Peter Inchbald; subsequently acquired by his brother Geoffrey Inchbald, and by descent to his son Michael Inchbald. Porcelain production at Vauxhall was a short-lived and experimental affair under the directorship of the jewellery retailer and merchant Nicholas Crisp and his partner John Sanders. Commercial production began in around 1753 resulting in a range of rococo inspired vases, fgures and table wares. Experimental changes in paste and glaze resulted in a variable output and the factory ceased production in around 1764. An advertisement of 1764 announcing the sale of the entire stock of the factory includes reference to ‘curious Figures, all Sorts of ornamental Toys’, see Roger Massey, Felicity Marno and Simon Spero, ‘Ceramics of Vauxhall, 18th century Pottery and Porcelain’, English Ceramic Circle, June 2007, p. 91. The present equestrian fgure belongs to a group of fgures formerly thought to be Longton

Hall but now reattributed to Vauxhall. The discovery of biscuit porcelain shards near the site of Crisp and Sanders Glasshouse Street factory in 1987 has enabled further identifcation of a range of Vauxhall porcelain. Interestingly the Vauxhall fgure modeller Thomas Hammersley went on to work with Nicholas Crisp at Bovey Tracey and then at the Plymouth and Bristol factories resulting in direct parallels between some of the models at these factories. There appear to be only two equestrian models of this type, the other being an enamelled version in the collection of the British Museum (also formerly from the Wallace Elliot Collection) which was previously attributed to Longton Hall and illustrated by Bernard Watney in Longton Hall Porcelain, London, 1957, col. pl. A and p. 44. The present fgure may be a representation of Charles William Ferdinand, Duke of Brunswick-Wolfenbüttel (1735-1806). The Duke is shown wearing the Order of the Garter, with which he was invested on 16th August 1759, after the Battle of Minden in which he defeated the French. However the modelling and colour of the paste and glaze suggests that this model may perhaps date very slightly earlier than 1759. The example of this model in the British Museum has a banner decorated in gilt with feur-de-lys amongst other trophies of war at the base, also supporting the notion that this fgure represents the Duke of Brunswick. A similarly modelled bronze sculpture of the Duke of Brunswick dating from the 19th century is in front of Brunswick Palace. The fashion for impressive equestrian sculpture was seen at numerous Continental porcelain factories in the 18th century including Meissen and Fürstenberg and the potters at Vauxhall were no doubt inspired by their Continental counterparts. 131

~165 A CARVED IVORY TABLE ORNAMENT THERMOMETER ANGLO-INDIAN, MID 19TH CENTURY

A circular four columned temple; centred by a thermometer on a column; supporting two storeys topped by a fag 11º in. (28Ω cm.) high £600-800

$990-1,300 €730-970

PROVENANCE: Purchased by Michael Inchbald from Guedics (?), 27 May 1987, £300.

~166 A TURNED IVORY CUP GERMAN, FIRST HALF 17TH CENTURY

With a double baluster stem; on a circular foot 12º in. (31 cm.) high £6,000-9,000

$9,900-15,000 €7,300-11,000

PROVENANCE: S.R. Christie-Miller, Britwell Court, Buckinghamshire; sold Sotheby’s London, 27th April 1972, lot 101.

132

~167 A TURNED IVORY ORNAMENT GERMAN, 17TH CENTURY

12 in. (30.5 cm.) high £6,000-8,000

$9,900-13,000 €7,300-9,700

PROVENANCE: Purchased by Michael Inchbald from Ciancimino, 307 King’s Road, London, 12 December 1983, £750.

133

~168 A CARVED IVORY FIGURE OF THE VENUS DE MEDICI AFTER THE ANTIQUE, ITALIAN OR FRENCH, 18TH OR 19TH CENTURY

On an integrally carved plinth 9º in. (23.5 cm.) high £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Purchased by Michael Inchbald from Cyril Humphries, 7 December 1964, £300.

~169 A PAIR OF CARVED IVORY FIGURES OF SAINT GEORGE AND SAINT MICHAEL FLEMISH OR GERMAN, 17TH CENTURY

Each standing on an integrally carved plinth and a later circular ebonised wood pedestal; each fgure depicted in armour; the fgure of St George on top of a dragon; the fgure of St Michael on top of a serpent Each 5æ in. (14.5 cm.) high; 10º in. (26 cm.) high, overall (2) £3,000-5,000

$5,000-8,200 €3,700-6,000

PROVENANCE: Purchased by Michael Inchbald from Johnny von Pfügel, London, 3 June 1993, £1,900.

~170 A PAIR OF CARVED IVORY FIGURES OF MARS AND VENUS WITH CUPID DIEPPE, 18TH CENTURY

Each on a shaped ivory and wooden socle with four ivory feet Each 6æ in. (17 cm.) high; 9 in. (23 cm.) overall £4,000-6,000

$6,600-9,800 €4,900-7,200

COMPARATIVE LITERATURE: P. Malgouyres, Ivories de la Renaissance et des Temps modernes. La collection du musée de Louvre, Paris, 2010, nos. 39-42.

169

134

(2)

170

135

171 A GILT-BRONZE STATUETTE OF THE BELVEDERE ANTINOUS AFTER THE ANTIQUE, ITALIAN OR FLEMISH, 18TH CENTURY

On a circular wood socle 8º in. (21 cm.) high; 10Ω in. (26.5 cm.) overall £3,000-4,000

$5,000-6,600 €3,700-4,800

PROVENANCE: Anonymous sale; Sotheby’s London, 23 June 1961, lot 30 (£100).

172 A GROUP OF FIVE GILT-BRONZE FIGURES 17TH CENTURY

As illustrated from left to right; a fgure of Minerva, Venetian; a fgure of a woman representing Faith, Italian; an allegorical fgure representing America, Venetian; a fgure of Saint John the Evangelist, North Italian; and a group of a Putto and an Infant Satyr, after Francois Duquesnoy 7Ω in. (19 cm.) high, the largest; 6 in. (15 cm.) high, the smallest (5) £4,000-6,000

$6,600-9,800 €4,900-7,200

PROVENANCE: Group of putto and an infant satyr: Collection of Lord Ashburton; purchased by Michael Inchbald from Gerald Kerin, 15 Davies Street, London, on 29th May 1961, £650 (with another bronze). Figure of St John: anonymous sale; Sotheby’s London, 27th October 1961, lot 33 (£85). Figures of Minerva and Faith: purchased by Michael Inchbald from David Peel & Cyril Humphries, £40 and £70.

136

173 A BRONZE MODEL OF A PACING BULL AFTER GIAMBOLOGNA, ITALIAN, LATE 17TH CENTURY

On a rectangular ebonised wood plinth bearing two paper labels to side; medium brown patina and lighter high points 8º in. (21 cm.) high; 13 in. (33 cm.) high, overall £8,000-12,000

$14,000-20,000 €9,700-14,000

PROVENANCE: Probably Charles Stuart, 1st Baron Stuart de Rothesay (1779-1845), at Highcliffe Castle, Hampshire. In the collection of the Rt. Hon. Earl and Countess of Abingdon at Highcliffe Castle, Hampshire by 1942. Highcliffe Castle sale; Christie’s London, 5 July 1949, lot 414, ‘bronze fgure of the Farnese Bull, 8 in high, on rectangular ebonised base’. LITERATURE: C. Hussey, ‘Highcliffe Castle, Hampshire- II, The Home of The Hon. Mrs. StuartWortley’, Country Life, 8 May 1942, pp. 854-7. C. Hussey, ‘Highcliffe Castle, Hampshire- III, The Home of The Hon. Mrs. Stuart-Wortley’, Country Life, 8 May 1942, p. 905. This bronze bull was formerly in the collection of the Earl of Abingdon at Highcliffe Castle and can be seen on the mantelpiece in the Library in a Country Life article on Highcliffe in 1942. Highcliffe Castle was built in the Gothic Revival style by Sir Charles Stuart between 1831 and 1835 on the site of High Cliff house, a Georgian Mansion designed for the 3rd Earl of Bute. Stuart had served successfully in the diplomatic corps, serving as ambassador to Portugal, Russia, the Netherlands and France. Whilst posted in Spain he became indispensable to the Duke of Wellington, who

The Library, Highcliffe Castle, 1942 © Country Life appointed him as British Ambassador in Paris. After the fall of Napoleon, he escorted the exiled French King Louis XVIII back to Paris, and became British Ambassador there again until 1824. During his stay there Stuart enjoyed the exotic society of Paris and ‘with his crony, Lord Yarmouth, later Marquess of Hertford, he haunted auctions and sales. There were many opportunities for acquiring historic bargains’ (Hussey -II, loc. cit., p. 855). The 3rd Marquess of Hertford’s considerable art collection later helped form the Wallace Collection, and Stuart shared his collecting zeal. His spate of acquisitions completely transformed Highcliffe, which then remained largely untouched until the Christie’s sale of 1949.

