glebe house, mont pellier and woodbury house: three country house collections

7/23/2019 Glebe House, Mont Pellier And Woodbury House: Three Country House Collections

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GLEBE HOUSE, MONT PELLIER

AND WOODBURY HOUSE

THREE COUNTRY HOUSE COLLECTIONS

South Kensington17 June 2015


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AUCTION

Wednesday 17 June 2015 at 10.00 am

85 Old Brompton Road,South Kensington,

London SW7 3LD

VIEWING

Friday 12 June 9.ooam - 5.00pm

Saturday 13 June 11.ooam - 5.00pm

Sunday 14 June 11.ooam - 5.00pm

Monday 15 June 9.ooam - 7.30pm

Tuesday 16 June 9.ooam - 5.00pm

AUCTIONEERS

Anna Evans, Philip Belcher & Hugh Edmeades

AUCTION CODE AND NUMBER

In sending absentee bids or making

enquiries, this sale should be referred

to as GLEBE-11567

AUCTION RESULTS

UK: +44 (0)20 7839 9060US: +1 212 703 8080

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CONDITIONS OF SALE

This auction is subject to

Important Notices,

Conditions of Sale and

to reserves.

[25]

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G H, M P W HThree Country House Collections

Wednesday 17 June 2015

GLEBE HOUSE LOTS 1-125 The Property of the late Mr Anthony Hobson

MONT PELL IER LOTS 126-297 The Property of the late Mrs Barbara Overland

WOODBURY HOUSE LOTS 298-368 The Property of the late Hon. Mr & Mrs Anthony Samuel

Front cover: Lot 42 (detail)Inside front cover: Lot 350 (detail)Back cover:Interior with Lots 293 and 294 in situ


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Private Collections and Country House Sales

Andrew WatersDirector of Sales, Decorative Arts,London and Head of Department

Orlando RockChairman, UKInternational Head of Decorative Arts

Amjad RaufDirector of European Collections

Amelia WalkerDirector,Specialist Head of Department

Adrian Hume-SayerAssociate Director, Specialist

Nathaniel NicholsonJunior Specialist

Gillian WardBusiness Manager

Alexandra CrudenProject Manager

Caitlin YatesJunior Specialist

Katharine CookeProject Manager

Charlotte YoungAssociate Director, Specialist


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Specialists and Services for this Auction

COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or

by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written

permission of Christies.

COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2015)

HEAD OF SALE

Nathaniel Nicholson

Tel: +44 (0)20 7389 2519

SPECIALISTS

FURNITURE & WORKS OF ARTNathaniel Nicholson

Caitlin Yates

Charlotte Young

Tel: +44 (0)20 7389 2730

EUROPEAN PORCELAIN & GLASS

& 20th CENTURY DESIGN

Mary OConnell

Tel: +44 (0)20 7752 3013

Fiona Baker

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CHINESE WORKS OF ART

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SILVERLily Faber

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CLOCKS

Celia Harvey

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CARPETS

Mark Henry Lampe

Tel: +44 (0)20 7389 2776

OLD MASTER PAINTINGS

Melissa van Vliet

Tel: +44 (0)20 7752 3256

OLD MASTER DRAWINGS

Jonathan den OtterHarriet West

Tel: +44 (0)20 7752 2736

BRITISH & CONTINENTAL PICTURES,

WATERCOLOURS AND DRAWINGS

James Richards

Krassimira Kuneva

Tel: +44 (0)20 7752 3284

VICTORIAN PICTURES

Sarah Reynolds

Tel: +44 (0)20 7752 3284

MODERN BRITISH ART

Angus Granlund

Tel: +44 (0)20 7752 3240

BRITISH & IRISH WORKS ON PAPER

Rosie Jarvie

Tel: +44 (0)20 7389 2278

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CONDITIONS OF SALE

This auction is subject toImportant Notices,Conditions of Sale and to Reserves

BUYING AT CHRISTIES

For an overview of the process,see the Buying at Christies section

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IMPORTANT NOTICE REGARDING

REMOVAL OF SOLD LOTS

All lots marked with a FILLED

SQUARE (Q) are transferred toan offsite warehouse at the close

of business on the day of the sale.

For information on all other lots

and further details, please refer to

the storage and collection page at

the rear of this catalogue.

IMPORTANT NOTICE REGARDING

LOTS OF IRANIAN ORIGIN

Bidders are advised that some

countries (such as the USA and

Canada) prohibit or restrict thepurchase and import of Iranian

origin works of conventional

craftsmanship [including carpets].

All bidders are responsible for

familiarising themselves with

the laws that apply to them and

ensuring that they do not bid

on or import this property in

contravention of relevant sanctions

or trade embargoes.

Please see the Important Notice on

page 172 for further information.


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A youthful prodigy in his field (appointed Head of Sothebys BookDepartment when he was only 27) Anthony Hobson, who died in2014 at the age of 92, was the greatest expert in the world onRenaissance bookbinding. Academic honours were showered upon

him throughout his career, but his preeminence in the book worldwas sealed by his presidency of the Internationale de Bibliophilie(1985-1999), where his patrician elegance, considerable charm,command of languages and profound scholarship made him amagisterial figure.

An all-round bibliophile of great distinction, he was also an ardentand lifelong collector of art and furniture. While the Renaissancevalues of order and beauty were cornerstones of his aesthetic,his Old Master drawings, for instance, stand as a shorthand forthe whole notion of the Grand Tour, the question of which artone could best live with was of almost equal interest: never the

GLEBE HOUSE, HAMPSHIRE

The Property of the late

Mr Anthony Hobsonlots 1-125

crushing centrepiece that drains the soul out of a room, alwaysthe brilliant pieces that set the stage, flaring into life or recedinginto the background as needs be.

Greatly informed by the taste of his wife, Tanya Vinogradoff,granddaughter of the painter Algernon Newton, R.A., hiscollection ranged with confidence and delight across periods andregisters, endlessly curious and endlessly increasing. MedievalPersian, Neoclassical, 18th Century Indian, Regency, Pre-Raphaeliteindividual delights became part of a much larger whole in thebeautiful Queen Anne house he lived in for the last 55 years of hislife. This sale is testament to an exceptional life of the mind andsenses (except for the digital remarkably enough he lived his lifewithout letting a television, radio or computer darken his door)led by the man singled out by Cyril Connolly as among the mostimpressive scholar aesthetes of our day.


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A LARGE PAIR OF TALAVERA MAIOLICA VASES

CIRCA 1700-25

Each painted in blue with an upturned palm revealing an

open eye, possible emblematic of the Hand of God, within an

acanthus scroll cartouche, bands of scrolling acanthus to the

neck and lower part

16in. (42.5 cm.) high (2

4,000-6,000 $6,300-9,300

5,600-8,300

2

A PAIR OF ITALIAN GILTWOOD MODELS OF

RECUMBENT LIONS

19TH CENTURY

Each mounted on a modern ebonised plinth

8 in. (20.5 cm.) high; 11 in. (28 cm.) wide;

5in. (13.5 cm.) deep, overall (2

600-1,000 $940-1,600

840-1,400

6

1

A GEORGE III BRASS HEXAGONAL HALL LANTERN

LATE 18TH CENTURY

The openwork corona above later glass panes headed by

palmettes, wired for electricity

27qin. (70 cm.) high; 15in. (40 cm.) diameter

2,000-3,000 $3,200-4,700

2,800-4,200


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8

4

JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)

Herdsmen on a riverbank in a hilly landscape

signed and dated Jean Pillement 1794. V.S.

black, blue and red chalk, watercolour, brown ink and

graphite framing lines

8 x 12in. (20.5 x 31 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800

5JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)

Fisherman on a riverbank with an arched bridge

signed and dated Jean Pillement 1794. V.S

black, blue and red chalk, watercolour, brown ink and


8 x 12in. (20.4 x 30.7 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800

6

FRANCESCO PANINI (ROME 1745-1812)

Santa Maria Maggiore, Rome

bodycolour, over the engraving made to Paninis design

by Francesco Barbazzo (1765-1790)

18

x 27

in. (45.8 x 69.5 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

PROVENANCE:

Lord Arundell, Wardour Castle; Sothebys, London, 26 October 1964,

possibly lot 229.


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9

7

8

LAURENS SCHERM (ACTIVE 1689-1701) AFTER

JACOB VAN CAMPEN (1596-1657)

Views of the Town Hall of Amsterdam(Uytstekend Raadhuys tot Amsteldam)

the set of three etchings by Laurens Scherm, 1689-1701,

on laid paper, each impressions of the first state (of two),published by Nicolaes Visscher II, presumably the full

sheets, each with central vertical folds with associated

splitting at the lower sheet edge, time and backboard

staining, framed

Plate: 520 x 620 mm., Sheet: 560 x 670 mm. (each) (3)

1,000-1,500 $1,600-2,300

1,400-2,100

LITERATURE:

Hollstein 19-21

8 (a set of three)

7

GIOVANNI BATTISTA PIRANESI (1720-1778)

Veduta del Tempio della Fortuna virile

etching, 1758, on laid paper, without watermark, Hinds

third state (of seven), from a contemporary Roman

Edition, with margins, the usual central vertical fold

showing mostly in the margins, pinpoint foxing in the

upper margin, otherwise in good condition, framed

Plate: 380 x 588 mm.

800-1,200 $1,300-1,900

1,200-1,700

LITERATURE:

Hind 46


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AN ENGLISH GILTWOOD OVERMANTEL MIRROR

19TH CENTURY, OF GEORGE II STYLE

The rectangular plate with a bead-and-reel frame surmounted by

palm leaves, with Vitruvian scroll base, inscribed Ripon in blue chalk

to reverse

77in. (197.5 cm.) high; 42 in. (106.5 cm.) wide

1,500-2,500 $2,400-3,900

2,100-3,500

10

A SET OF FOUR ITALIAN GILTWOOD CHAIRS

FLORENCE, LATE 19TH/EARLY 20TH CENTURY

Comprising two armchairs and two side chairs, each a pierced shaped

back, incised with foliate decoration to the reverse, the padded back,

arms and seat covered in striped green silk, on tapering square legs and

block feet, restorations36in. (92 cm.) high; 28in. (71.5 cm.) wide;

19in. (49 cm.) deep (4

2,000-3,000 $3,200-4,700

2,800-4,200

PROVENANCE:

Anonymous sale, Christies, London, 9 June 1988, lot 101.

