Sworders Fine Interiors to include Silver 21 - 22 July

FINE
INTERIORSTuesday 21 and Wednesday 22 July 2020

1-83 18-49
84-260
CONTACT
Telephone: 01279 817778
Email: auctions@sworder.co.uk
To obtain more detailed images and condition
reports for lots in this catalogue, please visit our
website www.sworder.co.uk
James Pickup Alexander Hallett
FINE INTERIORS July 2020
at the Stansted Mountfitchet Auction Rooms
VIEWING TIMES
Bid live at www.sworder.co.uk (0% surcharge)
ONLINE BIDDING
Due to current social distancing restrictions, we will be offering viewing
by appointment only. You can book an appointment on our website.
One hour timeslots will be available from Wednesday 15 to
Monday 20 July, 9.30am - 4.30pm
REMOVAL OF LOTS
All lots should be removed by 5pm on Friday 31 July 2020.
Furniture lots remaining after this date will be removed to:
Perry Removals, Chapel End, Broxted, Essex CM6 2BW.
Removal will be at a cost of £20 per lot and storage will be
charged at £2 per lot, per day.
287-299

509-705
ORDER OF SALE
Day One | Tuesday 21 July Day Two | Wednesday 22 July
Lots 1-83 Silver to include:
Lots 18-49
A Collection of Fruit Knives
Lots 84-260 Furniture and Works of Art
Lots 261-286 As featured on
‘Salvage Hunters: The Restorers’
Lots 287-299 The Garden
Lots 300-346 The Principal Contents of
Wood Hall, Arkesden, Essex
Lots 347-508 Paintings, Watercolours and Prints
Lots 509-705 Furniture and Works of Art
Scan this QR code with your mobile
device to view the lots from this
catalogue on our website All plants kindly supplied by
261-286
300-346
347-508

art deco&arts crafts
Tuesday 15 September 2020
Entries close Friday 31 July
John Black
johnblack@sworder.co.uk | 01279 817778
C F A Voysey (1857-1941)
A pair of oak armchairs, c.1902
Estimate £20,000-30,000

Day One
Tuesday 21 July at 10am

Silver
1-83
Lot 1
A George III silver bread basket,
by Paul Storr, London 1812,
the handle with stylised foliate designs and a
neoclassical wreath to the centre attached to a
rounded rectangular rim with a gadrooned edge
and shell and foliate corners, the half reeded
body with an engraved family crest to the
interior, on a flared foot,
33cm long, 26.5cm wide, 25cm high, 38ozt
£2,000 - 3,000
1 detail
6

Lot 2
A George IV silver bread basket,
by Paul Storr, London, 1821,
the fluted handle attached to a rounded
rectangular rim with a gadrooned edge
and shell and foliate corners, the half
reeded body on cast shell scroll feet
further adorned with fruiting vines,
33cm wide, 29cm deep, 25cm high,
46.5ozt approximately
£2,000 - 3,000
www.sworder.co.uk
1-83 SILVER

Lot 4
A large composite King’s pattern silver cutlery set,
weighable silver 376ozt (176)
£3,500 - 4,500
This set was probably purchased by Sir John Trollope, who became
7th Baronet Trollope of Casewick, on the death of his father in
1820. He later became Ist Baronet Kesteven in 1868. The stag with
oakleaf in its mouth was a Kesteven crest. The family seat was
Casewick Hall, Uffington, Lincolnshire.
Lot 3
A pair of Georgian silver entrée dishes and covers on
heated stands,
by Joseph Craddock William Ker Reid, London 1820,
with foliate shell corners and double ‘C’ scroll serpent handles,
engraved with an elaborate coat of arms and stag, the
silver-plated two-handled stands on paw feet,
each 24cm wide,19cm deep, silver weight 126ozt (6)
£1,500 - 2,000
The coat of arms relates to the Trollope family of Casewick,
Lincolnshire. Sir John Trollope became 7th Baronet Trollope of
Casewick on the death of his father in 1820. He later became
Ist Baronet Kesteven in 1868. The stag with oakleaf in its
mouth was a Kesteven crest. The family seat was Casewick Hall,
Uffington, Lincolnshire.
3
Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%8
SILVER 1-83
3 detail

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9www.sworder.co.uk
1-83 SILVER

5
6
7
Lot 6
A George III silver oval tea caddy,
by Robert Hennell I, London 1780,
with a pineapple finial on a locking lid, the sides
bright cut and engraved with urns and floral
swags around a monogrammed cartouche,
13cm wide, 8.5cm deep, 12cm high
£1,000 - 1,500
Lot 5
A pair of Elizabeth II silver gilt figural candelabra,
by C J Vander Ltd., London 1962,
cast in the rococo style with twin removable branches,
one centred with a woman with a watering can and
the other a man picking flowers, each on a foliate
scroll base,
27cm high, 93ozt total (2)
£800 - 1,200
Lot 7
A pair of silver sauce boats,
London 1756, maker’s mark rubbed,
each with ‘C’ scroll handle and raised on
three hoof feet, engraved with initials,
8cm high, 12ozt (2)
£200 - 300
10 Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%
SILVER 1-83

8
9
10
11
Lot 8
A George III silver sugar caster,
by John Delmester, London 1763,
of baluster form, the engraved pierced cover
above a plain body and a spreading circular base,
16.5cm high,
together with two smaller examples,
by the same maker, 1762 and 1764,
total 13ozt (3)
£300 - 500
Lot 9
A set of four George III silver salts,
by Henry Chawner, London 1795,
each of urn form with a squared handle to either
side, reeded rim and on a shaped foot,
9cm high, 13ozt (4)
£400 - 600
Lot 10
A set of six George III silver open salts,
by Joseph Craddock and William Ker Reid,
London 1820,
each of squat form with gadrooned edge, gilt
interior and raised on mask and scroll feet,
crested,
9.5cm diameter, 5.5cm high, 32ozt (6)
£300 - 400
Lot 11
A George III silver ladle,
by George Smith III, London 1776,
old English pattern, with shell bowl and bright cut,
engraved handle, crest engraved,
34cm long, 5ozt
£100 - 150
11
1-83 SILVER

12
13
14
Lot 12
A pair of George III silver wine coasters,
by Robert Hennell, London 1777,
each with pierced and bright-cut engraved galleries,
hardwood bases,
13.5cm diameter (2)
£800 - 1,200
Lot 13
A George II silver mug,
by Isaac Cookson,
Newcastle 1753,
of spreading circular form,
with an ‘S’ scroll handle,
on a plain spreading foot,
8.5cm high, 5ozt
£200 - 300
Lot 14
A set of four George III silver wine labels
by Rebecca Emes and Edward Barnard, London 1784/1785,
engraved with ‘Madeira’, ‘Sherry’, ‘Port’ and ‘Claret’, crest engraved with
gadroon borders and hanging chains,
4.25cm wide, 3cm high, 2ozt (4)
£250 - 350
SILVER 1-83

15
16
17
Lot 15
A George III silver chamberstick,
by Elizabeth Jones, London 1792,
with a detachable sconce, conical snuffer,
and heraldic engraving,
9.5cm high, 10ozt
£200 - 300
Two pieces by Jones are in the collection
of the National Museum of Women in the
Arts, Washington.
Lot 16
A George III silver mug,
by John Langlands, Newcastle 1798,
with ‘S’ scroll handle, central girdle
and engraved initials,
17.5cm high, 19ozt approximately
£200 - 300
Lot 17
A George III silver waiter,
by IC, London 1776,
with a gadroon moulded and shaped border, on three hoof feet,
16cm diameter, 7ozt
£150 - 250
13
1-83 SILVER

18
19
20
21
Lot 19
A French gold and mother-of-pearl fruit knife,
open 21cm long approximately
£200 - 300
Lot 20
A Georgian silver and
mother-of-pearl folding
fruit knife and fork,
open 18cm long
£150 - 250
Lot 21
A mother-of-pearl and silver folding
fruit knife and fork set,
open 15cm long
£150 - 250
Lot 18
A Georgian 15ct gold and mother-of-pearl folding
fruit knife,
open 17cm long
£200 - 400
A Single Owner Collection of Fruit Knives
18-49

22
23
Lot 22
Three silver folding fruit knives,
open 12.5-14.5cm long (3)
£100 - 150
Lot 23
Three silver and mother-of-pearl
combination folding fruit knives,
open 10.5-19cm long (4)
£150 - 200
15
1-83 SILVER
Scan for full listing
of makers and dates

24
25
26
Lot 25
Three silver and mother-of-pearl folding
fruit forks and a knife,
open 13-15.5cm long (4)
£150 - 200
Lot 24
combination folding fruit knives,
each open approximately 15.5cm long (3)
£150 - 200
Lot 26
Four silver and mother-of-pearl folding fruit
knives and forks,
each open 15cm long approximately (4)
£150 - 250
SILVER 1-83

27
28
Lot 27
Five silver and mother-of-pearl
folding fruit knives and a fork,
£150 - 250
Lot 28
Four silver and mother-of-pearl
folding fruit knives,
£150 - 200
17
1-83 SILVER

29
31
30
Lot 29
Six silver-mounted folding fruit
knives and forks in cases,
£150 - 250
Lot 30
Five silver and
mother-of-pearl
12-14cm long (5)
£150 - 200
Lot 31
folding fruit knives and a fork,
open 13-15cm long (4)
£150 - 250
SILVER 1-83

32
33
34
Lot 33
Four silver and mother-of-pearl folding fruit knives,
£200 - 400
Lot 34
Six silver and mother-of-pearl
£150 - 200
Lot 32
Five silver and mother-of-pearl folding fruit knives and a fork,
£150 - 200
19
1-83 SILVER

Lot 36
Nine silver and mother-of-pearl folding
fruit knives,
£150 - 200
Lot 35
Six silver and mother-of-pearl folding
fruit knives,
£150 - 200
36
35
SILVER 1-83

Lot 38
Five silver and tortoiseshell folding fruit knives,
12.5-15cm long (5)
£100 - 150
Lot 37
£150 - 250
38
37
21
1-83 SILVER

Lot 39
Eight silver and mother-of-pearl
£150 - 200
Lot 40
12.5-15.5cm long (6)
£150 - 200
40
39
22
SILVER 1-83
Each lot is subject to Buyer’s Premium at 30% inclusive of VAT @ 20%

Lot 41
£150 - 250
Lot 42
Five silver, mother-of-pearl and horn folding
fruit knives, a penknife and two others,
£100 - 150
42
41
23
1-83 SILVER

Lot 43
11.7-15.4cm long (6)
£150 - 200
43
SILVER 1-83

Lot 44
12-18cm long (6)
£150 - 200
Lot 45
Five various silver folding fruit
knives and a fork,
£150 - 250
45
44
25
1-83 SILVER

Lot 47
Six folding fruit knives with
silver and steel double blades,
15-20cm long (6)
£200 - 300
Lot 46
Five silver and mother-of-pearl
£150 - 250
47
46
SILVER 1-83

Lot 48
Five silver and mother-of-pearl folding
fruit knives,
£150 - 250
Lot 49
Four Victorian carved mother-of-pearl
and silver folding fruit knives,
£150 - 200
49
48
27
1-83 SILVER

51
50
Lot 50
A comprehensive George V silver
twelve-setting canteen of cutlery,
by Thomas Bradbury Sons, Sheffield 1910,
each piece with bright-cut tied thread detail,
fitted in an original three-drawer oak canteen,
the ladle 33.5cm long, 140ozt
£1,500 - 2,000
Lot 51
A Victorian silver fiddle and
thread pattern cutlery service,
together with an old English
pattern basting spoon,
104ozt (38)
£800 - 1,200
SILVER 1-83