137

138

174 A CARVED MARBLE BUST OF JAMES, 1ST EARL STANHOPE ATTRIBUTED TO MICHAEL RYSBRACK (1694-1770), CIRCA 1730

Depicted with head turned to sinister; dressed in Roman attire; on an integral circular marble socle 19 in. (48 cm.) high; 24æ in. (63 cm.) high, overall £40,000-60,000

$66,000-98,000 €49,000-72,000

PROVENANCE: Cyril Humphries, until sold via Colnaghi, where purchased by Michael Inchbald, 11 March 1983. EXHIBITED: London, Colnaghi, Colnaghi, English Ancestors, A Survey of British Portraiture 1650-1850, 22 February - 31 March 1983 LITERATURE: C. Whitfeld, Colnaghi, English Ancestors, A Survey of British Portraiture 1650-1850, London, 1983, pp. 104-5. James Stanhope was born in 1673 and was educated at Eton and Trinity College, Oxford. He began an illustrious military career serving in Italy under the Duke of Savoy and later served as a volunteer in Flanders where he was seriously wounded in the assaults on Namur. He served with distinction in the Peninsular Wars until he was captured in 1770 and kept prisoner for more than a year and a half. On his return to England in 1712 he resumed his duties as an MP and became one of the leaders of the Whig opposition in the House. In 1717 Stanhope was promoted to 1st Lord of the Treasury and Chancellor of the Exchequer. He was Prime Minister in all but name and is presented as the frst Prime Minister of Great Britain, rather than Sir Robert Walpole. In 1717 he was raised to the peerage as Baron Stanhope; in 1718 he was created Earl Stanhope. He died in 1721. In 1733 a large monument to Stanhope was erected in the nave of Westminster Abbey. Designed by William Kent and carved by Rysbrack it was located to pair that of Sir Isaac Newton, on the northern side of the choir screen gates. Showing great ambition, Rysbrack slightly altered Kent’s design, and Stanhope is depicted reclining on a sarcophagus wearing Roman armour and holding a baton, with Minerva above seated on a military tent. On the left, a putto leans on an achievement of the Earl’s coatof-arms. Although now partially obscured by Blore’s choir screen of 1834, the monument sees the emergence of Rysbrack as a designer in his own right was one of the defning glories of the great sculptor’s career. The present bust appears to be closely related to the monument, but is not a portrait bust in the conventional understanding of the phrase. It is larger than life-size and set at an awkward angle, looking down just as the head of the effgy of the monument does. The torso has none of the foursquare character of a portrait bust, while the surface is not as fnely fnished as one would expect. This gives it a particular and atypical vitality and vigour. It is suggested here that the head is an exceptional fragment, from what must have been a very expensive studio accident in which either the marble block for the effgy proved too fawed at quite a late stage in production, or the head which once well boasted out of the block, would have been under pressure from torsion, and under which an accidental blow might have easily knocked it off. A terracotta bust, which was either the model for the current bust or possibly cast after it, was sold from Chevening House, previously the family seat of the Stanhope family, at the Chevening House sale, Sotheby’s, 10 May 1993, lot 341 as ‘A terracotta bust of a Roman Emperor, 19th century’ (£920). A plaster version of the bust is in a private collection in London. The head of James Stanhope would appear to be a rare survival which gives some insight into the facture of the large marble effgies for monuments that were so much an expression of sculptural achievement and cultural aspiration in mid-eighteenth century Britain. We would like to thank Katharine Eustace FSA for her assistance in the preparation of this note.

Monument to James, 1st Earl Stanhope, designed by William Kent and carved by Michael Rysbrack, 1733, Westminster Abbey © Dean and Chapter of Westminster. 139

175

177

A PAIR OF PATINATED COPPER SPHINXES

AN ITALIAN ORMOLU AND PATINATED BRONZE TWO-HANDLED PEN TRAY

FRENCH, 19TH CENTURY

Each recumbent; with dark brown patina Each 6æ in. (17 cm.) high; 10Ω in. (26.5 cm.) long £2,000-3,000

CIRCA 1800

(2) $3,300-4,900 €2,500-3,600

£700-1,000

$1,200-1,600 €850-1,200

176

178

TWO PAIRS OF FRENCH ORMOLU FEMALE MASK CARTOUCHES

A PAIR OF ANGLO-DUTCH BRASS ANDIRONS

ONE PAIR LATE 19TH CENTURY, ONE PAIR EARLY 20TH CENTURY

Each baluster shaft issuing from a female bust wearing a mitre fanked by coiled serpents 18 in. (45.5 cm.) high

Each depicting a female nymph wearing a crown of fowers and bulrushes in an architectural scroll clasp 17Ω in. (44.5 cm.) high; 14º in. (36 cm.) wide (4) £4,000-6,000

$6,600-9,800 €4,900-7,200

176 (part)

140

In the form of an Antique Roman bath centred by an Apollo mask, on paw feet and a black marble base 9√ in. (25 cm.) wide

19TH CENTURY, IN THE LATE 17TH CENTURY STYLE

£300-500

(2)

$500-820 €370-600

PROVENANCE: Possibly those purchased by Michael Inchbald from Robert E. Hirschhorn, London, 3 June 1999.

179

181

A LOUIS XV GREEN-PAINTED LOW CHAUFFEUSE

A GEORGE IV PATINATED BRONZE DORIC COLUMN OIL LAMP

MID-18TH CENTURY

The cartouche-shaped back and serpentine seat on cabriole legs, covered in ochre raw silk; together with a Louis XV walnut footstool, the rails replaced The frst: 29Ω in. (75 cm.) high; 20º in. (51.5 cm.) wide (2)

CIRCA 1830

£500-800

£700-1,000

$820-1,300 €610-970

PROVENANCE: The chauffeuse: Anonymous sale; Bonham’s London, 9 July 2000, lot 63. The footstool: Courtenay Ilbert (1888-1956), and by descent to his nephew Michael Inchbald.

180 A PORTUGUESE ROSEWOOD SERPENTINE STOOL MID-18TH CENTURY

The waved rocaille-carved seatrails on cabriole legs with pad feet joined by a cross-stretcher, the drop-in seat covered in apricot velvet 12 in. (30.5 cm.) high, approx.; 23 in. (58.5 cm.) wide; 14æ in. (37.5 cm.) deep £800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: Purchased by Michael Inchbald from Peter Francis, Beauchamp Place, London, 17 February 1959, £60.

Later converted to electricity, with burgundy-painted shade with cut-out to one side and plume fnial 23 in. (58.5 cm.) high, excluding ftments $1,200-1,600 €850-1,200

182 A GEORGE III SATINWOOD AND TULIPWOODCROSSBANDED OVAL PEMBROKE TABLE LATE 18TH CENTURY

The twin-fap top centred by a medallion, above a frieze drawer on tapering square legs headed by oval bat-wing medallions, with printed paper dealer’s label 27æ in. (70.5 cm.) high; 37 in. (94 cm.) wide, open; 27æ in. (70.5 cm.) deep £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: James Meryett, ‘Antique and High Class Furniture Dealer, Practical Upholsterer, and Dealer in Bric-a-Brac’, 253 & 25, King’s Road, Chelsea, established 1850. Courtenay Ilbert (1888-1956), by whom possibly purchased from the above, and by descent to Michael Inchbald.