Anonymous sale, Sothebys, London, 2 December 2008, lot 203.

10


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12

A DUTCH GILTWOOD CONSOLE TABLE

19TH CENTURY, AFTER THE 17TH CENTURY MODEL

The serpentine Rouge de Mainemarble top above a foliate and rocaille

frieze, on bearded and helmeted soldier headed legs joined by a

X-stretcher, on bun feet, lacking frieze carving

33qin. (85 cm.) high; 55in. (140.5 cm.) wide; 24 in. (61 cm.) deep

4,000-6,000 $6,300-9,300

5,600-8,300

This console table in the Dutch William and Mary style of around 1700 was almost

certainly made in the 19th century as a pair to an original console. Inspired by French

prototypes introduced to the Netherlands by the celebrated architect and designer

Daniel Marot (1661-1752), such tables furnished the most important palaces. Examples

of which can be found in the collection of H.M. Queen Beatrix of the Netherlands at

Palace Huis ten Bosch near The Hague as well as in the gallery of Het Loo Palace near

Apeldoorn; a similar console table with frieze carving was sold at Christies, London,

11 September 2008, lot 31.

11

A LARGE BLUE AND WHITE AND UNDERGLAZE RED

BALUSTER JAR

KANGXI PERIOD (1662-1722)

Boldly decorated with scrolling peony on a blue ground covering the

necks and shoulders and descending in large and small shaped lappets

within blue surrounds, the flowers depicted in underglaze red, with

smaller foliage picked out in white, all reserved on white grounds with

small lozenge-shaped floral panels and stylised lotus on tall stems risingfrom the foot

24qin. (62 cm.) high

4,000-6,000 $6,300-9,300

5,600-8,300


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13

A PAIR OF LOUIS XVI ORMOLU TWIN-BRANCH WALL-LIGHTS

CIRCA 1775-80

Each tapering fluted backplate surmounted by a flaming and garlanded urn finial above a lions mask,

issuing two acanthus clasped branches, with black inked stencil 1287 CHT to side of the backplate,

drilled for electricity

20qin. (52 cm.) high (2)

7,000-10,000 $11,000-16,000

9,800-14,000

PROVENANCE:

Probably acquired through the dealer Edward Holmes Baldock by William, 2nd Earl of Lonsdale, for 14-15 Carlton House

Terrace and by descent at Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co. house sale, 15-17

April 1947.

COMPARATIVE LITERATURE:

S. Eriksen, Early Neo-Classicism in France, London, 1974, p. 354, pl. 212.

H. Ottomeyer & P. Prschel, Vergoldete Bronzen, Munich, 1986, vol. 1, p. 186, fig. 3.9.2.

The stencilled inscriptions 1287 C.H.T. and 302 C.H.T. are most probably an

inventory mark for William Lowther, 2nd Earl of Lonsdale a politican, whose

father, the 1st Earl of Lonsdale, acquired 14-15 Carlton House Terrace in 1837.

Furniture from this residence was stencilled C.H.T., generally with a three

digit inventory number. Property from 14-15 Carlton House Terrace was later

absorbed into Lowther Castle, near Penrith, Cumberland. The contents of

Lowther Castle were sold by the 5th Earl of Lonsdale in 1947. The collection

of French furniture at Carlton House Terrace was probably formed by both

the 1st and 2nd Earls, and probably included items from their previous London

residence as well. The 1st Earl was a noted Francophile and intimate of George, Prince of Wales, and like the future King

George IV, extensively patronised the celebrated purveyor of French works of art Edward Holmes Baldock, who may possibly

have acquired these wall-lights and mantel clock on the Earls behalf at one of the many spectacular sales of the period. Whilst

the 1st Earl initiated the move into Carlton House Terrace, his son joined the two houses together, decorating them in the

French manner and evidently making further important purchases of French furniture and works of art.

Carlton House Terrace that we see today, with its magnificent white stucco-faced houses and Corinthian columned faade,

surmounted by an elaborate frieze pediment overlooking St. Jamess Park was built on crown land between 1827 and

1832, primarily on the designs of the architect to the Prince Regent, John Nash (1752-1835). The terrace replaced Carlton

House that was substantially rebuilt by the architect Henry Holland between 1783 and 1796 as the residence for the Prince

Regent. Holland introduced aspects of French neoclassical style of architecture into his plans as he was more in favour of the

contemporary French taste.

When the Prince Regent became George IV in 1820, he gave consideration to enlarging Carlton House further, but instead

rebuilt Buckingham House, now Buckingham Palace. Subsequently, Carlton House was demolished and transformed into

Carlton House terrace, with the portico donated to the National Gallery and the proceeds of the leases put towards the cost

of Buckingham Palace.

These superb twin-branch wall-lights were probably made during the fashionable got grecperiod of the third quarter of the

18th Century. The form of these wall-lights with rams masks or ttes de belierand acanthus clasped branches are similar to

several models that were supplied by Quentin-Claude Pitoin (circa 1725-1777) and Jean-Charles Delafosse (1734-1791),

well-known bronziersof the time. A similar pair with husk-draped candle branches was sold anonymously, Christies, London,

14 December 2000, lot 66.

13 (Detail of the inventory stamp)

14 (Detail of the inventory stamp)

Carlton House Terrace, the East Terrace soon after completion William Lowther, 2nd Earl of Lonsdale


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14

A LOUIS XVI ORMOLU STRIKING MANTEL CLOCK

LEPAUTE, LATE 18TH CENTURY

The arched case surmounted by an urn, the rear door

inscribedA.W. 302 C.H.T, the white enamel dial with Roman

hours and Arabic five minutes, signed LEPAUTE/H. DU. ROI,

with recoil anchor escapement and count wheel strike to bell;

with pendulum15qin. (39.5 cm.) high; 9 in. (23 cm.) wide;

4qin. (11.5 cm.) deep

4,000-6,000 $6,300-9,300

5,600-8,300

PROVENANCE:

Probably acquired through the dealer Edward Holmes Baldock by William,

2nd Earl of Lonsdale, for 14-15 Carlton House Terrace and by descent at

Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co.

house sale, 15-17 April 1947, lot 1239.


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A NAPLES MAIOLICA ALBARELLO

DATED 1723, PAINTED MARK G.B.C.

Painted in blue with a scene from the life of Saint Francis of Paola,

with inscription below, adapted as a lamp

18 in. (45.7 cm.) high, including fitments

1,500-2,000 $2,400-3,100

2,100-2,800

17AN ITALIAN PAINTED TERRACOTTA FIGURE OF ARIVER GOD

FLORENTINE, 18TH CENTURY

On an integrally modelled rocky base, repairs and restorations, with blue

bordered paper label inscribed 1432

15 in. (38 cm.) high

3,000-5,000 $4,700-7,800

4,200-7,000

16

A SET OF FIVE DANISH PAINTED TERRACOTTARELIEF PANELS

BY P. IPSEN, 19TH CENTURY

Four stamped to the reverse P.IPSEN KIOBENHAVN ENERET and

numbered 386, 388, 390 and 391

The largest: 7qin. (19 cm.) high; 18qin. (47 cm.) wide (5

700-1,000 $1,100-1,600

980-1,400

14


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1

18

ATTRIBUTED TO VINCENZOBRENNA (FLORENCE 1745-1820SAINT PETERSBURG)

Design for a ceiling with grotesque decorationand a central panel of Venus and Psyche (?)

graphite, pen and brown ink, bodycolourand watercolour

22x 24 in. (56.5 x 60.8 cm.)

2,000-4,000 $3,200-6,200

2,800-5,600

19

ATTRIBUTED TO VINCENZOBRENNA (FLORENCE 1745-1820

SAINT PETERSBURG)Design for a ceiling with grotesque decorationand a central panel of Minerva

graphite, pen and brown ink, bodycolour

and watercolour, watermark Strasburg lily

with letters C & I Hon[ig]

20x 20in. (51 x 51 cm.)

3,000-4,000 $4,700-6,200

4,200-5,600


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16

22

CARLO INNOCENZO CARLONE (SCARIA 1686-1775 COMO)

Mars

oil on paper, oval

4x 6qin. (10.5 x 16.6 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800

PROVENANCE:with T.P. Grange, London, 1955.

21

ATTRIBUTED TO ELISABETH SOPHIE CHRON(PARIS 1648-1711)

A Classical sacrifice, after an engraving

black and red chalk, watercolour and bodycolour

9qx 7in. (24.2 x 19.4 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

An attribution to Nicolas Vleughels (1668-1737) has also been suggested.

20

NEAPOLITAN SCHOOL, CIRCA 1820

Twelve figures in Neapolitan costume

pencil and watercolour, brown ink framing lines, watermark

J WHATMAN

8qx 14in. (21.3 x 36.2 cm.) (12

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:Sir Thomas Philipps, Bt.


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17

24

DANIEL GARDNER (1750-1805)

Portrait of a gentleman, traditionally identified as Mr. Smyth, of NewBond Street, bust-length, in a brown coat and waistcoat with a white

stock; and Portrait of a lady traditionally identified as his wife, Mrs.Smyth, bust-length, in a blue dress and a lace shawl

the male figure with inscription on the backboard Mr Smyth of Bond

Street, and the female figure with Mrs Smyth/ Lady F. Edens/ mother

pastel, oval

9 x 7 in. (22.8 x 17.7 cm.)

a pair (2)

4,000-6,000 $6,300-9,300

5,600-8,300

23

VIVIANO CODAZZI (BERGAMO C.1604-1670 ROME) ANDDOMENICO GARGIULO, CALLED MICCO SPADARO(NAPLES 1609/10-1675)

An courtyard with figures and a mule by a well, a mountainouslandscape beyond

oil on canvas

33x 44in.

