The Collections of Principessa Ismene Chigi Della Rovere and A Noble Genoese Family

The Collections of
Principessa Ismene Chigi Della Rovere

and
A Noble Genoese Family
Wednesday 4 February 2015
The Collections of Principessa

Ismene Chigi Della Rovere
and a Noble Genoese Family
Wednesday 4 February 2015
AUCTION
Wednesday 4 February 2015 at 10.30 am

85 Old Brompton Road,
South Kensington,
London SW7 3LD
VIEWING
Saturday
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31 January
1 February
2 February
3 February
11.ooam - 5.00pm
11.ooam - 5.00pm
9.ooam - 7.30pm
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AUCTIONEERS
Nic McElhatton & Anna Evans
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or making

enquiries, this sale should be referred
to as I T A L I A N - 1 0 6 7 4
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Important Notices,
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to reserves.
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Private Collections and Country House Sales
Orlando Rock
Executive Director,
International Head of Decorative Arts
Andrew Waters
Director of Sales, Decorative Arts,
London and Head of Department
Amjad Rauf
Director of European Collections
Francois Rothlisberger
Director, Furniture, Zurich
Amelia Walker
Associate Director,
Specialist Head of Department
Adrian Hume-Sayer
Associate Director, Specialist
Charlotte Young
Specialist
Laura Ventimiglia
Director, Valuations, Milan
Gillian Ward
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Junior Specialist
Katharine Cooke
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Nathaniel Nicholson
Junior Specialist
Alexandra Cruden
Administrator
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HEAD OF SALE
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EUROPEAN PORCELAIN & GLASS

& 20th CENTURY DESIGN
Fiona Baker
Tel: +44 (0)20 7752 3238
Mary OConnell
Tel: +44 (0)20 7752 3026
OLD MASTER PAINTINGS
Flavia Lefebvre Dovidio
Tel: +44 (0)20 7752 3371
DRAWINGS & WATERCOLOURS
James Richards
Tel: +44 (0)20 7752 3317
CHINESE WORKS OF ART

Samantha Phillips
Tel: +44 (0)20 3219 6025
JAPANESE WORKS OF ART
Mark Hinton
Kuniko Matsui
Tel: +44 (0)20 7752 3254
SILVER
Lily Faber
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CLOCKS
Celia Harvey
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IMPORTANT NOTICE REGARDING

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SQUARE (n) are transferred to
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19TH CENTURY PICTURES

Alastair Plumb
Tel: +44 (0)20 7752 3298
INDIAN ART
Xavier Fournier
Tel: +44 (0)20 7752 3172
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IMPORTANT NOTICE REGARDING

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COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)
The Collection of
Principessa Ismene Chigi
Della Rovere
Lots 1-133
Princess Ismene Chigi Della Rovere in the dining room of her palazzo
apartment in Rome
Princess Ismene Chigi Della Rovere, with two of her daughters in the Galleria
of Castel Fusano
Prince Rainier III of Monaco, Princess Ismene and Prince Mario Chigi Della Rovere
Princess Ismene Chigi Della Rovere
Princess Ismene Chigi Della Rovere was born in Milan in 1927 and from birth was styled as Countess Ismene Larussa. Despite
the Larussa familys Calabrian origins, Ismene spent her formative years in Rome.
Full of life and charisma, the young and outgoing Countess Ismene frst married an erudite journalist and pursued her passion
for art at university. It was here whilst sitting on a park bench she had a chance encounter with Prince Mario Chigi Della
Rovere, who was to be the true love of her life. Within a few years, in 1959, they were married, and Countess Ismene became
Princess Ismene Chigi Della Rovere.
The Chigi family, of ancient Sienese origin, is one of Romes oldest and most celebrated families. Descended from the banker
Agostino Chigi the magnifcent (1465-1520) who was one of the most important patrons of the arts during the Renaissance.
Their seat in Rome, Palazzo Chigi, is one of the grandest palazzos in the city, remodelled in 1659 by Felice della Greca and
Giovan Battista Contini. During much of their married life Princess Ismene and Prince Mario lived at Castel Fusano, Ariccia.
During the 1960s and 70s Princess Ismene lived the real dolce vita, embracing a jet-set lifestyle, visiting the most fashionable
destinations in Europe and America. In particular she has fond memories of summers spent in the South of France, Porto Cervo
in Italy and Monaco, where she lived for a number of years. She counted many high society fgures of the time amongst her
friends and frequently attended glamorous European balls with Christina Onassis, Elizabeth Taylor and Richard Burton, Roger
Vadim and Jane Fonda and Prince Rainier III and Princess Grace of Monaco.
Her passion for art was fostered by her friendship with the renowned Roman gallery owner Gaspero dal Corso, who on
trips to New York introduced her to the highly infuential contemporary gallerist Leo Castelli. Both the Princess and her sister
Anna Maria, then a director of the Marlborough Gallery, were immersed in the New York art scene and often partied at the
legendary Studio 54 nightclub. Also, the Princess frequently visited the Gardner family in Massachusetts, as her frst daughter
Emanuela married Stuart Gardner, the descendent of Isabella Stewart Gardner. Isabella Stewart Gardner was one of the
foremost female patrons in the late 19th Century and founded the museum that bears her name in Boston in 1903 to house
her collection.
After returning from New York, the Princess created a stylish collection in her palazzo apartment in Rome. For the interiors,
she ingeniously juxtaposed antiques with contemporary art, Art Nouveau glass and Chinese and Japanese works of art.
Her emphasis was on style and beauty; epitomised by the pair of Royal Louis-Philippe ormolu four-light candelabra from the
Chteau de Neuilly (lot 53) and the Italian Sicilian jasper coffee table (lot 75). Now living a quieter life, Princess Ismene has
decided to part with her personal collection, which Christies is honoured to offer to a new generation of collectors.
La Principessa Ismene Chigi Della Rovere, detta Contessa Ismene Larussa, nata a Milano nel 1927. Nonostante le origini
calabresi della famiglia Larussa, Ismene ha trascorso i suoi anni formativi a Roma.
Piena di vita e di carisma, la giovane contessa Ismene si spos con un giornalista erudito e continu la sua passione per
larte alluniversit. E stato in quel momento che, mentre seduta su una panchina nel parco, incontr il principe Mario
Chigi Della Rovere, futuro amore della sua vita. Pochi anni dopo, nel 1959, si sposarono, e la contessa Ismene divent la
principessa Ismene Chigi Della Rovere.
La famiglia Chigi, di origine senese, una delle pi antiche e famose di Roma. Discende dal banchiere Agostino Chigi il
magnifco (1465-1520), che fu uno dei pi importanti mecenati del Rinascimento. Il Palazzo Chigi a Roma, uno dei pi
grandi della citt, ristrutturato nel 1659 da Felice della Greca e Giovan Battista Contini. Durante la maggiore parte della
loro vita la principessa Ismene e il principe Mario hanno vissuto a Castel Fusano, Ariccia.
Durante gli anni 60 e 70 del secolo scorso la principessa Ismene ha vissuto la vera dolce vita, abbracciando uno stile di
vita jet-set, visitando i luoghi pi alla moda in Europa e in America. In particolare ha dei bellissimi ricordi destate nel sud
della Francia, a Porto Cervo in Italia e Monaco. Molte fgure dellalta societ facevano parte della sua cerchia di amici e
spesso frequentava le eleganti notti europee con Christina Onassis, Elizabeth Taylor e Richard Burton, Roger Vadim e Jane
Fonda e il Principe Ranieri III e la Principessa Grace di Monaco.
La sua passione per larte stata incoraggiata dalla sua amicizia con il noto gallerista romano Gaspero dal Corso, che in
viaggio a New York, la present al molto infuente gallerista contemporaneo Leo Castelli. Sia la principessa che la sorella
Anna Maria, poi diventata diretrice della Galleria Marlborough, sono state immerse nella scena artistica di New York
e frequentavano il mitico Studio 54. Inoltre, la prima fglia della principessa, Emanuela, si spos con Stuart Gardner, il
discendente di Isabella Stewart Gardner e Ismene andava spesso a visitare la famiglia nel Massachusetts. Isabella Stewart
Gardner era una personalit molto importante alla fne del XIX secolo e fond il museo che porta il suo nome a Boston nel
1903 per ospitare la sua collezione.
Dopo il suo ritorno da New York, la principessa cre un elegante collezione nel suo palazzo a Roma. Ingegnosamente
accost opere antiche e pezzi di arte contemporanea, vetri in stile Art Nouveau e opere darte cinese e giapponese. La
sua miscela di stile e bellezza, si rifette nella coppia di candelabri di Louis-Philippe del Chteau de Neuilly (lotto 53) e
nel tavolino siciliano (lotto 75). Oggi che vive una vita pi tranquilla, la principessa Ismene ha deciso di separarsi della
sua collezione personale, e Christie molto orgogliosa di partecipare al suo passaggio tra generazione di collezionisti.
1
A PAIR OF CHINESE MIRROR BLACK
AND GILT VASES
KANGXI PERIOD (1662-1722)
Each vase decorated with foral sprays of

chrysanthemum, peony, lotus and prunus
between chrysanthemum lappet bands, ftted for
electricity and with shades
12 in. (30.5 cm.) high, excluding ftments
(3)
1,000-1,500
$1,600-2,300
1,300-1,900
n2
A CHARLES X VERRE EGLOMISE BAROMETER
EARLY 19TH CENTURY
With gilt decoration on navy blue, white and green glass, inscribed indistinctly
to the reverse Repare par/Brochard optican...1871, with seven various weather
indicators
34 in. (87 cm.) high
1,000-1,500
$1,600-2,300
1,300-1,900
PROVENANCE:
Galerie Renoncourt, Paris, from whom purchased by Principessa Ismene Chigi Della Rovere in 1976.
n3
A SET OF FOUR ENGLISH BLACK AND GILT JAPANNED
CHINOISERIE SIDE CHAIRS
20TH CENTURY, OF GEORGE III STYLE
Each with a pierced fretwork splat, decorated overall with fgures, birds,
butterfies and foliage, the drop-in seat covered in a light brown velvet
40 in. (101.5 cm.) high; 18 in. (46.5 cm.) wide; 18 in. (47.5 cm.) deep
1,500-2,500
(4)
$2,400-3,900
1,900-3,200
4
AN ITALIAN GILT-LEAD-MOUNTED
TOLE PLANTER
FIRST HALF 19TH CENTURY
The tapering body decorated to simulate marble, with

removable galvanised liner
12 in. (32 cm.) high; 17 in. (43 cm.) wide;
10 in. (25.5 cm.) deep
700-1,000
$1,100-1,600
890-1,300
~5
AN ITALIAN MOTHER-OF-PEARL AND IVORYINLAID EBONY AND MARQUETRY BOX
PROBABLY TUSCANY, 19TH CENTURY
The rectangular hinged lid, inlaid with initials I.G.S.,

enclosing a burgundy velvet-lined interior; together with a
South Italian stained fruitwood and straw-work tea caddy
The box: 5 in. (13.5 cm.) high; 12 in. (31 cm.) wide;
9 in. (23 cm.) deep
The caddy: 9 in. (23 cm.) high; 5 in. (14.5 cm.) square (2)
400-600
$630-940
510-760
n6
A CHINESE GILT AND RED LACQUER
LOW TABLE
LATE 19TH/EARLY 20TH CENTURY
The top decorated with dragons amongst clouds within a

key-pattern border
12 in. (32 cm.) high; 42 in. (106.5 cm.) wide;
27 in. (68.5 cm.) deep
1,500-2,500
$2,400-3,900
1,900-3,200
n~7
AN ITALIAN BIRDS-EYE MAPLE AND ROSEWOOD
MARQUETRY SOFA TABLE
ATTRIBUTED TO CHALON AND ESTIENNE, SECOND QUARTER 19TH
CENTURY
The rounded rectangular twin-fap top, above two frieze drawers

opposing false drawers, on downswept legs and lions paw feet, joined
by a stretcher
29 in. (75 cm.) high; 59 in. (150 cm.) wide; 23 in. (59 cm.) deep
1,500-2,500
$2,400-3,900
1,900-3,200
n~8
AN ITALIAN BIRDS-EYE MAPLE, ROSEWOOD
MARQUETRY AND SCAGLIOLA TABLE
BY CHALON AND ESTIENNE, FLORENCE,
SECOND QUARTER 19TH CENTURY
The rectangular top inset with scagliola panel depicting maidens

within a foral frieze, above a ftted drawer and a slide, on scroll
supports and splayed feet joined by a stretcher, labelled FABRIQUE
DE MEUBLES/De/CHALON/ET/ESTIENNE/FLORENCE/Rue
S. Agostino pres la Place de S.Sprito N.2063, the top possibly
associated
1,500-2,500
$2,400-3,900
1,900-3,200
Chalon and Estienne were French furniture makers who settled in Florence during
the second quarter of the 19th Century. The quality of their work together with
its distinctive style won them a medal at the Paris Exhibition of 1856 and the
International Exhibition of 1862.
(detail of makers label)
(detail of the top)
9
A LOUIS XV ORMOLU, CHINESE BLACK
AND GILT LACQUER AND CHINESE
PORCELAIN ENCRIER
CIRCA 1730-40
The cartouche-shaped panel decorated with foliage, fruit

and an urn, surmounted by three foliate decorated bowls
on bracket feet
3 in. (9.5 cm.) high; 10 in. (27 cm.) wide;
8 in. (22 cm.) deep
1,500-2,500
$2,400-3,900
1,900-3,200
n 10
AN ITALIAN ORMOLU-MOUNTED
KINGWOOD QUARTER-STRIKING
MANTEL CLOCK
The waisted case surmounted by an eagle with glazed

door and side panels on scrolling rocaille feet, the white
enamel dial with Arabic and Roman numerals, with label
with inscribed 83/0870/c, the quarter-striking movement
with verge escapement and alarm; winding key and fxed
pendulum
7 in. (18 cm.) deep
800-1,200
$1,300-1,900
1,100-1,500
n 11
A CHINESE BLACK AND GILT LACQUER
SIDE TABLE
19TH CENTURY
With foliate decoration

14 in. (48 cm.) deep
2,000-3,000
10
$3,200-4,700
2,600-3,800
n 12
A PAIR OF LOUIS XVI ORMOLU-MOUNTED TULIPWOOD,
SATINE, AMARANTH, OLIVEWOOD AND BLACK AND GILT
VERNIS MARTIN ENCOIGNURES
BY PIERRE-HARRY MEWESEN, LATE 18TH CENTURY
Pierre-Harry Mewesen, matre ebniste in 1766.
Each shaped grey-veined white marble top above a panelled door

depicting fgures in a pavilion and wooded landscape, enclosing two
ftted oak shelves, on a plinth base, both stamped P.H.MEVVESEN and
JME
35 in. (89.5 cm.) high; 21 in. (54.5 cm.) wide;
(2)
8,000-12,000
$13,000-19,000
11,000-15,000
Originally from Scandinavia, Pierre-Harry Mewesen worked in Paris and produced

high quality furniture in the Louis XV style, as well as transitional and Louis XVI pieces,
including commodes, bureaux, secretaires and encoignures. Many examples of his work
are decorated with marquetry depicting fowers, musical instruments and trophies
and his mounts are usually restrained and discreet. Some of his rarer pieces include
oriental lacquer and Vernis Martin such as these encoignures. A closely related secrtaire
abattant with Chinese lacquer and japanned panels, which demonstrate the less
common use of lacquer depicting Oriental landscapes, was sold by the descendants of
Daniel Grand dHauteville (1761-1818) from Chteau dHauteville, Vevey, Switzerland,
at Christies, London, 30 September 2014, lot 22.
11
n 13
15
TWO CHINESE BLUE AND WHITE CELADON-GROUND

VASES
A CHINESE FAMILLE NOIR FISH BOWL
20TH CENTURY
The exterior decorated with ladies in a terraced garden setting and a

long-tailed bird amongst peony and rocks, the interior decorated with
fve goldfsh amongst waterweeds
18 in (47.5 cm.) high
The frst decorated with Buddhist lions amongst scrolling clouds and
fre scrolls; the second decorated with a vase and two fower bowls
on stands, surrounded by auspicious symbols, each with apocryphal
Chenghua underglaze blue four-character marks to the base; ftted for
electricity
14 in. (36 cm.) high, excluding ftments
(2)
500-800
20TH CENTURY
1,000-1,500
$1,600-2,300
1,300-1,900
$790-1,300
640-1,000
14
16
A SOUTH EAST ASIAN CELADON GLOBULAR JAR
A CHINESE CLOISONNE ENAMEL PAPERWEIGHT
19TH/20TH CENTURY
19TH CENTURY
The body with ribbed decoration, the exterior in a lightly crackled

celadon glaze stopping above the footrim
9 in. (23.5 cm.) high
Decorated with continuous clouds in various colours on a blue ground;

the ends with wood fttings
20 in. (52.7 cm.) long
500-800
1,000-1,500
12
$790-1,300
640-1,000
$1,600-2,300
1,300-1,900
17
A DAUM VITRIFIED AND ENAMELLED
GLASS VASE
CIRCA 1910
The mottled body overlaid and acid-etched with blossoming

branches heightened with enamelled detailing, signed in
cameo Daum Nancy with Cross of Lorraine
10 in. (17 cm.) diameter
1,000-1,500
$1,600-2,300
1,300-1,900
18
A DAUM OPALESCENT GLASS BOWL
CIRCA 1895
Having a trefoil neck, acid-etched in relief with branches of

horse chestnuts, heightened with gilt, signed in gilt Daum
Nancy with Cross of Lorraine
10 in. (27.3 cm.) wide
1,000-1,500
$1,600-2,300
1,300-1,900
19
A DAUM ENAMELLED GLASS VASE
CIRCA 1895
The opalescent and mottled glass acid-etched in relief and

painted in enamels and gilt with branches of honesty, with
decorative ribbon inscribed monnaie en feur, monnaie du
coeur, signed in gilt Daum Nancy with Cross of Lorraine
3 in. (9.8 cm.) in high; 5 in (14 cm,) wide
800-1,200
$1,300-1,900
1,100-1,500
20
21
22
AN EMILE GALLE (1846-1904)