141

183 A SET OF THREE CHINESE FAMILLE ROSE FIGURES FIRST HALF OF THE 19TH CENTURY

One depicting the Daoist Immortal Shoulao who is holding a peach, and the other two depicting offcials, each fgure with detachable hands and elaborately decorated robes The largest 14 in. (35.5 cm.) high £1,200-1,800

(3)

$2,000-2,900 €1,500-2,200

184 A CHINESE FAMILLE ROSE BALUSTER JAR YONGZHENG/EARLY QIANLONG PERIOD, CIRCA 1730-1740

Decorated with two large rectangular panels depicting fgures in riverscapes divided by smaller fan-shaped and circular panels of birds, insects and fowers, all reserved on a yellow ground with densely scrolling chrysanthemum 14 º in. (36.2 cm.) high £1,200-1,800

$2,000-2,900 €1,500-2,200

185 A CHINESE CLOISONNÉ ENAMEL LOBED BOTTLE VASE 19TH CENTURY

Decorated with butterfies amongst fowering branches on the six-lobed body, and densely scrolling lotus on the futed slender faring neck, all reserved on a white ground 13 º in. (33.5 cm.) high £800-1,200

142

$1,400-2,000 €970-1,400

186 A PAIR OF LARGE CHINESE DEHUA BLANC-DECHINE BUDDHIST LION JOSS-STICK HOLDERS KANGXI PERIOD (1662-1722)

Each lion seated on a tall rectangular plinth with its opposite foot resting on a brocade ball, one also with a cub between its front feet 13Ω in. (34.3 cm.) high (2) £400-600

$660-980 €490-720

PROVENANCE: Purchased by Michael Inchbald from Godson & Coles, London, 15 October 1987, £650.

187 A CHINESE FAMILLE ROSE OCTAGONAL BARREL-SHAPED GARDEN-SEAT FIRST HALF 19TH CENTURY

Brightly enamelled all around with scattered exotic butterfies and applied on each side with turquoise raised bosses and pierced double-cash roundels 18¬ in. (47.3 cm.) high £800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: Brought back from China circa 1900 by Charles Chantrey Inchbald (1856-1940), Michael Inchbald’s grandfather.

188 A PAIR OF MODERN CONTINENTAL FAIENCE WHITE-GLAZED GARDEN SEATS PERHAPS ITALIAN

After the Chinese model, pierced with rice-pattern and moulded with studs 17¡ in. (44 cm.) high (2) £800-1,200

$1,400-2,000 €970-1,400

PROVENANCE: Purchased by Michael Inchbald from Blanchards, 178 Sloane Street, London, 11 February 1985, £125.

143

144

189 A BRONZE SIGNAL GUN MID-19TH CENTURY

With six-stage barrel of approx. 1in. bore, bulbous turned muzzle, dolphin lifting-handles, plain trunnions, and turned cascabel-button, on associated oak feld carriage with brass mounts and iron-bound wheels 21 in. (53.3 cm.) barrel £2,000-3,000

$3,300-4,900 €2,500-3,600

PROVENANCE: Purchased by Michael Inchbald from R.J. Wigington, Stratford, on 11 May 1972, £250.

190 A FRENCH PRISONER-OF-WAR BONE AND PINE MODEL OF A FIFTY-SIX GUN MAN-O’-WAR EARLY 19TH CENTURY

The hinged lid with a cribbage board, enclosing a part-set of dominoes, the stern engraved ‘THE VETERAN 74. SP’ 3¿ in. (8 cm.) high; 12√ in. (32.5 cm.) long £1,500-2,500

$2,500-4,100 €1,900-3,000

PROVENANCE: Courtenay Ilbert (1888-1956), and by descent to Michael Inchbald.

191 A BRONZE MODEL FIELD GUN IN 17TH CENTURY STYLE LATE 19TH CENTURY

With tapering four-stage barrel with turned muzzle and arched lifting-handles, on iron-mounted wooden feld carriage 29 in. (74 cm.) overall £1,000-1,500

$1,700-2,500 €1,300-1,800

145

192 A FOSSIL FISH PROBABLY THE GREEN RIVER FORMATION, WYOMING

From the Eocene (circa 50 Mya) the 5-inch specimen in limestone matrix 9 in. (22.5 cm.) long £500-800

$820-1,300 €610-970

193 A DOCKYARD APPRENTICE MODEL FOR THE 34 GUN R.N.FRIGATE FAME 19TH CENTURY

The planked and pinned hull painted over the mail wale, scrollform head, carved and decorated stern and quarter galleries, scored deck with details including gratings, bitts, belaying rails and pins, cathead with cast metal anchors, covered hatches, well deck with suit of ftted boats over, guns in stepped wooden carriages, bound masts with yards, standing and running rigging with carved wooden blocks, loosely mounted on a cradle stand 61 in. (155 cm.) long, approx. £2,500-4,000 PROVENANCE: Anonymous sale; Christie’s London, 4 March 1970, lot 168.

$4,100-6,600 €3,100-4,800

This is almost certainly a model of the 34-gun Spanish “Fama” which was captured as a prize in 1804, renamed and sold in 1812. We are grateful to Charles Miller for his assistance in compiling this catalogue entry.

146

194 A WOODEN MODEL OF THE TORRE DELL’OROLOGIO, FAENZA BY GIOVANNINI FERDINANDO, 18TH CENTURY

In eight sections; with sized canvas dome and metal bell inscribed ‘8’ and ‘V.F.’; with remnants of a modern lighting system to interior; inscribed ‘FAENZA/ FECE/ GIOVANNINI FERDINANDO’ and ‘26’ over doorway; inscribed ‘N(?)OA E GIALO/ VIA EMICLIA/ CORSO/ PORTE PONTE’ over window; two paper labels to interior inscribed ‘MAQUETTE EN/ BOIS POLYCHROME/ XVII SIECLE POUR/ LA TOUR DIC’ORSO/ MAZZINI A FAENZA’ and ‘BY MI AUG/ 1968 FROM LEON-/ ARDO LAPICCIRELL/ A, LUNGARO VESUDC/ CL 18. FIRENZE’ 94º in. (239.5 cm.) high £20,000-30,000

$33,000-49,000 €25,000-36,000

PROVENANCE: Purchased by Michael Inchbald from Leonardo Lapiccirella, Borgognissanti, Florence, 1 September 1970. The Torre dell’Orologio is located in Piazza del Popolo in the Italian city of Faenza, which sits at the foot of the Subapennine hills in Ravenna, and was originally constructed by Fra Domenico Paganelli (1545-1624) between 1604 and 1608. Paganelli was a priest of the Order of Dominicans and an architect who had previously designed the Monumental Fountain in the Piazza della Liberà, another of Faenza’s famous landmarks. The tower was left relatively unscathed throughout the centuries, although it was restored in 1836. From the late nineteenth century until 1944 the base of the tower housed a bar and a brewery. On 17 November 1944, the German army, retreating through Italy, demolished the tower. However, after the war had ended, the people and council of the city were determined to rebuild the tower and by 1953 the Torre dell’Orologio was back up ‘as it was and where it was’. The author of the present model, Giovannini Ferdinando, has faithfully recorded the rusticated base of the tower with the fve overlapping orders crowned by a dome. The only noticeable differences between the tower and the model is the lack of both the clock face on the second order, and a row of circular windows below the cornice of the dome. Francesco Scala’s carved marble group of the Virgin and Child, which is located in the niche over the balcony on the frst order of the Tower, was also not recreated in the model, probably because the group was not original to the Tower and would have been diffcult to accurately represent in wood. Despite this the model is extremely accurate in its portrayal of the proportions and the constructive and decorative elements of the tower, such as the capitals, cornices and balustrades. An unpublished engraving depicting the Piazza Maggiore, probably from the early nineteenth century, shows the tower rising above the Piazza. The Tower is shown without the row of circular windows immediately below the dome. These windows are also lacking from the present model, but can be seen in late nineteenth-century photographs of the Tower, taken after the restorations earlier in the century, thereby providing a possible terminus ante quem for the construction of the present model.