6,000-8,000 $9,400-12,000

8,400-11,000

LITERATURE:G Briganti, L Laureati, L. Trezzani, I Pittori Bergamaschi Dal XIII al XIX Secolo, Il Seicento I,

Bergamo, 1983, p. 692, no. 38, illustrated p. 715.

D.R.Marshall, Vivian and NiccolCodazzi and the Baroque Architectural Fantasy, Milan, 1993,

p. 90, no. 17, illustrated.

G. Sestieri and G. Dapr, Domenico Gargiulo detto Micco Spadaro, Paesaggista e cronista

napoletano, Milan, 1994, p. 106, illustrated.

The present pair of pastels probably dates from the late 1770s, and the sitters are John

Paul Smyth (17351797), perfumer of Bond Street, and his wife, ne Mary Higford

(17371800). Their daughter Anne (c.17741808), married Sir Frederick Morton Eden

2nd Bt (17641809).

We are grateful to Neil Jeffares for his help in preparing this catalogue entry.


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18

25

WILHELM SCHUBERT VAN EHRENBERG(ANTWERP C.1630-C.1676)

The interior of St. Peters, Rome

signed and dated WS van Ehrenberg fe: 1665 (lower centre) and

inscribed with scale (lower centre)

oil on canvas

65qx 54 in. (166.4 x 137.2 cm.)

20,000-30,000 $32,000-47,000

28,000-42,000

PROVENANCE:Pope Pius VII, by whom gifted to,

Colonel Rottiers.

Lord Charles Townshend, by 1854.

Dr. Anderson.

H.L. Bischoffsheim; his sale, Christies, London, 7 May, 1926, lot 32 (65 gns. to

Goldschmidt).

Anonymous sale [Ralph Vicars]; Christies, London, 25 February 1949, lot 111 (30 gns. to

Arcade Galleries).

Anonymous sale [Miss D.E. Brahmall]; Christies, London, 15 June 1956, lot 147 (190 gns.

to Drey).

Anonymous sale; Sothebys, London, 18 November, 1959, lot 77 (300 to Vaughan).

LITERATURE:Dr. A. Wurzbach, Niederlandisches Kunstler - Lexicon, 1906, vol I, p. 486.

This large painting of the interior of St. Peters in Rome, dated to 1665, is a particularly

early documentation of Gian Lorenzo Berninis outstanding contribution to the decoration

of the church. Looking from the central nave, at the height of the Chapels of the

Sacrament and of the Choir towards the high altar, the viewpoint adopted here shows

the vast scale and the splendour of Berninis Baldachin. Commissioned by Pope Urban VIII,

the bronze Baldachin stands 29 metres high, towering over the papal altar, an exuberant

masterpiece of the Baroque. An early work in Berninis career, executed between 1624

and 1632, it was inaugurated on the feast of Saints Peter and Paul, 29 June 1633.

Through the four colossal twisted columns which are adorned with spiral channelling,

branches of olive and bay trees and topped with composit capitols, we can see the

Throne of Saint Peters in Glory or Cattedra: a complex construction projected by

Bernini which contains the relic of the seat of the Apostle Peter. The monument, later

completed in 1666, by the date of this painting was still missing the gilded glory of sunrays

and sculpted clouds that soon surround the central window. Faint rays, few angels anda dove give a hint of the Gloria, however the central window is still easily recognizable

and has not yet been overwhelmed by the baroque clouds and putti. Roberto Battaglia

(R. Battaglia, La Cattedra Berniniana di San Pietro, Rome 1943) describing the long and

complex construction of the Cattedra, confirms that the four doctors and throne were

placed on the apse at the beginning of 1665, while the Gloria was still to be completed.

According to Battaglia, scaffoldings were still present around the monument on the 29th

of November and were demolished soon afterwards: this would suggest that the present

picture was created on December 1665. After work was completed on the Gloria and

window, the Cattedra was inaugurated on the 17th January 1666.

The gilded stucco decoration on the ceiling of the apse above the Cattedra is yet to be

applied, and what is visible here is only the design. To the sides of the Cattedra are the

Monument to Paolo III (on the left we look), sculpted by Giacomo della Porta under

Michelangelos direction, and the Monument to Urban VIII (on the right) by Bernini.

The four piers looking towards the papal altar were decorated to compliment the

Baldacchino. Four niches were opened, each with a colossal statue of a saint, and four

loggias directly above would hold the corresponding relic of the sacred figure. In the

north-west pier we see Andrea Bolgis statue of Saint Helen carrying the Cross, completed

in 1640, above which stucco angels carry the Cross. Over the loggias, the pendentives

of the dome are decorated with circular mosaics of the four Evangelists. Saint John th

Evangelist, with the Eagle, was executed by Giovanni de Vecchi, while Saint Mark, only

partly visible in the present painting, by both Cesare Nebbia and Paolo Rossetti.

In the 18th century various altarpieces were removed from the basilica, and replaced with

copies in mosaic of more famous paintings. This was the case with the altarpiece on thealtar of Saint Jerome, of which we get a glimpse to the right. Originally, the altar contained

a painting of Saint Jerome by Girolamo Muziano (now in S. Maria degli Angeli, Rome), and

was replaced in the 1730s by Pietro Paolo Cristofaris mosaic after Domenichinos Last

Communion of Saint Jerome (now in the Pinacoteca Vaticana). It might be due to artisti

licence, however the painting depicted in this picture does not seem to correspond to

Muzianos altarpiece.

Along with the signature and date, the artist has inscribed the base of the painting with

a scale measured in roman feet (1 roman foot = circa 29.6 cm.). The scale is meant to

underline the grandeur of the building, the largest of all churches. The numerous figures

are possibly painted by Charles Emmanuel Biset (Mechelen 1633-1710 Breda), known to

have collaborated with van Ehrenberg.


21/192


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~27

A PAIR OF LACQUERED BRASS ANDROSEWOOD THREE-TIER ETAGERES

LATE 19TH/EARLY 20TH CENTURY

Each on brass castors; together with a brass-mountedmahogany and rosewood crossbanded two-tier etagere,

20th Century, with remnants of a paper inventory label

to the underside

The pair: 28in. (72 cm.) high; 14qin. (37 cm.) square

(3)

1,000-1,500 $1,600-2,300

1,400-2,100

26

AN ITALIAN SCAGLIOLA TABLE TOP

20TH CENTURY

The rectangular top depicting parrots perching on

branches, butterflies, snails and scrolled foliage, on

tapering square fluted legs and block feet

18in. (46 cm.) high; 41qin. (105.5 cm.) wide;

21in. (55 cm.) deep

600-1,000 $940-1,600

840-1,400

PROVENANCE:Anonymous sale; Christies, London, 9 June 1988, lot 134.

28

A NORTH EUROPEAN RED AND GILTJAPANNED CHEST-ON-STAND

19TH CENTURY

Decorated overall with chinoiserie buildings, landscapes

figures and foliage, with an arrangement of short andlong drawers, the stand with cabriole legs

47 in. (120 cm.) high; 41qin. (105.5 cm.) wide;

19in. (49 cm.) deep

1,500-2,500 $2,400-3,900

2,100-3,500

20


23/192


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22

32

A LARGE BOW WHITE PORCELAIN FIGURE OFKITTY CLIVE

CIRCA 1750

In the character of The Fine Lady from David Garricks farce Lethe,

holding a spaniel under her right arm, standing on a pedestal base

applied with musical and theatrical trophies

13in. (33.6 cm.) high

2,000-3,000 $3,200-4,700

2,800-4,200

This figure is more commonly found on a low base such as the example illustrated by

Rosalie Wise Sharp, Ceramics, Ethics and Scandal (2002), p 126. For another example

of a figure on the more unusual high base, see the figure sold at Bonhams, London

8 September 2010, lot 75.

Lethe was a one act play reworked in 1749 to include the roles of Mrs Riot and the Fine

Gentleman, famously played by Henry Woodward and forming the companion figure to

the present lot.

31

A CHARLES VYSE (1882-1971) EARTHENWARE FIGURE

LAVENDER SELLER, 1922

Modelled and cast as a street vendor, hand painted in colours beneath

a transparent glaze, signed with artists CV monogram, Chelsea 1922

(restored)8in. (21.3 cm.) high

500-700 $780-1,100

700-970

30A PAIR OF MEISSEN FIGURES OF NEPTUNE AND JUPITER

EARLY 19TH CENTURY, BLUE PAINTED MARKS,

PRESSNUMMERN 163 AND 164

Neptune emerging from a shell, Jupiter holding a thunderbolt and

standing astride an eagle, each on a stepped pedestal base

4in. (12.1 cm.) and 5qin. (14 cm.) high (2)

1,000-1,500 $1,600-2,300

1,400-2,100

29

A WIENER WERKSTATTE GLAZED TERRACOTTA HEADBY LOTTE CALM

CIRCA 1930

Her hair dressed with ribbons and flowers, painted and glazed, impressed

marks, overlapping WW in a rectangle, Made in Austria, 960; with laterwooden display stand

9 in. (23 cm.) high

2,000-3,000 $3,200-4,700

2,800-4,200

COMPARATIVE LITERATURE:Gabriele Fahr-Becker, Wiener Werkstatte 1903-1932, Germany, 1994, p. 151 (similar head

illustrated)


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23

33

A RUSSIAN PARCEL-GILT SILVER ANDNIELLO SNUFF BOX

APPARENTLY UNMARKED EXCEPT FOR A

LATER DUTCH CONTROL MARK, PROBABLY

PROVINCIAL, CIRCA 1795

Circular with pull-off cover and bead borders,

cover and base set with niello oval reserves

depicting respectively a bay with buildings

around it, and a huntsman and his houndshooting at a deer in a woodland setting, gilt

interior

3qin. (8.9 cm.) diameter

7.25 oz. (225 gm.)