53
52
52
52
54
55
Lot 52
A set of four silver candlesticks,
by Hunt Roskell, Late Storr Mortimer, London 1891,
the Corinthian columns with detachable sconces on
stepped square bases, weighted, each inscribed ‘To
George Cowell FRCS, Senior Surgeon, Westminster
Hospital. From his colleagues on his marriage, Sept.
1892’, impressed ‘Hunt Ros, Late Storr Mortimer
455’,
21.5cm high (4)
£600 - 800
Lot 53
An 18th century French silver
pear-shaped coffee pot,
Paris 1783-1789, maker’s mark
unidentified, S.C. over R.D.
separated by a crown, heart and
a cross,
the hinged cover with scrolling
thumbpiece over a turned
ebonised side-mounted
handle and on three
shaped feet,
23cm high, 26ozt
£800 - 1,200
Lot 54
A Russian silver teapot,
assay master Aleksandr Ilbich Yashinov, St Petersberg, 1818-1864,
of half reeded oval form with a carved ivory ‘C’ scroll handle and
knop, marked to the underside 84 standard,
14cm high, 21ozt
£600 - 800
Lot 55
A George VI silver salver,
by Edward Barnard Sons
Ltd., London 1937,
of shaped circular form,
with a gadrooned border
and raised on hoof supports,
the base inscribed ‘Presented
to T.H.Evans Esq: on his
marriage, By the Tenants
of Linley Shelve Estates.
2nd March, 1939.’,
31.5cm diameter, 30ozt
£300 - 500
1-83 SILVER

Lot 56
An extensive George V hallmarked silver tea and coffee set,
total 159.2ozt approximately, within an oak case inscribed
‘E.D.M.S-H from Mother 1924’ (8)
£2,000 - 3,000
SILVER 1-83

57
58
59
Lot 57
A George III three-piece silver tea set,
by Naphtali Hart, London 1815,
the teapot with an urn-shaped finial
decorated in relief with a foliate display
on a reeded dome-topped lid, over a
neoclassical-style body with a gadrooned rim
with shell foliate adornments over a scrolling
Arabesque frieze over reeding, on bun feet
with anthemion decoration, the cream jug
and twin-handled sucrier with gilt interiors,
teapot 16cm high, 50ozt approximately (3)
£600 - 800
Lot 58
A George V silver three-light
Corinthian column candelabrum,
by William Adams Ltd.,
Birmingham 1933,
the removable twin scrolling
branches with acanthus detail,
on a stepped square loaded base,
46cm high
£600 - 800
Lot 59
A Victorian silver melon-shaped teapot,
by Edward, John William Barnard, London 1837,
with melon body over an engraved body, the ‘C’ scroll
handle with ivory insulators and on a lobed foot,
16cm high, 20.6ozt
£300 - 500
31
1-83 SILVER

Lot 60
A part set of Victorian
silver fiddle pattern
cutlery,
52ozt (28)
£450 - 550
Lot 61
A George V silver canteen
of cutlery,
the tablespoons 22cm long,
117ozt total (50)
£800 - 1,200
60
61
SILVER 1-83

62
63
64
Lot 62
A pair of Victorian silver Corinthian column
candlesticks,
by Henry Wilkinson Co., London 1872,
on loaded acanthus cast spreading square bases,
33.5cm high (2)
£600 - 800
Lot 63
A silver open salt,
by D J Wellby, London 1919,
in the form of a Gothic font, inscribed ‘The Gift of
the Salters’ Company commemorating the victory
of The Allies in the Great War 1914-1918’,
7.1ozt
£200 - 300
Lot 64
A Victorian silver mug,
by Robert Hennell III, London 1865,
of tapering form, embossed with
quatrefoil latticework, initialled,
11.5cm high, 12ozt
£200 - 300
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1-83 SILVER

65
66
Lot 66
A Scottish silver four-piece tea set,
hot water jug 25cm tall, 62ozt (4)
£800 - 1,200
Lot 65
A silver four-piece tea set,
coffee pot 27cm high, total weight 73ozt (4)
£700 - 1,000
SILVER 1-83

Lot 67
A silver dressing table mirror,
by William Comyns, London 1909,
the circular plate and frame with a pierced neoclassical-style
crest and base, supported on an easel frame with blue
fleur-de-lys plush fabric,
49cm high
£500 - 800
67
68
Lot 68
A tortoiseshell and silver dressing table vanity set,
by Walker Hall, Birmingham 1922,
consisting of ten items, each decorated with inlaid harebell
swags around a central patera in a fitted velvet-lined case,
45cm wide
40cm deep
14cm high,
together with a matching seven-piece manicure
set in a separate case (2)
£250 - 350
35
1-83 SILVER

69
70
Lot 69
A large Victorian silver dressing mirror,
by William Comyns Son, London 1897,
the elaborate pressed mounts with birds amongst
foliage, surmounted by putto flanking a blank
cartouche, on blue velvet, the frame with an easel
back,
44cm wide, 62cm high
£400 - 600
Lot 70
A Victorian silver easel back mirror,
by William Gibson and John Lawrence, London 1899,
in the rococo style, the scrolling frame around
a shaped plate with a bevelled edge,
31cm wide, 40cm high
£400 - 600
SILVER 1-83

71
72
Lot 71
A pair of pierced silver baskets,
by Mappin Webb, Birmingham, 1909,
each with a ribbon-tied laurel wreath handle
to either side,
24cm diameter, 9cm high, 27ozt (2)
£200 - 300
Lot 72
A pair of silver pheasants,
by Edward Barnard Sons Ltd.,
London 1968,
30.5 and 31cm long, 54ozt (2)
£1,000 - 1,500
37
1-83 SILVER

73
74
75
Lot 73
A Victorian silver cigar box,
by Joseph Braham, London 1894,
the two compartments with lift-up lids, detachable vesta box, cigar lighter with perpetual flame
and cigar cutter,
23cm wide, 17cm deep, 13cm high
£400 - 600
Lot 74
A rare silver combination cigarette case,
by Alfred Dunhill Sons, London 1931,
with an integrated lighter and manual-wind clock, the body of oblong shape with engine-turned
decoration, the gilt interior with presentation inscription dated Aug. 29 and impressed ‘Bando’,
10.7cm long, 5.5ozt
£1,000 - 1,500
This model entered production in 1930, the work of master
craftsman Matteo Cellini, commonly known as ‘Bando’.
The Company was founded by Alfred Dunhill (1872-1959),
who first opened a car accessories company
and then a tobacco shop. In 1929, the
business passed to his son, Henry
Alfred Dunhill,
who created the
internationally
successful business
we know today.
Lot 75
A silver shooting peg drawer, butt marker,
by Margaret Howell, London 1988,
in the form of a shotgun cartridge with a
screw-on cap containing ten numbered pegs,
7.25cm high, 3ozt
£200 - 400
SILVER 1-83

76
77
Lot 76
A cased set of
twelve French 950 standard
silver vodka or liqueur cups,
by Charles Barrier, Paris, early 20th century,
each of tapering form, with gilt interiors and a band of repoussé foliate
decoration to the body,
each 4cm high, total 4ozt
£200 - 300
Lot 77
An early Victorian silver christening mug,
by Charles Reilly George Storer, London 1844,
retailed by Dismere, Liverpool, decorated in relief with panels depicting
a prowling lion and a giraffe amongst undergrowth, on scroll feet,
10.1cm high, 5ozt
£150 - 250
www.sworder.co.uk 39
1-83 SILVER

78
79
Lot 78
Twenty-six silver trowel
and knife bookmarks,
late 19th/early 20th century,
including a whistle, an owl,
and a scimitar,
largest 12.5cm long (26)
£200 - 400
Lot 79
Twenty novelty bookmarks,
20th century, some English hallmarked
silver,
some marked ‘Sterling’,
some Continental grades, including
by Georg Jensen (1),
a green enamel shamrock,
by Sampson Mordan, Chester 1911,
a rabbit and carrot, boomerang and
kookaburra finial, etc. (20)
£100 - 200
SILVER 1-83

80
81
82
83
Lot 80
A William IV silver snuff box,
by Nathaniel Mills, Birmingham 1832,
with engine turned decoration and a chased border,
7.3cm wide,
together with a William IV silver gilt vinaigrette,
maker’s mark F.C,
with engine turned decoration,
3.25cm wide, total 2.6ozt (2)
£150 - 250
Lot 82
A French First Empire white metal frame,
surmounted with a coat of arms depicting a spread eagle
within a laurel wreath, to a star and scroll border on an
easel stand,
25 x 41cm, 23ozt
£200 - 300
Lot 83
An American silver pierced and footed dish,
mid-20th century, with classical boarder, marked
‘LaFayette Sterling’,
29cm diameter, 22ozt
£200 - 300
Lot 81
A German silver perpetual calendar snuff box,
probably 18th century, with dials to both sides, on
scrolling and chased panels, tests as silver, no marks,
8.4cm wide, 5.5cm deep, 2cm high, 4ozt
£1,000 - 1,500
www.sworder.co.uk
1-83 SILVER