Piazza del Popolo, Faenza, 1936 © Mark Santandrea

147

195

196

A FRENCH PROVINCIAL OAK BENCH

A PAIR OF LOUIS XV WALNUT BERGERES

EARLY 18TH CENTURY

MID-18TH CENTURY

The later unpolished Caen limestone moulded top on balusterand-block legs joined by conforming stretchers, possibly reduced in size, restorations 16æ in. (42.5 cm.) high; 66æ in. (169.5 cm.) wide; 22 in. (56 cm.) deep

Each with shaped padded back, outcurved arms and serpentine seat on cabriole legs, carved with fowerheads and acanthus, covered in later Indian striped dhurrie, with squab and bolster cushion, minor differences to the carving, restorations 38º in. (97 cm.) high; 32º in. (82 cm.) wide (2)

£1,000-1,500

£5,000-8,000

PROVENANCE: Purchased by Michael Inchbald from Christopher Gibbs.

148

$1,700-2,500 €1,300-1,800

$8,200-13,000 €6,100-9,700

PROVENANCE: Count Charles de Salis; sold Christie’s London, 19 May 1966, lot 101 (£800).

197

199

AN ITALIAN FLEUR DE PECHE MARBLE BATH

A GROUP OF FOUR AGATE BOWLS, A MARBLE PEN TRAY AND A GRANITE BOWL

19TH CENTURY

Of Antique form, each side carved with two ring handles 3¿ in. (8 cm.) high; 13 in. (33 cm.) wide; 5æ in. (14.5 cm.) deep £600-900

$990-1,500 €730-1,100

Two of the agate bowls circular and two oblong; the granite bowl oblong with pointed ends; the fossil marble bath oblong The largest agate bowl 9Ω in. (24Ω cm.) diameter; the granite bowl 11æ in. (30 cm.) wide (6) £1,200-1,800

198 AN ITALIAN WALNUT AND MARQUETRY TABLE CABINET LATE 17TH/EARLY 18TH CENTURY

Inlaid with panels of scrolling foliage, the top centred by a playing card within an architectural cartouche engraved with Roman numerals, with three drawers lined with marbled paper, on a later metal stand (not illustrated) The table cabinet: 8º x 17 x 15æ in. (21 x 43 x 40 cm.); the stand 5 in. (13 cm.) high £500-800

PROBABLY 19TH CENTURY

$820-1,300 €610-970

$2,000-2,900 €1,500-2,200

PROVENANCE: The granite bowl purchased from Ella Grahame Antiques, Kensington Church Street, London, 14 February 1986, £120.

200 AN ENGLISH MAHOGANY AND CROSSBANDED DECANTER BOX 19TH CENTURY

With six divisions containing four associated cut-glass decanters; together with an English mahogany two-handled pen tray, 19th century The decanter box: 10 x 13 x 9 in. (25.5 x 33 x 23 cm.) (2) £300-500

$500-820 €370-600

200 (part)

149

201 A PAIR OF VICTORIAN LACQUERED BRASS RAM’S MASK SNUFF MULLS/INK STANDS LATE 19TH CENTURY

The lids fxed down; together with a pair of silvered-bronze models of ram’s masks, 20th century The frst: 6Ω in. (16.5 cm.) high; 9º in. (23.5 cm.) wide £1,200-1,800

(4)

$2,000-2,900 €1,500-2,200

PROVENANCE: The silvered pair: Purchased by Michael Inchbald at Olympia from Tiggy Meyer at Pamela Teignmouth & Son, 108 Kensington Church Street, London, 3 June 1993, £820.

202 AN ENGLISH WHITE-PAINTED PEDESTAL CABINET AND BIRDCAGE DESIGNED BY MICHAEL INCHBALD IN 1954 AND INCORPORATING SOME 18TH CENTURY ELEMENTS

The tapering square cabinet with beaded panelled sides headed by ram’s masks, on paw feet and a later ebonised base with recessed castors, surmounted by a modern grey-painted wire obeliskshaped birdcage, traces of earlier decoration to the feet and masks The cabinet: 28 in. (71 cm.) high; 20Ω in. (52 cm.) square The birdcage: 65Ω in. (166 cm.) high, approx.; 14 in. (35.5 cm.) square £2,000-3,000

150

$3,300-4,900 €2,500-3,600

Opposite: Michael Inchbald seated at his drawing desk concealed behind a cork wall

151

203 A PAIR OF ENGLISH FIBREGLASS, CAST-ALUMINIUM AND UPHOLSTERED SWIVEL TUB ARMCHAIRS DESIGNED BY MICHAEL INCHBALD FOR THE FIRST CLASS LOUNGE OF THE QUEEN ELIZABETH THE SECOND YACHT, CIRCA 1969, MADE BY LURASHELL

One covered in grey leather, the other in black leatherette, each cast to the underside DESIGNED BY MICHAEL INCHBALD / Q.E.2. 1st CLASS LOUNGE / LURASHELL LIMITED / WARE, HERTS, ENGLAND / PT NO 504/1 21 DIA / PT NO 524/1 18 DIA; together with an English brass, leather and mahogany yacht armchair, designed by Michael Inchbald for the First Class Library The pair: 29 in. (73.5 cm.) high; 28 in. (71 cm.) wide; 35 in. (89 cm.) deep, approx. The single: 30Ω in. (77.5 cm.) high; 22Ω in. (57 cm.) wide; 19æ in. (50 cm.) deep, approx. (3) £1,000-1,500

$1,700-2,500 €1,300-1,800

The Queen’s Room of the Queen Elizabeth II Yacht was designed by Michael Inchbald in 1969 and at the time was hailed as ‘The most successful marine interior ever conceived’. It was to be described in detail: “The Queen’s Room, designed by Michael Inchbald, dominates the Quarter Deck. It drew an exclamation of delight from QE2’s royal namesake when Her Majesty visited the ship on the eve of her maiden voyage to New York. A feature of the room is the superb bust of The Queen by Oscar Nemon. Here again the full width of the ship has been used, and the light pouring in through deep windows illumines the airy whiteness which is the main effect. A white, trellised ceiling, chairs upholstered in natural hide, structural columns encased in inverted trumpets of white fbreglass are set off by fame tweed upholstery and scatter cushions in orange, honey and lemon. The Queen’s Room, for most of the day, is quiet and restful. It comes alive, gently, for afternoon tea, and more noisily at night, for one of the after-dinner foor shows.” (The World’s Finest Ship, Vincent Mulchrone). Michael Inchbald also designed interiors for three other liners: the Carpathia, Franconia and the Windsor Castle.

The First Class Saloon or Queen’s Lounge on the QE2 152

The First Class Library on the QE2

204 AN ENGLISH PAINTED FOAM MODEL REDUCTION OF AN EASY ARMCHAIR DESIGNED BY MICHAEL INCHBALD FOR THE 1ST CLASS LOUNGE OF THE QUEEN ELIZABETH II YACHT, CIRCA 1969

Tied with a red identifcation label 4æ in. (12 cm.) high; 4º in. (11 cm.) wide; 5¿ in. (13 cm.) deep £200-300

$330-490 €250-360

END OF SALE 153

Important Notices and Explanation of Cataloguing Practice IMPORTANT NOTICES CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTION From time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number. On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Such property is identified in the catalogue with the symbol º next to the lot number. This symbol will be used both in cases where Christie’s holds the financial interest on its own, and in cases where Christie’s has financed all or part of such interest through third parties. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest at the front of the catalogue In this catalogue, if property has a °♦ next to the lot number, Christies guarantee of a minimum price has been financed through third parties ALL DIMENSIONS ARE APPROXIMATE CONDITION Christie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIES Property made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit (e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarise themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country. For example, the U.S. generally prohibits the importation of articles containing species that it has designated as endangered or threatened if those articles are less than 100 years old. Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species. POST 1950 FURNITURE All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations” ). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

EXPLANATION OF CATALOGUING PRACTICE FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to authorship are made subject to the provisions of the Conditions of Sale and Limited Warranty. Buyers are advised to inspect the property themselves. Written condition reports are usually available on request. Name(s) or Recognised Designation of an Artist without any Qualification In Christie’s opinion a work by the artist. *“Attributed to …” In Christie’s qualified opinion probably a work by the artist in whole or in part. *“Studio of …”/“Workshop of …” In Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision. *“Circle of …” In Christie’s qualified opinion a work of the period of the artist and showing his influence. *“Follower of …” In Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil. *“Manner of …” In Christie’s qualified opinion a work executed in the artist’s style but of a later date. *“After …” In Christie’s qualified opinion a copy (of any date) of a work of the artist. “Signed …”/“Dated …”/ “Inscribed …” In Christie’s qualified opinion the work has been signed/dated/inscribed by the artist. “With signature …”/“With date …”/ “With inscription …” In Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist. The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published. *This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the Limited Warranty shall not be available with respect to lots described using this term.