1,000-1,500 $1,600-2,300

1,400-2,100

~36

A GOLD-MOUNTED MOTHER-OF-PEARL OVAL SNUFF BOX

UNMARKED, PROBABLY ENGLISH OR DUTCH,

CIRCA 1720

The cover carved in the baroque manner with

a shell, acanthus leaves and foliate scrolls on

a large scallop, stand-away hinge, interior of

cover painted with a cupid holding a musical

score in one hand2in. wide (7.1 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

~37

A GEORGE III GOLD-MOUNTEDBLONDE TORTOISESHELL OVALSNUFF BOX

APPARENTLY UNMARKED, CIRCA 1790

The cover set with gold oval engraved withinitial B; together with a Continental silver-

mounted ivory snuff box, circa 1770, the cover

base and sides all carved in relief with scenes

of youths within a rococo scroll frame, musical

and gardening trophies and birds and hounds

The first box 3in. (9.2 cm.) long; the second

2in. (6.7 cm.) long

600-800 $940-1,200

840-1,100

~35

A GEORGE III GOLD-MOUNTEDIVORY TOOTHPICK BOX

UNMARKED, CIRCA 1790

Navette-shaped with rounded ends, cover

applied with gold-bordered miniature painteden grisaillewith a Classical female musician

playing a lyre beside a female figurine atop a

column, the gold mounts engraved with bands

of chainwork and chevron motifs, interior of

cover set with mirror and lined in cherry-red

velvet

4 in. wide (10 cm.)

600-800 $940-1,200

840-1,100

34

A GOLD-MOUNTED AGATESNUFF BOX

UNMARKED, PROBABLY ENGLISH OR GERMAN,

CIRCA 1740

Of rounded oblong form3 in. wide (7.6 cm.)

600-800 $940-1,200

840-1,100

36 (detail)

33 (detail)


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24

38

NORTHERN ARTIST ACTIVE IN ITALYCIRCA1640

An architectural capriccio of Roman ruins,with drovers and cattle

oil on canvas

28x 36in. (72.7 x 91.8 cm.)

8,000-12,000 $13,000-19,000

12,000-17,000

PROVENANCE:

Sir Robert Gregg, K.C.M.G, Cairo.

with Thos. Agnew & Sons, London, by 1930.

LITERATURE:

N. Coural, Les Patel: Pierre Patel (1605-1676) et ses fils: lepaysage de ruines Paris au XVIIe sicle, Paris, 2001, p. 322

pp. r34, (r=rejected), illustrated..

39

NORTH ITALIAN SCHOOL, CIRCA 1700

A wooded river landscape with a town beyond

oil on canvas

32x 34 in. (83.3 x 86.4 cm.)

4,000-6,000 $6,300-9,300

5,600-8,300


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2

40

ITALIAN SCHOOL, 18TH CENTURY

A Turkish encampment with figures, soldiers, camels and cows

oil on canvas

46x 64in. (117.5 x 164.5 cm.)

10,000-15,000 $16,000-23,000

14,000-21,000


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26

41

ALGERNON CECIL NEWTON, R.A. (1880-1968)

Portrait of the artists mother

signed and inscribed a portrait in brown/a.newton (on the stretcher)

oil on canvas24 x 20in. (61 x 51.5 cm.)

Painted in 1916.

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.

EXHIBITED:

Sheffield, Graves Art Gallery,Algernon Newton R.A. 1880-1968, July - August 1980, no. 4.,

this exhibition travelled to Plymouth, City Art Gallery and Museum, September - October

1980 and London, Royal Academy of Arts, November - December 1980.

Born in 1880 Algernon Newton, grandson to the founder of Windsor & Newton, the

celebrated artists materials firm, was the third generation of Newtons to paint. Such

was his passion for art that he left Clare College, Cambridge without a degree in 1900

to study at Frank Calderons School of Animal Painting and the London School of Art,

Kensington. In 1916, having been invalided out of the army during the First World War

with pneumonia, Newton returned briefly to the artistic colony in Cornwall, where hispaternal grandparents lived, and met Alfred Munnings, who appears to have had some

influence on his oeuvreat this time.

In 1918 he left Cornwall to explore his artist direction; unsure of his technique and

style, he looked to the Old Masters at the National Gallery for inspiration and it was

the works by Canaletto that particularly drew his attention. From his observations of,

and experiments with, Canalettos technique of monochrome underpainting, his oeuvre

evolved in the 1920s to depict what a recent exhibition catalogue states as an almost

ethereal film noir lighting which gives an edge to an otherwise everyday scene. He became

fascinated with the faded grandeur of inner city suburbs, deserted waterways and derelict

industrial buildings around Paddington, Camden Town and Regents canal.

His first one-man show was at the Leicester Galleries in 1931 and in 1936 he was elected

as an Associate member to the Royal Academy of Arts. During this time he embarked on

a new kind of subject matter: the country house portrait, capturing the magnificent Stowe,

Buckinghamshire, amongst others. Between 1941 and 1947 he and his second wife lived

in the remote hamlet of Beck Hole in North Yorkshire, before returning to London, and

his work during this period was dominated by countryside landscapes.

Despite regularly selling all of his permitted quota of six paintings at the annual RoyalAcademy Summer Exhibition on Private View day, sadly and unjustly his name quickly

faded after his death in 1968. Only two known solo exhibitions have been held since, both

emphasised how underappreciated he has been: one curated by Sheffield City Art Gallery

which travelled to the Royal Academy in November 1980 and another more recently at

Danny Katz Fine Art, London in December 2012.


As the youngest of four boys, Newton was particularly close to his mother, Georgiana

(nee Nicholls), who until her death in 1918 proved to be one of his favourite models

This portrait painted in 1916 is considered to be one of the most attractive of his earlyperiod. It is a sensitive and serene study dressed waiting for her carriage which art critic

Nicholas Usherwood noted in his introductory essay to the exhibition catalogue of 1980

demonstrates a firmness of handling and confidence in composition that gives some firs

hints of those qualities of stillness and strong sentiment that were later to become the mos

characteristic qualities of his work.


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27

42


A river landscape with a country house and a farm

signed and dated A. Newton 24 (lower right)

oil on canvas

24 x 30 in. (61 x 76.2 cm.)

7,000-10,000 $11,000-16,000

9,800-14,000

PROVENANCE:

By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.

Painted in 1924, this sweeping estuary scene depicting a white rendered Georgian manor house is as yet unidentified.

It does however bear some similarities to the landscape of the River Erme, Devon, which Newton was commissioned

to paint a few years later in 1928 for Lord Mildmay, whose family estates were close by at Mothercombe. Although

best-known for capturing the everyday urban landscape of London, Newton was also captivated by the light of rural

landscapes, and his melancholic tone and the common sense of foreboding seen is also evident in the stormy skies in

the present work.

43 No Lot


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28

45

ADOLPHE CHARLEMAGNE (1826-1901

A group traditionally identified as CzarAlexander II, Prince Alfred, afterwards Duke

of Edinburgh and John Savile 1st Baron Savileof Pontefract riding in a carriage

signed and dated Adolphe

CHARLEMAGNE.1864 (lower right)

pencil, pen and black ink and watercolour

heightened with white

9qx 13in. (24 x 34 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

44

ADOLPHE FORESTIER

(FRENCH, 1801-1885)

Queen Victoria in the drawing room at Cinier;Queen Victoria arriving in Nice; King EdwardVII, Queen Alexandra and the Duke ofClarence on the deck of a ship; Statue of LordRoberts, unveiled at Calcutta by the ViceroyLord Elgin; and King Edward VII, seated in acarriage beside President Loubet

the first signed, inscribed and dated

AFORESTIER/Cinier 21 March 97(lower

left); the second signed, inscribed and dated

AFORESTIER/ NICE 99 (lower left); the

third signed AFORESTIER (lower left); the

fifth signed with monogram (lower left) and

indistinctly inscribed (lower right)

pencil, watercolour and bodycolour

on paper

19qx 15in. (49.5 x 40 cm.); and smaller

(5

800-1,200 $1,300-1,900

1,200-1,700

PROVENANCE:

(3) Anonymous sale; Sothebys, London, 22 May 1997,

part lot 535.

LITERATURE:

(1)The Illustrated London News, 18 March 1899, not traced

(2)The Illustrated London News, 27 March 1897, not traced

(4)The Illustrated London News, 2 March 1899, not traced.


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2

47

ABRAHAM-LOUIS-RODOLPHE DUCROS (YVERDON-LES-

BAINS 1748-1810 LAUSANNE) AND GIOVANNI VOLPATO

(BASSANO 1733-1803 ROME)

The Temple of Minerva Medica in Rome, with Grand Tourists admiringthe ruins and goatherds in the foreground

inscribed Du Cros et Volpato f. Rome and Vu du Temple de Minerva

Medica Rome (on the mount)

watercolour, over an etching by Giovanni Volpato

19x 28win. (50.3 x 73.2 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800

46

ABRAHAM-LOUIS-RODOLPHE DUCROS (YVERDON-LES-

BAINS 1748-1810 LAUSANNE) AND GIOVANNI VOLPATO

(BASSANO 1733-1803 ROME)

The Colosseum in Rome, seen from afar, with Pope Pius VI viewingantiquities

inscribed Du Cros et Volpato f. Rome and Vu du Colise Rome

(on the mount)

watercolour, over an etching by Giovanni Volpato

19x 29in. (50 x 74.4 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800

46

47


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30

48

A NORTH EUROPEAN MARBLE PORTRAIT RELIEF

OF A NOBLEWOMAN

PROBABLY LATE 17TH CENTURY OR EARLY 18TH CENTURY

In a later giltwood frame

17in. (44 cm.) high; 14 in. (36 cm.) wide

1,500-2,500 $2,400-3,900

2,100-3,500

~49

A LOUIS XIV ORMOLU-MOUNTED BRASS, PEWTER

AND TORTOISESHELL-INLAID BOULLE STRIKING

TABLE CLOCK

JAQUES (III) THURET, PARIS, EARLY 18TH CENTURY

The case of architectural form with flaming urn finials and a

lambrequin to base, the dial with brass Roman chapter ring and

signed to cartouche beneathJ. Thuret/ AParis, the twin barrel

movement with later half dead beat escapement and count

wheel strike to bell, the back plate conformingly signed; with

pendulum, case key and winding key

20qin. (52 cm.) high; 11in. (30.5 cm) wide;

5qin. (14 cm.) deep

2,000-3,000 $3,200-4,700

2,800-4,200

50

A DANISH GILT-LEAD-MOUNTED, PARCEL-GILT,

WALNUT AND CROSSBANDED BOMBE COMMODE

MID-18TH CENTURY AND LATER,IN THE MANNER OF MATHIAS ORTMANN

The later white marble top above three drawers on carved

scrolledrocaillefeet, the giltwood base replaced

32 in. (81.5 cm.) high; 31in. (79.5 cm.) wide;

19 in. (48 cm.) deep

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

Anonymous sale; Sothebys, London, 6 July 1956, lot 164.