Classical art and architecture, with its extraordinary precision and
astounding scale, has been enjoyed, exalted and emulated more
or less consistently for the last two and a half thousand years,
and has been responsible for many aesthetic movements and
revivals. In particular, since the Renaissance, classicism has been
arguably the greatest source of inspiration for artists, architects
and designers in the West, to the extent that many of the antiques
in our homes and, more specifically, in this catalogue, bear the
columns of Greek temples, the acanthus motifs of ancient friezes
and capitals, or indeed are copies after famous sculptures.
While the appreciation of the classical world was by no means
a new thing in the fifteenth century, there was a renewed and
comprehensive focus on its history and moral philosophy by
the people of the increasingly autonomous Italian city states,
who believed that an understanding of government, the law,
commercial transactions and oratory was the hallmark of a
politically-active citizen. Assuming that medieval scholarship
did not provide useful examples of rhetoric or moral philosophy,
the humanists, who represented a new school of thought which
sought to remedy the lack of focus on the ancient world in the
years succeeding the fall of Rome, turned to the classics. In Cicero,
Quintilian, Sallust, and Livy, they found their rhetorical models,
their historical examples, and their moral lessons.
Although the focal point of classicism in the Renaissance was
primarily literary, the continued enthusiasm for ancient Greece
and Rome stoked a new appreciation for its art; the sculpture
and architectural fragments, many of which were being
unearthed during the excavation of ancient sites, provided new
inspiration for artists and architects. Of course, throughout the
world the Renaissance is synonymous with the likes of Leonardo
Da Vinci, Raphael, Michelangelo, as well as architects like
Filippo Brunelleschi and a plethora of other masters, all of whom
studied at length these newly found treasures, in order to glean
the minutiae of classical proportion and form so as to be able to
replicate them in their own work. It is doubtless that the countless
masterpieces produced during this period are part of the reason
that the ancient visual arts remained so popular in the centuries
that followed, by intertwining the ancient myths with the zenith
of human creativity, further embedding them in popular culture
and influencing generations of artists to come.
Following a relative departure or in some cases a digression from
classicism, with its clean lines and symmetrical forms, throughout
Europe in the late sixteenth and seventeenth centuries, there was
a marked return to the aesthetic, philosophical and political ideals
of Greece and Rome in the eighteenth century, through opposition
to what some saw as the pomp and indulgence of the baroque and
rococo, as well as the discovery of the ancient site of Herculaneum
and the huge popularity of the Grand Tour, a sojourn on which
wealthy young Europeans would embark as a means of cultural
and artistic education, and as such would come into contact with
and become enamoured with classical and Renaissance art. They
would have the opportunity to purchase antiquities, copies and
keepsakes, which would adorn their homes, serving as tangible
evidence of their sophistication and intellect. The current fashion
for plaster fragments and marble busts in the modern interior is
based in large part on the Grand Tour.
As a consequence of the rejuvenated appreciation of classical
art and architecture, not only were some of the finest and most
important European collections of antiquities formed during this
time, but the neoclassical style, which dominated building and
furniture design for the second half of the eighteenth century,
was born. Buildings influenced by Andrea Palladio’s designs of the
1500s, themselves based on Roman examples, appeared across
Europe, and this influence can be seen today in many of the
notable civic buildings and stately homes throughout the country
and indeed the Continent. Of course, the owners of such grand
abodes needed equally splendid objects with which to furnish
them, and the prominent silversmiths, painters and cabinetmakers
of the day, who had harnessed the finesse and ornament of
popular classical forms in their work, were well suited to do so.
Furniture makers, such as Robert Adam, Thomas Chippendale,
Thomas Sheraton and George Hepplewhite, among many others,
conceptualised and created elegant pieces which utilised the
swags, festoons, fluted columns and other decorative motifs
of Greece and Rome, either in carved form or applied in paint.
Neoclassicism found popularity elsewhere in Europe also. For
example, the furniture produced in France under Louis XVI
echoed the rectilinear simplicity of ancient architecture, as were
those pieces made in Sweden during the reign of Gustav III; the
Gustavian style, in particular, often painted in muted tones, has
found popularity in the contemporary minimalist interior.
As well as the continuation of the Greek and Roman visual arts, the
appreciation of the ancient world took new and innovative forms
in the beginning of the nineteenth century; with the Regency
style in Britain, and that of the Empire in France, Egyptian forms
were replicated and reinterpreted by the likes of Thomas Hope,
who through the Grand Tour had gained, as well as many of its
treasures, valuable knowledge of antiquity, which he transferred
into designs of revivalist metalwork, furniture and interior schemes
– the rooms that he dedicated to the varying ancient epochs in
his house in London’s Duchess Street are considered to be some
of the most inventive of the period.
The designs of the great names of the eighteenth and early
nineteenth centuries, based on the Greek and Roman visual
arts, have been considered by many to be the benchmark of
conventional taste from their conception through to the modern
day, and as such have been reproduced en masse. To see the
effect of the ancient world in today’s decorative tradition, one
need only look at the acanthus leaves and garlands which adorn
the friezes and finials of a piece of Georgian furniture, the fine
details of Grand Tour bronzes and Italian marbles, or the scrolling
capitals of columnar candlesticks, proving that when it comes to
interior style, classical will always be classic.
Alexander Hallett
alexanderhallett@sworder.co.uk
The Influence of Classical Art on the Modern European
Decorative Style
Keeping It Classical

Furniture and Works of Art
84-260
Lot 88
A delft drug jar,
probably Dutch, 18th century, of bulbous form painted
with a sunburst and initials ‘IHS’ within a blue and white
foliate border,
17.5cm high
£200 - 300
Provenance: Inherited by the present owner’s
grandparents, Germany, c.1940.
Lot 89
A majolica drug jar,
probably Naples, 18th century, painted with a bunch
of grapes within a stylised foliate blue and white border
over ‘OIL. REOBARB’,
19.5cm high
£200 - 300
Provenance: Inherited by the present owner’s
grandparents, Germany, c.1940.
Lot 90
A pair of salt-glazed fountain bricks,
mid-19th century, each moulded with a dog’s head
below a fruiting vine branch,
31cm high (2)
£200 - 400
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87
9088
86
84 85
Lot 84
A Dutch delft dish,
late 18th/early 19th century, with
polychrome floral decoration,
30cm diameter
£150 - 250
Lot 85
A French faience charger,
c.1800, with polychrome floral
decoration,
34cm diameter
£250 - 350
Lot 86
A Talavera condiment stand,
18th century, of triangular shape with
three depressions, painted with birds
amongst trees,
15cm wide
£200 - 400
Lot 87
A majolica drug jar,
18th century, North Italian, of waisted
form, inscribed ‘Mercur Dulcificat’,
within a foliate and landscape border,
22.5cm high
£200 - 300
Provenance: Inherited by the present
owner’s grandparents,
Germany, c.1940.
44

Lot 91
A primitive fruitwood stick back armchair,
late 18th/early 19th century, probably West Country
or Welsh, with a block seat on stick legs,
70cm wide
55cm deep
80cm high
£1,000 - 1,500
Lot 92
An ash and elm comb back Windsor armchair,
late 18th/early 19th century, West Country, with
a three-part arm, a saddle seat and traces of blue
paint, on turned legs united by an ‘H’ stretcher,
70cm wide
52cm deep
103cm high
£1,000 - 1,500
Lot 93
An ash and elm stick back Windsor chair,
late 18th century, probably Thames Valley, the wavy
crest rail over a vase-shaped splat, a saddle seat,
scrolled front legs and an ‘H’ shaped stretcher,
112cm high
£1,200 - 1,500
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91
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84-260 FURNITURE AND WORKS OF ART
www.sworder.co.uk

Lot 94
Three painted pine decoy ducks,
c.1900, Swedish,
45, 31 and 30cm long (3)
£200 - 300
Lot 95
A carved wooden and gilt carving fragment,
19th century, in the form of two large flowers,
50cm high
£150 - 250
Lot 96
A child’s pottery dish,
early 19th century, printed ‘A present For John’
within a scrolling border,
9cm diameter, and
a mug,
with a sepia print entitled ‘Dog Pheasant’,
7cm high (2)
£150 - 250
Lot 97
An unusual French pottery bowl,
c.1900, with an internal division, decorated with sepia
prints of revellers, an exploding stove, a racehorse and
jockey, and Chinese prisoners, printed mark ‘Opaque,
Luneville’,
20.5cm diameter excluding handles
10cm high
£200 - 300
Lot 98
A Continental pottery cockerel,
19th century, in the Chinese style, glazed in green,
blue and orange, and on a pierced naturalistic base,
22cm high
£200 - 300
Lot 99
An oak triple-panelled coffer,
17th century and later, the front carved with concentric
lozenges and on stile feet, with an iron lock,
127cm wide
57cm deep
73cm high
£300 - 500
Lot 100
A beechwood child’s high chair,
19th century, on long turned legs, with a footrest,
38cm wide
37cm deep
105cm high
£200 - 300
Lot 101
An Austrian painted pine blanket box,
the panelled lid and front painted with urns of flowers,
the front inscribed and dated ‘1851’, on bun feet,
105cm wide
56cm deep
62cm high
£200 - 300
9796 95
94
10199
100
98
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Lots marked * will be subject to an additional fee - please see ARR details on page 240
FURNITURE AND WORKS OF ART 84-260

Lot 102
A treacle glazed cat,
mid/late 19th century, probably Canney Hill Pottery,
seated on an oval base,
28cm high
£300 - 500
Canney Hill Pottery was established near Bishop
Auckland in 1845. The Pottery closed in 1914. A similar
model forms part of the Bowes Museum Collection.
Lot 103
A large Continental pottery model of a lion,
marked to the underside ‘Fienence Dane’,
40cm long,
together with a smaller cast iron example,
20cm long (2)
£200 - 300
Lot 104
A folk carved wooden and painted
decoy duck,
19th century,
37cm long,
together with two naive carved decoy
pigeons,
each approximately 37cm long, and
a carving of an otter,
54cm long (4)
£200 - 400
Lot 105
A large ‘brain’ coral,
27cm wide
£500 - 800
Lot 106
Frederick Stevens (19th century)
A study of two red squirrels on an oak
branch
Oil on canvas with an arched top
68 x 54cm
£200 - 300
Lot 107
An Irish stained and leaded glass
overdoor,
late 18th/early 19th century,
109cm wide
64cm high
£300 - 500
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106
105
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102

Lot 111
A turned sycamore dairy bowl,
19th century,
42cm diameter
£250 - 350
Lot 112
A George III walnut and feather
banded bureau,
opening to reveal a fitted interior, the fall
front over four graduated long drawers
and on bracket feet,
93cm wide
52cm deep
102cm high
£350 - 450
Lot 113
A large pre-Columbian style fabric
panel,
depicting various repeating figures, birds
and animals, with a fringed bottom edge,
wrapped over a stretcher frame,
the panel 197 x 51cm
overall 221 x 64cm
£150 - 200
Lot 108
A Tabriz carpet,
with a beige ground, the dense foliate
field within a banded border,
300 x 203cm
£200 - 400
Lot 109
A large Italian wrought iron lantern,
early 19th century, of hexagonal form,
with scrolling acanthus detail,
145cm high
£500 - 800
Lot 110
A painted pine nursery sign,
c.1950, inscribed ‘Beatrix Nursery, Private’,
97cm wide
34cm high
£200 - 400
The Beatrix Nursery was founded in 1943 by Dowager
Lady Pembroke, who offered the top floor of her own home,
Knoyle House, to take in homeless babies for the Children’s
Society. It was named after her daughter Lady Beatrix,
later Countess of Wicklow, who became president of the
Children’s Union. The nursery opened to take in four babies
on 1 November 1943, with the number later growing to
fourteen. In March 1946, the nursery moved from Knoyle
House to Clouds House, also in East Knoyle, Wiltshire, which
had been used by the military in the Second World War.
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112
111
110
109
108
48

Lot 116
An harlequin set of eight oak and elm
ladder back dining chairs,
18th century, each with a rushed seat, over
stretchered supports, two carvers and six
singles (8)
£600 - 800
Lot 117
A Continental fruitwood pedestal table,
18th century, with a beaded plank top on a
plain column and tripod base,
79cm diameter
69cm high
£200 - 300
Lot 118
A sycamore dairy bowl,
mid-19th century,
47cm diameter
£200 - 300
Lot 119
A large pre-Columbian style fabric
panel,
depicting figures, birds and animals within
a banded border and with a fringed edge,
wrapped over a stretcher frame,
panel 250 x 64cm
overall 254 x 75cm
£200 - 300
Lot 114
A burr elm occasional table,
the 19th century rectangular top with
faceted corners, on a turned support and
platform base,
37cm wide
28cm deep
61cm high
£200 - 400
Lot 115
An oak drop-leaf gateleg dining table,
18th century, the oval top over a drawer
to one end, on baluster turned supports,
united by stretchers,
135cm wide
154cm deep
72cm high
£800 - 1,200
119
118
116
117
115
114 detail
114
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Lot 120
A country house porch lantern,
19th century,
36cm wide
36cm deep
65cm high, and
a series of five small modern wall-mounted
coach house lanterns,
with fixed brackets,
26cm wide
26cm deep
56cm high (6)
£250 - 350
Lot 121
A wrought iron and brass garden or arbour
table,
19th century, with a marble top,
138cm wide
61cm deep
85cm high
£200 - 400
Lot 123
A country house ‘postbox’,
late 19th century, inscribed
‘Internal Post Room’, ‘Overseas
and Inland Telegrams’, ‘Post In’
and ‘Post Out’, on an enhanced
burrwood ground, the hinged lid
with three posting slits,
47cm wide
26cm deep
23cm high
£500 - 800
Lot 124
A primitive carved oak panel,
19th century, depicting a man at
his toilette below a tree,
44cm wide
71.5cm high
£200 - 400
120
Lot 122
A pair of painted ironwork orangery corner plant stands,
each with three tiers and scrolling detail,
87cm wide
67cm deep
170cm high (2)
£300 - 400
124
123
122
121
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Lot 125
A carved oak settle,
17th century and later, the six-panelled back
later carved, the solid seat over turned legs
united by stretchers,
191cm wide
66cm deep
118cm high
£400 - 600
Lot 126
An Italian walnut and stained pine boot
jack,
late 19th century, in the form of two stylised
swans’ heads, painted and decorated,
dated ‘1898’,
47cm wide
53cm deep
82cm high
£200 - 300
Lot 128
Four mounted horseshoes,
the shoes c.1900, the painted
mounts later and inscribed in the
manner of originals found at the
Haras Nationaux,
each 24 x 45cm (4)
£300 - 500
Lot 129
A near pair of leather harness
mirrors,
20th century,
40cm wide
68cm high (2)
£200 - 300
Lot 130
A Victorian dapple grey
pull-along rocking horse,
carved softwood,
56cm high
78cm long
£400 - 600
Lot 127
A painted tile picture,
late 19th century, depicting coursing greyhounds, signed
with artist’s monogram l.l., within an oak frame,
97cm wide
82cm high
£800 - 1,200
This image is taken from the ‘London Illustrated News’,
1877, and depicts North End at Altcar. The windmill in the
original has been omitted and substituted for a mountainous
landscape, the judge is Mr T Stone, the flag standard in the
original has also been omitted.
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126
125
129
130