FURNITURE Christie’s does not accept liability for failing to describe any alteration or addition to a Lot which is concealed by upholstery, gilding or painted decoration and could only be detected by physically dismantling the Lot. The following expressions with their accompanying explanations are used by Christie’s as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. EUROPEAN SCULPTURE AND WORKS OF ART “By…” In our opinion a work by the artist. “Cast from a model by…” In our opinion a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter. “Attributed to…” In our opinion a work probably by the artist. “In the style of…” In our opinion a work of the period of the artist and closely related to his style. “Ascribed to…” A work traditionally regarded as by the artist. “In the manner of…” In our opinion a later imitation of the period, of the style or of the artist’s work. “After…” In our opinion a copy or aftercast of a work of the artist. “Signed…”/“Dated…”/“Inscribed… ”/“Stamped…” In our opinion the signature/date/inscription/stamp is by the artist or manufacturer. “Bearing the signature…”/“Bearing the date…”/ “Bearing the Inscription…”/“Bearing the stamp…” In our opinion the signature/date/inscription/stamp is not by the artist or manufacturer. CLOCKS Prospective purchasers are reminded that the items in the catalogue are sold ‘as is’. Where possible, significant damage is mentioned in the description of the Lot although this does not include all faults and imperfections or restoration. No warranty is made that any clock is in working order and nothing in the catalogue description of any Lot should be taken as implying such. Neither should the description of any Lot be taken as indicating the absence of restoration or repair or to be a statement as to the condition of the Lot or the state of conservation. Not all clocks are sold with pendulums, weights or keys; please refer to the catalogue text for details of what is sold with each lot.

FOR PORCELAIN AND CERAMICS (a) A piece catalogued with the name of a period, reign or dynasty without further qualification was, in our opinion, made during or shortly after that period, reign or dynasty (eg. “a Ming vase”) (b) A piece catalogued “in the style of ” a period, reign or dynasty is in our opinion, quite possibly a copy or imitation of pieces made during the named period, reign or dynasty (e.g. “a vase in Ming style”) (c) A reference to a “mark and of the period” means that, in our opinion, the piece is of the period of the mark (e.g. “Kangxi six-character mark and of the period”). (d) A reference to a mark without reference to “and of the period” means that, in our opinion, although bearing the mark, the pieces were possibly not made in the period of the mark (e.g. “Kangxi six-character mark”). (e) Where no date, period, reign or mark is mentioned, the lot is, in our opinion, of uncertain date or 19th or 20th century manufacture. EUROPEAN CERAMICS A piece catalogued with the name of a factory, place or region without further qualification was, in our opinion, made in that factory, place or region (e.g. “A Worcester plate”). Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request. “A plate in the Worcester style” In our opinion a copy or imitation of pieces made in the named factory, place or region. “A Sèvres-pattern plate” In our opinion not made in the factory, place or region named but using decoration inspired by pieces made therein.“A Pratt-ware plate” In our opinion not made in the factory, place or region named but near in the style or period to pieces made therein. “A Meissen cup and saucer” In our opinion both were made at the factory named and match. “A Meissen cup and a saucer” In our opinion both pieces were made at the factory named but do not necessarily match. “Modelled by…” In our opinion made from the original master mould made by the modeller and under his supervision.“After the model by…” In our opinion made from the original master mould made by that modeller but from a later mould based on the original. “Painted by…” In our opinion can properly be attributed to that decorator on stylistic grounds.

ANTIQUITIES The following expressions with their accompanying explanations are used by Christie’s as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. “5th Century B.C.” In our opinion this object dates from the 5th Century B.C. “Probably 5th Century B.C.” In our opinion this object most probably dates from the 5th Century B.C., but there remains the possibility that it may be dated differently. “Possibly 5th Century B.C.” In our opinion this object could be dated to the 5th Century B.C. but there is a strong element of doubt. A lot left undated In our opinion this object may not be of ancient date. “After the Antique” In our opinion this object was made relatively recently (approximately in the past two hundred years) as a decorative copy in an ancient style, but not a deliberate forgery made with the intention to deceive. With respect to Vases: “Attributed to …” This vase has been attributed by a recognised authority in the field to the hand of a particular painter or workshop. “Signed by …” This vase bears the signature of the named painter (or maker). Labels Wording on labels may be specified as part of the catalogue description. CONDITION Please note that descriptions of Lots in this catalogue do not include references to condition. Condition reports are available on request. Please contact the Antiquities department adminstrator. EXPORT LICENCE REGULATIONS Buyers are reminded that antiquities purchased in our sales are liable to either UK or EU export licence regulations. However, the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit may exercise its discretion to exempt lots from these requirements. The Antiquities Department will be able to give you guidance in this respect and a list of lots requiring export licences will be on display during the public viewing. In the event that a licence is required, buyers are advised to apply for export licences immediately after the sale to avoid delay. U.S. TRADE RESTRICTIONS Please note that Lots of Iranian origin are subject to U.S. trade restrictions which currently prohibit their import into the United States. Similar restrictions may apply in other countries.

155

Buying at Christie’s CONDITIONS OF SALE Christie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction. ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information. RESERVES The reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol : next to the lot number. BUYER’S PREMIUM Christie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% of the final bid price of each lot up to and including è50,000, 20% of the excess of the hammer price above è50,000 and up to and including è1,000,000 and 12% of the excess of the hammer price above è1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is payable on the premium at the applicable rate. PRE-AUCTION VIEWING Pre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment. BIDDER REGISTRATION Prospective buyers who have not previously bid or consigned with Christie’s should bring: : Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. : Corporate clients: a certificate of incorporation. : For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply. : A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary. : Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorisation from that party. To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale. Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the auction. Clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. REGISTERING TO BID ON SOMEONE ELSE’S BEHALF Persons bidding on behalf of an existing client should bring a signed letter from the client authorising the bidder to act on the client’s behalf. Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf. BIDDING The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue. ABSENTEE BIDS Absentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids”, “book bids”, “order bids” or “commission bids”. Absentee Bids Forms are available in this catalogue, at any Christie’s location, or online at christies. com.

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TELEPHONE BIDS Telephone bids cannot be accepted for lots estimated below è2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3225 (London, South Kensington). Arrangements to bid in languages other than English must be made well in advance of the sale date. Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversation. SUCCESSFUL BIDS While Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable VAT. PAYMENT Buyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer. Lots purchased in London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to è25,000), and cash (up to è5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only A limit of è25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to è5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions). Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days). In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions. All mailed payments should be sent to: Christie’s, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QT Please direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143 VAT † VAT payable at 20% on hammer price and buyer’s premium * These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction. Ω These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction. α Buyers from within the EU: VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers from outside the EU: VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately q Z ero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis. Wine Auctions ‡ Stock offered duty-paid, but available in bond. VAT at 20% on hammer price and buyer’s premium (wine only). VAT Refunds Refunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ω symbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than è100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge è35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] Where non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged. ARTIST’S RESALE RIGHT (“DROIT DE SUITE”) If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows: Royalty 4.00% 3.00% 1.00% 0.50% 0.25%

For the portion of the Hammer Price (in Euro) up to 50,000 between 50,000.01 and 200,000 between 200,000.01 and 350,000 between 350,000.01 and 500,000 in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/ Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. SHIPPING It is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/ shipping to request a shipping estimate. For more information please contact the Shipping Department at + 44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales. EXPORT OF GOODS FROM THE EU If you are proposing to take purchased items outside the EU the following applies: Christie’s Art Transport: If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement. Own Shipper: VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper. Hand-Carried: VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document. *, Ω or † Starred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK. (no symbol) Margin Scheme – Please obtain a GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK. Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form. EXPORT/IMPORT PERMITS Buyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot. Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267. 20/11/13