33/192


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32

53

A REGENCY PARCEL-GILT AND

GREEN-PAINTED WINDOW SEAT

CIRCA 1820

With padded back, scrolled ends and squab

cushion, on ring-turned legs and brass hairy-

lions-paw feet and castors

31qin. (80 cm.) high; 64 in. (162.5 cm.) wide;15 in. (38 cm.) deep

1,000-1,500 $1,600-2,300

1,400-2,100

52

A NORTH ITALIAN POLYCHROME

DECORATED OCCASIONAL TABLE

LATE 19TH CENTURY, PROBABLY TYROL

The shaped top depicting two scrolling

acanthus leaves framing a chessboard on an

acanthus leaf X-frame base28in. (73 cm.) high; 35 in. (89 cm.) wide;

21qin. (55 cm.) deep

700-1,000 $1,100-1,600

980-1,400

~51

A GROUP OF THREE GEORGE III

TEA CADDIES

LATE 18TH CENTURY

The green-stained tortoiseshell octagonal

example inset with a pale green jasparware

roundel and ivory banding; the ivory decagona

example with a gold oval medallion engraved

with the monogram WAB; the tortoiseshelloctagonal example inlaid with ivory banding,

losses

The largest: 6 in. (15 cm.) high

2,000-3,000 $3,200-4,700

2,800-4,200


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33

54

LOUIS LAGUERRE (PARIS 1663-1721 LONDON)

Cupid and Psyche before Jupiter - a bozzetto for a ceiling

oil on canvas

36 x 48in. (91.4 x 122.3 cm.)

10,000-15,000 $16,000-23,000

14,000-21,000

PROVENANCE:

with Hazlitt Gallery, London.

It is unknown to which ceiling the present bozzetto relates, but the story of Cupid and Psyche was a

subject Laguerre painted on several occasions. In 170ya contract was drawn up between the Duke

of Leeds and Laguerre to paint four panels in the great hall, and the walls and ceiling of the staircase

at Kiveton Hall, Yorkshire (demolished in 1811). Laguerre painted scenes from the story of Cupid and

Psyche for the walls of the staircase and he depicted the marriage of Cupid and Psyche on the ceiling.

There is a sketch on paper for the ceiling in the collection of the Duke of Leeds, which is presumably

one and the same as the sketch mentioned in the contract. The sketch however does not correspond

with the bozzetto for the ceiling at the Victoria & Albert Museum, London, of Psyche being robed by

the Gods for her marriage with Cupid.


36/192

34

55CHARLES GEORGE NICHOLLS (FL. 1792-1818)

Bridge at Saumpoor near Dacca; Guptar Ghaut near Fyzabad on theGoggra; Burrumdeo near where the Gaggra starts; View of an ancientgateway at Dacca; View of Peer Pointy, name of the Saint who is buriedthere; and A mosque on the north bank of the Gagra near Debowly

five signed C.G.Nicholls delt (lower left and lower right) and inscribed

as title

pencil and watercolour, some heightened with touches of white and

with scratching out, within the artists black-lined border, on paper

7x 9in. (18.5 x 23.5 cm.); and slightly smaller (6

6,000-8,000 $9,400-12,000

8,400-11,000

PROVENANCE:

Visions of India; Christies, London, 17 June 1998, lots 62, 65, 69, 70 and 76.

56

WILLIAM ALEXANDER (MAIDSTONE 1767-1816)

A Chinese soldier with his matchlock, with a faint subsidiary sketch of hishead

indistinctly inscribed (upper right) and numbered 13 (upper centre)

pencil and watercolour

8 x 5in. (20.4 x 14.5 cm.)

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

William Beckford; Hamilton Palace; Christies house sale, 30 June 1882, lot 146.

The Earl of Derby.

This work is a study for the illustration in W. Alexander, Picturesque Representations of the

Dress and Manners of the Chinese, London, 1814.

56

57

5


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3

57

THOMAS JOHNSON (1714-1778)

Design for a table support illustrating Aesops fable of The Fox and theStork

pencil, pen and grey ink, grey and pink wash on paper

5qx 4 in. (13.3 x 10.1 cm. )

1,000-2,000 $1,600-3,100

1,400-2,800

PROVENANCE:

T.E. Lowinsky (L. 2420a).

Johnson was a furniture carver, who adapted Francis Barlows (circa.1626-1704)

illustrations to Aesops Fables into furniture designs. In the 1750s he published several

popular design books, largely rococo in style.

This drawing was previously in the collection of Thomas Edmond Lowinsky (1892-1947),

a collector of drawings and a distinguished artist in his own right, most of his collection

was sold en blocto the Yale Center for British Art.

n58

A GEORGE II PARCEL-GILT MAHOGANY RUSTICATED

ARCHITECTURAL CABINET

MID-18TH CENTURY

The broken pediment with egg-and-dart frieze, above a pair of doors

with arched mirror plates enclosing three adjustable shelves, flanked

by fluted pilasters, the lower section with three long drawers and ogee

bracket feet on wooden castors

91in. (233 cm.) high; 51 in. (129 cm.) wide; 24 in. (61 cm.) wide

4,000-6,000 $6,300-9,300

5,600-8,300

The geometric design of this unusual cabinet with fluted pilasters and rusticated

drawer fronts demonstrates the influence of the architectural Palladian style on British

cabinetmakers in the second quarter of the 18th century. Architect and furniture designe

William Kent (1648-1748) is the celebrated exponent of the style, designing masterpiece

such as Houghton Hall circa 1726.

For a similar rusticated bookcase see The Collection of Robert Hatfield Ellsworth Part V

Christies, New York, 21 March 2015, lot 1029.


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36

62A MAHOGANY AND ROSEWOOD CROSSBANDED

CENTRE TABLE

FIRST HALF 19TH CENTURY AND LATER

The circular top on a parcel-gilt and ebonised fluted column, the

concave-sided base with scroll feet and castors, top and base associated

29in. (75.5 cm.) high; 48 in. (122 cm.) diameter

700-1,000 $1,100-1,600

980-1,400

60

A REGENCY BRASS-MOUNTED, PARCEL-GILT AND

EBONISED OCCASIONAL TABLE

CIRCA 1815

The glazed top inset with a handcoloured panel and a mezzotint

depicting Psyche holing a lamp, above scroll supports on a X-shaped

plinth base with brass hairy-paw-feet

27 in. (68.5 cm.) high; 18in. (47.5 cm.) wide; 14in. (36 cm.) deep

800-1,200 $1,300-1,900

1,200-1,700

61

A SOUTH GERMAN POLYCHROME-PAINTED WAX RELIEF

OF A MONK IN A LIBRARY

SECOND HALF 19TH CENTURY

Depicting a monk writing, signed Joanes Elvenick, in a walnut cushion

moulded frame

10x 10 in. (27.5 x 25.5 cm), including frame

500-700 $780-1,100

700-970

PROVENANCE:

Anonymous sale; Sothebys, London, 17 September 1997, lot 245.

59

A PAIR OF CHINESE AGATE TWO-HANDLED BOWLS

19TH/20TH CENTURY

Each bowl with a slightly everted rim and two mythological-head

handles, one bowl with loose rings, and of a pale grey-beige tone;

together with two further agate bowls, one with branch-form handles

The largest 4 in. (10 cm.) diameter (4)

800-1,200 $1,300-1,900

1,200-1,700


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65

GEORGE RICHMOND, R.A.

(BROMPTON 1809-1896 LONDON)

Double portrait of Inglis and Henrietta Synott, as children, full-length,

seated on a terrace

signed, inscribed and dated George Richmond delin. 1844 (lower left)

pencil, pen and black ink and watercolour heightened with white,

framed with an arched top

27 x 19 in. (68.5 x 48.2 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

PROVENANCE:

Anonymous sale; Sothebys, London, 8 April 1988, lot 96.

64

JOHN FREDERICK LEWIS, R.A., P.O.W.S.

(LONDON 1804-1876 WALTON-ON-THAMES)

Study of a Spanish lady, full-length, wearing a black mantilla over ared dress

black and red chalk and watercolour heightened with white on buff

paper

14x 9in. (36.2 x 24.8 cm.)

2,000-3,000 $3,200-4,700

2,800-4,200

The present drawing is for the right-hand figure of the lithograph Las Dos Hermamas

which was executed for Lewis Sketches of Spain, 1836, a copy of which is sold with thi

drawing.

63

JOHN FREDERICK LEWIS, R.A., P.O.W.S.

(LONDON 1804-1876 WALTON-ON-THAMES)

A soldier in Albanian costume, full-length, his left arm on his hip

pencil, watercolour and bodycolour, on buff paper

14x 9win. (37.1 x 25.1 cm.)

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

Anonymous sale; Christies, London, 8 February 1902, lot 47.

Mrs R.H.C. Duncan; Sothebys, London, 4 April 1968, lot 75.

LITERATURE:

Major General M. Lewis C.B.E.,John Frederick Lewis, R.A., London, 1978, no. 337.