FIRE-POLISHED CAMEO GLASS VASE
A GALLE TRIPLE OVERLAY CAMEO

GLASS DAFFODIL VASE

FIRE-POLISHED CAMEO GLASS VASE
CIRCA 1900
CIRCA 1904-1906
CIRCA 1900
The clear body cased in white and overlaid

with amber, acid-etched with fowers, signed
dpos Cristallerie de Gall Nancy and thistle
13 in. (34.2 cm.) high
The tapering lobed form overlaid and acidetched with daffodils and leaves with trees in
the distance, signed in cameo Gall with star
preceding
15 in. (38.5 cm.) high
The clear body cased in white and overlaid

with amber, acid-etched with fowers, signed
dpos Cristallerie de Gall Nancy and thistle
15 in. (39.7 cm.) high
1,500-2,000
$2,400-3,100
1,900-2,500
1,200-1,800
$1,900-2,800
1,600-2,300
2,000-3,000
$3,200-4,700
2,600-3,800
15
23
A DAUM ENAMELLED AND VITRIFIED GLASS
BLEEDING HEARTS VASE
CIRCA 1900
Acid-etched in relief with fowers and leaves, signed in relief

Daum Nancy with Cross of Lorraine
8 in. (21 cm.) high
1,200-1,800
$1,900-2,800
1,600-2,300
24
A DAUM ENAMELLED GLASS VASE
OF PILLOW SHAPE
CIRCA 1910
The cased, mottled glass acid-etched in relief with fowers

and leaves, signed in relief Daum Nancy with Cross of Lorraine
4 in. (12.1 cm.) high
1,000-1,500
$1,600-2,300
1,300-1,900
25
A DAUM CAMEO GLASS VASE
CIRCA 1910
The mottled amber glass overlaid and acid-etched with

fowers and leaves, signed in cameo Daum Nancy with Cross
of Lorraine
11 in. (28 cm.) wide
23
24
16
1,000-1,500
$1,600-2,300
1,300-1,900
25
26
26
A GALLE CAMEO GLASS BOWL
CIRCA 1910
With pulled rim, overlaid and acid-etched with roses and

leaves, signed in cameo Gall
8 in. (21.3 cm.) wide
800-1,200
$1,300-1,900
1,100-1,500
27
27
A DAUM ENAMELLED AND VITRIFIED CAMEO

GLASS VASE
CIRCA 1910
Overlaid, acid-etched and enamelled with fowers and

leaves, signed in cameo Daum Nancy with Cross of Lorraine
4 in. (11.8 cm.) high
700-900
$1,100-1,400
890-1,100
28
A DAUM VITRIFIED AND WHEEL-CARVED
CAMEO GLASS ROSE VASE
CIRCA 1910
The mottled body overlaid and acid-etched with roses

and vitrifed leaves, the three roses and bud wheel-carved,
wheel-cut signature Daum Nancy with Cross of Lorraine
4 in. (10.8 cm.) high; 5 in. (15 cm.) wide
2,000-3,000
$3,200-4,700
2,600-3,800
28
17
29
A GROUP OF EIGHT CHINESE
PAINTINGS
LATE 19TH CENTURY
Ink and colour on paper, depicting various

scenes of daily life, with two depicting people
at leisure, one depicting locals posting
announcements, two processional scenes and
one depicting fgures in battle
32 x 26 in. (82.5 x 67.2 cm.), framed (8)
2,000-3,000
$3,200-4,700
2,600-3,800
n 30
A SET OF EIGHT ITALIAN CHERRY
WOOD DINING-CHAIRS
MID-19TH CENTURY
Each covered with close-nailed tan leather

32 in. (82.5 cm.) high; 17 in. (44 cm.)
wide; 20 in. (52 cm.) deep
(8)
1,500-2,500
$2,400-3,900
1,900-3,200
n~31
AN ITALIAN BIRDS-EYEMAPLE
AND ROSEWOOD MARQUETRY
EXTENDING DINING-TABLE
ATTRIBUTED TO CHALON AND ESTIENNE,
The D-shaped ends with two additional

leaves, on downswept legs and lions-paw
feet, on a concave shaped plinth
29 in. (73.5 cm.) high; 88 in. (223.5 cm.) wide,
extended; 45 in. (115.5 cm.) deep
2,000-3,000
18
$3,200-4,700
2,600-3,800
19
32
34
A GILT-BRONZE PART DESSERT-SERVICE
A FRENCH BRONZE BUST OF DIANA
PROBABLY ITALIAN, SECOND HALF 19TH CENTURY
CAST AFTER MATHURIN MOREAU (1822-1922), CAST BY HOUDIN,

LATE 19TH CENTURY
Comprising one large comport, a pair of smaller comports and a pair

of oval dishes, with chased repouss foliate decoration, the underside
engraved with indistinct initials and numbered 2134
The largest stand: 7 in. (18.5 cm.) high; 11 in. (28 cm.) diameter
Dishes: 12 in. (32 cm.) wide; 9 in. (23.5 cm.) deep
(5)
700-1,000
$1,100-1,600
890-1,300
Cast with signature Math. Moreau, mounted on a giallo di Sien-marble

socle with bronze plate inscribed DIANE/ MATH. MOREAU (HORS
CONCOURS) , with foundry stamp OUDIN/MARSELLE and inscribed
to the interior W
24 in. (64 cm.) high; 15 in. (38 cm.) wide
2,000-3,000
$3,200-4,700
2,600-3,800
n~33
n 35
A PAIR OF ITALIAN BIRDS-EYE MAPLE AND ROSEWOOD

MARQUETRY X-FRAME STOOLS
AN ITALIAN GILTWOOD CONSOLE TABLE
ATTRIBUTED TO CHALON AND ESTIENNE,

The later white marble top above an acorn and anthemion embellished
frieze mounted with coats-of-arms to the corners, on scrolled legs
joined by a shelf lions-paw feet
Each with seat covered in close-nailed tan leather

19 in. (48.5 cm.) high; 19 in. (49 cm.) wide; 16 in. (40.5 cm.) deep
1,000-1,500
20
EARLY 19TH CENTURY
(2)
$1,600-2,300
1,300-1,900
2,000-3,000
$3,200-4,700
2,600-3,800
n 36
n 38
A FINE BESSARABIAN KILIM
A PAIR OF BESSARABIAN KILIMS
EASTERN EUROPE, LATE 19TH CENTURY
EASTERN EUROPE, CIRCA 1890
10 ft. 7in. x 7 ft. 3 in.(322 x 221cm.), approx.
5ft. 7in. x 3ft. 6 in.(170 x 107cm.), each approx.
2,000-3,000
$3,200-4,700
2,600-3,800
600-1,000
(2)
$940-1,600
760-1,300
PROVENANCE:
Tapis Catan, Paris, from whom purchased by Principessa Ismene Chigi Della Rovere in 1974.
PROVENANCE:
n 37
n 39
A FINE BESSARABIAN KILIM
A FINE TIBETAN CARPET
EASTERN EUROPE, CIRCA 1880
approx; 9ft 1in. x 5 ft. 10 in.(276 x 178cm.), approx.
8 ft. 10in. x 9 ft. 3in.(268 x 281cm.), approx.
1,000-1,500
$1,600-2,300
1,300-1,900
PROVENANCE:
600-1,000
$940-1,600
760-1,300
PROVENANCE:
21
40
42
A DAUM ENAMELLED GLASS BOWL
A JEROME MASSIER (1850-1926) LUSTRE GLAZED

CERAMIC VASE
CIRCA 1900
Acid-etched and enamelled with a landscape (no cover), engraved Daum

Nancy with a Cross of Lorraine; together with a Daum vase with relief and
gilt decoration; and a blue Daum vase, signed
The frst 5 in. (15 cm.) wide
(3)
700-1,000
$1,100-1,600
890-1,300
CIRCA 1900
The shaped form with pinched neck decorated with leafy branches,
signed on side J. Massier Fils Vallaruis: together with a tall French lustre
vase; and a French lustre bowl decorated with horse chestnut leaves,
signed BACS, golf Juan A.E. DELTOLY 1924
(3)
700-1,000
$1,100-1,600
890-1,300
41
43
A PAIR OF FRENCH POTTERY FIGURAL VASES
A DELPHIN MASSIER (1836-1907) LUSTRE GLAZED

CERAMIC VASE
LATE 19TH CENTURY
Decorated in high relief with clown children and painted fowers,

glazed, inscribed with indistinct letters around the waist of the vases,
(restoration)
16 in. (40.5 cm.) high
(2)
500-700
22
$790-1,100
640-880
CIRCA 1900
Decorated with a foral landscape with ombellifeurs, signed VALLAURIS

DM to underside; together with an Airebelle ceramic lustre vase
decorated with grasses, impressed makers marks for Aire Belle France
The frst 7 in. (19.5 cm.) high
(2)
800-1,200
$1,300-1,900
1,100-1,500
44
A DAUM ENAMELLED GLASS
NENUPHARS VASE
CIRCA 1900
Acid-etched in low relief and enamelled with water

lilies, heightened in gilt; together with a pair of
Daum smoky glass vases acid-etched in relief and
heightened in gilt with fowers, each signed in gilt
Daum Nancy with Cross of Lorraine
7 in. (18.1 cm.) and 6 in. (17.4 cm.) high
(3)
1,200-1,500
$1,900-2,300
1,600-1,900
44
45
AN ENAMELLED GLASS VASE
CIRCA 1910
The mottled glass acid-etched, enamelled and gilded

with sunfowers; together with another vase acid-etched
and enamelled with fowers; a vase of square section
enamelled with irises; and a carafe enamelled with
chrysanthemum and applied to the neck with a serpent,
unsigned
(4)
1,200-1,800
$1,900-2,800
1,600-2,300
45
46
A MOTTLED GLASS SOLIFLEUR VASE
CIRCA 1930
With slender neck; together with two globular vases,

unsigned; and an enamelled vase deocrated with
horse chestnuts, signed Leune, moulded LN 1841
The frst 17 in, high. (44 cm.) high
(4)
500-800
$790-1,300
640-1,000
46
23
47
A MATCHED PAIR OF ENAMELLED GLASS VASES
CIRCA 1910
Painted in coloured enamels and gilt with pansies, leaves and grasses
14 in. (36.5 cm.) and 13 in. (35 cm.) high respectively
(2)
800-1,200
$1,300-1,900
1,100-1,500
48
A LEGRAS & CIE. ENAMELLED GLASS VASE
CIRCA 1910
Acid-etched in relief, painted in colours and gilt with poppies, acidetched mark to base; together with a Legras vase acid-etched in relief
and decorated in coloured enamels with fowers and leaves, signed
in relief Legras
15 in. (39 cm.) and 19 in. (50.1 cm.) high
(2)
1,000-1,500
47
$1,600-2,300
1,300-1,900
49
TWO LEGRAS ENAMELLED GLASS VASES
CIRCA 1910
Each acid-etched with trailing leaves and enamelled in contrasting

shades of burgandy, signed Legras
15 in. (40.1 cm.) and 9 in. (23.5 cm.) high
(2)
800-1,200
$1,300-1,900
1,100-1,500
49
48
24
48
25
n 50
A LOUIS XV ORMOLU-MOUNTED BLACK AND GILT
VERNIS MARTIN COMMODE
CIRCA 1740, IN THE MANNER OF BERNARD II VAN RISEN BURGH
The serpentine moulded Brche dAlep marble top, above two drawers
sans traverse, decorated with fgures in landscapes, on cabriole legs
headed by cabochon, rocaille and foliate chutes, terminating in pierced
scrolled sabots, bearing spurious stamps B.V.R.B. and JME
25,000-40,000
$40,000-63,000
32,000-50,000
PROVENANCE:
Antiquits Masi, Bealieu-sur-mer, from whom purchased by Principessa Ismene Chigi Della
Rovere in 1975.
This elegant Louis XV commode dates from circa 1740 and illustrates both the
European passion for using materials from the Far East and the Parisian taste of
transforming such materials into the most luxurious pieces of the time. This fashion
of mounting lacquer onto furniture was promoted by the marchands-mercier of Paris
in the 1740s and 1750s, such as Lazare Duvaux and Thomas-Joachim Hbert. These
marchands-mercier held a monopoly on the import of such precious goods from
the Far East as lacquer and porcelain. This commode, decorated with Vernis Martin
panels, is a demonstration of the Paris fashion for creating decoration in imitation of
Oriental lacquer, due to the increasingly high cost of imports from the Far East. Vernis
Martin was created by the Martin brothers, Guillaume and Etienne-Simon, who were
instrumental in developing the technique.
26
51
A GROUP OF FOUR CHINESE PAINTINGS
LATE 19TH CENTURY
Ink and colour on paper, depicting two scenes of

ladies and gentlemen at leisure in a courtly garden with
trees and pavilions, one scene of a lady in a carriage
accompanied by her retainers, and one scene of a
hunting party
32 x 39 in. (81.5 x 101 cm.)
(4)
1,500-2,500
$2,400-3,900
1,900-3,200
52
A CHINESE EXPORT PAINTING
19TH CENTURY
Oil on canvas, depicting a mountainous river landscape

in Guangzhou, with sampans and river boats amongst
buildings, a fort, and trees.
15 x 23 in. (38.2 x 60 cm.), framed
1,000-1,500
$1,600-2,300
1,300-1,900
53
A PAIR OF ROYAL LOUIS-PHILIPPE ORMOLU
FOUR-LIGHT CANDELABRA
CIRCA 1810
Each with a central fnial en fambeau on a trumpet form

central stem issuing scroll arms cast with Egyptian female
masks and urn-form bobche, centred by a palmette and
star, on a circular base cast with anthemion and classical
urns, stamped to the base L.P. with a crown and N and
with inventory number 23487
18 in. (46.5 cm.) high; 8 in. (21.5 cm.) diameter (2)
15,000-25,000
$24,000-39,000
19,000-32,000
PROVENANCE:
Almost certainly supplied to duc dOrlans, later Louis-Philippe of
France for the Chteau de Neuilly.
Detail of inventory stamp
The Chteau de Neuilly

(Archives municipales de Neuilly-sur-Seine, 3 C 6.2)
These superb ormolu candelabra, which display the Egyptian

motifs so popular in the Empire period, were almost certainly
part of a large commission ordered by the duc dOrlans,
later Louis-Philippe of France (1773-1850) for the Chteau
de Neuilly. The marks LP and N record that these candelabra
were part of the inventory at the chteau.
The Chteau de Neuilly was originally built for Marc Pierre
de Voyer dArgenson, Secretary of State to Louis XV in the
1750s. Early in the 19th Century it belonged to Joachim
Murat, one of Napoleons most distinguished generals and
who subsequently married Napoleons youngest sister
Caroline. When Murat was made King of Naples in 1808,
the Chteau de Neuilly, together with its contents, passed
to his sister-in-law Pauline, Princess Borghese. When Louis-
Philippe acquired the chteau in 1819, he appointed Henri

Antione Jacques as head gardener and commissioned PierreFranois-Lonard Fontaine to enlarge the chteau. During the
revolutions of 1848 the chteau was destroyed.
Other known identical pairs are recorded: a pair sold from
the collections of Baron de Red and of Baron Guy de
Rothschild, Sothebys, Monaco, 26 May 1975, second days
sale, lot 241 and bearing the inventory numbers 12426 and
12427; a pair sold anonymously at Christies, London, 21 May
1996, lot 252 and bearing the inventory numbers 23492 and
23488; and two pairs sold from the Collection of Mr & Mrs
Stephen C. Hilbert, Sothebys, New York, 24 May 2007, lots
21 and 22, and bearing the inventory numbers 23498, 23488
and 23492.
29
n 54
AN ITALIAN GILTWOOD PIER MIRROR
LATE 19TH CENTURY
Carved overall with foliage, with C-scroll cresting and

lions-paw feet
1,500-2,500
$2,400-3,900
1,900-3,200
n 55
AN ITALIAN PARCEL-GILT AND EBONISED
CONSOLE-TABLE
TUSCANY, PROBABLY SECOND HALF 18TH CENTURY
The shaped marbelised top above a rocaille-centred frieze

on square tapering legs joined by an x-shaped stretcher,
redecorated
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
Galleria Antiquaria F. Tuena, Rome, from whom purchased by Principessa
Ismene Chigi Della Rovere.
n 56
A PAIR OF ITALIAN PARCEL-GILT, POLYCHROMEPAINTED AND EBONISED BLACKAMOOR STANDS
Each with moulded circular top, above a kneeling fgure on a

circular plinth, redecorated
20 in. (50.5 cm.) high; 13 in. (33 cm.) diameter
(2)
700-1,000
$1,100-1,600
890-1,300
PROVENANCE:
Galerie Renoncourt, Paris, from whom purchased by Principessa Ismene Chigi
Della Rovere in 1976.
30
57
SIX NORTH INDIAN PAINTINGS
RAJASTHAN, NORTH INDIA,
LATE 18TH/19TH CENTURY AND LATER
Opaque pigments on paper, comprising: two Mewar

portraits of Rajas on horses; a painting of Krishna and Radha
on a boat crossing a river; a painting of Rama, Hanuman and
Lakshmana; a painting of two seated turbaned nobles and a
painting of a noble riding a camel; each individually framed
and glazed
8 x 8 in. (20.3 x 21.3 cm.); 8 x 9 in. (20.3 x 24.1 cm.)
7 x 10 in. (19 x 27.3 cm.)
10 x 7 in. (26.6 x 18.4 cm.)
12 x 9 in. (30.8 cm x 23.9 cm.)
17 x 13 9 in. (43.8 x 34 cm.)
(6)
2,500-4,000
$4,000-6,300
3,200-5,000
n 58
A MOORISH EBONISED FRUITWOOD
BANQUETTE
CIRCA 1890
The shaped splat inlaid with foliate parchment, fanked by

an angular tasselled armrest, on turned legs, with squab
cushion and covered in geometric material
40 in. (101.5 cm.) high; 36 in. (91.5 cm.) wide;
1,000-1,500
$1,600-2,300
1,300-1,900
31
59
A GALLE CAMEO GLASS BLEEDING
HEARTS TABLE LAMP
CIRCA 1910
The yellow and white body overlaid in red and

acid-etched with trailing fowers and leaves, with
bronze mounts and light ftments, signed in cameo
Gall
14 in. (37.8 cm.) high
6,000-8,000
$9,400-13,000
7,600-10,000
59
60
A GALLE CAMEO GLASS TABLE LAMP
CIRCA 1910
The yellow and white body overlaid in brown

and acid-etched with fowers and leaves, bronze
mounts and light ftments, signed in cameo Gall
14 in. (35.5 cm.) high
4,000-6,000
32
$6,300-9,400
5,100-7,600
60
(detail)
61
61
A GALLE GLOBULAR GLASS VASE
CIRCA 1925
The cased glass with dispersed iridescent surface,

deeply marked in intaglio Gall
9 in. (25 cm.) wide; 9 in. (24.2 cm.) high
4,000-6,000
$6,300-9,400
5,100-7,600
62
A GALLE TRIPLE OVERLAY CAMEO GLASS
VASE
CIRCA 1910
Of fattened form with twin handles, overlaid and

acid-etched with gladioli, signed Gall
10 in. (25.7 cm.) high
3,000-5,000
$4,700-7,800
3,800-6,300
62
33
63
A GALLE FIRE POLISHED AND CAMEO
GLASS VASE
CIRCA 1910
Overlaid and acid-etched with stylised poppies

and leaves, signed in cameo Gall and 4
8 in. (20.2 cm.) high
1,000-1,500
$1,600-2,300
1,300-1,900
64
A GALLE DOUBLE OVERLAY AND
WHEEL-CARVED CAMEO GLASS VASE
CIRCA 1900
The small fattened vase with pinched neck,

overlaid, acid-etched and wheel-carved with
magnolia against a martel ground, signed in
cameo Gall
5 in. (13 cm.) high
1,000-1,500
$1,600-2,300
1,300-1,900
65
63
A GALLE DOUBLE OVERLAY CAMEO