Storage and Collection STORAGE & COLLECTION

While at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. All furniture, carpets and objects (both sold and unsold) not collected from Christie’s by the end of the auction will be removed by Cadogan Tate Ltd (“Cadogan Tate”) to its warehouse at 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0) 800 988 6100 Email: [email protected] Lots will be available for collection from midday on the first full business weekday after transfer to Cadogan Tate and every business weekday thereafter from 9.00am to 5.00pm. They are not available for collection at weekends or on Public Holidays. You may check on http:// collectmylot.com if a lot is with Cadogan Tate and if any transfer or storage charges are due. Lots may only be released by Cadogan Tate upon a) production of the ‘Collection Order’ obtained from the cashier’s office at Christie’s, 85 Old Brompton Road, London SW7 or Christie’s, 8 King Street,London SW1 b) payment of any charges that may be due to Cadogan Tate Whether you are planning to visit in person or to send a carrier or agent to collect for you please telephone 020 8963 3923 at least 24 hours before collection and you can book an appointment for you or your carrier, deal in advance with all the formalities and make any necessary payments. Your property can then be pre-picked so it is ready and waiting upon arrival and the collection can be handled through Cadogan Tate’s Fast Track procedure, avoiding possible queues and delays at busy times. If sending a carrier please ensure that they are provided with all necessary information,

your written authority to collect, the Collection Order and the means to settle any charges.

or by post or email from Cadogan Tate or online at http//collectmylot.com

Property, once paid, can be released upon request to Christie’s Fine Art Storage Services (CFASS) in London, New York or Singapore Free Port at any time, for environmentally controlled long term storage. For further details see below.

Please note that in particular Cadogan Tate does not accept any liability for damage or loss, due to its negligence or otherwise, exceeding the Hammer Price of a lot plus Buyer’s premium, or, at its sole option, the cost of repairing or replacing the damaged or missing lot. It reserves a lien over all goods in its possession for payment of storage and all other charges due to it

PAYMENT

Cadogan Tate’s charges may be paid in advance or at the time of collection. Lots will not be released until all outstanding charges due to Christie’s and/or CadoganTate Ltd are settled. CADOGAN TATE’S BUSINESS TERMS & LIABILITY The removal and/or storage by Cadogan Tate of any lots will be subject to its Standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1 or 85 Old Brompton Road London SW7

From the point of collection from Christie’s, subject to payment of its charges and to its Standard Terms & Conditions of Business, in the event of loss and/ or damage Cadogan Tate accepts liability for the lot value (defined as the hammer price of each lot, plus buyer’s premium). Its charge for accepting this liability, which is fully insured, is 0.6% of the hammer price or 100% of all other charges, whichever is smaller. BOOKS

Please note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

TRANSFER, STORAGE & RELATED CHARGES

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the auction. Thereafter the charges set out below will be payable. CHARGES PER LOT

FURNITURE / LARGE OBJECTS

PICTURES / SMALL OBJECTS

1-28 days after the auction

Free of Charge

Free of Charge

29th day onwards: Transfer Storage per day

è66.00 è5.00

è33.00 è2.50

These charges do not include a) the Extended Liability Charge of 0.6% of hammer price plus buyer’s premium, capped at the total of all other charges b) VAT which will be applied at the current rate. Christie’s Fine Art Storage Services (CFASS) offers storage solutions for fine art, antiques and collectibles in London, New York and Singapore (Free Port). It is a separate subsidiary of Christie’s and its clients enjoy complete confidentiality. Visit www.cfass.com, or contact [email protected] or Telephone: +44 (0)20 7622 0609 for charges and other details

Cadogan TaTe Warehouse 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] 06/09/12

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Conditions of Sale These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding. 1. CHRISTIE’S AS AGENT Except as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. 2.

CATALOGUE DESCRIPTIONS AND CONDITION Lots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis. (a) Condition The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding. (b) Cataloguing Practice Our cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries. (c) Attribution, etc Any statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers. (d) Estimates Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

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(e) Fitness for Purpose Lots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.

(g) Video or digital images At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

3. AT THE SALE (a) Refusal of admission Christie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid. (b) Registration before bidding Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references. (c) Bidding as principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment. (d) Absentee bids We will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control. (e) Telephone bids If a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control. (f) Currency converter At some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(h) Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol : next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. (i) Auctioneer’s discretion The auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive. (j) Successful bid and passing of risk Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier. 4. AFTER THE SALE (a) Buyer’s premium In addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including è50,000, 20% of the excess of the hammer price above è50,000 and up to and including è1,000,000 and 12% of the excess of the hammer price above è1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate. (b) Artist’s Resale Right (“Droit de Suite”) If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number. (c) Payment and ownership The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.

09/08/13

(d) Collection of purchases We shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has performed any other outstanding obligations as we, in our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within two calendar days from the date of the sale unless otherwise agreed between us and the buyer. (e) Packing, handling and shipping Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned. (f) Export licence Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export licence is required. (g) Remedies for non payment If the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5% above the base rate of Lloyds TSB Bank Plc; (ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale; (iv) to resell the property publicly or privately on such terms as we shall think fit; (v) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer; (vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer; (vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;

(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us; (x) to take such other action as we deem necessary or appropriate. If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all reasonable costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount. (h) Failure to collect purchases Where purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us. (i) Selling Property at Christie’s In addition to expenses such as transport, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis. 5. LIMITED WARRANTY In addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i)

(ii)

(iii) (iv)

(v)

(vi)

It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property. The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction. The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party. The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest. The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognised experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty. The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

6. COPYRIGHT The copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it. 7. SEVERABILITY If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law. 8. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of England. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of the United Kingdom.

05/01/10

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• DENOTES SALEROOM ENQUIRIES? —

160

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11/09/13

161

Christie’s Specialist Departments and Services DEPARTMENTS AMERICAN FURNITURE

NY: +1 212 636 2230 AMERICAN INDIAN ART

NY: +1 212 606 0536 AMERICAN PICTURES

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KS: +44 (0)20 7389 2570 ANTIQUITIES

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KS: +44 (0)20 7389 2700 NY: +1 212 636 2189 INTERIORS

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KS: +44 (0)20 7389 2057

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KS: +44 (0)20 7389 2591 SK: +44 (0)20 7752 3239

SK: +44 (0)20 7752 3119

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KS: +44 (0)20 7389 2383 SK: +44 (0)20 7752 3265

NY: +1 212 468 7133

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KS: +44 (0)20 7389 2040

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KS: +44 (0)20 7389 2650

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KS: +44 (0)20 7389 2682 NY: +1 212 636 2084 SK: +44 (0)20 7752 3257

SK: +44 (0)20 7389 2142

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SK: +44 (0)20 7752 3219

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KS: +44 (0)20 7389 2278 SK: +44 (0)20 7752 3293 NY: +1 212 636 2085 BRITISH PICTURES 1500-1850

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KS: +44 (0)20 7389 2357

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KS: +44 (0)20 7389 2443 SK: +44 (0)20 7752 3309 OBJECTS OF VERTU

KS: +44 (0)20 7389 2347 SK: +44 (0)20 7752 3001 OLD MASTER DRAWINGS

KS: +44 (0)20 7389 2251 OLD MASTER PICTURES

ORIENTAL CERAMICS AND WORKS OF ART

SK: +44 (0)20 7752 3026 FURNITURE

KS: +44 (0)20 7389 2482 SK: +44 (0)20 7389 2791 IMPRESSIONIST PICTURES

KS: +44 (0)20 7389 2638 SK: +44 (0)20 7752 3218

SILVER

KS: +44 (0)20 7389 2666 SK: +44 (0)20 7752 3262 ZUR: +41 (0) 44 268 1012

TWENTIETH CENTURY BRITISH ART

KS: +44 (0)20 7389 2920 SK: +44 (0)20 7752 3313

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KS: +44 (0)20 7389 2331 SK: +44 (0)20 7389 2794

NINETEENTH CENTURY FURNITURE AND SCULPTURE

CONTEMPORARY ART

SK: +44 (0)20 7752 3215

SCULPTURE

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KS: +44 (0)20 7389 2531 SK: +44 (0)20 7752 3250