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131
138
137
136
135
134
Lot 131
Three pairs of antlers,
early 19th century, Italian, each
mounted on a naive carved and
painted softwood head and
shield,
75, 76 and 84cm high (3)
£600 - 800
Lot 132
A French folk art trophy head,
mid-19th century, a carved and painted
deer’s head with applied antlers, mounted
on a naturalistic ‘shield’,
54cm high
£300 - 500
Lot 133
A roebuck trophy,
20th century, twelve skull mounts
mounted on a pine rack,
52cm wide
60cm high
£200 - 300
Lot 134
A Karajeh runner,
20th century, the field woven with
repeating geometric motifs, within three
animal and floral decorated borders,
352 x 109cm
£300 - 500
Lot 135
A teak and brass stick stand,
constructed from the prow of an ‘early’
20th century scull, on a circular base,
40cm diameter
231cm high
£300 - 500
Lot 136
Two carved antler-handled walking sticks,
early 20th century, the first, finely scrimshawed with hunting scenes,
a house, sun, moon, stars, a fisherman on a bridge, rabbit, birds
and an owl, inscribed ‘The Death of the Fox’ and initialled and
dated ‘R.D. 1850’,
88cm long,
the other, carved with a bear above a stag and hind,
now on an ebonised shaft,
91cm long (2)
£300 - 500
Lot 137
A pair of German antler tripod candlesticks,
late 19th/early 20th century, each with shallow relief
carved deer groups,
27cm high,
together with three carved antler desk items,
early 20th century, comprising a box, pen stand and writing stand,
largest 24cm long (5)
£400 - 600
Lot 138
A Black Forest aneroid barometer and thermometer,
19th century, the frame carved with a French hunting horn,
game and hunting trophies, and oak leaves,
80cm high
£400 - 600
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144
Lot 139
A brass and painted butcher’s shop sign ‘Home Killed’,
19th century, of shield shape,
15cm high
£200 - 400
Lot 140
A Victorian butcher’s block sideboard,
from a butcher’s shop, with a low back and two drawers below,
on reeded turned legs,
251cm wide
64cm deep
55cm high
£800 - 1,200
Lot 141
A graduated set of five copper pans,
on a painted tiered stand,
98cm high (6)
£200 - 300
Lot 142
A large painted and parcel-gilt toleware shop display
tea canister or bin,
early 19th century, the roll-top with a silvered teapot and with
traces of an inscription ‘…since 1760’ above, the front set with
Greek key decoration and Chinese characters,
50cm wide
50cm deep
69cm high
£400 - 600
Lot 143
A Dutch painted child’s high chair,
19th century, of hexagonal form with a raised back, a detachable
tray over a cupboard to the base, decorated all-over with floral
sprays and with painted roundels depicting a windmill and ship,
48cm wide
48cm deep
118cm high
£400 - 600
Lot 144
A painted pine dummy board,
c.1900, in the form of a 17th century boy wearing a wide
brimmed hat, on a plinth base,
122cm high
£500 - 800
Provenance: The Estate of Nellie Lenson-Smith.
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Lot 145
An American paper cut-out,
late 19th century, depicting a team of blacksmiths
shoeing a horse,
13 x 24cm
£200 - 300
Lot 146
An oak refectory table,
17th century and later, the four-plank top with
cleated ends, on turned baluster supports united
by an ‘H’ stretcher,
228cm long
66cm deep
74cm high
£500 - 800
Lot 147
A set of six ash and elm panel seat dining chairs,
18th century, on cabriole legs,
together with three later panel seat dining chairs (9)
£300 - 500
Lot 148
An oak coffer,
17th century and later, with a plank top and with
a carved two-panelled front, rails, stiles and panels,
126cm wide
42cm deep
61cm high
£300 - 500
Lot 149
A pair of cast iron urns,
19th century, each with entwined serpent handles
and on a circular to square stepped base,
62cm wide
36cm high (2)
£300 - 500
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149
147
146
145
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Lot 150
A pair of carved and painted wood columnar
floor lamps,
20th century, probably Italian, each with stiff leaf
capitals, fluted and foliate carved columns and later
square stepped bases,
174cm high (4)
£300 - 400
Lot 151
A Regency brass hanging lantern,
of tapering hexagonal shape, with Prince of Wales
feather finials, an opening door and brass chains,
52cm high
50cm across at top
£800 - 1,200
Lot 152
A Persian Kashan carpet,
20th century, the field woven with foliate scroll design
on a cream ground and within a multiple banded
border,
356 x 275cm
£800 - 1,200
Provenance: Stanhoe Hall, Norfolk.
Lot 153
A Regency painted toleware galleried tray,
c.1810, decorated with a parkland scene and a large
country house approached by a carriage,
77cm wide
60cm deep
£200 - 300
Lot 154
A Regency toleware painted galleried tray,
decorated with harvest scenes and figures gathering
stooks of corn, within a gilded border,
77cm wide
58cm deep
£200 - 300
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153
152
151
150
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Lot 157
A carved mahogany cabinet
by Gillow,
c.1900, the upper section
with a moulded pediment
over an ornately carved front,
with cherubs amongst masks
and scrolling foliage, over the
base with twin-panelled doors
flanked by fluted pilasters and
on bracket feet, stamped with
maker’s mark,
106cm wide
50cm deep
170cm high
£600 - 800
Lot 158
Parlour skittles,
late 19th century, a high
quality patent parlour skittles
game, by ‘Ferrabee Ruck,
Inventors Makers, Portland
Square, Cheltenham, Patent
No. 5574’,
184cm long
£400 - 600
Edward Hubert Ferrabee and
John Ruck applied for a Patent
(No. 5574) in 1889 for ‘An
Improved Game or Pastime and
Apparatus Thereof’.
Lot 159
A large George III-style
mahogany dining table,
20th century, the rectangular
top with rounded corners,
raised on a triple pedestal base
terminating in brass hairy paw
feet and castors,
366cm long
107cm deep
75cm high
£800 - 1,200
Provenance: Stanhoe Hall,
Norfolk.
Lot 155
A George III mahogany dumb
waiter,
c.1800, of two oval tiers, with a tilt
top tier, on reeded swept legs and
brass wheel castors,
84cm wide
48cm deep
81cm high
£200 - 300
Lot 156
A pair of Parian porcelain busts,
of Crown Prince Edward and Princess
Alexandra, sculpted by Felix Miller and
Marshall Wood,
30cm high (2)
£150 - 200
159
158
156
157
155
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Lot 160
A pair of Gustavian ormolu and marble-mounted
four-branch candelabra,
early 19th century, each with scrolling arms raised
on a figural support, a fluted white marble column
and tripartite base with scrolling feet,
44cm high (2)
£400 - 600
Lot 161
A large early cut-glass suite in the manner of Baccarat,
20th century, with pillared notch cut decoration, comprising:
2 decanters,
10 flutes,
6 red wine glasses,
5 white wine glasses,
9 rummers,
12 coupes,
5 liqueur glasses, and
an ashtray,
largest decanter 35.5cm high (50)
£500 - 700
Lot 162
A cased carving set,
c.1860, having ivory handles well-carved with busts of
Napoleon III and the Empress Eugenie on steel blades, the
knife blade stamped ‘Joseph Rogers Sons, Cutlers To
Her Majesty’,
knife 41cm long
case 45.5cm long (3)
£350 - 450
Lot 163
A large Victorian oak bookcase,
c.1870, the pediment with turned finials and lion masks
over the glazed upper section, with four glazed doors
separated by relief carved pilasters over cupboards beneath,
on a plinth base,
260cm wide
50cm deep
280cm high
£1,000 - 2,000
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161
160
162
162 detail

Lot 164
A Baccarat Tsar pattern decanter,
c.1920, cased in blue over clear, of
compressed globe and shaft form,
44cm high
£300 - 500
Lot 165
A Sheraton period mahogany oval
Pembroke table,
c.1800, crossbanded in rosewood with ebony
line inlaid decoration, on tapering square legs
and brass barrel castors,
108cm wide
84.5cm deep
72cm high
£200 - 300
Lot 166
A large oval gilt wall mirror,
19th century, the moulded frame with sectional mirrored
slip around the larger oval central plate,
94cm wide
120cm high
£300 - 500
Lot 167
A pair of reverse printed glass panels,
19th century, depicting biblical scenes, with
a foliate border,
31cm wide
51cm high (2)
£200 - 300
Lot 168
An alabaster bust of a Florentine youth,
19th century, wearing a headscarf and on a
plinth base,
31cm high
£200 - 400
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167
165
166
164
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Lot 169
A mahogany library reading chair,
having open arms, one mounted with an adjustable
lacquered brass bookrest, the red-buttoned leather
upholstered back and seat over reeded front legs
terminating in castors,
64cm wide
72cm deep
99cm high
£1,500 - 2,000
Lot 170
A Victorian oak novelty table/smoker’s cabinet,
the arched, glazed door enclosing three drawers fronted
with leather faux book spines,
17.5cm wide
29cm high
£400 - 600
Lot 171
A Dutch brass tobacco box,
18th century, of oval form, the hinged lid, panels and
base finely engraved with biblical scenes and inscriptions,
to include ‘Moses in the Bulrushes’ and ‘Susanna and the
Elders’, initialled ‘IS’ twice to the interior,
10.5cm wide
£200 - 300
Lot 172
A collection of brass snuff boxes,
19th century and later, to include an
American example, stamped ‘Albert
Cooper, 1239 Warner St. Allegheny
P.A. 1907, America’,
7cm wide (6)
£150 - 250
Lot 173
A large cast iron fireback,
possibly 18th century, cast with a
central tableau within a border of floral
swags and surmounted by putti,
75cm wide
92cm high
£300 - 500
173
175
171
171 open
172
170169
174
Lot 174
A large Victorian
nursery fireguard,
of ‘D’ shape form,
having a brass top rail
over a mesh front,
167cm wide
37cm deep
75cm high
£250 - 350
Lot 175
A beech and tin
malt shovel,
19th century,
109cm long
£100 - 150