GLASS VASE
CIRCA 1900
The compressed form overlaid and acidetched with fruiting branches, signed in cameo
Gall
10 in. (25.4 cm.) wide
1,500-2,000
64
34
$2,400-3,100
1,900-2,500
65
66
A GALLE CAMEO GLASS VASE
CIRCA 1910
The pink and white slender body overlaid and

acid-etched with ferns, signed in cameo Gall
1,000-1,500
$1,600-2,300
1,300-1,900
67
A GALLE CAMEO GLASS LAMP BASE
1904-1906
Overlaid and acid-etched with aquatic foliage,

with bronze ftments, signed in shallow relief
Gall with star preceding
800-1,200
$1,300-1,900
1,100-1,500
68
GLASS VASE
CIRCA 1910
Overlaid and acid-etched with trailing bellshaped fowers and leaves, signed in cameo
Gall
9 in. (22.9 cm.) wide; 4 in. (12.4 cm.) high
1,200-1,800
$1,900-2,800
1,600-2,300
66
67
68
35
69
A LOETZ IRIDESCENT GLASS VASE
CIRCA 1900
With amber spots against and iridescent

splashed ground, signed Loetz Austria; together
with a pair of vases decorated in coloured
enamels and gilt with irises and leaves, and
sinuous stems, unsigned, possibly Legras
7 in. (18.8 cm.) and 11 in. (28 cm.) high (3)
1,000-1,500
$1,600-2,300
1,300-1,900
69
69
70
A MULLER CROISMARE CAMEO
GLASS VASE
CIRCA 1910
70
70
Overlaid and acid-etched with fowers, buds

and leaves, some areas of iridescence, acidetched roundel on base Muller Croismare, Nancy;
together with a pair of Baccarat vases moulded
as grasshoppers supporting the fowerembellished vases on their backs, with frosted,
enamelled and gilt decoration, moulded
Baccarat mark
5 in. (13 cm.) and 8 in. (21.cm) high
(3)
600-800
$940-1,300
760-1,000
71
A BOHEMIAN IRIDESCENT
GLASS VASE
CIRCA 1910
The green glass simulating bark; together

with a another vase with marbled ground; a
pair of cylindrical enamelled vases; and a vase
enamelled with a lakeland landscape, signed
Peynayg (indistinct)
The pair 11 in. (28.9 cm.) max.
(5)
800-1,200
71
36
$1,300-1,900
1,100-1,500
72
73
72
A SCHNEIDER CAMEO GLASS VASE
CIRCA 1920
The mottled glass overlaid and acid-etched with leaves, coloured cane
mark for Schneider
800-1,200
$1,300-1,900
1,100-1,500
73
A LOETZ IRIDESCENT GLASS INKWELL
CIRCA 1900
The clear body decorated with vibrant iridescence, the cover of orange/
red glass decorated with gold iridescence, with brass collar and mounts
6 in. (15.5 cm.) diameter
800-1,200
$1,300-1,900
1,100-1,500
74
AN ART NOUVEAU GLASS AND BRONZE PAON
TABLE LAMP
CIRCA 1900
The opalescent glass shade acid-etched in relief with peacock feathers

painted in enamels, the bronze base with light ftments cast with
peacock feather motifs, the base signed GEO PRINTEMPS and fondeur
Eug.Blot/Paris/Fourpen (indistinct)
18 in. (46 cm.) high; the shade 8 in. (22 cm.) diameter
2,000-3,000
$3,200-4,700
2,600-3,800
74
37
n 75
AN ITALIAN ORMOLU-MOUNTED RED SICILIAN JASPER
COFFEE TABLE
20TH CENTURY, POSSIBLY ROME
The rectangular top with foliate edge, on tapering square legs and lionspaw feet
15,000-25,000
$24,000-39,000
19,000-32,000
PROVENANCE:
Galeria di Castro, Rome, from whom purchased by Principessa Ismene Chigi Della Rovere.
38
39
76
VENETIAN SCHOOL, CIRCA 1775
A set of six watercolours of Ceremonial Gondolas
all inscribed and dated 27 Maggio 1775 in Venezia (lower centre)
pen and ink and watercolour

15 x 21 in. (38.1 x 53.4 cm.); and similar
1,000-1,500
(6)
$1,600-2,300
1,300-1,900
n 77
A PAIR OF NORTH ITALIAN MECCA (GILTVARNISHED SILVERED) FAUTEUILS
CIRCA 1820
Upholstered in Fortuny fabric, the outcurved arms carved

with a swan, on tapering legs
34 in. (86.5 cm.) high; 21 in. (54.5 cm.) wide; 21 in. (55.5
cm.) deep
(2)
1,200-1,800
$1,900-2,800
1,600-2,300
n 78
AN ITALIAN PARCEL-GILT, CREAM-PAINTED,
GRAINED AND BRONZED WALNUT AND SCAGLIOLA
GUERIDON
CIRCA 1820
The circular top inset with a scagliola panel centred by two

classical fgures and a ram, supported by carved ram monopodia
headed by the mask of Hermes, joined by stretchers on a plinth
base and bracket feet
31 in. (80 cm.) high; 18 in. (47 cm.) diameter
5,000-8,000
$7,900-13,000
6,400-10,000
(detail of top)
79
81
AN AUSTRIAN ORMOLU AND ETCHED-GLASS

MIRACLE LAMP
A VIETNAMESE RED AND GILT LACQUER

SQUARE BOX AND COVER
VIENNA, EARLY 19TH CENTURY
19TH CENTURY
With candle snuffer, the candlestick and base embossed with vines;
together with a LOUIS XV-style polychrome-painted tle and ormolu
chamberstick
6 in. (17 cm.) high; 5 in. (14 cm.) square
(2)
Together with a red lacquer foliate box decorated with scrolling foral
motifs
The largest, 10 in. (25.5 cm.) high;21 in. wide (54.2 cm.);
21 in. (54.2 cm.) deep
(2)
800-1,200
500-800
$1,300-1,900
1,100-1,500
$790-1,300
640-1,000
n 80
n~82
A SET OF THREE LOUIS XV BEECH FAUTEUILS
A NEAR PAIR OF ITALIAN BIRDS-EYE MAPLE, EBONY AND

ROSEWOOD MARQUETRY ETAGERES
MID-18TH CENTURY, PROBABLY BY LOUIS DELANOIS
Each channelled frame carved with a foral cresting above a cartouche

shaped padded back and seat covered in green leather, two with faint
stamps, previously decorated
(3)
1,000-1,500
$1,600-2,300
1,300-1,900
PROVENANCE:
Antiquits Masi, Beaulieu-sur-mer, from whom purchased by Principessa Ismene Chigi
Della Rovere in 1975.
ATTRIBUTED TO CHALON AND ESTIENNE, SECOND QUARTER 19TH

CENTURY
Each swivelling, hinged and ratcheted top inset with gilt-tooled tan
leather, with two frieze drawers and a slide, one with castors
30 in. (76 cm.) high; 13 in. (35.5 cm.) wide; 13 in. (35.5 cm.) deep (2)
2,000-3,000
$3,200-4,700
2,600-3,800
41
83
85
A JAPANESE BROWN AND GILT LACQUER HIBACHII
A JAPANESE LACQUER LARGE WASH BOWL
EDO PERIOD, 19TH CENTURY
The top with inset ebonised and brass dish; together with a red and
black lacquer storage box, in the form of a pumpkin, the lid enclosing a
black lacquer interior
7 in. (19.5 cm.) high; 9 in. (23 cm.) square
8 in. (22.5 cm.) high; 10 in. (26.5 cm.) diameter
(2)
Decorated in hiramakie on black lacquer: together with a shaped

cosmetic box, late 17th Century: two octagonal red and black lacquer
dishes: two smaller boxes and a bronze dish
The frst: 7 in. (19.5 cm.) high; 21 in. (53 cm.) diameter
(7)
800-1,200
$1,300-1,900
1,100-1,500
1,000-1,500
$1,600-2,300
1,300-1,900
n 84
n~86
A CHINOISERIE BLACK, GILT AND POLYCHROME

LEATHER FOUR-FOLD SCREEN
A PAIR OF VICTORIAN MOTHER-OF-PEARL INLAID AND

JAPANNED PAPIER-MACHE CHAIRS
LATE 19TH CENTURY
MID-19TH CENTURY
Each panel depicting fgures in a pavilion setting and foliate motifs, the
reverse covered in scaled pink paper
The shaped backs with central foral panel above caned seats; together
with another similar chair
The pair: 32 in. (83 cm.) high
(3)
1,000-1,500
500-800
$1,600-2,300
1,300-1,900
PROVENANCE:
Antichit Trincheri, Rome, from whom purchased by Principessa Ismene Chigi Della
Rovere.
42
$790-1,300
640-1,000
87
A PAIR OF JAPANESE INLAID-BRONZE FIGURES
MEIJI PERIOD, 19TH CENTURY
Depicting Hotei lying on his treasure sack, and Daikoku with

his rice bail, each with a hexagonal stand
(2)
1,200-1,800
$1,900-2,800
1,600-2,300
n 88
A JAPANESE BROWN AND GILT LACQUER HOKKAI
BAKO
Of octagonal form with stand, the lid with reverse decoration,

the interior lined with red and gold paper, decorated with
stylised foliage and peonies, Aoi mon and shells
1,000-1,500
(detail of lid interior)
n 89
A JAPANESE GILT-METAL-MOUNTED DOMED
LACQUER COFFER
THE COFFER 17TH CENTURY, PARTLY LATER JAPANNED IN
EUROPE IN THE 19TH CENTURY, THE STAND LATER
Decorated throughout with shaped panels, those to the lid

and front decorated with birds in landscapes
The chest: 15 in. (39 cm.) high; 31 in. (79 cm.) wide;
The stand: 19 in. (50 cm.) high
3,000-5,000
$4,700-7,800
3,800-6,300
$1,600-2,300
1,300-1,900
90
AN EMILE GALLE (1846-1904) ENAMELLED AND APPLIED
GLASS LILY VASE
CIRCA 1900
Of organic form, enamelled in colours with a butterfy, cherries and

leaves and pendant seed pods, engraved signature Cristallerie Emile Gall
Nancy modle at decor depos
10 in. (27.7 cm.) high
3,000-4,000
$4,700-6,300
3,800-5,000
91
AN EMILE GALLE (1846-1904) ENAMELLED GLASS VASE
CIRCA 1900
Painted in coloured enamels with three dragonfies and fowering leafy

stems, signed E. Gall Nancy
38 in. (9.8 cm.) high
800-1,200
$1,300-1,900
1,100-1,500
92
AN EMILE GALLE (1846-1904) ENAMELLED GLASS SPIDER
VASE
CIRCA 1900
Acid-etched in relief, painted in colours and gilt with a spider in his web,
with berries and leaves, with fne martel detailing on the ground, signed
E. Gall Nancy
7 in. (19 cm.) high
3,000-5,000
$4,700-7,800
3,800-6,300
90
44
91
92
93
AN EMILE GALLE (1846-1904) CUT, ENAMELLED AND
INTERCALAIRE GLASS JAPANESQUE VASE
CIRCA 1900
The smoky glass vessel wheel-carved with a dragon and cut with a mon with
engraved detail, highlighted in enamel and gilt, mounted on a bronze base,
carved on vase E G with a Cross of Lorraine, signed E. Gall Nancy, engraved
Escalier de Cristal
6 in. (15.2 cm,.) high; 71 in. (18 cm.) wide
6,000-10,000
$9,400-16,000
7,600-13,000
94
AN ALMERIC WALTER (1870-1959)
AND HENRI BERGE (1870-1937) PATEDE-VERRE VIDE POCHE
CIRCA 1920
Of shaped outline, decorated in shallow relief

with nasturtiums, signed A. Walter Nancy and H.
Berg SC, (restoration)
12 in. (31.2 cm.) wide
1,000-1,500
$1,600-2,300
1,300-1,900
95
ENAMELLED GLASS BOWL
94
CIRCA 1900
The shaped form acid-etched in relief and

painted in enamels with bleeding hearts and
trailing leaves, engraved Gall Depos, Ges
Gesch
10 in. (26.7 cm.) wide
500-800
$790-1,300
640-1,000
96
ENAMELLED GLASS BEAKER
CIRCA 1890
95
Enamelled en grisaille with a huntsman, hound

and stag, below a red, black and gilt foliate
pattern rim, signed Emile Galle Nancy
42 in. (10.7 cm.) high
400-600
$630-940
510-760
97
A DAUM ENAMELLED GLASS BOX
AND COVER
CIRCA 1895
The textured pink body with slight

opalescence, acid-etched, enamelled and
gilded with fowering branches before sepia
landscapes, signed in gilt Daum Nancy with
Cross of Lorraine
5 in. (14.7 cm.) diam
800-1,200
96
46
97
$1,300-1,900
1,100-1,500
98
99
98
A DAUM ENAMELLED GLASS RAIN VASE
CIRCA 1910
The elliptical form acid-etched in relief with a landscape and driving

rain, painted in enamels, signed in black enamel Daum Nancy with
Cross of Lorraine
8 in. (22 cm.) high
1,500-2,500
$2,400-3,900
1,900-3,200
99
A DAUM CAMEO AND VITRIFIED GLASS VASE
CIRCA 1900
The frosted glass overlaid and acid-etched with tulips covered in

vitrifed powders, signed Daum Nancy with a Cross of Lorraine
12 in. (30.5 cm.) high
3,000-5,000
$4,700-7,800
3,800-6,300
100
A PAIR OF DAUM ENAMELLED GLASS VASES
CIRCA 1890
The opalescent body with bulbous neck painted en grisaille with

coastal landscapes showing windmills, water and boats, one signed
in gilt Daum Nancy with Cross of Lorraine, the other with faint Daum
117 in. (30 cm.) high
(2)
2,000-3,000
$3,200-4,700
2,600-3,800
100
47
101
102
103
A GALLE ENAMELLED CAMEO

GLASS VASE
A GALLE ENAMELLED GLASS

SOLIFLEUR VASE
CIRCA 1900
CIRCA 1900
Overlaid and acid-etched with pendant

branches of small fowers, heightened with
enamels, signed in relief in running hand Gall
9 in. (23 cm.) high
Acid-etched in relief and enamelled in colours

with pendant fowers and leaves, heightened
with gilt, signed in relief in running hand Gall
9 in. (23.2 cm.) high
1,500-2,000
1,000-1,500
CIRCA 1910
Overlaid and acid-etched with trailing vines

and leaves, signed in cameo Gall
800-1,200
48
$1,300-1,900
1,100-1,500
$2,400-3,100
1,900-2,500
$1,600-2,300
1,300-1,900
104
105
106
A TALL GALLE ENAMELLED

GLASS VASE

ENAMELLED GLASS VASE
A GALLE ENAMELLED GLASS VASE
CIRCA 1900
CIRCA 1900
Acid-etched in relief and decorated in

coloured enamels with gourds and trailing
vines, gilt highlights, signed in relief in running
hand Gall
23 in. (59.5 cm.) high
The pale body with opalescence at the

neck, acid-etched in intaglio with thistles and
enamelled in colours with berried branches,
signed E. Gall dpos and a thistle
102 in. (25.8 cm.) high
Acid-etched in relief and decorated in

coloured enamels with fowers and leaves,
heightened with gilt, signed in relief Gall
17 in. (44.5 cm.) high
1,500-2,000
1,500-2,000
$2,400-3,100
1,900-2,500
$2,400-3,100
1,900-2,500
CIRCA 1900
1,200-1,800
$1,900-2,800
1,600-2,300
49
107
108
109
107
108
109
A GALLE ETUDE FIRE-POLISHED