COSTUME, TEXTILES AND FANS

SK: +44 (0)20 7752 3291

SK: +44 (0)20 7752 3365

MUSICAL INSTRUMENTS

PAR: +33 (0)140 768 386

KS: +44 (0)20 7389 2684 SK: +44 (0)20 7752 3311 TWENTIETH CENTURY DECORATIVE ART & DESIGN

KS: +44 (0)20 7389 2140 SK: +44 (0)20 7752 3236 TWENTIETH CENTURY PICTURES

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KS: +44 (0)20 7389 2468 SK: +44 (0)20 7752 3257 WATERCOLOURS AND DRAWINGS

SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2257 SK: +44 (0)20 7752 3293

PHOTOGRAPHS

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KS: +44 (0)20 7389 2292 POPULAR CULTURE AND ENTERTAINMENT

SK: +44 (0)20 7752 3275 POST-WAR ART

KS: +44 (0)20 7389 2450 SK: +44 (0)20 7752 3210

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Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: hkcourse@ christies.com CHRISTIE’S FINE ART STORAGE SERVICES

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Tel: +44 (0)20 7389 2570 Email: llindsay@christies. com

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CHRISTIE’S INTERNATIONAL REAL ESTATE

New York Tel +1 212 468 7182 Fax +1 212 468 7141 [email protected]

London Tel +44 20 7389 2551 Fax +44 20 7389 2168 [email protected]

Hong Kong Tel +852 2978 6788 Fax +852 2845 2646 [email protected]

KEY TO ABBREVIATIONS

KS: London, King Street NY: New York, Rockefeller Plaza PAR: Paris SK: London, South Kensington 27/09/13

162

FROM THE COLLECTION OF THE LATE MICHAEL INCHBALD AN IMPORTANT TIMEPIECE FROM THE ILBERT COLLECTION, ‘THE BREGUET “NAPOLEON” CLOCK’ Breguet No. 111 – Pendule à trois roues, with both Gregorian and Revolutionary annual calendar Sold 15 June 1795 to Breguet’s London agent Louis Recordon 23 in. (58.5 cm.) high £700,000–1,000,000

THE EXCEPTIONAL SALE 2014

London, King Street • 10 July 2014 English and European Furniture · Tapestries Silver · Objects of Vertu · Clocks · Sculpture · Porcelain

Viewing

Contact

4 –10 July 8 King Street London SW1Y 6QT

Robert Copley [email protected] +44 (0) 20 7389 2353

Les Trois Garçons London, South Kensington • 5 March 2014 Post-War and Contemporary Art, 20th Century Design, Sculpture, Lighting, Ceramics, Soft Furnishings and Garden Furniture

Viewing

Contact

1– 4 March 85 Old Brompton Road London SW7 3LD

Adrian Hume-Sayer [email protected] +44 (0) 20 7389 2696

Interiors London, South Kensington • 14 January 2014 Viewing

Contact

11–13 January 85 Old Brompton Road London SW7 3LD

Harriet Homfray [email protected] +44 (0) 20 7752 3029

christies.com

LUDWIG BEMELMANS (1898-1963) Dog, front cover of The New Yorker, 13 February 1965 ink and gouache on paper $2,000–4,000

TWO DISTINGUISHED AMERICAN COLLECTIONS: The Estate of the Hon. Noreen Drexel, Newport, R.I. The Estate of Van Cliburn, Fort Worth, TX. Including English Furniture and Porcelain, Fine Art, Russian Works of Art, English and American Silver, Chinese Works of Art and Jewels

New York • 4-5 March 2014 Viewing

Contact

28 February–4 March 20 Rockefeller Plaza New York, NY 10020

Kate Brambilla [email protected] +1 212 636 2464

christies.com

Absentee Bids Form Christie’s London Michael Inchbald: A Legacy of Design WEDNESDAY 22 JANUARY 2014 AT 10.30 AM

8 King Street, St. James’s, London SW1Y 6QT

Absentee bids must be received at least 24 hours before the auction begins. Christie’s will confirm all bids received by fax by return fax. If you have not received confirmation within one business day, please contact the Bid Department. Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com

CODE NAME: OBELISK SALE NUMBER: 6454

(Dealers billing name and address must agree with tax exemption certificate. Invoices cannot be changed after they have been printed.) BID ONLINE FOR THIS SALE AT CHRISTIES.COM BIDDING INCREMENTS

Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval. UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000

by UK£50s by UK£100s by UK£200s by UK£200, 500, 800 (ie: UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000, 5,000, 8,000 (ie: UK£32,000, 35,000, 38,000) UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion. Auction Results: +44 (0)20 7839 9060

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If you have not previously bid or consigned with Christie’s, please attach copies of the following documents. Individuals: government-issued photo identification (such as a photo driving licence, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts, offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply. If you are registering to bid on behalf of someone who has not previously bid or consigned with Christie’s, please attach identification documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New clients, clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions will be asked to supply a bank reference. We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request that you complete the section below with your bank details:

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Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including è50,000, 20% of the excess of the hammer price above è50,000 and up to and including è1,000,000 and 12% of the excess of the hammer price above è1,000,000, together with any VAT chargeable on the final bid and the buyer’s premium. VAT is chargeable on the purchase price of daggered (†) lots, and for buyers outside the EU on (α) lots, at the standard rate. VAT is chargeable on the purchase price of starred (*) lots at the reduced rate. I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low presale estimate. If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence. Please contact the Bid Department at least 24 hours in advance of the sale to make arrangements for telephone bidding. All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

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PLEASE PRINT CLEARLY Lot number (in numerical order)

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If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS Please quote number below:

09/08/13

167

Catalogue Subscriptions Order Form Code

Furniture and Decorative Arts

Subscription Title

Location

Issues

UK£Price

US$Price

EURPrice

N24

American Furniture and Decorative Arts American Furniture, Folk Art and Decorative Arts

New York

2

48

76

72

N93

Ceramics and Glass Chinese Export Ceramics

New York

1

26

43

39

K132 A22 P22 L223 N223

European Furniture, Tapestries, Sculpture and Works of Art Interiors: Style and Spirit Edition (included in K96) Furniture and Decorative Arts European Furniture, Silver and Ceramics 500 Years: Decorative Arts of Europe and The Exceptional Sale 500 Years: Decorative Arts of Europe

South Kensington Amsterdam Paris King Street New York

6 4 2 7 4

57 53 38 200 114

91 87 61 333 190

86 80 57 306 175

K96

Furniture and Decorative Objects Interiors (includes K127, K132 and K296)

South Kensington

38

361

578

542

K127 K132 K296 N96 P96 L99

House Sales Interiors: Masters & Makers (included in K96) Interiors: Style and Spirit Edition (included in K96) The Sunday Sales (included in K96) Interiors Interiors Private Collections and House Sales

South Kensington South Kensington South Kensington New York Paris London

4 6 6 9 2 6

38 57 57 103 19 171

61 91 91 171 30 285

57 86 86 154 29 262

L49

Rugs and Carpets Oriental Rugs and Carpets

King Street

2

48

76

72

K50

Arms and Armour Fine Antique Arms, Armour, and Collectors Firearms

South Kensington

2

38

61

57

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To place an order: please indicate your choice above and complete your details on the left and fax or mail this form. Alternatively, view catalogues free online at christies.com. Reply to: Christie’s Catalogues, 8 King Street, St James’s London SW1Y 6QT, United Kingdom Tel: +44 (0)20 7389 2820 Fax: +44 (0)20 3219 6067 [email protected] Christie’s Catalogues, 20 Rockefeller Plaza New York, NY 10020, USA Tel: +1 800 395 6300 Fax: +1 800 395 5600 From outside US Tel: +1 212 636 2500 Fax: +1 212 636 4940 [email protected]

Christie’s CHRISTIE’S INTERNATIONAL PLC Patricia Barbizet, Chairman Steven P. Murphy, Chief Executive Officer Stephen Brooks, Chief Operating Officer Loïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault

Nicholas Eldred, Company Secretary CHRISTIE’S EXECUTIVE Steven P. Murphy, Stephen Brooks, François Curiel, Nicholas Eldred, Karen Parker, Marc Porter, Jussi Pylkkänen, Doug Woodham