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178
176
177
Lot 176
A full-sized French violin by Louis-Nicolas Souchette,
late 19th century, with a single piece back and double
purfle, inscribed internally ‘Prepare par N.L. Souchette
a Angers m. 1869’,
the back 35.5cm,
together with a bow,
unmarked, with mother-of-pearl mounted frog and in
a painted pine case (3)
£500 - 700
Lot 177
A full-sized German violin by Wolff Brothers,
19th century, bearing a label to the interior with
a handwritten number ‘2945’,
the two-piece back 35.5cm long,
in a modern hard case with a bow (3)
£700 - 900
Lot 178
A Victorian walnut stool,
the serpentine overstuffed upholstered top on shaped
and reeded legs,
94cm wide
50cm deep
45cm high
£300 - 500
Lot 179
A Regency mahogany duet music stand,
with fret carved lyre music rests, on a brass column
and lappet carved shaped base,
on squat bun feet,
43cm wide
133cm high
£400 - 600
60

Lot 180
A near pair of Indian ebony side chairs,
late 17th century, Coromandel Coast, the pierced and twist-turned backs profusely carved in low relief with flowers
and foliate scrolls, each with a shaped rail and bulbous finials, above a square caned seat with a carved and pierced
apron, raised on twist-turned supports and stretchers punctuated by rectangular blocks,
53.5cm wide
45.5cm deep
95cm high, and
53.5cm wide
46.5cm deep
90.5cm high (2)
£4,000 - 6,000
Literature: A Jaffer, ‘Furniture from British India and Ceylon: A Catalogue of the Collections in the Victoria and Albert
Museum and the Peabody Essex Museum’, London, 2001, pp.130-142.
When similar pieces of this type began to be recorded in British collections in the 18th century, the prevailing thought
was that they were surviving examples of early English furniture, owing to their dark colour, rigid square form, the
use of twist-turning - which was believed to be common of Elizabethan furniture - and the often mythical decoration.
Horace Walpole, who may have been responsible for this belief, asserted that this attribution, based on their physical
attributes, was corroborated by the existence of such examples in houses with Tudor associations. For example, in
1748, he saw carved ebony chairs at Esher Place, Surrey, and posited that they must have belonged to Cardinal
Wolsey, who had lived there after 1519.

Lot 181
An Indian gauntlet sword (pata),
17th/18th century, the gauntlet with
partially pierced foliate decoration, the
double-edged sharp blade attached to
the hilt with raised stylised leafwork
mounts,
132.5cm long
£600 - 800
Lot 182
An Indian gauntlet sword (pata),
17th/18th century, the gauntlet with
foliate decoration, the double-edged
sharp blade attached to the hilt with
raised stylised leafwork mounts and
with a central channel each side, with
the partially fabric liner remaining,
118.5cm long
£600 - 800
Lot 183
An iron armour backplate,
17th century, with brass studs, the
inside with a painted inscription ‘From
the Tower of London 1903 Idris (Ltd)’,
35cm wide
38cm high
£200 - 300
Lot 184
A large oak dome-topped chest,
19th century, with iron and brass
strapwork and carrying handles
to either end, initialled ‘IAES’ and
dated ‘Anno 1809’,
124cm wide
66cm deep
76cm high
£300 - 500
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185
184
183
182181
Lot 185
A carved wooden and painted
model of a Nile barge,
early 20th century, with planked seats
and decorated in polychrome,
80cm long
£200 - 400
Lot 186
A bronze deck or salute signal
cannon,
18th century, Dutch, of tapering
multi-stage form, cast in relief with
foliate detail, with a turned muzzle and
plain trunnions,
76cm long
bore 3.5cm,
on a later associated painted and
iron-mounted bed,
57cm high in total (2)
£3,000 - 5,000
Provenance: The Henk Visser Collection
by repute. Purchased
directly.
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188
187
Lot 187
A bronze deck or salute signal cannon,
18th century, Dutch, of tapering multi-stage form, cast in relief, with
a vacant cartouche within a foliate garland and surmounted by a crown,
with a turned muzzle, raised stylised dolphin lifting handles and plain
trunnions,
77cm long
3.5cm bore,
on a later associated painted and iron mounted bed,
60cm high in total (2)
£3,000 - 5,000
Provenance: The Henk Visser Collection by repute. Purchased directly.
Lot 188
A copper weathervane,
19th century, in the form of a three-masted galleon, stamped
‘C.H. Sex Son’,
58cm long
26cm high (galleon only)
£300 - 500
189 details
Lot 189
A marine chronometer,
c.1820, the 4in silvered dial
inscribed ‘Barraud, Cornhill, London
126/995’, with subsidiary seconds
dial and power reserve indicator in
an arched aperture, with a chained
hand adjustment key and automatic
winder, fitted on a gimbal to its
mahogany inner case, which has
brass handles, a glass viewing panel
and a blank circular ivory plaque,
the outer carrying case with an
oval ivory plaque inscribed ‘Barraud
Chronometer Manufacturer No. 4
Cornhill, London’ with leather strap,
inner case 16.5cm (6½in) high,
16cm (6½in) square
outer case 23.5 (9¼in) high,
24cm (9½in) square
£2,500 - 3,500

Lot 194
A camphor and ebony secretaire campaign chest
of drawers,
late 19th century, the upper section with an arrangement
of seven drawers, the centremost fitted, over two further long
drawers to the base, each with recessed brass handles, all
raised on turned feet,
103cm wide
52cm deep
118cm high
£700 - 900
Lot 190
A trephine,
early 19th century, with a steel-cutting bit,
a lacquered brass shaft and turned ivory grip,
11.5cm long
£250 - 300
Lot 191
An Oceanic carved figure or totem,
in the form of a head, with bulging eyes,
open mouth and exposed tongue, with all-over
geometric detail and traces of red paint,
76cm high
base 26cm diameter
£800 - 1,200
Lot 192
An Indian polychromed stone carving,
possibly 17th century, of a leopard attacking
a buffalo, with traces of paint and gilding
and on a square base,
18cm high
£300 - 500
Lot 193
An Anglo-Indian padouk bergère open
armchair,
19th century, the crest carved with an American
eagle over an elaborately carved frame
decorated with foliage, gadrooned arms and
tapering octagonal front supports, the rear two
with carved mask detail,
70cm wide
110cm deep
107cm high
£600 - 800
Provenance: The Goldsmith family collection.
194
193
193 detail
191
190
192

Lot 195
A Moghul Indian leather, brass
and cornelian agate set elephant’s
foot collar,
18th century, set with thirty-four stones,
60cm long approximately
£150 - 250
Lot 196
An Indian inlaid hardwood
folding table,
mid-19th century, the octagonal top
profusely inlaid with Moorish-style stylised
trailing foliage within ebony stringing,
the folding base also strung and inlaid,
61cm diameter
63cm high
£800 - 1,200
Lot 197
A fine Kashan carpet,
20th century, the field with scrolling floral
and foliate motifs, within further floral
borders, on a cream ground,
420 x 296cm
£1,000 - 1,500
Lot 198
An album of twenty-four photographs
of India and Burma,
19th century, views including:
‘Bungalow, Port Blair, Andaman Islands,
After the cyclone, November 1891’,
‘Punjabis (Burmese Police) wrestling’,
‘General Stores, Madras Railway,
Royapuram Station’,
‘Agra - Tombs of ITMA, Dowlah’,
‘Senate House, Madras University’,
‘DPW Offices, Beach, Madras’,
‘Tender Cocoanut’, and
three further photos
most 11 x 15cm, stuck down (24)
£200 - 300
Full list available on request.
195
196
196 tabletop
197
198
198 details

199
200
201
201 tabletops
202 203
Lot 199
A small silk Hereke rug,
20th century, the field set with a floral
cartouche, within borders of dense
foliate scrolls on a red ground, bearing
an Arabic inscription, fitted to the back
with Velcro for wall mounting, the
bottom edge with a long fringe,
91 x 97cm excluding fringe
£300 - 500
Lot 200
A Spanish rosewood and inlaid
table cabinet of drawers,
18th century and later, the panelled
drawer fronts inlaid with tortoiseshell
and with applied gilt metal mounts,
and on bun feet,
56cm wide
26cm deep
39cm high
£300 - 500
Lot 201
An Eastern octagonal low table,
20th century, inlaid with simulated ivory and
mother-of-pearl, and set with pierced panels,
45cm diameter
50cm high,
together with a small Hoshiarpur-style table (2)
£400 - 600
Lot 202
An Howard-style wingback armchair,
early 20th century, on square tapering legs,
the back leg stamped ‘520/18/7978’,
79cm wide
82cm deep
93cm high
£400 - 600
Lot 203
A Ceylonese ebony and satinwood oval table,
90cm wide
60cm deep
36cm high
£300 - 500
66

Lot 207
An Indo-Portuguese-style
occasional table,
19th century, the rectangular top with
a central bone and ivory starburst
cartouche within a bone and ebony
chequered border, within a field
inlaid with urns and flowering vines,
with bone and ebony spandrels to
the corners within a further border
of inlaid bone floral panels and
tortoiseshell panels, on a turned wood
and iron base,
87cm wide
59cm deep
59cm high
£300 - 500
Lot 208
An Anglo-Indian rosewood daybed,
early 19th century, the sweeping frame carved with foliate scroll
and serpent motifs, with a cane seat raised on reeded supports
to castors,
114cm wide
72cm deep
80cm high
£400 - 600
Provenance: The Goldsmith family collection.
204
204 detail
205
207 tabletop
207
208
206
Lot 204
A Vizagapatam antler workbox,
mid-19th century, Indian, the hinged lid with an
hinged panel within, enclosing a fitted interior with
open compartments, five engraved ivory lidded
compartments and two pincushions,
37cm wide
21cm high
£400 - 600
Lot 205
A Batavian padouk and brass-mounted side table,
17th century, with cut brass decoration to the top over
a single drawer, turned support and platform base,
with claw and ball feet,
50cm wide
50cm deep
86cm high
£300 - 500
Lot 206
Various pre-Columbian and other
terracotta wares,
comprising:
a mask, 19cm high,
seven figures, largest 16.5cm high,
an Amlash-type bull jug, horns damaged,
a pipe,
a plaster figure, 49cm high, and
a small head (qty.)
£200 - 400