DOUBLE-OVERLAY CAMEO
GLASS VASE
A GALLE ETUDE FIRE-POLISHED

CAMEO GLASS VASE
A GALLE DOUBLE-OVERLAY CAMEO

GLASS VASE
CIRCA 1900
CIRCA 1910
CIRCA 1900
The clear glass overlaid in purple and acidetched with an iris and leaves, fre-polished,
signed Gall Etude
6 in. (15.9 cm.) high
Overlaid and acid-etched with fowers and

leaves; together with a small boat-shaped vase;
a solifeur with fowers; a vase decorated with
ferns; and a vase with purple fower (reduced),
each signed in cameo Gall
The frst 4 in. (12 cm.) high
(5)
Overlaid and acid-etched in shades of pink

with fowers and leaves, signed in cameo Gall
tude (reduced); together with a doubleoverlay example of lozenge form, signed in
cameo Gall (reduced); and a solifeur vase,
signed in cameo Gall with star preceding
(3)
1,000-1,500
50
$1,600-2,300
1,300-1,900
1,000-1,500
$1,600-2,300
1,300-1,900
800-1,200
$1,300-1,900
1,100-1,500
110
GLASS VASE
CIRCA 1910
The fattened globular vase overlaid and acidetched with hydrangea; together with a Gall
cameo glass vase overlaid and acid-etched with
bleeding hearts; and a Gall cameo glass vase
overlaid and acid-etched with rosehips, each
signed in cameo Gall
The frst - 8 in. (22.2 cm.) high
(3)
1,200-1,800
$1,900-2,800
1,600-2,300
110
111
CIRCA 1910
Overlaid in orange and acid-etched with a

fower; together with another overlaid in
purple; and a solifeur vase, all signed in cameo
Gall
(3)
800-1,200
$1,300-1,900
1,100-1,500
111
112
CIRCA 1910
Overlaid and acid-etched with fowers and

leaves; together with a Gall cameo glass
vase overlaid and acid-ected with fowers and
leaves, another decorated with water lilies, and
a double-overlay solifeur vase decorated with
fowers each signed in cameo Gall
(4)
1,000-1,500
$1,600-2,300
1,300-1,900
112
51
113
ROMAIN DE TIRTOFF ERT (1892-1990)
Black and gold stage design with curtain, Paris, 1925
signed Ert (lower right) and studio stamp (on the reverse)
bodycolour
9 x 14 in. ( 24.1 x 35.5 cm.)
700-1,000
$1,100-1,600
890-1,300
PROVENANCE:
with Galerie Proscenium, Paris.
114
Elaborate black and gold interior with tiger rug
signed Ert (lower right)
bodycolour
14 x 21 in. (37.5 x 54.5 cm.)
1,200-1,800
$1,900-2,800
1,600-2,300
PROVENANCE:
115
Hollywood stage design, 1925
signed Ert (lower right) and inscribed and dated and with
studio stamp (on the reverse)
bodycolour
9 x 10 in. (22.8 x 26.7 cm.)
400-600
PROVENANCE:
52
$630-940
510-760
116
116
116
Two beaded costume designs for Dance Madness, MGM
Hollywood, 1925
both signed Ert and with studio stamp (on the reverse)
bodycolour
15 x 11 in. (38 x 28 cm.); and similar
1,500-2,500
(2)
$2,400-3,900
1,900-3,200
PROVENANCE:
both with Grosvenor Gallery, London.
117
Stage design, La Gloire, 1938
signed Ert (lower right) and inscribed with title and studio
stamp (on the reverse)
pencil and bodycolour

14 x 10 in. (35.4 x 26 cm.)
600-800
$940-1,300
760-1,000
PROVENANCE:
117
53
n 118
A PAIR OF JAPANESE GILT-METAL MOUNTED,
BLACK AND GOLD LACQUER KARABITSU
Each with shaped square lid, the interior decorated in

dark brown lacquer, the futed body and tapering legs
decorated with foliate scrolls
(2)
3,000-5,000
$4,700-7,800
3,800-6,300
PROVENANCE:
Perrin Antiquaires, Paris, from whom purchased by Principessa Ismene
Chigi Della Rovere in 1975.
n 119
A PAIR OF JAPANESE GILT-METAL MOUNTED
BLACK AND GOLD LACQUER HASAMIBAKO
EDO PERIOD, LATE 18TH/EARLY 19TH CENTURY
Each decorated overall in Aoi mon and foliate scrolls, with

a gold paper lined interior, the underside of the lids with
shellac, with corner mounts and side handles
18 in. (46.5 cm.) deep
(2)
5,000-8,000
54
$7,900-13,000
6,400-10,000
55
120
VINCENT DE VOS (BELGIAN, 1829-1875)
Circus friends
signed, inscribed and dated V. de Vos./ Cortrai 1869. (lower right)
oil on canvas
41 x 55 in. (105 x 140.5 cm.)
7,000-10,000
56
$11,000-16,000
8,900-13,000
121
A CHINESE BLACK AND GOLD LACQUER
TEA CADDY
19TH CENTURY
The hinged octagonal lid enclosing two white metal caddies

with bone handles and incised lids; together with a pair of
polychrome-decorated and parcel-gilt tole planters
Caddy; 5 in. (14 cm.) high; 11 in. (29 cm.) wide;
8 in. (21 cm.) deep
The planters: 7 in. (19 cm.) high; 7 in. (19.5 cm.) diameter (3)
500-800
$790-1,300
640-1,000
n 122
A PAIR OF ITALIAN PARCEL-GILT AND BRONZED
MAHOGANY TORCHERES
CIRCA 1820
Each with circular white marble top, above a triangular tapering

shaft surmounted by acanthus leaves and tripartite heads, on a
tripod base with hoof feet, a further platform and ball feet
(2)
4,000-6,000
$6,300-9,400
5,100-7,600
PROVENANCE:
Antichita Arturo Ferrante, Rome, from whom purchased by Principessa
Ismene Chigi Della Rovere.
n 123
A CHINESE BLACK AND RED
LACQUER SIDE TABLE
19TH CENTURY
The rectangular top decorated with a lake scene centred by a

pagoda with mountains beyond, above a recessed frieze, on
square-section legs
2,500-4,000
$4,000-6,300
3,200-5,000
n 124
A BISTON 60 SUITCASE AND AN ALZER
ANGLAIS 80 SUITCASE IN MONOGRAM
CANVAS
LOUIS VUITTON, CIRCA 1960
Both composite leather and brass bound, with

handle to top, both with cream lined interior, the
Alzer Anglais 80 with removable tray, the larger
suitcase lock numbered 123503, the interior
label numbered 877446, the smaller suitcase
lock numbered 121364 and the interior label
numbered 876302
The larger suitcase: 10 x 31 x 20 in.
(25.5 x 80 x 52 cm.)
The smaller suitcase: 7 x 24 x 17 in.
(18 x 61 x 43 cm.)
(2)
1,000-1,500
$1,600-2,300
1,300-1,900
n 125
A SET OF FOUR SOFT SIDED SUITCASES
IN MONOGRAM CANVAS
LOUIS VUITTON, SECOND HALF 20TH CENTURY
Each with leather straps and buckles, with cream

lined interiors
10 x 31 x 21 in. (25.5 x 79 x 54.5 cm.)
9 x 27 x 18 in. (24 x 70 x 46.5 cm.)
(4)
1,000-1,500
$1,600-2,300
1,300-1,900
126
A COLLECTION OF SIX MARQUETERIE
DE PAILLE BOTTLES AND BOXES
19TH CENTURY
Comprising three bottles and three containers,

two containers with white enamel handles and
feet
Largest bottle: 13 in. (33 cm.) high
(6)
800-1,200
58
$1,300-1,900
1,100-1,500
127
A COLLECTION OF MARQUETERIE DE
PAILLE OBJECTS
19TH CENTURY
Comprising a card box and six cigar holders

The largest: 11 in. (29 cm.) long
800-1,200
(7)
$1,300-1,900
1,100-1,500
128
PAILLE OBJECTS
19TH CENTURY
Comprising storage boxes of various sizes and

two perfume bottles
The largest: 4 in. (12 cm.) high; 4 in. (11 cm.)
diameter
(12)
800-1,200
$1,300-1,900
1,100-1,500
129
PAILLE BOXES
19TH CENTURY
Decorated in geometric straw work, comprising

various boxes and cardholders
(12)
800-1,200
$1,300-1,900
1,100-1,500
130
A PAIR OF MARQUETERIE DE PAILLE
WORK BOXES
19TH CENTURY
Each with a ftted interior; together with two

straw-work pictures, each depicting an urban
scene, minor losses
The largest box: 2 in. (6 cm.) high;
8 in. (21.5 cm.) wide; 6 in. (15 cm.) deep
Pictures: 6 x 9 in. (15 x 23.5 cm.)
(4)
800-1,200
$1,300-1,900
1,100-1,500
131
A COLLECTION OF JAPANNED PAPIER
MACHE TABLE OBJECTS
Each decorated overall with exotic birds and foliage

and fgures within pavilion and foliate landscapes,
comprising two letter racks, pen trays, and a quantity
of storage boxes
The tallest: 6 in. (16 cm.) high
(24)
1,000-1,500
$1,600-2,300
1,300-1,900
n 132
A NEST OF FIVE POLYCHROME AND BLACK
JAPANNED CORNER OCCASIONAL TABLES
CIRCA 1900
Each with a triangular top and bracket feet, with foliate and
bird decoration
The largest: in. (24 cm.) high; 25 in. (64 cm.) wide;
(5)
800-1,200
$1,300-1,900
1,100-1,500
132
n 133
A NEST OF SIX JAPANESE GILT, POLYCHROME
AND BLACK LACQUER OCCASIONAL TABLES
MEIJI PERIOD, LATE 19TH/EARLY 20TH CENTURY
Each with rounded square top on bracket feet, with foliate,

foral and bird decoration
17 in. (44 cm.) deep, and smaller
(6)
1,200-1,800
$1,900-2,800
1,600-2,300
134-149 No Lots
60
133
61
The Collection of a
Noble Genoese Family
Lots 150-248
The following collection of furniture, works of art, Old Master paintings, silver and European porcelain has been
removed from the palazzo apartment of a Noble Genoese family, who assembled it during the 20th century with
the help of one of Italys most renowned antique dealers, Pietro Accorsi (1891-1982). Many pieces in the collection
bear his trademark label, with the address of his shop via Po.55, Torino.
Accorsi was well respected within the European art world, both as advisor and dealer to numerous prestigious
collectors and institutions, and was a key negotiator in the preservation of many important Italian collections during
the 20th Century. Upon his death in 1982 he bequeathed his personal collection to the city of Turin, which forms the
citys decorative arts museum, Fondazione Accorsi-Ometto.
As a result of Accorsis passion for the decorative arts of his region, and his in-depth knowledge of its distinct
identities, it is not surprising to fnd that he helped source predominantly Genoese pieces for this collection. Due to
its close proximity to France, Genoese craftsmen were particularly infuenced by their counterparts in Paris; therefore
Genoese pieces were often veneered in exotic woods such as tulipwood, kingwood and rosewood and adhered
closely to the rococo and later neoclassical principles of the Louis XV and XVI periods. Furthermore, as the city was
a thriving port, craftsmen were able to source these exotic timbers with relative ease. Amongst the highlights of the
collection are two ormolu-mounted kingwood bureaux plat or diplomatica (lots 170 and 221), clearly infuenced by
fashionable Louis XV examples of the time.
A mia cara Lella
La seguente serie di mobili, opere darte, dipinti, argenteria e porcellana europea, proviene dal palazzo di una
familia di nobili genovesi. Durante la maggiore parte del XX secolo, questa famiglia ha riunito una straordinaria
collezione grazie allaiuto di uno dei pi famosi e stimati antiquari, Pietro Accorsi (1891-1982). Numerosi elementi
di questa collezione portano ancora limpronta del negozio, via Po.55, Torino.
Molto rispettato nel mondo dell arte internazionale, Accorsi, antiquario e consulente di prestigiosi collezionisti e
istituzioni, fu anche strumentale nel recupero di opere darte smembrate e disperse. Alla sua morte nel 1982, lintera
collezione stata donata alla Fondazione Pietro Accorsi. Accanto alla Fondazione, stato aperto lomonimo Museo
delle arti decorative - Fondazione Pietro Accorsi.
La sua passione per le arti decorative, la sua conoscenza della regione e delle sue specifcit spiegano la parte
importante di mobilio genovese incluso in questa collezione. A causa della prossimit con la Francia, gli artigiani
genovesi erano particolarmente infuenzati dai loro colleghi parigini. Pertanto gli arredi genovesi sono spesso
impiallacciati con legni esotici come il palissandro, legno violetto e legno rosa e aderiscono allo stile rococ e,
pi tardi, al neoclassico. Inoltre, nella citt di Genova essendo un porto forente, gli artigiani erano in grado di
reperire questi legnami facilmente. Tra I pi importanti elementi di questa collezione si possono notare due bureau
plat o scrivanie diplomatiche con applicazioni in bronzo dorato (lots 170 and 221),i loro disegni sono sicuramente
infuenzati dai modelli di Luigi XV.
A mia cara Lella
(detail of mark)
150
152
A SAVONA MAIOLICA CHARGER
A PAIR OF CONTINENTAL FAIENCE LETTER RACKS
LATE 17TH CENTURY, PAINTED MARK
MID-18TH CENTURY, PROBABLY ALCORA
Painted in green, yellow and blue, the centre depicting antelope in a

wooded landscape, the reverse with a blue painted border
16 in. (42 cm.) diameter
Each with a central divider, decorated overall with in coloured foliate

scolls, on protruding feet, losses
7 in. (17.7 cm.) high; 10 in. (25.5 cm.) wide; 7 in. (19 cm.) deep
7 in. (18.5 cm.) high; 8 in. (21 cm.) wide; 7 in. (18 cm.) wide
(2)
2,000-3,000
$3,200-4,700
2,600-3,800
1,000-1,500
$1,600-2,300
1,300-1,900
151
153
A PAIR OF SAVONA MAIOLICA BLUE AND WHITE BOTTLES
A SET OF EIGHT MOUSTIERS (OLERYS-LAUGIER)

FAIENCE PLATES
EARLY 18TH CENTURY, BLUE PAINTED SHIELD AND B.A. MARKS
Each painted with putti in a landscape, with a central crest

11 in. (30 cm.) high;
2,000-3,000
64
MID-18TH CENTURY, OCHRE PAINTED MARKS
(2)
$3,200-4,700
2,600-3,800
Painted with fgures, mythical beasts, birds and foliage below a shaped
rim
(8)
2,500-4,000
$4,000-6,300
3,200-5,000
154
156
A SET OF FOUR NORTH ITALIAN FAIENCE DISHES
A MEISSEN GROUP OF THE EDUCATION OF CUPID
THIRD QUARTER 18TH CENTURY, POSSIBLY LE NOVE (PASQUALE