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38

67

A GERMAN PORCELAIN

TWO-HANDLED SOUP TUREEN

AND COVER

THE COVER PROBABLY MEISSEN,

CIRCA 1740, THE TUREEN THURINGIAN,

BLUE CROSSED SWORDS MARKS AND

THREE DOTS TO INTERIOR

Of silver form, painted with the Onion

pattern, applied with scroll handles

terminating in goat masks

13 in. (33 cm.) across handles

1,000-1,500 $1,600-2,300

1,400-2,100

66

A REGENCY EBONY-INLAID,

EBONISED AND BURR-OAK

SOFA TABLE

EARLY 19TH CENTURY, IN THE MANNER

OF GEORGE OAKLEY

The rounded moulded rectangular twin-

flap top inlaid with oak leaves, above

two drawers and two opposing false

drawers, on end supports joined by a

stretcher, on C-scroll feet and brass

castors

27in. (70.5 cm.) high;

58 in. (147.5 cm.) wide;

26 in. (66 cm.) deep

2,000-4,000 $3,200-6,200

2,800-5,600

68

A SET OF TEN GEORGE IV

MAHOGANY DINING-CHAIRSCIRCA 1825, POSSIBLY SCOTTISH

Including two armchairs, each splat

centred by a scallop-shell-carved

medallion, the drop-in seats re-covered

in horsehair, some seatrails replaced

33qin. (85 cm.) high;

22 in. (56 cm.) wide;

8 in. (46 cm.) deep (10)

2,000-3,000 $3,200-4,700

2,800-4,200


41/192


42/192

40

72

ROBERT HILLS, O.W.S.

(LONDON 1769-1844)

Stags on Richmond Hill, the Thames beyond

pencil and watercolour with scratching out

19qx 24 in. (49.5 x 61 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800

70

ATTRIBUTED TO THOMAS DANIELL, R.A. (1749-1840)

A pointer in an extensive landscape

pencil and brown and grey wash, on paper

6 x 8in. (15.3 x 20.9 cm.)

600-800 $940-1,200

840-1,100

71

ATTRIBUTED TO SIR JAMES THORNHILL

Allegory of Plenty enthroned in the clouds with putti

black chalk, pen and brown ink, brown wash

7x 6win. (18 x 17 cm.)

600-1,000 $940-1,600

840-1,400

69

THOMAS ROWLANDSON (LONDON 1756-1827)

The Judgement of Paris

signed Rowlandson (lower left)

pen and brown ink and watercolour

7x 6in. (18.4 x 17.2 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100


43/192

4

75

ENGLISH SCHOOL,

AFTER DAVID ROBERTS

View of of Puente Nuevo, Ronda with figures

signed and dated D.Roberts . 1834 (lower right)

watercolour with scratching out on paper

12qx 8in. (31.8 x 22.3 cm.)

400-600 $630-930

560-830

74

JAMES DUNTHORNE, JR.,

18TH CENTURY

A book auction (probably at Sothebys)

pencil, pen and black ink and watercolour

14x 21in. (36.2 x 54 cm.)

4,000-6,000 $6,300-9,300

5,600-8,300

73

ENGLISH SCHOOL, 19TH CENTURY

The chapel at Blenheim Palace with amemorial to the 1st Duke of Marlborough,by Rysbrack

signed and dated David Roberts R.A 1854.

(lower left)

pencil and watercolour heightened with

bodycolour on buff paper

10x 9 in. (25.7 x 23.5 cm.)

400-600 $630-930

560-830

PROVENANCE:

with Appleby Brothers, London.

EXHIBITED:

London, Appleby Brothers,Autumn 1966 Exhibition,

no. 162.


44/192

42

76

A COMPOSITE ENGLISH AND

FRENCH PORCELAIN

COFFEE-SERVICE

CIRCA 1810, UNDERGLAZE BLUE, GILT R AND

INCISED MARKS

Painted en grisaille with figures and buildings

in landscapes below giltguilloche bands,

comprising: a coffee-pot and cover, a milk jug,a sugar bowl, a slop bowl, eight coffee cans

and saucers; together with two Worcester

(Barr) porcelain bough pots and stands, circa

1800, and a similar pair of English porcelain

bough pots and stands (24

1,000-1,500 $1,600-2,300

1,400-2,100

77

A MEISSEN TWO-HANDLEDSOUP-TUREEN AND COVER

CIRCA 1745-50, BLUE CROSSED SWORDS MARK

AND PRESSNUMMER 21 TO TUREEN

Painted with deutsche Blumen and scattered

sprays, applied with twin branch handles

terminating in flowerheads, the cover with

cauliflower finial

11qin. (29.3 cm.) wide across handles

1,000-1,500 $1,600-2,300

1,400-2,100

78

A SOUTH EUROPEAN WALNUT,

SATIN-BIRCH AND FRUITWOOD

MARQUETRY SIDE TABLE

SECOND QUARTER 19TH CENTURY

With a short frieze drawer on a shaped plinth

base

33in. (86 cm.) high; 46in. (118 cm.) wide;


700-1,000 $1,100-1,600

980-1,400


45/192

43

79

A PAIR OF ENGLISH BLACK BASALT

BUSTS OF ARISTOTLE AND CICERO19TH CENTURY

One inscribed ARISTOTLE to the socle, the

other CICERO

15qin. (39.5 cm.) high (2)

3,000-5,000 $4,700-7,800

4,200-7,000

80

A PAIR OF FRENCH BRONZE FIGURES

OF RECLINING RIVER GODS

18TH CENTURY

Each on a porphyry plinth

5qin. (14 cm.) high; 7qin. (19 cm.) wide;

4 in. (10 cm.) deep, overall (2)

3,000-5,000 $4,700-7,800 4,200-7,000

81

A PAIR OF FRENCH PATINATED

BRONZE BUSTS OF ROUSSEAU

AND VOLTAIRE

EARLY 19TH CENTURY

Each on a bronze socle and integral plinth

6in. (17 cm.) high, and slightly smaller (2)

1,000-1,500 $1,600-2,300

1,400-2,100


46/192

44

83

WILLIAM HENRY HUNT, O.W.S. (LONDON, 1789-1864)

Birds nest, primroses, violets and an orchid on a mossy bank

signed W.HUNT. (lower right)

watercolour heightened with white on paper

10x 14qin. (27.4 x 36.8 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

85

THOMAS FOWKE (1827- C.1887)

An earthenware jug, glass bowl, a basket of eggs and a wooden case a

table, with an iron pan, kitchen utensils and a wicker basket, sandalsand a bust relief in an interior

signed and dated T.Fowke. 1868 (lower left)

oil on board

13x 11in. (35 x 29.8 cm.)

1,500-2,500 $2,400-3,900

2,100-3,500

PROVENANCE:

with Browse and Darby, London.

84

CIRCLE OF JOHAN-LAURENTS JENSEN (DANISH, 1800-1856)

Roses, iris, narcissi and convolvulus on a bank

oil on canvas

11 x 14qin. (27.8 x 36.8 cm.)

1,500-2,500 $2,400-3,900

2,100-3,500

82

ISIDORE-ALEXANDRE-AUGUSTIN PILS

(PARIS 1813-1875 DOUARNENEZ)

Study for a classical scene with figures and horses

signed I. PILS (lower right)

oil on canvas

21qx 25 in. (54.6 x 63.5 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

PROVENANCE:

Anonymous sale; Sothebys, London, 24 September 1997, lot 42.

Visit www.christies.com for additional information on this lot.


47/192

4

88

A FRENCH GILT-METAL MOUNTED

MAHOGANY AND PATINATED BRONZE

CONSOLE

20TH CENTURY, INCORPORATING LATE 19TH CENTURYCARYATIDS

With a rectangular green variegated marble top

supported by two caryatids on plinths mounted with

laurel garlands

36 in. (92 cm.) high; 63 in. (160 cm.) wide;


800-1,200 $1,300-1,900

1,200-1,700

87

A VICTORIAN ORMOLU AND BRASS-MOUNTED

SATINWOOD, AMARANTH AND MAHOGANY BOOKCASE


The breakfront grey-veined white marble top with pierced three-

quarter pierced gallery, above a fitted secretaire drawer, and two open

adjustable shelves between columns

37in. (96 cm.) high; 22qin. (57 cm.) wide; 10qin. (26.5 cm.) deep

1,000-1,500 $1,600-2,300

1,400-2,100

86

A FRENCH PATINATED BRONZE BUST OF A BOY

19TH CENTURY

On a white marble spreading socle13 in. (33 cm.) high

1,500-2,000 $2,400-3,100

2,100-2,800


48/192

46

89

GIUSEPPE VALERIANI

(ROME 1708-1762 SAINT PETERSBURG)

A design for a ceiling decoration

point of the brush and grey ink, grey wash,


9x 9 in. (24 x 22.5 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

PROVENANCE:

The Duke of Leuchtenberg.

E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959,

part of lot 241 (an album of 143 drawings of various sizes

by Valeriani and his Studio.)

EXHIBITED:

Saint Petersburg, Lomonosoff et lpoque dElisabeth, 1912

(the whole album of which this drawing was a part).

LITERATURE:

A. Benois, Review of St. Petersburg exhibition, Stary Gody,

May 1912, pp. 3-28 (article on the whole album).

90

ITALIAN (?) SCHOOL,

MID-18TH CENTURY

Design for the grill of a mausoleum

pencil, pen and black ink, black wash, black

ink framing lines, watermark Strasburg lilywith letters LVG

16 x 18in. (40.5 x 47.5 cm.)

800-1,200 $1,300-1,900

1,200-1,700

91

FRENCH/ITALIAN SCHOOL,

LATE 18TH CENTURY

Design for the corners of a ceiling decoration

pencil, pen and brown ink, grey wash

and watercolour, grey ink framing lines,

countermark IV

5x 14win. (13.7 x 37.7 cm.)

300-500 $470-780

420-700

PROVENANCE:

E. Fatio (L. 3472).

92

GIUSEPPE BERNARDINO BISON

(PALMANOVA 1762-1844 MILANO)

Design for the wall of a chamber with grotesquedecoration

black chalk, pen and brown ink, bodycolourand watercolour, watermark C & I Honig

and fragmentary watermark with letter WR

11x 6in. (28.9 x 16.8 cm.)

500-800 $780-1,200

700-1,100

89

90

91

92


49/192

47

95

THOMAS SANDBY, R.A. (1721-1798)

Design for a neo-classical entrance anddoorway with subsidiary plans of thesupporting Ionic columns

pencil, pen and grey ink, grey and yellow

wash on paper

6x 4 in. (15.9 x 10.1 cm. )

2,000-4,000 $3,200-6,200

2,800-5,600

PROVENANCE:

Collection of Drawings of Thomas and Paul Sandbyformed by William Sandby, Part I; Christies, London, 24

March 1959, possibly part of lot 13.