The exoticisms of the East have long fascinated
artists and cabinetmakers in Europe. From the
directed interpretation of Chinese designs
adorning 18th century English porcelain, to
less immediately apparent references in blind
fret carved cock-pen lattice carvings, we look
at the legacy left by Eastern countries on the
Western arts.
The popularisation of the art and design of
the East in the West can be traced back to
the 16th century when the Dutch and English
East India companies opened up trade routes
between China and Japan, and Europe; with
their focus predominantly on the importing of
silk, spice and tea, it also allowed for an influx
of lacquer and porcelain to enter through the
port cities of London and Amsterdam.
Amongst the earliest exported arts from the
Far East were lacquerwares. The obsession
in the West started in the 16th century
with the export of, what has now become
known as, Nanban (southern barbarian)
wares. These works, exquisitely decorated in
gold and mother-of-pearl inlaid into a black
background, were soon made specifically for
export and took familiar Western forms such
as cabinets that suited the purchasers in
Europe, these cabinets often being treated to
bespoke stands made to order from Western
craftsmen for display in European rooms.
China, too, exported large lacquer panels that
were only made up into furniture by English
craftsmen once they had reached Europe, thus
leading to a comprehensive mix of materials
and design being both entirely Eastern yet
undeniably English. A tradition that was
continued by Mallett Son until relatively
recently, who rehoused 18th century lacquer
panels into contemporary occasional tables.
(see lot 573).
Another example of this marriage of styles
and techniques can be found in the clobbered
porcelain of the 18th and 19th centuries.
The process, which started in Holland, saw
imported Chinese blue and white ceramics
having decoration added by European
craftsmen over the initial glazing, being re-
fired then gilded, before being returned to
the kiln for a final time. This process, also
adopted by the British, was often carried out
by anonymous makers for the early to mid-
19th century burgeoning middle classes, and
as such, very little information remains about
who they were. The numerous items they
produced have historically been overlooked
by collectors as being neither Chinese nor
English, despite in reality being both. Has the
item been damaged or enhanced? Are these
pieces a bastardisation of the simple beauty
of the 18th century Chinese piece, or do
they form part of the history of the changing
European taste and its continual interpretation
and re-imagination of the arts of the East?
Perhaps these chinoisorie motifs, so popular
in the 18th century, can most clearly be seen
in Thomas Chippendale’s ‘The Gentleman
and Cabinet-maker’s Director’. The fantastical
designs within its pages draw inspiration from
not only China, but also Japan and India, and
combine these with the rococo and Gothic
styles already prevalent in Europe. Ho-ho
birds and fantastical landscapes with pagodas,
that all have origins on the other side of the
world, have now become the cornerstones
of English cabinetmaking. Many of these
influences have become so entrenched in
what is now thought of as the traditional
English aesthetic, that they can pass almost
undetected, but look a little closer at the
objects in your house and you may be
surprised at how far-reaching and exotic
their origins are.
James Pickup
jamespickup@sworder.co.uk
EAST
a fusion of styles
meets
WEST
The exoticisms of the East have long fascinated
artists and cabinetmakers in Europe. From the
directed interpretation of Chinese designs
adorning 18th century English porcelain, to
less immediately apparent references in blind
fret carved cock-pen lattice carvings, we look
at the legacy left by Eastern countries on the
Western arts.
The popularisation of the art and design of
the East in the West can be traced back to
the 16th century when the Dutch and English
East India companies opened up trade routes
between China and Japan, and Europe; with
their focus predominantly on the importing of
silk, spice and tea, it also allowed for an influx
of lacquer and porcelain to enter through the
port cities of London and Amsterdam.
Amongst the earliest exported arts from the
Far East were lacquerwares. The obsession
in the West started in the 16th century
with the export of, what has now become
known as, Nanban (southern barbarian)
wares. These works, exquisitely decorated in
gold and mother-of-pearl inlaid into a black
background, were soon made specifically for
export and took familiar Western forms such
as cabinets that suited the purchasers in
Europe, these cabinets often being treated to
bespoke stands made to order from Western
craftsmen for display in European rooms.
China, too, exported large lacquer panels that
were only made up into furniture by English
craftsmen once they had reached Europe, thus
leading to a comprehensive mix of materials
and design being both entirely Eastern yet
undeniably English. A tradition that was
continued by Mallett Son until relatively
recently, who rehoused 18th century lacquer
panels into contemporary occasional tables.
(see lot 573).
Another example of this marriage of styles
and techniques can be found in the clobbered
porcelain of the 18th and 19th centuries.
The process, which started in Holland, saw
imported Chinese blue and white ceramics
having decoration added by European
craftsmen over the initial glazing, being re-
fired then gilded, before being returned to
the kiln for a final time. This process, also
adopted by the British, was often carried out
by anonymous makers for the early to mid-
19th century burgeoning middle classes, and
as such, very little information remains about
who they were. The numerous items they
produced have historically been overlooked
by collectors as being neither Chinese nor
English, despite in reality being both. Has the
item been damaged or enhanced? Are these
pieces a bastardisation of the simple beauty
of the 18th century Chinese piece, or do
they form part of the history of the changing
European taste and its continual interpretation
and re-imagination of the arts of the East?
Perhaps these chinoisorie motifs, so popular
in the 18th century, can most clearly be seen
in Thomas Chippendale’s ‘The Gentleman
and Cabinet-maker’s Director’. The fantastical
designs within its pages draw inspiration from
not only China, but also Japan and India, and
combine these with the rococo and Gothic
styles already prevalent in Europe. Ho-ho
birds and fantastical landscapes with pagodas,
that all have origins on the other side of the
world, have now become the cornerstones
of English cabinetmaking. Many of these
influences have become so entrenched in
what is now thought of as the traditional
English aesthetic, that they can pass almost
undetected, but look a little closer at the
objects in your house and you may be
surprised at how far-reaching and exotic
their origins are.
James Pickup
jamespickup@sworder.co.uk
EAST
a fusion of styles
meets
WEST
69

Lot 209
A Japanese silk embroidery,
Meiji period, depicting three
red-crowned cranes among bamboo
trees, in a beaded frame,
105 x 71cm
£400 - 600
Lot 210
A Chinese lacquered workbox,
mid-19th century, of octagonal form,
painted with figures amongst foliage
in gilt against a black ground, the sides
similarly decorated, on four claw feet,
38cm long
£200 - 300
Lot 212
A pair of Chinese export
porcelain oval armorial plates,
early 19th century, each centred
with the coat of arms of the
Honourable East India Company,
the rims with geometric
leaf-and-tongue detail,
27cm wide (2)
£500 - 700
The present examples bear
decorative similarities to known
pieces said to have been
commissioned for the East India
Company’s president at Madras,
one of which can be found in the
VA, No 335J-1898.
Literature: Clare Le Corbeiller,
‘China Trade Porcelain:
Patterns of Exchange’,
The Metropolitan
Museum of Art, 1974,
p.120.
Lot 213
A Persian Heriz carpet,
20th century, the field woven with geometric floral
motifs, within floral decorated borders, on a red
ground,
398 x 305cm
£500 - 800
Lot 214
A Chinese porcelain clobbered pitcher,
18th century, of baluster form, the cover with a lion
knop, the body with a strapwork handle,
24cm high
£200 - 300
209
210
211
213
212
214
Lot 211
A polychrome painted Tibetan altar table,
first half of the 20th century, the front panel decorated with a figure and a dragon with
a ruyi head border, surrounded by butterflies and further auspicious motifs, each side set
with a short drawer, on stretchered square supports,
125cm wide
95cm deep
84cm high
£400 - 600

Lot 215
A Chinese rosewood
centre table,
19th century, with a pierced
and carved apron, on carved
cabriole legs,
108cm wide
57cm deep
74cm high
£300 - 500
216
217 217 tabletop
218
218
219
220
Lot 216
A group of three pre-Columbian textiles,
each woven in bright polychrome, two depicting stylised figures
and each within a window mount and brass conservation frame,
fragment size - 12cm wide x 28cm high
overall - 30.5cm wide x 43.5cm high,
fragment size - 7.5cm wide x 21cm high
overall - 30.5cm wide x 43.5cm high,
fragment size - 22.5cm wide x 15cm high
overall - 38.5cm wide x 36.5cm high (3)
£200 - 400
Lot 217
A Syrian parquetry,
bone and
mother-of-pearl
inlaid table,
20th century,
Damascus, of
octagonal form,
decorated all-over
with geometric
designs, and set with
a single short drawer,
43cm diameter
51cm high
£200 - 300
Lot 218
A pair of Chinese
pewter vase
lamps and
shades,
20th century,
decorated with
Chinese characters
and pleated silk
shades
the bases
60cm high (2)
£150 - 250
Lot 219
A Chinese lacquered
altar table,
late 19th century, the
supports to each end
with a single drawer
over a recess and a
further shallow drawer,
decorated all-over
with pierced and relief
carved foliate designs,
226cm wide
40cm deep
95cm high
£400 - 600
Lot 220
A Chinese hardwood
low table,
19th/20th century,
with a carved and
pierced frieze,
76cm wide
40cm deep
28cm high
£300 - 500

221
209
222
225
224
223
72

Lot 221
A Japanese Meiji period ivory okimono,
of a geisha holding a temari, her kimono well carved with waves
and her obi with a phoenix, on an oval base, signed Doraku,
38cm high
£4,000 - 6,000
Lot 222
A Japanese Meiji period stained ivory okimono,
of an old man with a birdcage, on a carved oval base with
two inlaid lacquer plaques, signed Soshu saku,
19cm high
£1,500 - 2,500
Marks
221
222
223
225
Lot 223
of two men pulling bamboo from the ground, one having fallen
over, signed Munechika,
9.8cm long
£600 - 800
Provenance: Christie’s, 15 April 1996, lot 162.
Lot 224
A Japanese Edo period marine ivory netsuke,
in the form of shells,
5cm wide
£200 - 300
Lot 225
A Japanese ivory netsuke,
19th century, of a mermaid and her baby, with a two-character
Kanji signature to base,
4.5cm high
£200 - 300

226
227
228
230
229
209
74

231
Lot 226
of a man, probably Urashima Tarō, with a pair of turtles and holding
a mirror, seemingly dismayed at his reflection, signed to base,
20.5cm high
£1,500 - 2,500
Marks
226
230
Lot 231
A Japanese Meiji period lacquer five-case inro,
with gilt heightened decoration depicting a landscape,
bearing a five character Kanji signature to base,
7cm long,
suspended from a boxwood netsuke,
of figures playing a board game, with a triform gilt metal
ojime bead,
total 26cm long (2)
£500 - 700
227
Lot 227
A Japanese Meiji period stained ivory okimono,
of a standing scholar holding a brush and a scroll, on an oval base, the
underside stained and engraved, with an inlaid lacquer plaque, signed
Ryuzan,
21cm high
£1,500 - 2,500
Provenance: Christie’s, Oriental Works of Art, 4 December 1997, lot 44.
228
Lot 228
of a fallen monk in front of a screen, startled at a dragon coming out
from a bowl, signed Seisho,
8.2cm high
£800 - 1,200
Provenance: Christie’s, 15 April 1996, lot 191.
229
Lot 229
of a mother chopping leaves with her son beside her marvelling
at an insect, signed Okawa Muneyasu to base,
8.5cm high
£800 - 1,200
Lot 230
A Japanese Meiji period carved ivory netsuke,
of a sparrow chick, bearing a Kanji signature to base,
5cm wide
£200 - 300
75
www.sworder.co.uk

Lot 234
A Chelsea red anchor period spirally-fluted beaker and cream jug,
c.1754-1756, each painted in coloured enamels with Meissen-style sprays and scattered flowers, above
moulded stiff leaves picked out in green and puce below brown line rims, painted red anchor marks,
beaker 8cm high
jug 9cm high (2)
£400 - 600
Provenance: An East Anglian Collector;
with Stockspring Antiques.
Lot 232
A pair of Continental porcelain figural
candlesticks,
19th century, in the form of a gardener and
her companion against bocage, on rocaille
shell-mounted bases, each decorated in
polychrome with gilt highlights,
28cm high (2)
£200 - 300
Lot 233
A Chelsea red anchor period lobed bowl,
c.1754-1756, painted in coloured enamels with
Meissen-style sprays and scattered flowers above
moulded stiff leaves, picked out in green and
puce, the rims with brown line edges, painted
red anchor mark,
17.5cm diameter
7.5cm high
£500 - 800
Provenance: An East Anglian Collector;
with Stockspring Antiques.
Lot 235
A Bow bocage figure of
a ‘New Dancer’,
c.1765, modelled as a boy wearing
a yellow hat, pink coat and
patterned breeches, on a scrolled
stand, red anchor and dagger mark,
22cm high,
a Bow girl,
holding a lamb in her apron, with
flowers beside and on the scrolled
stand, red anchor and dagger marks,
7.5cm high, and
a pair of figures of the
‘Vauxhall Singers’,
each wearing long robes and
exotically dressed,
21cm high (4)
£300 - 500
Lot 236
A Chelsea ‘Gold Anchor’ figure of
a young man and his dog,
c.1765, he seated on a
floral-sprigged rock, wearing a large
hat, a pink coat, floral-decorated
breeches and black shoes, all with
ribboned details, his dog seated
beside him looking to the side, red
anchor and monogram, incised to
the base 264/5, losses,
17.5cm high
£300 - 500
Lot 237
A Bow porcelain figure of a cook,
c.1760, wearing a black and white
cap, a floral enamelled coat, a white
shirt, pink breeches and a white
apron, he carries two trussed birds
on a dish, and stands supported by
a tree stump on a round base with
applied flowers and foliage, a square
hole to the reverse, a hole to the
base with a firing crack,
17cm high,
a Chelsea figure of a swordsmith,
modelled wearing a tricorn hat, a
brown coat, pink waistcoat and
breeches, holding a hammer and
carrying a sword under his arm and
in the other hand, a tree stump
behind, with an anvil, the scrolled
base with flowers in puce and green,
23.5cm high, and
a Chelsea figure,
holding a candlebranch, wearing a
hat, white coat and pink waistcoat
and yellow patterned breeches,
purple shoes with blue ribbons,
holding fruit in his other hand, a
basket of fruit resting on the floral
encrusted tree stump, sconce gilt,
23cm high (3)
£500 - 700
232
233
234
235
236 237
76