ANTONIBON)
LATE 19TH CENTURY, BLUE CROSSED SWORDS MARK, INCISED MODEL

NO. F74, PRESSNUMMER 73
Painted in polychrome with loose bouquets and fower sprays below a

shaped rim
(4)
Modelled with cupid reading from an open book, a lady behind, above
three ladies and two girls, on a rocky mound base, surmounted on a
carved giltwood stand, label to underneath BENEDETTO BOUVIER
1,200-1,800
$1,900-2,800
1,600-2,300
1,200-1,800
$1,900-2,800
1,600-2,300
155
157
A CASTELLI MAIOLICA PIERCED ARMORIAL FOOTED DISH
A CASTELLI MAIOLICA PLAQUE
The centre painted with a coat-of-arms and inscribed with initials .G.
and .R., the border pierced with lozenges and ovals linked by simulated
chain, below a cogwheel-pattern rim
12 in. (30.5 cm.) wide
Painted with the Triumph of Neptune and Amphitrite, within a carved

gitwood frame,
5 x 8 in. (14 x 21 cm.)
1,500-2,000
$2,400-3,100
1,900-2,500
COMPARATIVE LITERATURE
For a pierced dish (catalogued as an alzata) of the same form and attributed to Castelli,
see Vincenzo de Pompeis (Ed.), Maioliche di Castelli nella Collezione Acerbo in Loreto
Aprution Pescara (2001, Pescara), p. 40, no. OA-46.
1,500-2,500
$2,400-3,900
1,900-3,200
65
n 158
A NORTH ITALIAN GILTWOOD MIRROR
PIEDMONT, 19TH CENTURY
The high foliate and rocaille carved pierced cresting above a rectangular
plate, the foliate frame inset with mirror-panels on scrolling rocaille feet,
central plate damaged
2,000-3,000
$3,200-4,700
2,600-3,800
159
A LOUIS XV ORMOLU-MOUNTED AND MEISSEN
PORCELAIN POCKET WATCH HOLDER
MID-18TH CENTURY
The Meissen putto fgure with academic scroll, fanked by coloured

fowerheads; together with a pair of ormolu and white-marble
candlesticks, late 19th century, each with cast candle branch in a classical
urn, on an anthemion mounted circular base
Pocket watch holder: 10 in. (25 cm.) high;
Candlesticks: 11 in. (28 cm.) high; 4 in. (11 cm.) diameter
(3)
500-800
$790-1,300
640-1,000
n 160
A NORTH ITALIAN KINGWOOD, AMARANTH AND
FRUITWOOD MARQUETRY GAMES TABLE
EARLY 19TH CENTURY
The hinged rectangular fold-over top with a blue baise-lined interior, on

tapering square legs
30 in. (76 cm.) high; 32 in. (82 cm.) wide; 16 in. (41.5 cm.) deep
2,000-3,000
66
$3,200-4,700
2,600-3,800
161
A FRENCH ORMOLU-MOUNTED, WHITE AND
GREY MARBLE MANTEL CLOCK
HENRY DASSON, THE DIAL SIGNED BASTET, THIRD QUARTER
19TH CENTURY
The drum case surmounted by an oval plaque cast with the

profle of Marie Antoinette, the enamel dial with blue and gilt
highlights, Roman hours and Arabic minutes, signed HENRY
DASSON and BASTET, the twin barrel movement with Brocot
escapement and rack striking to bell, the back plate with Marti
trade stamp; with pendulum
5 in. (14 cm.) deep
3,000-5,000
$4,700-7,800
3,800-6,300
n 162
A NORTH ITALIAN PARCEL-GILT AND
GREEN-PAINTED MIRROR
PROBABLY GENOA, 18TH CENTURY
The moulded top above a carved relief plaque centred by a

mask, swags and ribbons, the divided rectangular plate fanked
to either side by foliate stiles headed by paterae
71 in. (180.5 cm.) high; 41.5 in. (105.5 cm.) wide
2,000-3,000
$3,200-4,700
2,600-3,800
n 163
A NORTH ITALIAN PARCEL-GILT AND
GREEN-PAINTED CONSOLE TABLE
PROBABLY GENOA, 18TH CENTURY
The rectangular Brche Violette marble top, above a foliate and

scroll-carved frieze, on turned futed tapering legs
20 in. (52.5 cm.) deep
2,000-3,000
$3,200-4,700
2,600-3,800
164
A PAIR OF FRENCH ORMOLU THREE-LIGHT
WALL-LIGHTS
19TH CENTURY, OF LOUIS XVI-STYLE,
AFTER THE MODEL BY JEAN-CHARLES DELAFOSSE
With rams mask-mounted stop-futed stems issuing

scrolling branches
(2)
2,500-4,000
$4,000-6,300
3,200-5,000
165
n 166
A LOUIS-PHILIPPE ORMOLU-MOUNTED
WHITE MARBLE URN
A FINE KIRMAN CARPET
approx: 12ft.11in. x 10ft.11in.(394cm. x 332cm.)
With bacchic mask and branch handles, hung with vine

leaf swags, the interior with a lead liner, restorations
1,500-2,500
1,500-2,500
$2,400-3,900
1,900-3,200
SOUTH PERSIA, CIRCA 1900
$2,400-3,900
1,900-3,200
n 167
A PAIR OF NORTH ITALIAN PARCEL-GILT
AND GREEN-PAINTED CONSOLE TABLES
GENOA, THIRD QUARTER 18TH CENTURY, APPARENTLY
ADAPTED FROM A LARGER TABLE
Each rectangular alabastro forito top above a paterae

and foliate carved frieze, centred by a plaque
depicting two nymphs, on turned tapering futed legs
35 in. (89 cm.) high; 61 in. 9157 cm.) wide;
14 in. (35.5 cm.) deep
(2)
6,000-10,000
$9,400-16,000
7,600-13,000
69
168
169
ATTRIBUTED TO THE MASTER OF THE LANGMATT

FOUNDATION VIEWS, APOLLONIO DOMENICHINI?
(ACTIVE VENICE C. 1740-1770)
CIRCLE OF ALESSIO DE MARCHIS

(NAPLES 1684-1752 PERUGIA)
An architectural capriccio with fgures on a shore and fgures on a ferry,

shipping beyond
oil on canvas
21 x 27 in. (53.4 x 70.8 cm.)
6,000-8,000
70
A wooded river landscape with travellers on a path, cottages beyond

oil on canvas
19 x 26 in. (50.2 x 66 cm.)
3,000-5,000
$9,400-13,000
7,600-10,000
$4,700-7,800
3,800-6,300
n 170
A NORTH ITALIAN ORMOLU-MOUNTED TULIPWOOD-BANDED AND
KINGWOOD BUREAU PLAT
GENOA, MID-18TH CENTURY
The shaped top inset with leather, above three frieze drawers, opposing false drawers on slender
cabriole legs, some sabots replaced
20,000-30,000
$32,000-47,000
26,000-38,000
This desks sinuous curved form and pierced angle mounts are characteristic of Genoese furniture produced in the mid18th century, and emblematic of the infuence of French design given Genoas vicinity to France. The Genoese version
of the Bureau Plat or diplomatica was executed with Rosewood and either tulipwood, kingwood or rich walnut. A
related Bureau Plat is illustrated in L.Caumont Caimi, LEbanisteria Genovese del Settecento, Parma, 1995, p.100, fg.43.
A similar example of this form was sold Christies, New York, 22 November 2011, lot 41.
n 171
AN ITALIAN EBONISED AND GILTWOOD MIRROR
19TH CENTURY, INCORPORATING EARLIER ELEMENTS
The rectangular plate within a foliate-carved and moulded frame,

surrounded by pierced foliate, classical fgure and mythical beast carved
elements, losses
1,000-1,500
$1,600-2,300
1,300-1,900
172
A FRENCH ORMOLU AND WHITE MARBLE MANTEL
CLOCK
LEROY, PARIS, EARLY 19TH CENTURY
The drum case surmounted by an urn, with female herm and futed
column supports, on a plinth base, the white enamel dial with Roman
hours, signed Leroy Paris, the twin barrel movement with recoil
anchor escapement, silk suspension and count wheel strike to bell; with
starburst pendulum
1,200-1,800
$1,900-2,800
1,600-2,300
n 173
A KIRMANSHAH CARPET
WEST PERSIA, CIRCA 1900
approx: 14ft.11in. x 9ft.7in.(455cm. x 291cm.)

1,500-2,000
$2,400-3,100
1,900-2,500
n~174
A NORTH ITALIAN ROSEWOOD, TULIPWOOD AND
PARQUETRY TABLE CHIFFONIERE
LATE 18TH CENTURY
The rectangular top above three drawers, on tapering square legs joined
by an undertier
600-1,000
$940-1,600
760-1,300
n 175
A PAIR OF NORTH ITALIAN MECCA (GILT-VARNISHED
SILVERED) EIGHT-LIGHT CHANDELIERS
Fitted for electricity

29 in. (75 cm.) high; 28 in. (72.5 cm.) diameter
1,000-1,500
(2)
$1,600-2,300
1,300-1,900
n~176
A NORTH ITALIAN ROSEWOOD, TULIPWOOD AND
MARQUETRY CENTRE TABLE
PROBABLY LOMBARDY, LATE 18TH/EARLY 19TH CENTURY
The circular top with inset jasper, the frieze decorated with scrolls,
foliage and urns, on tapering square legs
2,000-3,000
$3,200-4,700
2,600-3,800
n 177
A NEAR SET OF TEN NORTH ITALIAN
WALNUT DINING-CHAIRS
Each with a cartouche-shaped back and

pierced splat, the drop-in seat covered in
pink foral fabric, on cabriole legs, four chairs
stamped to the back with initials D.T.V.G.
22 in. (56.5 cm.) deep
(10)
1,500-2,500
$2,400-3,900
1,900-3,200
178
ATTRIBUTED TO GIUSEPPE LAVAGNA (NAPLES C. 1684-1723)
Roses, parrot-tulips and other fowers in a sculpted urn with morning glories on an upturned
earthenware vase in a landscape; and Parrot tulips, roses, and other fowers in a sculpted vase beside
a fountain in a landscape
oil on canvas
18 x 14 in. (48 x 35.6 cm.)
4,000-6,000
74
A pair (2)
$6,300-9,400
5,100-7,600
n 179
A NORTH ITALIAN TULIPWOOD, AMARANTH, AND FRUITWOOD
MARQUETRY DEMI-LUNE COMMODE
CIRCA 1780, IN THE MANNER OF IGNAZIO RAVELLI
The onyx top above a central panel inlaid with a capriccio centred by an obelisk, within
a foliate border, fanked by a pair of urn-inlaid doors on husk-decorated tapering square
legs with foliate ormolu sabots, paper label inscribed 57 to underside, minor losses to top
10,000-15,000
$16,000-23,000
13,000-19,000
This elegant commode is closely related to the work of Ignazio Ravelli (1756-1836). Ravelli came from
Vercelli, in the north west of Italy. Ravelli specialised in inlaid furniture and was renowned for the high
quality of his marquetry; and as a cabinet-maker his signature piece was the demi-lune commode. Ravellis
career started with him copying the decoration of the Renaissance choir stalls in the church of S. Andrea
in Vercelli, having noted that King Vittorio Amedeo III was particularly impressed by them. From about
1780 Ravelli, was assisted and followed by his son Luigi, who specialised in architectural fantasies or
what he called perspectives, which he either incorporated into pieces of furniture or sold individually as
pictures in wood. His unique visions, which were built on architectural scenes infuenced by the engravings
by Giovanni Battista Piranesi (1720-1778) and Vincenzo Mazzi (1748-1790), earned him the patronage of
the court at Turin and a royal pension granted to him by Vittorio Emanuele III, King of Sardinia, in 1791.
75
n 180
182
A PAIR OF FRENCH THREE-FOLD SCREENS
A LOUIS XVI ORMOLU-MOUNTED WHITE AND GREY

MARBLE STRIKING MANTEL CLOCK
THE HAND-COLOURED ENGRAVINGS LATE 18TH CENTURY
Each illustrating the six arts, la musique, la danse, lagriculture,

larchitecture, la peinture, and lastronomie, with paper label
ACCORSI PIETRO - ANTICHITA/ VIA PO. 55/TORINO and inscribed
2822/aoo
61 in. (155.5 cm.) high; 64 in. (162.5 cm.) wide
(2)
1,000-1,500
$1,600-2,300
1,300-1,900
PROVENANCE:
With Pietro Accorsi, Turin.
DELIAU, PARIS, LATE 18TH CENTURY
The drum case surmounted by a putto and a classical female fgure,

with label ACCORSI PIETRO-ANTICHITA/VIA PO. 55/ TORINO, the white
enamel dial with Arabic hours and quarters, with pierced gilt brass
hands, and signed Dliau, the twin barrel movement with later Brocot
escapement and count wheel strike to bell; with pendulum
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
n 181
A SOUTH ITALIAN FRUITWOOD-INLAID KINGWOOD
COMMODINO
SICILY, LATE 18TH CENTURY
The shaped rectangular green marble top, above two drawers, on

tapering square legs with brass caps; together with an Italian walnut
serpentine comodino, mid-18th century, with a slide and drawer
34 in. (87.5 cm.) high; 21 in. (54 cm.) wide; 11 in. (29 cm.) deep
27 in. (70.5 cm.) high; 20 in. (51 cm.) wide; 13 in. (34 cm.) deep (2)
1,500-2,500
$2,400-3,900
1,900-3,200
n~183
AN ITALIAN ROSEWOOD, TULIPWOOD, AMARANTH AND
MARQUETRY SECRETAIRE A ABBATANT
The rectangular top above a frieze drawer and fallfront enclosing an

adjustable glass shelf, with three drawers and block feet
700-1,000
$1,100-1,600
890-1,300
n 184
A NORTH ITALIAN KINGWOOD, TULIPWOOD,
AMARANTH AND FRUITWOOD MARQUETRY
CENTRE TABLE
LOMBARDY, CIRCA 1800, IN THE MANNER OF GIUSEPPE
MAGGIOLINI
The circular top inlaid with foliage, eagles, classical fgures and
lion heads, above four frieze drawers with mask handles, on
tapering canted square legs and brass caps, one drawer labelled
ACCORSI PIETRO-ANTICHITA.VIA PO.55./TORINO/2994
5,000-8,000
$7,900-13,000
6,400-10,000
PROVENANCE:
n 185
A NORTH ITALIAN FRUITWOOD-INLAID
AMARANTH BONHEUR DU JOUR
GENOA, LATE 18TH CENTURY
The later grey-veined white marble top, above a

tambour enclosing a ftted interior, three short drawers
and a hinged writing surface, the lower section with two
short and three long drawers, indistinct paper label to the
top MERCI A G.V... and circular paper label to top right
drawer ACCORSI PIETRO - ANTICHITA/ TORINO
VIA PO, 55/ opuz vaaq
3,000-5,000
PROVENANCE:
$4,700-7,800
3,800-6,300
n 186
AN ITALIAN GILTWOOD MIRROR
EARLY 19TH CENTURY
The lappeted cornice above divided plates

mounted with rosettes, paper label to the
reverse inscribed Sig. Alborno [?] Domenico/
Piazza Vittorio Emanuele a Racconigi and with
printed label ACCORSI PIETRO - ANTICHITA/
VIA PO 55/ TORINO inscribed 311
1,500-2,500
$2,400-3,900
1,900-3,200
PROVENANCE:
Sig. Alborno [?] Domenico, Piazza Vittorio Emanuele a
Racconigi (according to paper label).
With Pietro Accorsi, Turin (according to paper label).
n 187
A NORTH ITALIAN ORMOLUMOUNTED TULIPWOOD, FRUITWOOD
AND PARQUETRY COMMODE
LATE 18TH CENTURY
The canted rectangular Verde Antico top,

above a frieze drawer and two long drawers, on
tapering turned feet and futed caps, inscribed in
blue chalk to the underneath of the marble and
reverse Casa Daragona[?]
5,000-8,000
78
$7,900-13,000
6,400-10,000
n 188
A PAIR OF ITALIAN REVERSE GLASS PAINTINGS
LATE 18TH CENTURY
One depicting the Judgement of Solomon, the other another Old

Testament scene, in parcel-gilt and cream-painted wood frames
with ribbon tie cresting
27 x 25 in. (69 x 63.5 cm.) including frames
(2)
2,500-3,500
n 189
$4,000-5,500
3,200-4,400
A NORTH ITALIAN PARCEL-GILT, GREEN AND

WHITE-PAINTED CANAPE
CIRCA 1780
The channelled frame with downswept scroll arm terminals, on

tapering futed legs headed by patera, with two squab cushions
and recovered in green and white striped silk
2,000-3,000
n 190
$3,200-4,700
2,600-3,800
A SET OF SIX NORTH ITALIAN PARCEL-GILT AND

PALE GREY-PAINTED FAUTEUILS
PIEDMONTESE, LATE 18TH CENTURY
The frames carved throughout with guilloche, each with oval padded
back and stuff-over seat on turned stop-futed tapering legs, covered
in green and cream striped silk, decoration probably refreshed
(6)
5,000-8,000
$7,900-13,000
6,400-10,000
191
TWO PAIRS OF FRENCH ORMOLU
CASSOLETTES
19TH CENTURY, OF LOUIS XVI STYLE
One pair with cast rams heads to either

side; the other pair with pinecone fnials and
serpent handles and masks to either side
The larger pair: 10 in. (25.5 cm.) high;
The smaller pair: 8 in. (20.5 cm.) high
(4)
1,000-1,500
$1,600-2,300
1,300-1,900
192
A SWISS ORMOLU GRANDESONNERIE PENDULE DOFFICIER
COURVOISIER & COMPAGNIE, CIRCA 1820-30
The case applied with ribbon-tied laurel

wreaths, lyres and a pair of horns, on paw feet,
the dial with Arabic hours, alarm hand, signed
Courvoisier & Compe, the movement with
lever escapement, pull-wind alarm, quarterstriking on two bells, trip repeat to side,
selection lever to base for Grande sonnerie,
Petite Sonnerie and Silence
4 in. (10 cm.) deep
1,000-1,500
$1,600-2,300
1,300-1,900
193
A PAIR OF LOUIS XVI ORMOLU
CHENETS
CIRCA 1775
Each with a futed faming urn, above a laurel

swag, fanked to one side by a pinecone fnial
6 in. (16 cm.) deep
(2)
4,000-6,000
A pair of Louis XVI chenets of this model is at the palais de Fontainebleau,

and was probably originally in the salon of cardinal Fesch. These chenets
were almost certainly among the purchases of 1804, when several feux
vases were acquired from the bronzier Andr-Antoine Ravrio (17591814), but also from other, lesser known marchands such as Legendre and
Rouyer. (J.P. Samoyault, Pendules et bronzes dameublement entrs sous le
Premier Empire, Paris, 1989, p. 214, fg. 199).
$6,300-9,400
5,100-7,600
194
195
194
NEAPOLITAN SCHOOL, 18TH CENTURY
An Allegory of Music
oil on copper, oval
6 x 4 in. (15 x 12.5 cm.)
800-1,200
$1,300-1,900
1,100-1,500
195
CIRCLE OF FEDELE FISCHETTI (NAPLES 1734-1789)
An Allegory of Spring
oil on copper, tondo
6 x 6 in. (16.2 x 15.8 cm.)
1,000-1,500
$1,600-2,300
1,300-1,900
196
ITALIAN SCHOOL, 19TH CENTURY
Venus asleep with Putti in a landscape
oil on panel
19 x 12 in. (35 x 30.5 cm.)
1,000-1,500
$1,600-2,300
1,300-1,900
197
CIRCLE OF BERNHARD KEIL, CALLED MONS
BERNARDO (HELSINGR 1624-1687 ROME)
A young boy with a bird
oil on canvas
24 x 19 in. (62.2 x 49.5 cm.)
800-1,200
198 No Lot
$1,300-1,900
1,100-1,500
n 199
200
A PAIR OF NORTH ITALIAN GILTWOOD FAUTEUILS
A PAIR OF FRENCH ORMOLU CHENETS
PROBABLY GENOA, CIRCA 1760-70
19TH CENTURY, OF LOUIS XVI STYLE,

