Dreweatts 1759 | Robert Kime: The Personal Collection (Day 1)

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A ROUEN FAIENCE TWO-HANDLED URN, 18TH CENTURY

1

Quantity

1

0 GBP

Opening bid

1,300 GBP

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0 GBP

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GBP

Estimate

1,500 - 2,500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A BRASS EIGHT BRANCH CHANDELIER IN THE 17TH CENTURY STYLE, POSSIBLY IRISH, 19TH CENTURY

2

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1

0 GBP

Opening bid

700 GBP

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0 GBP

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GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AN ITALIAN WALNUT CASSONE OR MARRIAGE CHEST PROBABLY BOLOGNA, 17TH CENTURY

3

Quantity

1

0 GBP

Opening bid

1,800 GBP

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0 GBP

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GBP

Estimate

2,000 - 3,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A MUGHAL CARPET, NORTH INDIA LATE 17TH CENTURY

4

Quantity

1

0 GBP

Opening bid

13,000 GBP

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0 GBP

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GBP

Estimate

15,000 - 25,000 GBP

A MUGHAL CARPET NORTH INDIA, LATE 17TH CENTURY Approximately 362cm x 204cm In the late 16th and early 17th century, carpet weaving in India was heavily influenced by the Persian tradition, particularly that of the court of Shah Abbas (1588-1629), when perhaps the greatest of all Persian carpets were made. During the reign of Shah Jahan, the fifth Muslim emperor of the Mughal Empire, a distinctly Indian artistic style started to evolve, with a characteristic depiction of floral forms in a closely observed, naturalistic manner. Quite frequently, these floral sprays were enclosed in a lattice, or trellis design, such as in the Kime example here. For examples of closely related carpets, see the collection of the Victoria & Albert Museum (inventory reference IS.244-1964) and The Museum of Islamic Art, Doha (see: https://mia.org.qa/en/). Both of these examples are thought to date from the mid-17th century. The current lot is a slightly simpler rendition, with less variation in the species of plant depicted, framed by a less intricate border. As a result it may be a slightly later example, an argument supported by Sotheby's dating of a very similar fragment sold in London on the 6th November 2018, which was dated to the late 17th century. This particular fragment is identical in its design and may even be a fragment from the same carpet as the current lot, which has a section removed. It sold, including Buyers' Premium, for £25,000, in spite of being small in size (134 x 75cm). For a comprehensive discussion of the group see: Walker, Daniel, Flowers Underfoot: Indian Carpets of the Mughal Era, The Metropolitan Museum of Art, New York, 1997. Condition Report: Reduced in size-end border cut and rejoined. Heavy wear throughout, with numerous repairs, patches and areas of flat-stitched reinforcement. Some of the removed sections probably used for patching Selvages (side cords) not original. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

WILLIAM NEDHAM (ENGLISH 1823-1849) A MASTIFF, A POMERANIAN, A NEWFOUNDLAND AND A SPANIEL

5

Quantity

1

42,000 GBP

Opening bid

42,000 GBP

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0 GBP

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GBP

Estimate

20,000 - 40,000 GBP

WILLIAM NEDHAM (ENGLISH 1823-1849) A MASTIFF, A POMERANIAN, A NEWFOUNDLAND AND A SPANIEL BY A DARK BROWN AND A GREY HUNTER IN THE GROUNDS OF CLOPTON HOUSE, WARWICKSHIRE Oil on canvas Signed and dated '1838' (lower right) 142 x 233cm (55¾ x 91½ in.) Provenance: Almost certainly commissioned by Charles Thomas Warde, Clopton House, Warwickshire William Nedham (active 1815-1849) was a provincial equestrian painter working predominantly in the Leicestershire area. He was a pupil of John Ferneley Senior (1781-1860) and included a Mr V. R Pochin of Barkby Hall amongst his patrons. A comparable work, painted on a smaller scale but dated from the same year is A Hunter and A Dog in the Grounds of Quenby Hall, Leicestershire , Leicestershire County Council Museums Service. Clopton House is a 17 th century country mansion near Stratford-upon-Avon, standing on the site of the earlier Clopton Manor, home to Hugh Clopton and dating from the 13 th century. The present house was built around the core of the earlier manor by Sir John Clopton during the 17 th century. In 1824 the Cloptons sold the estate to Charles Meynell, who in turn sold it to George Lloyd of Welcombe in 1830. After only one year in his new home, George died, and the house passed to his brother John Gamaliel Lloyd in 1831. He remained there until his death in 1837. The house was then inherited by Lloyd's nephew, Charles Thomas Warde who remained in the house until his own death in 1865. Warde was responsible for significant extensions during the 1840s including the now Grade II listed coach house, and Clopton tower. Dated 1838, it is likely that this rare portrait of the family dogs and hunters in the grounds of Clopton, was commissioned by Charles Thomas Warde upon inheriting Clopton house the previous year. Condition Report: The canvas has not been lined but is a little loose. There are two tears to the canvas. the first (approx. 10cm), lower left to the right of the white dog's back paws. The second, (approx. 3cm), upper left to the sky. There is an isolated area of paint shrinkage to the lower right corner around the signature. Stretcher marks visible. Light rubbing and abrasions. including some spots of paint loss throughout, but particularly to the framing edges. Inspection under UV reveals scattered retouching throughout. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AFTER THE ANTIQUE, A CARVED MARBLE GRAND TOUR FIGURE OF THE EPHESIAN ARTEMIS