Lot 242
A Continental enamel purse,
late 19th/early 20th century, of rounded rectangular form, handpainted with
two figures and a dog in an idyllic rural landscape, the silver-mounted edges
with bright-cut decoration and bearing two marks to the clasp, one indistinct
and the other initialled ‘E.C’,
7cm wide,
together with a further gilt-heightened example, and
a Jaipur enamel elephant (3)
£200 - 400
Lot 243
A pair of Stevenson Hancock Derby fruit stands,
c.1915-1935, each pierced bowl supported on a column flanked by
three figures on a triform base, painted puce mark,
24cm high (2)
£300 - 500
Lot 238
A Meissen porcelain figure group
‘The Good Father’,
modelled by Johann Carl Schönheit (1730-1805),
depicting a father and his three children seated on
a bench, a dog watching beside them, on an oval
base, crossed sword mark, incised ‘H98’,
21cm high
£500 - 700
This group of figures belongs to an ensemble,
which presents the ideal image of the family in
the Age of Enlightenment. The counterpart to this
work is ‘The Good Mother’, modelled by Michel
Victor Acier and Johann Carl Schönheit.
The present porcelain sculpture depicts an intimate
scene in a bourgeois home. A father seated on a
bench in casual clothes with a bonnet, dressing
gown and slippers, lovingly plays with his three
frolicking children. A small dog seated on the
left of the oval pedestal observes the scene with
interest. A moralistic depiction of an idyllic family
life with an expression of humanity and sincerity.
Lot 240
A Derby ‘Moth Painter’ basket,
c.1758, of oval shape with pierced sides,
painted inside with a fruiting cherry branch,
moths and insects, the exterior with moulded
flower heads, painted blue and yellow,
22cm wide
£300 - 500
Lot 239
A Derby figure of James Quinn as Falstaff,
c.1765-1770, modelled holding a shield and sword,
missing, wearing a patterned waistcoat, pink tunic and
turquoise breeches, a paper sticking out of the pocket
in his doublet is inscribed with a list, standing on a scroll
moulded base,
33cm high
£200 - 400
Lot 241
A Chelsea porcelain
‘sunflower’ stand,
c.1755, modelled as a
sunflower and two leaves,
the handle the stalk, pad
marks, unmarked,
20cm wide
£300 - 500
243
242
241
240
238
239

245 246
244
247
Lot 245
A French ormolu table clock,
19th century, with Kangxi period
turquoise porcelain temple dogs,
flowers and clock case, the clock with
an enamel dial and twin-train striking
movement,
35cm high
£800 - 1,200
A similar, if larger, ‘kylin’ clock is to
be found in the Royal Collection at
Buckingham Palace.
Lot 246
A cold painted bronze palm tree,
20th century, naturalistically painted,
44cm high
£200 - 300
Lot 247
A Black Forest seated bear,
late 19th century, the beast with
an hinged head and glass eyes,
22cm high
£200 - 300
Lot 244
A taxidermy diorama,
late 19th century, displaying
thirty various interesting and
brightly-coloured exotic birds, to
include a paradise tanager, a regent
bowerbird, a waxwing and a crimson
topaz, each perched on a branch,
within a mahogany-veneered glazed
case with ivory knobs,
99cm wide
25cm deep
69.5cm high
£500 - 800
Provenance:
Made by the vendor’s grandfather,
George Hudson (1845-1914), who
was a watch and clockmaker in
Bradford, Yorkshire.
78

248
249
251
250
252
Lot 248
A Black Forest seated bear,
mid-late 19th century, the
beast with one paw raised,
an hinged head and glass
eyes,
24cm high
£500 - 700
Lot 249
A pair of Black Forest carved
wall brackets,
19th century, probably linden
wood, each carved with woodland
creatures amongst foliage,
32cm wide
20cm deep
34cm high (2)
£300 - 500
Lot 250
An Austrian terracotta
standing pug dog,
mid-19th century,
22cm high
£600 - 800
Lot 251
A novelty carved pen tray,
c.1900, ‘Pigs at the Trough’,
40cm long
£550 - 750
Provenance: The collection of the
late Geoffrey Harley
of Pickwick End,
Corsham.
Lot 252
A Northern European
porcelain-mounted clock
garniture,
late 19th century, each having
porcelain putti beneath floral
encrusted bowers, and on open
scrolling gilt metal bases,
34cm high (3)
£200 - 400

Lot 253 
Harriet Whitney Frishmuth (American, 1880-1980),
c.1911, an eagle perched on a rocky outcrop, bronze, signed and
dated, with a Gorham Co. founder’s stamp,
41cm high
£2,000 - 4,000
Provenance: From the family of ‘Robber Baron’ Jason Gould.
Lot 254 
Harriet Whitney Frishmuth (American, 1880-1980),
c.1910, an eagle mantling, bronze, signed and with Gorham Co.
founder’s stamp,
19cm high
£3,000 - 5,000
Provenance: From the family of ‘Robber Baron’ Jason Gould.
The Property of the Family of Jason and George Gould
Jason Gould (1836-1892) was a US railroad magnate and financial speculator, one of the famous
‘Industrial Robber Barons’ of the emergent United States. His sharp and often unscrupulous business
practices made him one of the wealthiest men of the late 19th century.
His son George (1864-1923), our vendor’s grandfather, was himself a financier and railroad executive.
He married a former Gaiety girl, Guinevere Sinclair, our vendor’s grandmother, and became one of the
foremost clients of legendary picture dealer, Joseph Duveen. Sadly he died prematurely, shortly after
viewing the tomb of King Tutankhamun - perhaps another victim of the famous curse.
Items from this collection are marked with a 
253
254

Lot 255
A carved marble bust emblematic of Flora,
19th century, depicted with floral headdress,
unsigned,
48cm high
£600 - 800
Lot 256
A Vienna cold painted bronze of a deerstalker
standing over a dead stag,
stamped ‘4485’,
10cm high,
together with an onyx ashtray mounted
with a stag and hind,
11.5cm high (2)
£200 - 300
Lot 257
Five Vienna cold painted bronze items,
comprising:
a hunter holding a dead rabbit,
an otter with a fish,
a group of three pugs,
a stag’s head seal (blank), and
a tiny stag
largest 6.5cm high (5)
£150 - 250 Lot 258
A Viennese cold painted bronze stag’s head
inkwell,
the face opening sideways,
16.5cm high
£300 - 500
Lot 260
A set of four gilded metal ram’s head curtain pole finials,
20th/21st century,
each 18cm from nose to back of head (4)
£150 - 250
Lot 259
A modern finely carved antler dragon,
clutching an egg, with two young at its side,
with synthetic wings,
20cm high
£200 - 400
255
260
259
258
257
256
256 part lot
81

AnHamptonSons’Sofa
A chic Edwardian two-seater sofa with siège de duvet’
upholstered arms. This sofa was made in 1910 and has a
beechwood frame and square tapering legs with the maker’s
mark ‘Hampton Sons’. Given the quality of the original piece,
no expense has been spared in the restoration of this sofa. The
frame has been restructured, the body re-covered in fabric, and
brass castors have been sourced and fitted.
The maker’s mark leads us to believe it’s from Hampton Sons,
however, with further investigation (research carried out at the City
of Westminster Archives), it was discovered that the item was sold
by Hamptons, but was most likely made by Howard Sons given
the patented signature ‘siège de duvet’ upholstering on the arms.
Lot 261
A plaster cast,
20th century, after the bronze horse from
Vicolo delle Palme, mounted on a later
display stand,
80cm high
£1,000 - 1,500
Lot 262
A two-seater settee,
20th century, bearing a label for
Hampton Sons, upholstered in yellow Harris
tweed, on tapering square front supports to
castors, with maker’s label to the underside,
192cm wide
92cm deep
75cm high
£1,000 - 2,000
262
261
Salvage Hunters: The Restorers is a popular prime time show
broadcast on the Discovery Network (Quest), where industry
experts seek out lots in need of a little TLC and restore them to
their former glory. We are delighted to now offer these restored
lots for sale. The lots here are presented with stills from the
programme and the thoughts of the experts on the show.
As featured on
SalvageHunters:TheRestorers
261-286
Scan the code to follow
the transformations.
APlasterCastHorse’sHead
A very tasteful 19th century plaster horse head that exudes grandeur. The cast was taken
from the bronze horse ‘Vicolo delle Palme’ that was excavated in Rome in 1849, currently
on display in the Capitoline Museum in Rome. The gaps for the eyes were likely for glass
eyes in the original bronze. During our research, we spoke with an Italian sculpture expert
based in Rome, who believes that the cast is of high quality and a very valuable piece.
The jaw and the ear of the head were missing, but these were recast and blended in perfectly.
It is now sitting on a beautiful wooden socle to mount the horse’s head. It is natural and
organic in appearance, simply there to give the piece the prominence it deserves.
82
Please note all research was carried out by the production team, speaking to a number of experts within the specific field.
All details were true at the time of transmission. All items are bought as seen and no further documentation can be provided.