AFTER THE MODEL BY QUENTIN-CLAUDE PITOIN
Each moulded rectangular frame centred by a shell, the outcurved arms

terminating in scroll ends, on tapering reeded legs and turned feet, with
padded back and drop-in seat covered in rose damask
43 in. (109 in. ) high; 27 in. (70 cm.) wide; 23 in. (58 cm.) deep
(2)
2,500-4,000
$4,000-6,300
3,200-5,000
Each with mask handles issuing laurel-garlands mounted on an entrelac

plinth centred by an oval profle medallion of the profle of a Roman
Emperor, both stamped n. 28
(2)
5,000-8,000
COMPARATIVE LITERATURE:
H. Ottomeyer & P. Prschel, Vergoldete Bronzen, Munich,
1986, vol.1, p.231, fg. 4.1.15.
P. Venet, Les Bronzes Dore du XVIII sicle, Paris, 1999, p.
202, fg. 231.
$7,900-13,000
6,400-10,000
201
202
203
n 201
n 202
n 203
A PAIR OF LOUIS XVI POLYCHROMEPAINTED CANED CANAPES
A PAIR OF LOUIS XVI POLYCHROMEPAINTED CANED LARGE CANAPES
A PAIR OF LOUIS XVI POLYCHROMEPAINTED CANED CANAPES
BY JACQUES CHENEAUX, LATE 18TH CENTURY
Each twice stamped I CHENEAUX to the

underside, redecorated
(2)

underside, redecorated, the lower part of one
rear leg lacking to one sofa
(2)

underside, redecorated
(2)
6,000-10,000
$9,400-16,000
7,600-13,000
6,000-10,000
$9,400-16,000
7,600-13,000
6,000-10,000
$9,400-16,000
7,600-13,000
n 204
TWO PAIRS OF NORTH ITALIAN GREY-PAINTED
AND GILTWOOD GIRANDOLE MIRRORS
PROBABLY GENOA, LATE 18TH/EARLY 19TH CENTURY
Each with ribbon crest above a shaped rectangular bevelled

plate, one pair etched with a classical fgure and tle painted
candle branches, one mirror with printed label ACCORSI
PIETRO - ANTICHITA/VIA PO, 55/TORINO and indistinctly
inscribed, losses
36 in. (93.5 cm.) high; 21 in. (53.5 cm.) wide
(4)
2,000-3,000
$3,200-4,700
2,600-3,800
PROVENANCE:
205
A CHARLES X ORMOLU-MOUNTED, WHITE AND
BLACK MARBLE PENDULE AUX PORTIQUES
CIRCA 1820
The drum case surmounted by a fowering basket, fanked by

anthemions on pilaster supports, the white enamel dial with
Roman hours and Arabic quarters, the twin barrel movement
with recoil anchor escapement, silk suspension and count
wheel strike to bell; with sunburst pendulum
3 in. (8 cm.) deep
700-1,000
$1,100-1,600
890-1,300
n 206
A PAIR OF ITALIAN WHITE-PAINTED AND
PARCEL-GILT X-FRAME STOOLS
FIRST QUARTER 19TH CENTURY
Each with a foral pattern drop-in seat

19 in. (48 cm.) high; 24 in. (62 cm.) wide; 19 in. (49 cm.)
deep and similar
(2)
1,500-2,500
$2,400-3,900
1,900-3,200
n 207
A NORTH ITALIAN WALNUT CENTRE TABLE
SECOND HALF 18TH CENTURY
The rectangular top above a frieze drawer, on baluster legs

joined by a shaped stretcher with central fnial
31 in. (80.5 cm.) deep
800-1,200
$1,300-1,900
1,100-1,500
208
ATTRUIBUTED TO GIUSEPPE BACIGALUPO
(PIAN DEI PRETI 1744 - 1821 GENOA)
An Italianate river landscape with fgures playing bocce amongst ancient
ruins, hills beyond
oil on canvas
29 x 39 in. (75 x 100 cm.)
10,000-15,000
$16,000-23,000
13,000-19,000
85
209
209
Parrot tulips, roses, lilies of the valley in a sculpted urn on a ledge beside a
column; and Parrot tulips, roses, tulips in a sculpted urn beside a broken
column, a colonnade beyond
oil on canvas, unframed
19 x 37 in. (50.2 x 94 cm.)
2,500-3,500
a pair (2)
$4,000-5,500
3,200-4,400
210
FOLLOWER OF GASPARE LPEZ,
CALLED GASPARO DEI FIORI
Roses, narcissi, lilies of the valley and other fowers by a blue and white
porcelain plate, lilies of the valley, narcissi and other fowers in a wicker
basket beside an earthenware vase on a ledge; and Roses, narcissi, lilies
of the valley and other fowers with an earthenware urn and a blue and
white porcelain vase
oil on canvas
13 x 16 in. (33 x 42.5 cm.)
3,000-5,000
210
a pair (2)
$4,700-7,800
3,800-6,300
211
ATTRIBUTED TO GENNARO GRECO, CALLED IL MASCACOTTA
(NAPLES 1663-1714)
An Italianate coastal landscape with fgures by classical ruins, a harbour beyond;
and An Italianate coastal landscape with fgures by a colonnade and a harbour
oil on canvas
19 x 30 in. (50.2 x 78.2 cm.)
6,000-8,000
a pair (2)
$9,400-13,000
7,600-10,000
87
n 212
A NORTH ITALIAN GILT-METAL AND GILTWOOD
CORNER WALL-LIGHT
With a three-light candelabra, the pierced foliate and S-scroll carved

frame surmounted by a foral crest, losses;
together with a North Italian corner wall-light, 18th century, losses
39 in. (99 cm.) high; 17 in. (45 cm.) wide; 11 in. (29 cm.) deep;
and similar
(2)
2,000-3,000
$3,200-4,700
2,600-3,800
213
A LOUIS XVI ORMOLU CARTEL TIMEPIECE WITH ALARM
LOUIS GORET, PARIS, CIRCA 1770
The case surmounted by an urn and hung with laurel garlands, the white
enamel dial with Roman hours and Arabic fve minutes, signed Louis
Goret/ A PARIS, the timepiece movement with verge balance wheel
escapement, chain fusee, alarm and pull quarter repeat, the back plate
also signed
2,000-3,000
$3,200-4,700
2,600-3,800
n 214
A NORTH ITALIAN GILTWOOD CORNER CONSOLE TABLE
GENOA, CIRCA 1750
The shaped marble top, above a moulded serpentine-shaped freize, with

tapering pierced rocaille, C-scroll and foliate carved frame
1,000-1,500
88
$1,600-2,300
1,300-1,900
215
n 216
FRENCH SCHOOL, 18TH CENTURY
A PAIR OF NORTH ITALIAN GILTWOOD

GIRANDOLE MIRRORS
Portrait of a gentleman in a blue jacket and ruff ;and His wife in a blue
and white bodice, a rose in her hair
pastel
22 x 17 in. (57.1 x 44.5 cm.);
and 22 x 17 in. (57.8 x 45 cm.)
2,000-3,000
(2)
$3,200-4,700
2,600-3,800
LATE 18TH/EARLY19TH CENTURY
Each octagonal plate within a moulded frame surmounted by a foliate

scroll and swag crest, above an acanthus leaf apron, losses
(2)
1,000-1,500
$1,600-2,300
1,300-1,900
89
217
219
AN ITALIAN SILVER LIBRARY LAMP, LAMPADA
AN ITALIAN ROCOCO SILVER LIBRARY LAMP, LAMPADA
MARK OF ANTONIO MAGRINO,

ASSAY MASTERS MARK OF CARLO MICHA, TURIN, CIRCA 1775
GENOA, CIRCA 1765
The reservoir with three lights, the oval mounted glass refector on scroll
support, broad shaped circular foot with sunken centre and four fttings
dependent, including a pair of snuffers and a bell-shaped extinguisher,
wired at a later date for electricity
28 in. (72.1 cm.) high
Gross weight 70 oz. (2177 gm.)

3,000-4,000
The glass reservoir with three lights, the green glass refector of
asymmetrical form, and with four fttings dependent, comprising a pair
of snuffers, a bell-shaped extinguisher, a pair of tweezers and a twopronged spike
31 in. (79.1 cm.) high
3,000-4,000
$4,700-6,300
3,800-5,000
$4,700-6,300
3,800-5,000
218
220
AN ITALIAN SILVER ALTAR CANDLESTICK
A FRENCH SILVER-PLATED SURTOUT-DE -TABLE
MAKERS MARK ONLY OF HR CONJOINED, ITALIAN,

PROBABLY 18TH CENTURY
MARK OF CHRISTOFLE, PARIS, EARLY 20TH CENTURY
The triform base terminating in scroll feet and chased with cartouches
on a fsh scale ground, with lamp shade, later ftted for electricity
34 in. (87 cm.) high, overall
500-700
$790-1,100
640-880
Formed of two mirrored end-sections, each on four foliate scroll feet,

numbered 1889545 and 1889546 respectively
2 in. (5.5 cm.) high; 30 in. (78 cm.) long; 20 (52.5 cm.) deep
(2)
500-800
$790-1,300
640-1,000
n~221
A NORTH ITALIAN ORMOLU-MOUNTED ROSEWOOD
AND WALNUT BUREAU PLAT
The shaped crossbanded rectangular top with inset black leather writing surface, above three
frieze drawers to one side, the pierce scrolled mounts on cabriole legs and sabot feet
10,000-15,000
$16,000-23,000
13,000-19,000
91
n 222
224
A LOUIS XVI GREEN-PAINTED AND GILTWOOD MIRROR
AN ITALIAN SILVERED THREAD MONSTRANCE
THIRD QUARTER 18TH CENTURY, REDECORATED
LATE 17TH CENTURY
Together with a North Italian giltwood overmantel mirror, 19th century

(2)
The woven panel backed onto board depicting allegorical fgures under
a canopy with a pearl and cut-glass droplets, within a carved giltwood
frame
10 x 8 in. (25.5 x 22 cm.)
1,000-1,500
$1,600-2,300
1,300-1,900
700-1,000
$1,100-1,600
890-1,300
n 223
n 225
A NORTH ITALIAN WALNUT CENTRE TABLE
A NORTH ITALIAN WALNUT AND TULIPWOOD

CROSSBANDED POUDREUSE
19TH CENTURY
The rectangular top on scroll end supports

29 in. (73.5 cm.) 48 in. (122 cm.) wide; 23 in. (59.5 cm.)
700-1,000
92
CIRCA 1800
$1,100-1,600
890-1,300
The hinged top enclosing a ftted mirror, above drawers; together with a
North Italian fruitwood-inlaid walnut writing table, late 18th Century
29 in. (75.5 cm.) high; 35 in. (89.5 cm.) wide; 17 in. (43 cm.) deep (2)
1,000-1,500
$1,600-2,300
1,300-1,900
n 226
A NORTH ITALIAN POLYCHROME-DECORATED AND
PARCEL-GILT CONSOLE TABLE AND MIRROR
GENOA, LATE 18TH/EARLY 19TH CENTURY
The divided rectangular plate within a beaded frame, below a

portrait traditionally believed to be that of King Charles IV of
Spain, three-quarter-length, in a red jacket, oil on board, the
console table with a Brche Violette top, on tapering square legs
and simulated marble feet
75 in. (192 cm.) high; 50 in. (127.5 cm.) wide
8,000-12,000
$13,000-19,000
11,000-15,000
The sitter in the portrait within the frieze of this console mirror has traditionally
been believed to be that of King Charles IV of Spain (1748-1819). Charles IV
was born in Naples to Maria Amalia of Saxony and King Charles III during his
reign as King of Naples and Sicily.
Portrait of King Charles IV of Spain (1788-1808)

By Agustn Esteve y Maques (Valencia 1753-1820 Madrid)
Detail of the portrait on the frieze mirror traditionally belived

to be King Charles IV of Spain
93
n 227
AN ITALIAN MURANO POLYCHROME-GLASS
TWELVE-LIGHT CHANDELIER
The corona above two further tiers, issuing scroll branches and
drip-pans, ftted for electricity, losses and replacements
41 in. (105.5 cm.) high
4,000-6,000
$6,300-9,400
5,100-7,600
n 228
A NORTH ITALIAN GREEN-PAINTED AND
GILTWOOD LARGE MIRROR AND JARDINIERE
18TH CENTURY
The divided rectangular plate headed by a ribbon and swag

crest, fanked to either side by a classical urn on a tapering futed
torchere, lacking candle branches, above a jardinire base, with a
removable cover and galvanised liner
2,500-4,000
94
$4,000-6,300
3,200-5,000
229
230
FOLLOWER OF HYACINTHE RIGAUD
Portrait of a lady, three-quarter-length, as Diana, in a landscape; and

Portrait of a gentleman, three-quarter-length, in a classical costume,
before a curtain, a landscape beyond
A Mediterranean harbour scene with fgures unloading their boats,

mountains and shipping beyond; and A Mediterranean harbour scene
with elegant fgures conversing , mountains and shipping beyond
oil on copper, oval, unframed

10 x 7 in. (26 x 19.7 cm.)
oil on canvas, oval

20 x 27 in. (50.8 x 68.6 cm.)
4,000-6,000
a pair (2)
$6,300-9,400
5,100-7,600
3,000-5,000
a pair (2)
$4,700-7,800
3,800-6,300
95
n 231
n 233
A MATCHED SET OF ELEVEN ITALIAN WALNUT DININGCHAIRS
A NORTH ITALIAN GILTWOOD STOOL
FIVE LATE 18TH/EARLY 19TH CENTURY, SIX SECOND HALF 20TH CENTURY
Covered in 18th Century needlework depicting a classical scene;

together with a North Italian green painted and parcel-gilt stool, early
19th Century, the seat covered in green velvet
13 in. (33 cm.) high; 19 in. (49.5 cm.) wide; 15 in. (38 cm.) deep
10 in. (26.5 cm.) high; 20 in. (52 cm.) wide; 16 in. (40.5 cm.) deep (2)
With foliate cresting above a caned back and seat on turned, tapering,
stop-futed legs
(11)
1,000-1,500
$1,600-2,300
1,300-1,900
PROBABLY TURIN, CIRCA 1760-70
1,000-1,500
$1,600-2,300
1,300-1,900
n 232
n 234
A NORTH ITALIAN KINGWOOD, TULIPWOOD AND

MARQUETRY OCCASIONAL TABLE
A NORTH ITALIAN AMARANTH AND FRUITWOODPARQUETRY COMMODINO
LATE 18TH CENTURY
GENOA, LATE 18TH/EARLY 19TH CENTURY
The quarter veneered rectangular top above three drawers, on tapering

square legs
The rectangular top with Portor marble, above a frieze drawer and a
door enclosing a green fabric lined interior, on tapering square legs and
turned feet
32 in. (83 cm.) high; 16 in. (42.5 cm.) wide; 13 in. (34 cm.) deep
600-1,000
96
$940-1,600
760-1,300
600-1,000
$940-1,600
760-1,300
235
235
n 235
n 236
n 237
A HERIZ CARPET
A BOKHARA SMALL CARPET
A MESHED CARPET
NORTH-WEST PERSIA, CIRCA 1900
EAST TURKMENISTAN, CIRCA 1900
NORTH-EAST PERSIA, CIRCA 1900
Together with a fne Hamesh rug,

South-West Persia, circa 1900
10ft. 5in. x 7ft. 7in.(317 x 231cm.) approx; and
6ft. x 5ft. 3in. (183 x 160 cm.) approx
(2)
Together with an usual North-West Persian

kellah, circa 1900
8ft. 5in. x 5ft. 5in.(256 x 165 cm.) approx; and
15ft. 8in. x 6ft. 10in. (476 x 208 cm.) approx (2)
12ft. 5in. x 8ft. 4in.(379 x 253 cm.) approx
800-1,200
800-1,200
$1,300-1,900
1,100-1,500
600-1,000
$1,300-1,900
1,100-1,500
236
237
236
$940-1,600
760-1,300
238
240
FRENCH SCHOOL, CIRCA 1800
NEAPOLITAN SCHOOL, 18TH CENTURY
A peasant girl in a landscape carrying a basket of eggs
The Madonna and Child with the Infant Saint John the Baptist
oil on canvas
12 x 9 in. (32.4 x 23.2 cm.)
oil on copper, oval

11 x 10 in. (29.9 x 26 cm.)
600-1,000
$940-1,600
760-1,300
500-800
$790-1,300
640-1,000
n 239
n 241
A SET OF FOUR NORTH ITALIAN WALNUT CANED

ARMCHAIRS
AN ITALIAN GREEN-PAINTED AND PARCEL-GILT

EXTENDING DINING-TABLE
GENOA, 1770-80
THIRD QUARTER 20TH CENTURY
Each with a channelled frame and downswept arms, on tapering turned

futed legs
(4)
With one additional leaf, the moulded marbelised oval top on turned
tapering futed legs
31 in. (79.5 cm.) high; 67 in. (172 cm.) wide; 43 in. (110 cm.) deep
500-800
600-1,000
98
$790-1,300
640-1,000
$940-1,600
760-1,300
n 243
A NEAR PAIR OF ITALIAN GILTWOOD LARGE MIRRORS
19TH CENTURY
Each with a divided plate, one mirror within a rope-twist and reeded
frame, and the other mirror within an acanthus leaf and reeded frame,
with metal mounts
49 in. (125 cm.) high; 65 in. (165 cm.) wide, and similar
(2)
1,000-1,500
$1,600-2,300
1,300-1,900
n 242
n 244
A NORTH ITALIAN MECCA (GILT-VARNISHED SILVERED)

AND CUT-GLASS EIGHT-LIGHT CHANDELIER
A PAIR OF NORTH ITALIAN GILTWOOD BERGERES
GENOA, FIRST HALF 19TH CENTURY
Each with a squab cushion and covered in close-nailed green velvet