Charles Cator, Deputy Chairman, Christie’s International CHRISTIE’S EUROPE CHAIRMAN’S OFFICE Jussi Pylkkänen, President Orlando Rock, Deputy Chairman SENIOR DIRECTORS Mariolina Bassetti, Giovanna Bertazzoni, Olivier Camu, Philippe Garner, Richard Knight, Francis Outred, Andreas Rumbler, François de Ricqles DIRECTORS Prof. Dr. Dirk Boll, Roland de Lathuy, Eveline de Proyart, Roni Gilat-Baharaff, Paul Hewitt, Clarice Pecori Giraldi, Christiane Rantzau, Jop Ubbens, Juan Varez CHRISTIE’S EUROPEAN ADVISORY BOARD Pedro Girao, Chairman, Christopher Balfour, Patricia Barbizet, Arpad Busson, Loula Chandris, Kemal Has Cingillioglu, Ginevra Elkann, I. D. Fürstin zu Fürstenberg, H.R.H. Prince Pavlos of Greece, Alicia Koplowitz, Viscount Linley, Robert Manoukian, Rosita, Duchess of Marlborough, Dimitri Mavrommatis, Usha Mittal, Leopoldo Rodés, Çig˘dem Simavi

The Paper used in this catalogue has been manufactured at a mill which has been awarded the ISO 14001 for Environment Management and is a registered mill within EMAS (the EU EcoManagement and Audit Scheme)

CHRISTIE’S UK Jane Hay, Managing Director CHAIRMAN’S OFFICE Viscount Linley, Chairman Noël Annesley, Honorary Chairman; Richard Roundell, Vice Chairman; Robert Copley, Deputy Chairman; The Earl of Halifax, Deputy Chairman; Francis Russell, Deputy Chairman; Edward Clive, Julia Delves Broughton, James Hervey-Bathurst, Amin Jaffer, Orlando Rock, Nicholas White, Mark Wrey SENIOR DIRECTORS Dina Amin, Daniel Baade, Philip Belcher, Jeremy Bentley, Ellen Berkeley, Jill Berry, Giovanna Bertazzoni, Prof. Dr. Dirk Boll, Peter Brown, James Bruce-Gardyne, Olivier Camu, Sophie Carter, Benjamin Clark, Christopher Clayton-Jones, Karen Cole, Eric de Cavaignac Isabelle de La Bruyere, Nicole Dembinska, Paul Dickinson, Harriet Drummond, Adam Duncan, Julie Edelson, David Elswood, David Findlay, Margaret Ford, Daniel Gallen, Philippe Garner, Naomi Graham, Aino-Leena Grapin, Karen Harkness, Philip Harley, Nicola Harvey, James Hastie, Paul Hewitt, Rachel Hidderley, Mark Hinton, Howell James, Michael Jeha, Hugues Joffre, Donald Johnston, Erem Kassim-Lakha, Frank Lasry, Catherine Manson, John McDonald, Nic McElhatton (Chairman, South Kensington), Alexandra McMorrow, Jeremy Morrison, Nicholas Orchard, Francis Outred, Karen Parker, Clarice Pecori-Giraldi, Benjamin Peronnet, Henry Pettifer, Will Porter, Paul Raison, Tara Rastrick, William Robinson, John Stainton, Kirsten Tedder, Alexis de Tiesenhausen, Lynne Turner, Jay Vincze, Andrew Ward, David Warren, Harry Williams-Bulkeley, Martin Wilson, André Zlattinger DIRECTORS Richard Addington, Claire Åhman, Georgiana Aitken, Marco Almeida, Simon Andrews, Helen Baker, Karl Barry, Rachel Beattie, Sven Becker, Jane Blood, Piers Boothman, David Bowes-Lyon, Anthony Brown, Lucy Brown, Robert Brown, Grace Campbell, Lucy Campbell, Jason Carey, Romilly Collins, Ruth Cornett, Maddie Crampton, Sigrun Danielsson, Adrian Denton, Sophie DuCret, Hugh Edmeades, Arne Everwijn, Adele Falconer, Nick Finch, Peter Flory, Elizabeth Floyd, Christopher Forrest, Patricia Frost, Sarah Ghinn, Alexandra Gill, Sebastian Goetz, John Green, Simon Green, David Gregory, Mathilde Heaton, Annabel Hesketh, Sydney Hornsby, Peter Horwood, Simon James, Robert Jenrick, Sabine Kegel, Hans-Peter Keller, Jeffrey Kerr, Tjabel Klok, Lock Kresler, Quincy Kresler, Robert Lagneau,

Catalogue photography: Bill Henderson, Mark Farrington, Julio Leipnitz Jnr., Steve Ward Printed in England © Christie, Manson & Woods Ltd. (2014)

Nicholas Lambourn, Joanna Langston, Jeffrey Lassaline, Tina Law, Brandon Lindberg, Laura Lindsay, David Llewellyn, William Lorimer, Murray Macaulay, Sarah Mansfield, Nicolas Martineau, Roger Massey, Joy McCall, Neil McCutcheon, Daniel McPherson, Neil Millen, Edward Monagle, Jeremy Morgan, Giles Mountain, Chris Munro, Sandra Nedvetskaia, Rupert Neelands, Mark Newstead, Liberte Nuti, Rosalind Patient, Matthew Paton, Keith Penton, Andrew Petherick, Caroline Porter, Michael Prevezer, Anne Qaimmaqami, Elizabeth Rabineau, Marcus Rädecke, Pedram Rasti, Amjad Rauf, Sandra Romito, Tom Rooth, Alice de Roquemaurel, Francois Rothlisberger, Tim Schmelcher, Rosemary Scott, Tom Scott, Nigel Shorthouse, Dominic Simpson, Katie Siveyer, Muys Snijders, Nicola Steel, Robin Stephenson, Kay Sutton, Rakhi Talwar, Laura Tayler, Nicolette Tomkinson, Jane Turner, Thomas Venning, Andrew Waters, Sophie Wiles, Mark Wilkinson, Bernard Williams, Georgina Wilsenach, Toby Woolley, Geoff Young ASSOCIATE DIRECTORS Zoe Ainscough, Max Andrews, Ksenia Apukhtina, Guy Agazarian, Alexandra Baker, Fiona Baker, Ed Behrens, Nina Bowden, Mark Bowis, Clare Bramwell, John Caudle, Michael Cowley, Sophie Churcher, Nayan Datta, Armelle de Laubier-Rhally, Cristiano De Lorenzo, Grant Deudney, Claudia Dilley, Eva-Maria Dimitriadis, Howard Dixon, Virginie Dulucq, Joe Dunning, Anna Evans, Jorge Ferreira, Giles Forster, Eva French, Pat Galligan, Zita Gibson, Keith Gill, Andrew Grainger, Pippa Green, Angus Granlund, Ciaran Grealish, Christine Haines, Coral Hall, Charlotte Hart, Carolyn Holmes, Amy Huitson, Adrian Hume-Sayer, James Hyslop, Helena Ingham, Pippa Jacomb, Rosie Jarvie, Clementine Kerr, Hala Khayat, Alexandra Kindermann, Mark Henry Lampé, Darren Leak, Adriana Leese, Tom Legh, Timothy Lloyd, Scott Macdonald, Graeme Maddison, Stephanie Manstein, Kate McKenzie, Michelle McMullan, Susanne Meyer-Abich, Toby Monk, Sarah O’Brien, Beatriz Ordovás, William Paton, Anthea Peers, Suzanne Pennings, Louise Phelps, Romain Pingannaud, Sara Plumbly, Emma Rainbird, Sarah Rancans, Lisa Redpath, David Rees, Simon Reynolds, Sumiko Roberts, Sangeeta Sachidanantham, Catherine Scantlebury, Julie Schutz, Nick Sims, Mark Silver, James Smith, David Stead, Mark Stephen, Annelies Stevens, Charlotte Stewart, Gemma Sudlow, Cornelia Svedman, Nicola Swain, Iain Tarling, Sarah Tennant, Timothy Triptree, Flora Turnbull, Lisa Varsani, Julie Vial, Anastasia von Seibold, Amelia Walker, Tony Walshe, Ben Wiggins, Annette Wilson, Julian Wilson, Neal Young

04/12/13

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