6

Quantity

1

5,500 GBP

Opening bid

5,500 GBP

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0 GBP

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GBP

Estimate

6,000 - 10,000 GBP

AFTER THE ANTIQUE, A CARVED MARBLE GRAND TOUR FIGURE OF THE EPHESIAN ARTEMIS POSSIBLY ITALIAN OR FRENCH, 19TH CENTURY Depicting Artemis (or Diana) as a deity of nature, protection and of fertility, wearing a mural crown emblematic of her city protection, with multitude of breasts or egg shaped nodules, an enveloping tight sheath skirt with panels of heads of animals, plinth base 118cm high Provenance: Robert Kime (1946-2022) Collection " All cities worship Artemis of Ephesus, and all individuals hold her in honour " Pausanias "Guide to Greece", 2 nd Century A.D. The Temple of Artemis was a Greek temple dedicated to an ancient, local form of the goddess Artemis located in Ephesus near the modern town of Selçuk in present day Turkey. The worship was centred around the Goddess Artemis- not as the virgin huntress but rather as a goddess of fecundity and protection akin to the Phrygian goddess Cybele. By around 150 B.C., coins of the period show a figure much like this example. Most characteristic are the rows of gourd egg like objects around her upper midriff. Sometimes thought of as breasts (where the figure is then referred to as Polymastros), scholars have posited that they are instead gourds or pouches called kurša - others have suggested bees' eggs, dates and bull testes. The finest examples of mostly Roman statues of this are found in the Ephesus Archaeological Museum in Selçuk titled 'Artemis the Beautiful' and 'Artemis the Colossal'. Stylistically this example, with the distinctive exaggerated building above a plain swept veil, natural curled hair, suggests a later derivation- perhaps from the 18 th century and 19 th century prints produced depicting what was then referred to as Diana of Ephesus (see for example Le Magasin pittoresque, book 26, publ. Paris 1833). Examples produced by Righetti and others at this period tend to depict her more in the traditional fashion with disc like headpiece and a Polos crown. Another comparison should be made with the plaster cast version in The Sir John Soane's Museum (Museum number: SC51) as described by Soane in his 1835 "Description of the house and museum on the north side of Lincoln's Inn Fields, the residence of Sir John Soane"; 'A few steps up the staircase leading to the Attic story, in a niche, is a bust .... and in the niche above is a plaster Cast of the Ephesian Diana or Prolific Nature, presented to me by Messrs. Rundell & Co. ' In the Curatorial Notes for the Soane example- it is commented that: " It is fascinating that the original letter sent to Soane with the statue refers to its being a cast from a Greek marble formerly in the possession of Rundell and Bridge because in fact this figure has rather a 'Regency' look and former Director, Tim Knox, has speculated that it might in fact be an early 19th century sculptor's version of the Ephesian Diana rather than a cast after the antique ." As with this example from The Kime Collection, both share a softened more idealised presentation of the form with a face that is more suggestive of a Regency approach to Classical beauty.

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

7

Quantity

1

0 GBP

Opening bid

900 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,000 - 1,500 GBP

FIVE NEW GUINEA STONE ADZE BLADES All tapering towards the butt, four of ovate cross-section with curved cutting edge, one of trapezoid form with chipped butt and cutting edge largest 29.5cm long, with ink inscribed number '400-1957' , smallest 18.5cm long Provenance: Possibly presented by Rev. Lord Charles Hervey, circa 1880 Charterhouse School Museum, largely formed between 1874-1940 Sotheby's, London, The Charterhouse Collection, 5 November 2002, lot 2, where purchased by Robert Kime Formerly at Docker Nook and Warwick Square, see Alastair Langlands, Robert Kime, Francis Lincoln Limited, London, 2015, pp208, 209 Robert Kime (1946-2022) Collection Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some chipping to the butt and cutting edge on each. The two largest examples with more chipping affecting the edges on both sides. Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GEORGE III MAHOGANY AND MARBLE TOPPED SIDE TABLE, CIRCA 1770

8

Quantity

1

0 GBP

Opening bid

2,200 GBP

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0 GBP

Max bid

GBP

Estimate

2,500 - 4,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GREEN GLAZED JARDINIERE, CHINESE, HAN DYNASTY (206BC-220AD)

9

Quantity

1

1,600 GBP

Opening bid

1,600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A WILLIAM & MARY WALNUT AND TURKEY-WORK STOOL, LATE 17TH CENTURY AND LATER