93

FRENCH SCHOOL, 19TH CENTURY

Two alternatives section of a domed pavilionwith vaulted ceiling with Ionic pilasters andrecessed alcove with vase and console table, onewith floor plan (verso)

pencil, pen and black ink and grey, green and

pink wash on paper

10qx 15qin. (26.7 x 39.4 cm.);

9qx 13qin. (24 x 34.3 cm.);

two in one mount

1,000-1,500 $1,600-2,300 1,400-2,100

94

A. TOD (FL. 1801-1805)

An elevation of Mr. Tassies house, 20 LeicesterSquare, London

signed and dated, A. Tod, Architect. 1806

(lower right), and inscribed Elevation/

of Mrr. Tassies house/ &..., Liecester [sic]

Square (upper centre, with a cartouche) and

annotated with scale (lower centre)

pencil, pen and ink, ochre, blue and grey

wash, within the artists black-line border,

on paper14x 9in. (36.2 x 24.8 cm.)

1,500-2,500 $2,400-3,900

2,100-3,500PROVENANCE:

with Wightman & Co., London (S1349)

LITERATURE:

H. Colvin,A Dictionary of British Architects, London, 1995,

p. 982.

Visit www.christies.com for additional information on

this lot.

96

THOMAS HOSMER SHEPHERD

(LONDON 1793-1864)

St. Georges Church, Bloomsbury, with figures

signed Thos. H. Shepherd (lower centre)pen and ink and brown wash

4x 3in. (11.5 x 9.5 cm. )

500-800 $780-1,200

700-1,100

93

95

94

96


50/192

48

98

CIRCLE OF WILLIAM KENT (1685-1748)

Alternative designs for the main elevation andpavilions of an English Country House; and afloor plan of the ground floor

all annotated with scale

pencil, pen and grey ink, and grey wash on

paper, the plan with pale pink wash, twowatermark Strasburg lily, one I.VILLEDARY

10x 15in. (26 x 38.8 cm.); 8x 18w

(22.3 x 48 cm.); 12qx 18w(31.8 x 48 cm.)

(2

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

The Earl of Powis

with Wightman & Co., London (S1349).

97

OFFICE OF ROBERT ADAM (1728-1792)

Two designs for the elevation and pavilions ofthe east and west fronts at Gosford House, EastLothian, seat of the Earl of Wemyss

pencil, pen and grey ink, grey wash on paper

16 x 25qin. (40.6 x 64.9 cm.); two in one

frame (2

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

W.H. Playfair, Edinburgh.

It has been suggested that this drawing is in the hand o

one of Adams two lead draughtsmen from the period

1790-1792, John Robertson or Robert Morison. he

drawings do not show the house exactly as executed, as

it was not finished until 1800, eight years after Adams

death.

William Henry Playfair (1790-1857) was one of the

greatest Scottish architects of the 19th Century and th

designer of many of Edinburghs neo-classical landmark

Edinburghs New Town.


51/192

4

100

FRENCH SCHOOL,

LATE 18TH CENTURY

section of an entrance hall with Ionic Column,

painted dome and coiffered vaulted ceilingannotated with scale (lower centre)

pencil, pen and black ink,grey, blue and pink

wash on two joined sheets of paper

14x 26 in. (37.1 x 66 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

99

FOLLOWER OF ROBERT ADAM

(1728-1792)

Design for a neo-classical entrance anddoorway with subsidiary plans for thesupporting Ionic columns

pencil, pen and grey ink, grey wash on

paper, lightly squared

18x 12 in. (47.6 x 30.5 cm.)

800-1,200 $1,300-1,900

1,200-1,700

PROVENANCE:

W.H. Playfair (1789-1857), Edinburgh.


52/192

50

101

FRENCH SCHOOL, LATE 18TH CENTURY

Design for a Palladian villa set above a fountain andcolonnade

pencil, pen and black ink, grey wash, watercolour, on

two joined sheets, watermark D & C Blauw

11wx 28in. (30.2 x 71.6 cm.)

1,500-2,000 $2,400-3,100



102

ITALIAN SCHOOL, LATE 18TH CENTURY

Design for a room with a coffered vault and archeddoorway

pencil, pen and black ink, grey wash, watermark

D & C Blauw

17x 29qin. (43.5 x 75 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

103

ITALIAN (?) SCHOOL, 18TH CENTURY

Design for a fortified palazzo: Elevation and section

pencil, pen and black ink, grey, green and ochrewash on three joined sheets

15x 28in. (38.9 x 71.8 cm.)

1,000-1,500 $1,600-2,300



104

FRENCH SCHOOL, MID-18TH CENTURY

A design of a column in a piazza

with number 63 (verso)

pen and black ink, grey wash, on two joined

sheets, watermark Strasburg lily with letters H & V,

countermark Hessels & Vorster

19wx 28in. (50.2 x 71.8 cm.)

1,500-2,000 $2,400-3,100

2,100-2,800


53/192

5

106

ATTRIBUTED TO GIUSEPPE GALLI DA

BIBIENA (PARMA 1696-1757 BERLIN)

Design for an altar with alternative styles for the walls,

niche and vaulttraces of pencil, pen and brown ink, watercolour

12x 9qin. (32.3 x 24 cm.)

400-600 $630-930

560-830PROVENANCE:

E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959, lot 34.

EXHIBITED:

Zurich, Technische Hochschule, Graphische Sammlung,Architektur-

und Dekorations-Zeichnungen der Barockzeit aus der Sammlung

Edmond Fatio, 1946, no. 68.

105

FRENCH SCHOOL, MID-18TH CENTURY

A cross-section of a church showing the dome, crossingand crypt

pencil, pen and black ink, grey wash, traces of

watercolour, on two joined sheets

21x 26in. (52.8 x 68.1 cm.)

1,000-1,500 $1,600-2,300

1,400-2,100

PROVENANCE:

W.H. Playfair (1789-1857), Edinburgh

The Signet Library, Edinburgh.

107

GIUSEPPE BERNARDINO BISON

(PALMANOVA 1762-1844 MILANO)

Design for a grotesque decoration with a heron

with number 28 (?) (verso)

black chalk, watercolour, bodycolour, partial

watermark Strasburg lily with letters WR

9 x 10in. (22.7 x 26.8 cm.)

500-800 $780-1,200

700-1,100


54/192


55/192

53

109

110A FRENCH GILT-BRONZE, BLUED-STEEL AND

MAHOGANY GUERIDON

SECOND HALF 19TH CENTURY, OF LOUIS XVI STYLE

With a circular white marble top supported on three pairs of foliate

entwined columns with tripartite stretchers and hoof feet

30qin. (78 cm.) high; 13 in. (33 cm.) diameter

2,000-3,000 $3,200-4,700

2,800-4,200

109

A PAIR OF FRENCH ORMOLU TWIN-LIGHT

CANDELABRA LAMPS

LATE 19TH CENTURY, OF LOUIS XVI STYLE

Each central shaft issuing scrolling acanthus branches terminating in

nozzles, with shades and later fitted for electricity

21qin. (54.5 cm.) high (2)

600-1,000 $940-1,600

840-1,400

108

A PAIR OF FRENCH GILT-BRONZE THREE-BRANCH

CANDELABRA LAMPS

LATE 19TH/EARLY 20TH CENTURY, OF LOUIS XVI STYLE

Later fitted for electricity, with cream fabric shades

28 in. (71 cm.) high (2)

800-1,200 $1,300-1,900

1,200-1,700

108


56/192

54

111

A PAIR OF EMPIRE PATINATED BRONZE CANDLESTICKS

EARLY 19TH CENTURY

Depicting Apollo and Diana; together with a pair of North European

patinated bronze ormolu-mounted candlesticks, early 19th century; and

a French ormolu encrier, 19th Century

The encrier: 5qin. (14 cm.) high; 10qin. (26.5 cm.) wide;

6 in. (15 cm.) deep

The candlesticks: 10qin. (26.5 cm.) high (5

1,500-2,500 $2,400-3,900

2,100-3,500

113

A GEORGE III MAHOGANY AND SATINWOOD PARTNERSPEDESTAL DESK

LATE 18TH CENTURY

The tooled green leather writing-surface above three frieze drawers and

six pedestal drawers to each side, on bracket feet and recessed castors

32 in. (81 cm.) high; 49 in. (124.5 cm.) wide; 37 in. (94 cm.) deep

2,500-4,000 $3,900-6,200

3,500-5,600

112

A REGENCY MAHOGANY CANED BERGERE

CIRCA 1815

The reeded frame with padded arms and two squab cushions

upholstered with green horsehair, on sabre legs

34qin. (87.5 cm.) high; 27in. (70.5 cm.); 30qin. (77.5 cm.) deep

800-1,200 $1,300-1,900

1,200-1,700

PROVENANCE:Samuel Leigh Sotheby (1805-1861), New Bond

Street, London.

Edward Grose Hodge.

Thomas Hodge.G. D. Hobson, and by descent.

According to a signed note from Mr. Hobson:

This desk belonged to Samuel Leigh Sotheby (d. 1861)

and was bequeathed by his widow, Julia Emma Sotheby,

to her husbands partner in Sothebys, Edward Frose

Hodge. It was inherited by his son, Tom Hodge, who sold

it to my father, Geoffrey Dudley Hobson. I used it in my

office in Sothebys until I left the firm in 1977.