31 in. (80 cm.) high; 26 in. (66.5 cm.) wide; 26 in. (66 cm.) deep (2)
Hung with swags and droplets, losses and replacements, ftted for
electricity
1,500-2,500
$2,400-3,900
1,900-3,200
VENETO, LATE 18TH/EARLY 19TH CENTURY
1,000-1,500
PROVENANCE:
$1,600-2,300
1,300-1,900
n 245
A NORTH ITALIAN BLUE-PAINTED AND GILTWOOD
LARGE COMMODE
VENETO, LAST QUARTER 18TH CENTURY
With shaped serpentine inset grey and white marble top, the frieze carved
in the relief depicting mythical fgures, birds, and foliate scrolls, above two
long drawers and tapering futed legs, partly redecorated, losses
8,000-12,000
PROVENANCE:
100
$13,000-19,000
11,000-15,000
n 246
A NORTH ITALIAN BLUE-PAINTED
AND GILTWOOD CANOPY
The domed top covered in a yellow fabric,

surmounted by foral and foliage trophies
carved in the relief, the interior covered in foral
pattern silk centred by an exotic bird, losses
13 in. (34.5 cm.) high;
58 in. (148.5 cm.) wide;
500-800
$790-1,300
640-1,000
PROVENANCE:
n 247
A PAIR OF NORTH ITALIAN
PARCEL-GILT BLUE-PAINTED BOMBE
COMMODINI
Decorated throughout with grotesques and

foliage, each with shaped BlueTurquin marble
top above a door enclosing a single shelf, the
bases with pierced friezes on tapering futed
legs, largely redecorated
35 in. (89 cm.) high;
21 in. (55 cm.) wide;
(2)
5,000-8,000
$7,900-13,000
6,400-10,000
PROVENANCE:
n 248
A NORTH ITALIAN WHITE-PAINTED
AND GILTWOOD BED
FIRST QUARTER 19TH CENTURY
The shaped rectangular headboard covered in

pale green foral pattern silk, surmounted by a
scrolled acanthus leaf crest centred by a bell
54 in. (138.5 cm.) high;
44 in. (112.5 cm.) wide;
83 in. (212 cm.) long
600-1,000
$940-1,600
760-1,300
END OF SALE
101
Important Notices and Explanation of

Cataloguing Practice
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department
for a condition report on a particular lot. The
nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
30/09/14
102
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
FURNITURE
Christies does not accept liability for failing
to describe any alteration or addition to a Lot
which is concealed by upholstery, gilding or
painted decoration and could only be detected by
physically dismantling the Lot.
The following expressions with their accompanying
explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot or
of the extent of any restoration.
EUROPEAN SCULPTURE AND
WORKS OF ART
By
In our opinion a work by the artist.
Cast from a model by
In our opinion a work from the artists model,
originating in his circle and cast during his lifetime
or shortly thereafter.
Attributed to
In our opinion a work probably by the artist.
In the style of
In our opinion a work of the period of the artist and
closely related to his style.
Ascribed to
A work traditionally regarded as by the artist.
In the manner of
In our opinion a later imitation of the period, of the
style or of the artists work.
After
In our opinion a copy or aftercast of a work of the
artist.
Signed/Dated/Inscribed
/Stamped
In our opinion the signature/date/inscription/stamp
is by the artist or manufacturer.
Bearing the signature/Bearing the date/
Bearing the Inscription/Bearing the stamp
In our opinion the signature/date/inscription/stamp
is not by the artist or manufacturer.
CL OC KS
Prospective purchasers are reminded that the items
in the catalogue are sold as is. Where possible,
significant damage is mentioned in the description of
the Lot although this does not include all faults and
imperfections or restoration. No warranty is made
that any clock is in working order and nothing in
the catalogue description of any Lot should be taken
as implying such. Neither should the description
of any Lot be taken as indicating the absence of
restoration or repair or to be a statement as to the
condition of the Lot or the state of conservation.
Not all clocks are sold with pendulums, weights or
keys; please refer to the catalogue text for details of
what is sold with each lot.
EUROPEAN CERAMICS
A piece catalogued with the name of a factory, place
or region without further qualification was, in our
opinion, made in that factory, place or region (e.g.
A Worcester plate).
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
A plate in the Worcester style
In our opinion a copy or imitation of pieces made in
the named factory, place or region.
A Svres-pattern plate
In our opinion not made in the factory, place or
region named but using decoration inspired by
pieces made therein.A Pratt-ware plate
In our opinion not made in the factory, place or
region named but near in the style or period to
pieces made therein.
A Meissen cup and saucer
In our opinion both were made at the factory named
and match.
A Meissen cup and a saucer
In our opinion both pieces were made at the factory
named but do not necessarily match.
Modelled by
In our opinion made from the original master
mould made by the modeller and under his
supervision.After the model by
In our opinion made from the original master mould
made by that modeller but from a later mould based
on the original.
Painted by
In our opinion can properly be attributed to that
decorator on stylistic grounds.
S ILVE R
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all
statements in this catalogue as to Authorship
are made subject to the provisions of the
CONDITIONS OF SALE.
A GEORGE II SILVER CUP AND COVER
mark of Paul de Lamerie,
London, 1735
In Christies opinion either made in the workshop of
the master or struck with his sponsors mark prior to
retailing and hallmarked at the London Assay Office
between May 29, 1735 and May 29, 1736. The date
letter has usually, but not always, changed since the
early 18th century on, or around, May 29. Prior to
the 18th century, the date letter changed on various
dates ranging from May 8 to August 3. Since 1975,
the date letter has run from January 2 to January 1 of
the subsequent year.
Other countries and English, Irish and Scottish
provincial offices have varying dating systems.
circa 1735
In Christies opinion made during the specified
monarchs reign and unmarked or struck with
illegible marks.
bearing transposed marks for London, 1735, with
the mark of Paul De Lamerie
In Christies opinion made during the specified
monarchs reign and, in all probability, in the
workshop of, or sponsored by, the maker cited, but
with marks transposed from a previously hallmarked
object. Where applicable the catalogue will note that
these transposed hallmarks have been cancelled to
bring them into conformity with modern English
hallmarking laws.
Please note that the ounce weights given in this
catalogue are troy ounces.
PICTURES, DRAWINGS, PRINTS

AND MINIATURES
Terms used in this catalogue have the meanings
ascribed to them below. Please note that all
statements in this catalogue as to authorship are
made subject to the provisions of the Conditions of
Sale and Limited Warranty. Buyers are advised to
inspect the property themselves. Written condition
reports are usually available on request.
Name(s) or Recognised Designation of an Artist
without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
*This term and its definition in this Explanation
of Cataloguing Practice are a qualified statement as
to authorship. While the use of this term is based
upon careful study and represents the opinion of
specialists, Christies and the consignor assume no
risk, liability and responsibility for the authenticity
of authorship of any lot in this catalogue described
by this term, and the Limited Warranty shall not
be available with respect to lots described using this
term.
103
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including 50,000, 20% of
the excess of the hammer price above 50,000 and up to and
including 1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
Corporate clients: a certificate of incorporation.
For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference.
For assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on no
reserve lots will, in the absence of a higher bid, be executed
at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
estimate.The auctioneer may execute absentee bids directly
from the rostrum, clearly identifying these as absentee bids,
book bids, order bids or commission bids. Absentee
Bids Forms are available in this catalogue, at any Christies
location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to 25,000), and cash (up to 5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only. A
limit of 25,000 for credit card payments will apply. This limit
is inclusive of the buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies will not accept credit card payments
for purchases made in any other sale site. The fax number to
send completed CNP (Card Member not Present) authorisation
forms to is +44 (0) 20 7389 2821. The number to call to make
a CNP payment over the phone is +44 (0) 20 7752 3388.
Alternatively, clients can mail the authorisation form to the
address below.
Cash is limited to 5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be
drawn in GBP on a UK bank, clearance will take 5 to 10
business days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department,
8 King Street, St Jamess, London, SW1Y 6QT
Please direct all inquiries to King Street
Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
BuyersfromwithintheEU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
BuyersfromoutsidetheEU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme
In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
WineAuctions
This wine is in bond. You can choose to take the wine
in bond or duty paid. See the additional conditions of sale
relating to wine for further details.
VATRefunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than 100. UK & EU private buyers
cannot reclaim VAT. Christies will charge 35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate. For more information
please contact the Shipping Department at + 44 (0)20 7389
2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
ChristiesArtTransport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
ChristiesVATauthorisedShipper:
If you use a Christies VAT authorised shipper you will not be
required to pay the VAT at the time of settlement.
OwnShipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme lots Please obtain GB Tax Free form from
the Cashiers. This document must be stamped by UK Customs
on leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the Museums, Libraries
and Archives Council: Acquisitions, Export and Loans Unit at
+44 (0)20 7273 8269/8267.
20/11/13
104
Storage and Collection

STORAGE & COLLECTION CHARGES
Specified lots, marked with a filled square ( ) not
cleared from Christies by 5.00 pm on the day of
the sale and all sold and unsold lots not cleared from
Christies by 5.00 pm on the fifth Friday following
the sale will be removed to the warehouse of:
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
Lots will be available for collection on the first full
business week after transfer to Cadogan Tate Ltd and
every business weekday from 9.00 am to 5.00 pm.
Property, once paid, can be released to Christies
Fine Art Storage Services (CFASS) in London,
New York or Singapore FreePort at any time for
environmentally controlled long term storage, per
client request. CFASS is a separate subsidiary of
Christies and clients enjoy complete confidentiality.
Visit www.cfass.com, or contact london@cfass.com.
Telephone: +44 (0)20 7622 0609 for details.
TRANSFER, STORAGE & RELATED
CHARGES (PER LOT)
CHARGES
Furniture/
Large Objects
Transfer/Admin
Storage per day
Extended
Liability Charge:
42.00
21.00
5.25
2.65
The lower amount of 0.6% of
Hammer Price or 100% of the
above charges
Pictures/
Small Objects
All charges are subject to VAT. Very large or heavy

items may be subject to a surcharge.
COLLECTION & PAYMENT OF ANY

CHARGES DUE
Lots will be available for collection from
Cadogan Tate Ltd
241 Acton Lane, Park Royal
London NW10 7NP
Telephone: +44 (0)800 988 6100
on every business day after the day of transfer,
from 9.00 am until 5.00 pm.
Lots may only be released by Cadogan Tate upon
a) production of the Collection Order
obtained from the cashiers office at
Christies, 85 Old Brompton Road, London SW7
or Christies, 8 King Street, London SW1
b) payment of any charges that may be due to
Cadogan Tate Ltd
To assist Cadogan Tate to provide a swift release
please telephone on the business day prior to
collection to ensure that Lots are available and to
ascertain any charges due. If sending a carrier please
ensure that they are provided with all necessary
information, your written authority to collect, the
Collection Order and the means to settle any charges.
COLLECTION FROM CADOGAN TATE
Please note that Cadogan Tate Ltds opening hours
are Monday to Friday 9.00 am to 5.00 pm, and
purchases transferred to their warehouse are not
available for collection at weekends.
EXTENDED LIABILITY CHARGES

All services provided by Cadogan Tate Ltd
(Cadogan Tate) will be subject to their standard
Conditions of Business, copies of which are
available at Christies South Kensington.
Please note in particular that Cadogan Tate
does not accept any liability for damage or loss,
due to its negligence or otherwise, exceeding the
Hammer Price of a Lot plus associated Buyers
Premium, or, at its sole option, the cost of repairing
or replacing the damaged or missing Lot and
it reserves a lien over all goods in its possession
for payment of storage and all other charges due
to it and
it automatically arranges on behalf of the Lots
owner and at the owners cost, insurance of the
Lot for the sum of the Hammer price plus Buyers
Premium. The Extended Liability Charge covers
the Lot from the time of collection from the
saleroom until release of the Lot to the owner or
the owners agent. The Extended Liability Charge
payable by the owner of the Lot is 0.6% of the
sum of the Hammer Price and Buyers Premium or
100% of the transfer and storage charges, whichever
is the smaller. This Extended Liability will not be
arranged and no charge will be payable only on
receipt by Cadogan Tate of advance written notice
from the owner of the lot together with formal
waiver of subrogation from the owners insurers.
Christies Fine Art Storage Services (CFASS)
also offers storage solutions for fine art, antiques and
collectibles in New York and Singapore FreePort.
CFASS is a separate subsidiary of Christies and
clients enjoy complete confidentiality.
Visit www.cfass.com for charges and other details.
Please note that there will be no charge to

purchasers who collect their lots within two
weeks of this sale.
Cadogan TaTe LTds Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
28/10/14
105
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
(b) Registration before bidding

Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or
can come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
2.
CATALOGUE DESCRIPTIONS
AND CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such that
they will rarely be in perfect condition, and are likely,
due to their nature and age, to show signs of wear
and tear, damage, other imperfections, restoration or
repair. Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the item
and the nature of the auction in which it is included.
Any statement as to the physical nature or condition
of a lot, in a catalogue, condition report or otherwise,
is given honestly and with appropriate care. However,
Christies staff are not professional restorers or trained
conservators and accordingly any such statement will
not be exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution etc
Any statements made by Christies about any lot,
whether orally or in writing, concerning attribution
to, for example, an artist, school, or country of origin,
or history or provenance, or any date or period, are
expressions of our opinion or belief. Our opinions and
beliefs have been formed honestly and in accordance
with the standard of care reasonably to be expected
of an auction house of Christies standing, due regard
having been had to the estimated value of the item
and the nature of the auction in which it is included.
It must be clearly understood, however, that, due to
the nature of the auction process, we are unable to
carry out exhaustive research of the kind undertaken
by professional historians and scholars, and also that, as
research develops and scholarship and expertise evolve,
opinions on these matters may change. We therefore
recommend that, particularly in the case of any item of
significant value, you seek advice on such matters from
your own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied on
as a statement that this is the price at which the item
will sell or its value for any other purpose.
(e) Fitness for Purpose
Lots sold are enormously varied in terms of age, category
and condition, and may be purchased for a variety
of purposes. Unless otherwise specifically agreed, no
promise is made that a lot is fit for any particular purpose.
106
(c) Bidding as principal

When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do
not accept liability for failure to do so or for errors
and omissions in connection with telephone bidding
arising from circumstances beyond our reasonable
control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding in
the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer may
continue to bid on behalf of the seller up to the
amount of the reserve, either by placing consecutive
bids or by placing bids in response to other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax. The buyers premium
is 25% of the final bid price of each lot up to and
including 50,000, 20% of the excess of the hammer
price above 50,000 and up to and including
1,000,000 and 12% of the excess of the hammer
price above 1,000,000. Exceptions: Wine and
Cigars: 17.5% of the final bid price of each lot, VAT
is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, at our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled
to cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
transactions, to apply any amount paid to

discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to reject at any future auction any bids made by
or on behalf of the buyer or to obtain a deposit
from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in our
possession owned by the buyer, whether by way
of pledge, security interest or in any other way,
to the fullest extent permitted by the law of the
place where such property is located. The buyer
will be deemed to have granted such security to
us and we may retain such property as collateral
security for such buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
(e) Packing, handling and shipping

Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
If we resell the property under paragraph (iv) above,

the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(f) Export licence

Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies International plc, or any of its
affiliates, subsidiaries or parent companies
worldwide, may owe the buyer in any other
transactions, the outstanding amount remaining
unpaid by the buyer;
(vii) where several amounts are owed by the buyer
to us, or to Christies International plc, or
to any of its affiliates, subsidiaries or parent
companies worldwide, in respect of different
(h) Failure to collect purchases

Where purchases are not collected within two calendar
days from the date of the sale, whether or not payment
has been made, we shall be permitted to remove the
property to a third party warehouse at the buyers
expense, and only release the items after payment in full
has been made of removal, storage, handling, and any
other costs reasonably incurred, together with payment
of all other amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out in
clause 2 of these Conditions, but subject to the terms
and conditions of this paragraph, Christies warrants for
a period of five years from the date of the sale that any
property described in headings printed in UPPER CASE
TYPE (i.e. headings having all capital-letter type) in
this catalogue (as such description may be amended by
any saleroom notice or announcement) which is stated
without qualification to be the work of a named author
or authorship, is authentic and not a forgery. The term
author or authorship refers to the creator of the
property or to the period, culture, source or origin, as the
case may be, with which the creation of such property
is identified in the UPPER CASE description of the
property in this catalogue. Only UPPER CASE TYPE
headings of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does not
apply to supplemental material which appears below
the UPPER CASE TYPE headings of each lot and
Christies is not responsible for any errors or omissions
in such material. The terms used in the headings are
further explained in Important Notices and Explanation
of Cataloguing Practice. The warranty does not apply
to any heading which is stated to represent a qualified
opinion. The warranty is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of the
lot as shown on the invoice originally issued by
Christies when the lot was sold at auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any other
remedy which might be available, is the
cancellation of the sale and the refund of the
original purchase price paid for the lot. Neither
Christies nor the seller will be liable for any
special, incidental or consequential damages
including, without limitation, loss of profits
nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the same
condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with
respect to these Conditions of Sale, the conduct of
the auction and any matters connected with any
of the foregoing shall be governed and interpreted
by the laws of England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
107
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)61 74 20 94 85
Anja Schaller
SHANGHAI
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin zu
Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne Schweizer
DENOTES SALEROOM
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+44 (0)20 7752 3004

Jane Blood
SCOTLAND
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032
+41 (0)44 268 1010

Dr. Bertold Mueller
CHANNEL ISLANDS
TURKEY
ISTANBUL
+44 (0)1534 485 988

Melissa Bonn
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
+353 (0)59 86 24996

Christine Ryall
UNITED ARAB EMIRATES

DUBAI
+971 (0)4 425 5647
IRELAND
UNITED STATES
NEW YORK
+1 212 636 2000
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
ENQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
03/11/14
108
Christies Specialist Departments and Services

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570

ANTIQUITIES
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
ISLAMIC WORKS OF ART
POSTERS
PRINTS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2700