AG-Plan‘Housemaster’Chair
A design classic, this chair has been updated to bring it into the 21st century.
Made by G-Plan between 1970-75, the Housemaster is one of their most iconic
and stylish chairs. It was launched in November 1970 in teak and in rosewood.
The chair is a great piece of mid-century design, however, most of the form was
hidden under the heavy vinyl upholstery that was not fire retardant. The new
upholstery accentuates this great design whilst retaining the comfort of the
chair. Modelled on the 1970s Maserati seat/baseball glove.
Lot 263
A four-pendant ‘onion’ ceiling light,
mid-20th century, by Svend Aage Holm Sørensen for
Holm Sørensen Co., each pendant suspended at
different lengths from a circular fitting,
longest 133cm
£2,000 - 3,000
Lot 264
A teak and chrome swivelling ‘House Master’ armchair,
mid-20th century, by G-Plan, of slatted construction, with
padded arms, seat and back, on a shaped base to castors,
87cm wide
87cm deep
82cm high
£300 - 500
264
AnEarly20th
Century
ModernistLight
This is an original light made by the Danish
designer Svend Aage Holm-Sørensen in the 1960s.
Svend Aage Holm-Sørensen played a significant
role in Danish lamp design. Since his death in
2004, ‘Warm Nordic’ have been upholding his
legacy and regularly launch more House of Sven
Aage Holm-Sørensen iconic lamp designs.
The light was covered in mould and rust having
been stored in a dealer/hoarder’s barn for years.
The petal shapes were bent out of place on each
pendant. Every light has been cleaned, before
re-shaping/hammering out any dents and bending
them all back into shape. They have then been
reburnished to recreate their iconic look.
It has been rewired, PAT-tested and fitted with a
new chain which was colour-matched to the light.
The end result is exquisite.
263
261-286ASFEATUREDONSALVAGEHUNTERS:THERESTORERS

A1950sFairgroundCar
withEngine
This small car is an ‘off the wall’ piece with an interesting mystery. The
car has a ‘British Standard’ badge, but the exact origin of this car is still
unknown. It could have been a one-off made in a car factory for the
same purpose as the ACTO Junior Safety-first Trainer Car, or it could
have been made for a fairground.
The engine in the car came from a 1952 Norman motorbike, so it is
most likely a scratch-built piece made by a very talented enthusiast.
The seat base and backrest have been reupholstered with reclaimed
leather with each leather flute stuffed with felt flock.
The bodywork is finished in ‘BEECK’ stand oil, which gives the car a
lovely aged patina.
The engine has been totally overhauled, we added a kick-start
(originally had a ripcord), Grade A car polish to remove dirt, a new
chain, new exhaust pipe, and a shellac finish.
Most importantly, the car starts and can be driven!
AnItalianOakChest
withWalnutVeneer
A Northern Italian set of oak drawers finished with a beautiful walnut
veneer, this chest is believed to date from between 1680-1720. It has
received a sympathetic restoration, with top quality walnut veneer
used to match the original pieces that were missing on the chest.
A beautiful marble top has been added which really elevates the
piece. Bun feet were also added to ensure the drawers now open
and close smoothly, creating a functional chest, ready for the home.
Lot 265
A scratch-built model
fairground car,
1950s, fitted with single cylinder
engine and chain driven,
63cm wide
134cm deep
59cm high
£400 - 600
Lot 266
An Italian walnut crossbanded and inlaid
commode,
early 18th century and later, of inverted serpentine
outline, the later white marble top above three
long drawers, raised on bun feet,
122cm wide
75cm deep
98cm high
£1,000 - 1,500
266
265
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ASFEATUREDONSALVAGEHUNTERS:THERESTORERS261-286

AnArtDeco
Butcher’sBlock
A 1920s French Art Deco butcher’s block. Due
to the incredible wear on the block, this has
been preserved with a bronze resin infill, and
a flat piece of glass has been added to create
a stunning yet functional piece. It’s a marriage
of traditional and contemporary design.
Should the next owner end up being a
bit of a purist, they can remove this top
section and enjoy the original base.
AnHydraulic
Dentist’sChair
A wonderful piece of Victorian engineering, this late 1880s/early
1900s dentist’s chair was made by the Dental Manufacturing
Company (authenticated by the British Dental Association). Established
in 1874, the company made artificial teeth, dental rubbers and dentist
chairs. The main attraction is the original cast iron hydraulics that have
been carefully restored so the chair once again raises and lowers as
it should. The metalwork is fresh and clean, but the aged look of the
piece has been retained, so it keeps its character.
Lot 267
A large French laminated beech butcher’s block
table,
20th century, by Hennes Fils of Nantes, the highly
undulating top now with stilts and a glass top, above
two drawers and raised on moulded square supports,
202cm wide
62cm deep
90cm high
£1,000 - 1,500
Lot 268
A dentist’s chair,
early 20th century and later, the black
steel frame with leather upholstery on
an adjustable stand,
62cm wide
150cm deep
110cm high
£300 - 500
268
267

Lot 270
A red painted tinplate pedal car
by Moskvich,
20th century,
42cm wide
105cm deep
50cm high
£200 - 400
AnEarly1900sFrench
BoulangerieCounter
This fantastic piece of furniture has had a major overhaul. A century-old
piece that has been repurposed to build a stunning kitchen island. The
top has been replaced with a beautiful, heavily grained, slate-coloured
marble top - two-thirds marble, with one-third untreated beech wood,
due to its natural antibacterial properties which makes it perfect for
hygienic food preparation. The cabinet has reconstructed drawers with
period handles to match the piece. Finally, it has been finished with a
natural beeswax to give it an original country furniture finish.
A1980s
ClassicPedalCar
byMoskvich
Throughout the communist era, Russian car manufacturer Moskvich had a
sideline making these children’s pedal cars. They were extremely expensive and
only the soviet political elite could afford them. Earlier-built models of these
cars were luxurious, sporting padded vinyl seats, chrome bumpers and side
strips. Reports suggest that production ran into the hundreds of thousands,
though nowhere near that many have survived to the present day, owing
to corrosion from the harsh Russian climate which they had to survive. This
restored version maintains all patina and can be driven again, with all the
mechanics now in perfect working order.
Lot 269
A French pine boulangerie counter,
early 20th century and later, the marble slab top over drawers
and open shelves, and on a plinth base,
145cm wide
69cm deep
93cm high
£400 - 600
269
270
86

Lot 272
An Herbert Terry ‘Anglepoise’
machinist’s lamp,
with patinated black painted support
on a later stand, fitted with dimmer
switch,
70cm high approximately
£200 - 300
AFrenchFootballTable
byBonzini
Always popular, this is a very rare, vintage 1950s table football game by French maker Bonzini.
Telltale signs that it’s a real Bonzini are the original cast iron players and the telescopic rods you
only see on French tables. It is the perfect modern ‘man cave’ item with great provenance.
Bonzini is one of the world’s leading manufacturers of football tables.
La crème de la crème in France ever since the early 1950s, Bonzini even
provided the football tables for the world championship tournaments.
The figures were left as they are with the ageing on them as part of their character and charm.
The playing field has been replaced with a new lino pitch in the original green colour. The
layers of red paint, that were a later addition, have been ‘dry scraped’ off by hand, a process
that is kinder to the original wood than abrasive heat or chemical stripping treatments. It
has now been brought back to its authentic, natural wood, factory finish. The players and
interior mechanisms have been cleaned and it’s now in working order for the perfect game.
ASecondWorldWar
HerbertTerry‘Anglepoise’Lamp
This iconic lamp was once used in a WW2 Lancaster Bomber aircraft. The lamp would have helped
the navigator read a map in order to direct the pilot on where to fly. Only 80,000 of these lamps were
made and with thousands of planes lost in the war, very few are left today.
The official identification of this aircraft lamp is a ‘5C/1079’ - 5C being an Air Ministry code for
electrical equipment. The lamp has a Herbert Terry Co. makers mark. The lamp has been restored
sympathetically, keeping its age and its originality. However, it was upgraded for home use with a
base, so it can now stand upright, and rewired and PAT-tested. We sourced an original Anglepoise
shade from a reputable collector as this was missing.
An iconic piece of British design to be treasured.
Lot 271
A French beech bar football table
by Bonzini,
c.1910, with cast aluminium players
and on ebonised shaped supports,
150cm wide
100cm deep
94cm high
£1,000 - 1,500
272
271

Lot 274
A large relief sculpture,
late 19th century, after Auguste Cain, cast in relief with
an eagle attacking a duck, set within a moulded frame,
120cm wide
20cm deep
140cm high
£400 - 600
AnIndustrial10ft
Workbench/DiningTable
This charming workbench was salvaged from a farmer’s barn in Lincolnshire
and dates from early-mid 20th century. From a wrecked workbench to a
rustic refectory table that looks like it has come straight from a farmhouse
in Provence, it has undergone a real transformation. It will look great in a
country kitchen or stylish city dwelling.
Initially too long and too thin to be a dining table, it has been restored into
a smaller wider table, at home in any kitchen.
Lot 273
A large industrial, stained pine,
workbench side table,
20th century, the planked top with
cleated ends, on square section legs
united by a stretcher,
240cm wide
82cm deep
80cm high
£600 - 800
273
274
ALargeReliefSculpture
afterAugusteCain
The restoration of this incredibly striking and vigorous relief sculpture after
Auguste Cain, who was a 19th century French artist and member of the
Animaliers School, involved a lot of labour, namely reworking and refixing the
frame, as well as carefully recreating some of the scene. Years of damage,
dust and debris were removed and it is once again ready to be taken home,
mounted on the wall and enjoyed as a real conversation piece!
88

Lot 275
A Victorian rosewood window seat,
with raised arms, button upholstery and
carved fluted supports to castors,
74cm wide
65cm deep
59cm high
£300 - 500
AVictorianWindowSeat
This mid-19th century rosewood window chair was originally a settee which stood on
turned, fluted, tapering and reeded legs. The frame has been restored, strengthened
and French polished, and the seat has been reupholstered in a tasteful ticking chosen by
antiques dealer, Drew Pritchard, and printed at an historic mill in Broadbottom.
This seat would live happily in a living room, looking out on to a lush garden or even placed
at the end of a big bed.
AGladstoneBag
This is a classic Gladstone bag designed by J G Beard in the 1860s and
named after the British Prime Minister of the day – William Gladstone.
This bag has a more regal connection; inscribed in one of the straps
is the name Prince George Yourievsk, who was the illegitimate son of
Tsar Alexander II who died in 1913. (Provenance confirmed).
The strap that has the Prince’s name on it was very loose and worn
so it has been removed and resewn on to the front of the bag. The
original leather has been saved, having been ‘fed’ over several weeks
for it to regain its strength and structure. The base and sides have been
relined and new handles made.
Prince George died in 1913. He lived a glamorous life, with his mother
owning her own railway carriage that ferried the family between
European cities (today’s equivalent of owning a private jet). Prince
George, the last living great-grandson of Tsar Alexander II, confirms
that this bag belonged to his grandfather. He says, ‘There was only one
Prince George Alexander Yourivesky and this is definitely his bag. He
would have needed a bag like this for his luxurious travels’.
Lot 276
An oxblood leather Gladstone bag,
early 20th century, the interior inscribed
with gilt embossed lettering ‘Au Touriste
Monte Carlo’,
63cm long
£300 - 500
275
276

Lot 278
A Victorian cast iron fire surround,
with a laurel and anthemion cast frieze over tile inset
slips, the reverse cast with ‘Registration number
RDN 312061’ and ‘No 79-39x42x16F’,
108cm wide
41cm deep
128cm high
£600 - 800
AVictorianFender
This particular fender is thought to have been
upcycled from a Juliet balcony. The structure and
originality of this fender remains intact, however, the
height of the fender has been raised appropriately.
An expert blacksmith made an attractive, bespoke
base which added the extra inches needed. A new
green leather seat rest has been added to the fender
to make this a statement fireside piece.
A19th
CenturyFireplace
This late Victorian cast iron fireplace with intricate tiling has a serial number
indicating that it was made post-1884. The serial number does not match
with anything in the National Archives, which means that it is probably not
Coalbrookdale or Carron Company, making it a standard Victorian fireplace.
The fireplace has been restored in place by an expert blacksmith - the surface
has been given a burnished finish which gives the appearance of bare metal.
A new grate and an ashguard with a pull knob and ring have been made,
turning this into a functioning fireplace.
The original tiles have also been expertly restored by a ceramic expert. They
were originally made by T G F Booth, Tunstall, Staffordshire. c.1890. Detailing
birds and blossom, they have a Japanese influence, while the panel with winged
gryphons and daffodils in a vase is an example of high Victorian design.
Lot 277
A wrought iron club fender,
19th century and later, the green leather seat
on scrolling supports,
169cm wide
60cm deep
59cm high
£300 - 500
277
278
90

Sworders Fine Interiors to include Silver 21 - 22 July

Sworders Fine Interiors to include Silver 21 - 22 July

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