57/192

5

114

A GEORGE III MAHOGANY TUB BERGERE

LATE 18TH CENTURY

The rounded back and serpentine seat covered in studded brown

leather, on tapering channelled legs headed by paterae, with brass caps

and castors

36in. (93 cm.) high; 30qin. (77.5 cm.) wide; 31in. (80.5 cm.) deep

2,000-4,000 $3,200-6,200

2,800-5,600

115

A GEORGE III MAHOGANY BREAKFRONTLIBRARY BOOKCASE

LATE 18TH CENTURY

The cornice above four astragal-glazed doors and four cupboard doors,

on a plinth base

102 in. (259 cm.) high; 110 in. (279.5 cm.); 22 in. (56 cm.) deep

2,000-3,000 $3,200-4,700

2,800-4,200


58/192

56

117

A SOUTH GERMAN BRASS-MOUNTED WALNUT,BURR-WALNUT, BIRDS-EYE MAPLE ANDEBONY BANDED BUREAU-CABINET

MID-18TH CENTURY

The upper section with a pair of mirrored doors enclosing an

arrangement of shelves centred by a small cupboard with three small

drawers, the base with a slope enclosing a fitted interior with drawers

and pigeon-holes over two short and three long drawers on bun feet

77qin. (197 cm.) high; 40qin. (103 cm.) wide; 25in. (65.5 cm.) deep

3,000-5,000 $4,700-7,800

4,200-7,000

118

A GEORGE II MAHOGANY CARD TABLE

MID-18TH CENTURY

The eared hinged top enclosing a baize-lined surface and counter wells,

above a frieze drawer, on club legs and pad feet

28in. (73 cm.) high; 33in. (84.5 cm.) wide; 16in. (41.5 cm.) deep

800-1,200 $1,300-1,900

1,200-1,700

116

WILLIAM HENRY DAVIS (FL. 1803-1849)

A prize roan bull in a landscape, a country house beyond

signed and dated W.H Davis / 1853. (lower left)

oil on canvas

22qx 30 in. (57.2 x 76.2 cm.)

2,500-3,500 $3,900-5,400 3,500-4,900


59/192

57

122T. GREENWOOD HUNT (FL.1873-1878)

A tempting treat

signed and indistinctly dated T. Greenwood Hunt 187[?] (lower right)

oil on canvas

16 x 12 in. (40.6 x 30.5 cm.)

700-1,000 $1,100-1,600

980-1,400

121

AFTER PAUL CSAR HELLEU (1859-1927)

La lecture

Lithograph in colours, circa1900s, on thin wove paper, signed in

the plate (as issued), published in an edition of unknown size by

lImprimerie de la Socit des Artistes Lithographes, Paris, the full

sheet

Sheet: 823 x 675 mm.

500-700 $780-1,100

700-970

The location of the original drawing of this work is currently unknown.

120WILLIAM POWELL FRITH, R.A. (1819-1909)

Intercepted letter

signed and dated W.P. Frith/1901 (lower left), inscribed Intercepted

letter (on the reverse)

oil on canvas

17x 13qin. (44.7 x 34.3 cm.)

800-1,200 $1,300-1,900

1,200-1,700

119

ADOLPHE FORESTIER (FRENCH, 1801-1885)

An interior view of The Duke of Wellingtons room, Walmer Castle,

Kent

signed AFORESTIER(AF linked, lower left)

pencil, pen and black ink and grey wash, heightened with white

6x 9 in. (17.2 x 22.8 cm.)

600-800 $940-1,200

840-1,100


60/192

58

123

A SET OF GEORGE III MAHOGANY METAMORPHIC STEPS

EARLY 19TH CENTURY

With four green baize-lined treads, hinging to form a rectangular gilt-

tooled green leather lined low table/luggage rack

As steps: 28 in. (71 cm.) high; 17qin. (44.5 cm.) wide;

28qin. (72.5 cm.) deep

800-1,200 $1,300-1,900

1,200-1,700

124A LOUIS XVI ORMOLU-MOUNTED MAHOGANYBUREAU PLAT

LATE 18TH CENTURY

The eared top inset with gilt-tooled brown leather over three frieze

drawers opposing false drawers, each side with a leather-lined slide, on

turned tapering fluted legs and castors, heavy wear to the leather and

fading to the reverse

30in. (77 cm.) high; 63 in. (160 cm.) wide; 30qin. (77.5 cm.) deep

1,000-2,000 $1,600-3,100

1,400-2,800

125

A GEORGE III MAHOGANY AND CHEQUER-BANDEDSERPENTINE CHEST-ON-CHEST

LATE 18TH CENTURY

The upper section with a moulded cornice above two short and three

long drawers, the base with three graduated long drawers, on canted

bracket feet, losses

63 in. (160 cm.) high; 46 in. (117 cm.) wide; 21qin. (54.5 cm.) deep

1,000-1,500 $1,600-2,300

1,400-2,100


61/192


62/192


63/192

The Overland family lived in Jersey for over 40 years, where they enjoyed the amenities ofrural life and the privacy that the Channel Islands have to offer. They created a very specialhome at Mont Pellier, Trinity, which can be seen in the dedication and pride the late MrsBarbara Overland took in furnishing the house with English furniture, Old Master Paintingsand decorative objects. Many of the pieces were acquired with great care and thought toenhance the serene interiors, a characteristic of Mont Pellier, such as the perfectly formedGeorge II mahogany chest, acquired from Norman Adams Ltd, London (lot 230) and thecaptivating trompe loeilpainting of a letter rack by Edward Collier, acquired from Rafael

Valls, London (lot 182).Christies is honoured to have been entrusted with the sale of the contents of MontPellier, the proceeds of which will go to benefit the ongoing work of the charitable trustset up in the memory of the Overlands for generations to come.

MONT PELLIER, JERSEY

The Property of the late

Mrs Barbara Overlandlots 126-297


64/192

*127

A CHARLES II OAK COFFER


The hinged panelled top enclosing a candle-box, above a scroll and

paterae carved frieze flanked by symbolic strapwork

22qin. (57 cm.) high; 39in. (99.5 cm.) wide; 16in. (42.5 cm.) deep

800-1,200 $1,300-1,900

1,200-1,700

PROVENANCE:With Avon Antiques.

*128

A PAIR OF ENGLISH MAHOGANY HALL CHAIRS

19TH CENTURY

Each with a moulded shield back, carved with ribbon tied drapery swags,

centred by a crest, on tapering channelled legs, each with fragmented

depository label, Cowley & Co Ltd

35qin. (90 cm.) high; 19in. (49 cm.) wide; 19 in. (48 cm.) deep (2

800-1,200 $1,300-1,900

1,200-1,700

*126

A PAIR OF CHINESE BLUE AND WHITE BOTTLEVASE LAMPS

19TH CENTURY

Decorated with continuous scrolling foliage interspersed with lilies and

lotus blooms, with removable lamp fittings

The porcelain 15qin. (39.4 cm.) high, wood bases and shades (2

2,000-3,000 $3,200-4,700

2,800-4,200


65/192


66/192

*131

A GEORGE III OAK DRESSER

LATE 18TH CENTURY, PROBABLY SOUTH WALES

The moulded top above three drawers, above an arched apron on

turned supports, joined by an undertier and block feet

31in. (79.5 cm.) high; 54 in. (137 in.) wide; 14qin. (37 in.) deep

2,000-3,000 $3,200-4,700

2,800-4,200

*130

A PAIR OF GEORGE III POLYCHROME-PAINTED

DUMMY-BOARDS

LATE 18TH CENTURY

Depicting a girl wearing a black dress with lace jabot and cuffs and a

feathered headdress, and a girl wearing a brown dress with white trimand red shawl, with later supports

45in. (115 cm.) high and smaller (2)

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:

With Avon Antiques.

*129

A DERUTA MAIOLICA DISH

CIRCA 1530

Painted with St. Barbara holding a martyrs palm and a castle within a

wide imbricated and foliate border

14in. (37.1 cm.) diameter

3,000-5,000 $4,700-7,800

4,200-7,000

PROVENANCE:With Jonathan Horne Antiques Ltd.


67/192

6

*132

FOLLOWER OF JAN BRUEGHEL I

Allegory of Sight

oil on canvas

29x 45w(75.5 x 116.5 cm.)

10,000-15,000 $16,000-23,000 14,000-21,000

PROVENANCE:

Anonymous sale; Phillips, Son & Neale, London, 5 December 1995, lot 46, as Frans

Francken III.

with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.


68/192

*133

A SET OF FOUR ENGLISH REVERSE-

PAINTED GLASS PICTURES OF SHIP

SILHOUETTES

LATE 19TH CENTURY

Each painted in black and gold, depicting

H.M.S. VICTORY, THE CAROLINE, H.M.S.

EASTERN MONARCH and H.M.S. ROYAL

ALBERT, in birds-eye maple frames

9x 12in. (23.5 x 31.3 cm.) approx. (4

800-1,200 $1,300-1,900

1,200-1,700

*134

A PAIR OF FRENCH WALNUT

THRONE ARMCHAIRS

MID-19TH CENTURY

The top rail centred by a grotesque satyr mask

on X-frame supports and lions-pawfeet joined

by a ring-turned stretcher

46 in. (117 cm.) high; 25in. (64 cm.) wide;

26 in. (66 cm.) deep (2

1,500-2,500 $2,400-3,900

2,100-3,500

*135

AN EARLY GEORGE II OAK

SIDE TABLE

CIRCA 1730The moulded rectangular top above four

drawers, one with fitted compartment, on club

legs and pad feet

28 in. (71 cm.) high; 37 in. (94 cm.) wide;

23in. (59 cm.) deep

1,000-1,500 $1,600-2,300

1,400-2,100


69/192

67

*136

EBENEZER COLLS (1812-1887)

A three-decker calling for a pilot at the entrance to Portsmouth Harbour,with a paddle steamer and other shipping beyond; and Fishermen ona blustery day with prison hulks and a three-decker lying at anchor in

Portsmouth Harbour

both signed E. Colls (lower left)

oil on canvas

20 x 30 in. (50.8 x 76.3 cm.) a pair (2)

4,000-6,000 $6,300-9,300

5,600-8,300

*137

HUGH MUNRO (1873-1928)

The foot of the Garden

signed Hugh Munro (lower left)

oil on canvasboard

10 x 14 in. (25.4 x 35.5 cm.)

1,500-2,500 $2,400-3,900

2,100-3,500

PROVENANCE:

Given by the artist to the Scottish Artists Benevolent Association, in aid of a special fund

raised by the Association for the relief of artists in distress owing to the War, March 1915.

with T & R Annan & Sons, Ltd., Gl

glebe house, mont pellier and woodbury house: three country house collections

Documents