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
LATIN AMERICAN ART
AUSTRALIAN PICTURES
NY: +1 212 636 2150
KS: +44 (0)20 7389 2040
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
SWISS ART
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
MINIATURES
KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
SK: +44 (0)20 7389 2142
KS: +44 (0)20 7389 2040

SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3219
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945

CARPETS
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577

SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
KS: +44 (0)20 7389 2699

NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443

SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251

OLD MASTER PICTURES
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638

SK: +44 (0)20 7752 3218
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
EUROPEAN CERAMICS
AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
SK: +44 (0)20 7752 3215
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
CONTEMPORARY ART
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3365
MUSICAL INSTRUMENTS
PAR: +33 (0)140 768 386
KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
Tel: +44 (0)20 7389 2548

Email: norchard@
christies.com
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300
Email:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Tel: +44 (0)20 7389 2343

Fax: +44 (0)20 7389 2225
Email: awaters@christies.
com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570

Email: llindsay@christies.
com
PRIVATE SALES
US: +1 212 636 2034

Fax: +1 212 636 2035
VALUATIONS
Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
WINE
POST-WAR ART
CHRISTIES EDUCATION
VICTORIAN PICTURES
PHOTOGRAPHS
SK: +44 (0)20 7752 3275
CORPORATE
COLLECTIONS
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
POPULAR CULTURE
AND ENTERTAINMENT
OTHER SERVICES
SK: +44 (0)20 7752 3218
SK: +44 (0)20 7752 3235

KS: +44 (0)20 7389 2292
AUCTION SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
06/11/14
109
A BRONZE FIGURE OF AN ECORCHE MAN

BY WILLEM DANIELSZ.VAN TETRODE (C. 1525-1580), CIRCA 1562-67
$1,500,000 2,500,000
The Abbott-Guggenheim Collection

New York 27 January 2015
Viewing
Contact
2427 January
20 Rockefeller Plaza
New York, NY 10020
William Russell
wrussell@christies.com
+1 212 636 2525
christies.com
OCTAVE DENIS VICTOR GUILLONNET (FRENCH, 1872-1967)

Summer Pastimes
inscribed and signed En Hommage a Mansieyen/Fernand David/ O.D.V.Guillonnet (lower right) oil on canvas 29 x 24 in. (73.5 x 60.5 cm.)
6,0008,000
19th Century European Art

London, South Kensington 21 January 2015
Viewing
Contact
1720 January
85 Old Brompton Road
London SW7 3LD
Alastair Plumb
aplumb@christies.com
+44 (0)20 7752 3298
christies.com
FRANCISCO TAMAGNO (b.1851)

Chamonix Mont-Blanc
Lithograph in colour c.1900
7,0009,000
20/21 Posters The Ski Sale

London, South Kensington 22 January 2015
Viewing
Contact
1721 January 2015

London SW7 3LD
Nicolette Tomkinson
ntomkinson@christies.com
+44 (0)20 7752 3301
christies.com
AYRTON SENNA TRIBUTE CAR

A 1993 WILLIAMS F1 SHOW CAR RE-BRANDED AS AYRTON SENNAS 1993 MCLAREN
25,00040,000
Interiors Style & Spirit

London, South Kensington 17 & 18 February 2015
Viewing
Contact
1416 February
London SW7 3LD
Kate Buchanan
kbuchanan@christies.com
+44 (0)20 7752 3241
christies.com
The Collections of Principessa

Ismene Chigi Della Rovere and
a Noble Genoese Family
Absentee Bids Form

Christies South Kensington
WEDNESDAY 4 FEBRUARY 2015 AT 10.30 AM
85 Old Brompton Road, London SW7 3LD

CODE NAME: CHIGI
SALE NUMBER: 10674
(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after
they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
Absentee bids must be received at least 24 hours before the auction begins.
Tel: +44 (0)20 7752 3225 Fax: +44 (0)20 7581 1403 on-line www.christies.com
10674
Client Number (if applicable)
Sale Number
BIDDING INCREMENTS
Bidding generally opens below the low estimate

and advances in increments of up to 10%, subject
to the auctioneers discretion. Absentee bids that
do not conform to the increments set below may
be lowered to the next bidding interval.
UK50 to UK1,000
Billing Name (please print)
Address
Post Code
by UK50s
UK1,000 to UK2,000
UK2,000 to UK3,000
UK3,000 to UK5,000
by UK100s
by UK200s
by UK200, 500, 800
(ie: UK4,200, 4,500, 4,800)
UK5,000 to UK10,000
by UK500s
UK10,000 to UK20,000 by UK1,000s
UK20,000 to UK30,000 by UK2,000s
UK30,000 to UK50,000 by UK2,000, 5,000, 8,000
(ie: UK32,000, 35,000,
38,000)
UK50,000 to UK100,000 by UK5,000s
UK100,000 to UK200,000 by UK10,000s
above UK200,000
at auctioneers discretion
The auctioneer may vary the increments during the

course of the auction at his or her own discretion.
Auction Results: +44 (0)20 7839 9060
Please also refer to the information contained in Buying at
Christies.
I request Christies to bid on the following lots up to the
maximum price I have indicated for each lot. I understand
that if my bid is successful, the purchase price will be the
sum of my final bid plus a buyers premium of 25% of the
final bid price of each lot up to and including 50,000,
20% of the excess of the hammer price above 50,000 and
up to and including 1,000,000 and 12% of the excess of
the hammer price above 1,000,000, together with any
VAT chargeable on the final bid and the buyers premium.
VAT is chargeable on the purchase price of daggered () lots,
and for buyers outside the EU on () lots, at the standard
rate. VAT is chargeable on the purchase price of starred (*)
lots at the reduced rate.
Christies South Kensington is not able to notify successful
bidders by telephone. While Invoices are sent out by mail
after the auction we do not accept responsibility for notifying
you of the result of your bid. Buyers are requested to contact
us by telephone or in person as soon as possible after the
sale to obtain details of the outcome of their bids to avoid
incurring unnecessary storage charges.
I understand that Christies provides the service of executing
absentee bids for the convenience of clients and that Christies
is not responsible for failing to execute bids or for errors
relating to execution of bids. On my behalf, Christies will try
to purchase these lots for the lowest possible price, taking into
account the reserve and other bids. Absentee bids submitted
on no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre-sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. If identical absentee bids are received for
the same lot, the written bid received first by Christies will
take precedence. Please contact the Telephone Bid office at
least 24 hours in advance of the sale to make arrangements for
telephone bidding. Tel: +44 (0)20 7752 3225
All bids are subject to the terms of the Conditions of Sale
and Limited Warranty printed in each Christies catalogue.
09/08/13
Daytime Telephone
Evening Telephone
Fax (Important)
Email
Please tick if you prefer not to receive information about our upcoming sales by e-mail
Signature
If you have not previously bid or consigned with Christies, please attach copies of the following documents.
Individuals: government-issued photo identification (such as a photo driving licence, national identity card,
or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or
bank statement. Corporate clients: a certificate of incorporation. Other business structures such as trusts,
offshore companies or partnerships: please contact the Credit Department at + 44 (0)20 7752 3137 for advice
on the information you should supply. If you are registering to bid on behalf of someone who has not
previously bid or consigned with Christies, please attach identification documents for yourself as well as the
party on whose behalf you are bidding, together with a signed letter of authorisation from that party. New
clients, clients who have not made a purchase from any Christies office within the last one year, and those
wishing to spend more than on previous occasions may be asked to supply a bank reference. We may at our
option ask you for a financial reference or a deposit as a condition of allowing you to bid. We also request
that you complete the section below with your bank details:
Name of Bank(s)
Address of Banks(s)
Account Number(s)
Name of Account Officer(s)
Bank Telephone Number
PLEASE PRINT CLEARLY

Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:
115
FURNITURE, WORKS OF ART AND COLLECTIONS
expert knowledge beautifully presented
Code
L187
L100
L49
L99
L225
L224
L226
Subscription Title
Furniture and Works of Art
Centuries of Style: Silver, European Ceramics,
Portrait Miniatures and Gold Boxes
European Noble & Private Collections
Oriental Rugs and Carpets
Private Collections and House Sales
The English Collector
The European Connoisseur
The Opulent Eye 19th Century
furniture and sculpture
English & Continental furniture, decorative objects and interior

furnishings of all types and periods. Silver from the late Medieval
period through the 19th century as well as Judaica and other works
of art. Porcelain, pottery and glass from all the great British and
Continental factories and makers. Woven rugs and carpets from
the Islamic world, as well as Chinese, Indian and European carpets.
Clocks, marine chronometers and barometers. Arms and armour
spanning from bronze age weapons to 19th Century firearms.
Location
UKPrice
US$Price
EURPrice
King Street
48
76
72
King
King
King
King
King
King
Street
Street
Street
Street
Street
Street
2
2
6
2
2
2
48
48
171
48
48
48
76
76
285
76
76
76
72
72
262
72
72
72
York
York
York
York
1
2
9
12
21
42
103
114
33
67
171
190
31
63
154
175
N18
N218
N96
N223
American Silver
European Silver
Interiors
Decorative Arts Europe
New
New
New
New
P22
P96
European Furniture, Silver and Ceramics

Interieurs
Paris
Paris
2
3
38
19
61
30
57
29
K50
K96
Antique Arms and Armour

Interiors (includes: K127 - Masters & Makers &
K132 - Style & Spirit)
Interiors: Masters & Makers (inc in K96)
Interiors: Style & Spirit Edition
(included in K96 - Interiors)
South Kensington
South Kensington
2
32
38
361
61
578
57
542
South Kensington
South Kensington
4
6
38
57
61
91
57
86
Worldwide
Worldwide
2
2
48
48
76
76
72
72
K127
K132
W39
W227
European Sculpture
The Exceptional Sale
www.christies.com/shop
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
116
Issues
Christies
CHRISTIES INTERNATIONAL PLC
Patricia Barbizet, Chairman
Steven P. Murphy, Chief Executive Officer
Stephen Brooks, Chief Operating Officer
Loc Brivezac, Gilles Erulin, Gilles Pagniez,
Franois-Henri Pinault
Sophie Carter, Company Secretary

CHRISTIES EXECUTIVE
Steven P. Murphy,
Stephen Brooks, Kerry Chandler, Franois Curiel,
Marc Porter, Jussi Pylkknen, Doug Woodham
Charles Cator, Deputy Chairman,

Christies International
CHRISTIES EUROPE
CHAIRMANS OFFICE
Jussi Pylkknen, President
Orlando Rock, Deputy Chairman
SENIOR DIRECTORS
Mariolina Bassetti, Giovanna Bertazzoni,
Olivier Camu, Philippe Garner, Richard Knight,
Francis Outred, Andreas Rumbler,
Franois de Ricqles
DIRECTORS
Prof. Dr. Dirk Boll, Roland de Lathuy,
Eveline de Proyart, Roni Gilat-Baharaff,
Paul Hewitt, Clarice Pecori Giraldi,
Christiane Rantzau, Jop Ubbens, Juan Varez
CHRISTIES EUROPEAN
ADVISORY BOARD
Pedro Girao, Chairman,
Christopher Balfour, Patricia Barbizet,
Arpad Busson, Loula Chandris,
Kemal Has Cingillioglu, Ginevra Elkann,
I. D. Frstin zu Frstenberg, Laurence Graff,
H.R.H. Prince Pavlos of Greece, Alicia Koplowitz,
Viscount Linley, Robert Manoukian,
Rosita, Duchess of Marlborough,
Dimitri Mavrommatis,
Countess Daniela Memmo dAmelio, Usha Mittal,
Leopoldo Rods, igdem Simavi
CHRISTIES UK
CHAIRMANS OFFICE
Viscount Linley, Chairman
Nol Annesley, Honorary Chairman;
Richard Roundell, Vice Chairman;
Robert Copley, Deputy Chairman;
The Earl of Halifax, Deputy Chairman;
Francis Russell, Deputy Chairman;
Julia Delves Broughton, James Hervey-Bathurst,
Amin Jaffer, Orlando Rock,
Nicholas White, Mark Wrey
SENIOR DIRECTORS
Dina Amin, Daniel Baade, Philip Belcher,
Jeremy Bentley, Ellen Berkeley, Jill Berry,
Giovanna Bertazzoni, Prof. Dr. Dirk Boll,
Peter Brown, James Bruce-Gardyne,
Olivier Camu, Sophie Carter, Benjamin Clark,
Christopher Clayton-Jones, Karen Cole,
Isabelle de La Bruyere, Leila de Vos,
Nicole Dembinska, Paul Dickinson,
Harriet Drummond, Julie Edelson,
Hugh Edmeades, David Elswood,
David Findlay, Margaret Ford, Daniel Gallen,
Philippe Garner, Jane Griffiths, Karen Harkness,
Philip Harley, James Hastie, Paul Hewitt,
Rachel Hidderley, Mark Hinton, Nick Hough,
Michael Jeha, Hugues Joffre, Donald Johnston,
Erem Kassim-Lakha, William Lorimer,
Catherine Manson, John McDonald,
Nic McElhatton (Chairman, South Kensington),
Alexandra McMorrow, Jeremy Morrison,
Nicholas Orchard, Francis Outred, Clarice PecoriGiraldi, Benjamin Peronnet, Henry Pettifer,
Steve Phipps, Will Porter, Paul Raison,
Tara Rastrick, William Robinson, John Stainton,
Alexis de Tiesenhausen, Lynne Turner, Jay Vincze,
Andrew Ward, David Warren, Andrew Waters,
Harry Williams-Bulkeley, Martin Wilson,
Andr Zlattinger
Sarah Mansfield, Nicolas Martineau, Roger Massey,

Joy McCall, Neil McCutcheon, Daniel McPherson,
Neil Millen, Edward Monagle, Jeremy Morgan,
Leonie Moschner, Giles Mountain,
Chris Munro, Rupert Neelands, Mark Newstead,
Liberte Nuti, Beatriz Ordovs, Rosalind Patient,
Keith Penton, Romain Pingannaud,
Sara Plumbly, Caroline Porter, Michael Prevezer,
Anne Qaimmaqami, Marcus Rdecke,
Pedram Rasti, Amjad Rauf, Sandra Romito,
Tom Rooth, Alice de Roquemaurel,
Francois Rothlisberger, Patrick Saich,
Tim Schmelcher, Rosemary Scott, Tom Scott,
Nigel Shorthouse, Dominic Simpson, Nick Sims,
Katie Siveyer, Nicola Steel, Robin Stephenson,
Kay Sutton, Rakhi Talwar, Nicolette Tomkinson,
Jane Turner, Thomas Venning, Sophie Wiles,
Mark Wilkinson, Bernard Williams,
Georgina Wilsenach, Toby Woolley, Geoff Young
DIRECTORS
Richard Addington, Zoe Ainscough,
Georgiana Aitken, Marco Almeida, Maddie Amos,
Simon Andrews, Helen Baker, Karl Barry,
Rachel Beattie, Sven Becker, Jane Blood,
Piers Boothman, David Bowes-Lyon,
Anthony Brown, Lucy Brown, Robert Brown,
Grace Campbell, Lucy Campbell, Jason Carey,
Romilly Collins, Ruth Cornett, Sigrun Danielsson,
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+44 (0)20 7930 6074 telephone +44 (0)20 7389 2869 facsimile

The Collections of Principessa Ismene Chigi Della Rovere and A Noble Genoese Family

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The Collections of Principessa Ismene Chigi Della Rovere and A Noble Genoese Family

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The Collections of

Principessa Ismene Chigi Della Rovere

The Collections of Principessa

Wednesday 4 February 2015 at 10.30 am

Nic McElhatton & Anna Evans

AUCTION CODE AND NUMBER

In sending absentee bids or making

This auction is subject to

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US: +1 212 703 8080

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Opposite: Lot 12 (detail)

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Private Collections and Country House Sales

Specialists and Services for this Auction

EUROPEAN FURNITURE &

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EUROPEAN PORCELAIN & GLASS

CHINESE WORKS OF ART

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IMPORTANT NOTICE REGARDING

All lots marked with a FILLED

19TH CENTURY PICTURES

IMPORTANT NOTICE REGARDING

Bidders are advised that some

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7389 2712

Tel: +44 (0)20 7839 9060

This auction is subject to

For an overview of the process,

Princess Ismene Chigi Della Rovere

Each vase decorated with foral sprays of

The tapering body decorated to simulate marble, with

The rectangular hinged lid, inlaid with initials I.G.S.,

The top decorated with dragons amongst clouds within a

The rounded rectangular twin-fap top, above two frieze drawers

The rectangular top inset with scagliola panel depicting maidens

(detail of makers label)

(detail of the top)

The cartouche-shaped panel decorated with foliage, fruit

The waisted case surmounted by an eagle with glazed

With foliate decoration

Pierre-Harry Mewesen, matre ebniste in 1766.

Each shaped grey-veined white marble top above a panelled door

Originally from Scandinavia, Pierre-Harry Mewesen worked in Paris and produced

TWO CHINESE BLUE AND WHITE CELADON-GROUND

A CHINESE FAMILLE NOIR FISH BOWL

The exterior decorated with ladies in a terraced garden setting and a

A SOUTH EAST ASIAN CELADON GLOBULAR JAR

A CHINESE CLOISONNE ENAMEL PAPERWEIGHT

The body with ribbed decoration, the exterior in a lightly crackled

Decorated with continuous clouds in various colours on a blue ground;

The mottled body overlaid and acid-etched with blossoming

Having a trefoil neck, acid-etched in relief with branches of

The opalescent and mottled glass acid-etched in relief and

AN EMILE GALLE (1846-1904)

A GALLE TRIPLE OVERLAY CAMEO

AN EMILE GALLE (1846-1904)

The clear body cased in white and overlaid

The clear body cased in white and overlaid

Acid-etched in relief with fowers and leaves, signed in relief