10

Quantity

1

0 GBP

Opening bid

700 GBP

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0 GBP

Max bid

GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PAIR OF WILLIAM & MARY WALNUT AND TURKEY-WORK SIDE CHAIRS OR BACKSTOOLS, LATE 17TH CENTURY

11

Quantity

1

0 GBP

Opening bid

1,300 GBP

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0 GBP

Max bid

GBP

Estimate

1,500 - 2,500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT POLHILL BEVAN (BRITISH 1865-1925), CROCKS (DRY 39)

12

Quantity

1

0 GBP

Opening bid

900 GBP

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0 GBP

Max bid

GBP

Estimate

1,000 - 1,500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE HORSE MART (BARBICAN NO. 1) (DRY 34)

13

Quantity

1

0 GBP

Opening bid

2,600 GBP

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0 GBP

Max bid

GBP

Estimate

3,000 - 5,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT POLHILL BEVAN (BRITISH 1865-1925), A LONDON CHURCH (DRY 38)

14

Quantity

1

1,300 GBP

Opening bid

1,300 GBP

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0 GBP

Max bid

GBP

Estimate

1,500 - 2,500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT POLHILL BEVAN (BRITISH 1865-1925), SALE AT WARD'S REPOSITORY (WARD'S NO.2) (DRY 36)

15

Quantity

1

0 GBP

Opening bid

2,600 GBP

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0 GBP

Max bid

GBP

Estimate

3,000 - 5,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT POLHILL BEVAN (BRITISH 1865-1925), HORSE DEALERS AT THE BARBICAN (BARBICAN NO. 2) (DRY 35)

16

Quantity

1

0 GBP

Opening bid

2,600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

3,000 - 5,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

ROBERT POLHILL BEVAN (BRITISH 1865-1925), HORSE DEALERS (WARD'S REPOSITORY NO. 1) (DRY 33)

17

Quantity

1

2,600 GBP

Opening bid

2,600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

3,000 - 5,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A MAMLUK ENGRAVED BRASS BASIN, EGYPT OR SYRIA, CIRCA 14TH CENTURY

18

Quantity

1

1,100 GBP

Opening bid

1,100 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,200 - 1,800 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AN EDWARDIAN ADJUSTABLE BRASS READING LAMP, CIRCA 1900-1910

19

Quantity

1

0 GBP

Opening bid

700 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

AN UNUSUAL CHARLES II NEEDLEWORK PANEL, CIRCA 1660-1680

20

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 3,000 GBP

AN UNUSUAL CHARLES II NEEDLEWORK PANEL CIRCA 1660-1680 With raised work and embroidered silks with mica and seed pearl detailing, depicting figures standing around a gallows with hanged man, later framed and glazed panel 14 by 27cm, frame 19 by 32.2cm Provenance : Christie's, South Kensington, Costume And Textiles including the John Parry Collection, 12 March 2003, lot 131, where purchased by Robert Kime. The central hanged man is unusual for embroidered pictures of this era but does occur in contemporary needlework scenes of Esther and Ahasuerus where Haman is shown on the gallows. It may this picture is a simplified version of that subject. Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The whole with muted colours from sunlight exposure. The frame sealed but the panel looks to have been laid down on a textile backing prior to framing. Some surface rumpling, spot stains and uneven edges. Small area of loss to the right hand side of right figure's head. Faux tortoiseshell frame with losses. Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A ROMAN GREYWARE POTTERY URN, CIRCA 2ND CENTURY A.D. AND NOW FITTED AS A LAMP

21

Quantity

1

350 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

400 - 600 GBP

A ROMAN GREYWARE POTTERY URN CIRCA 2ND CENTURY A.D. With encircling bands around the mid-body and a band of undulating wave pattern, base of urn inscribed in ink: ' Roman cinerary urn Upchurch (?) ware, River Medway 1940 ', now converted to a lamp with removable two-light fitting, with fabric shade 25cm high, 47cm high to top of existing shade Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The body with varying areas/dates of restorations visible under strong natural light and UV. Chip to top rim, edge wear and scuffs. Shade slightly dirty and with small fraying to join points ELECTRICAL GOODS. Sold with a portable appliance test (PAT) certificate September 2023 Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A RUSTIC BEECH SIDE TABLE, EARLY 20TH CENTURY

22

Quantity

1

0 GBP

Opening bid

700 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,000 - 2,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GLAZED FRAMED CASE CONTAINING FLINT HAND AXES AND STONE AXES, CIRCA 2000 B.C. AND EARLIER

23

Quantity

1

0 GBP

Opening bid

2,600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

3,000 - 5,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GEORGE II RED AND GILT JAPANNED LONGCASE CLOCK STEPHEN ASSELIN, LONDON, CIRCA 1725

24

Quantity

1

2,200 GBP

Opening bid

2,200 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,500 - 4,000 GBP

A GEORGE II RED AND GILT JAPANNED LONGCASE CLOCK STEPHEN ASSELIN, LONDON, CIRCA 1725 The eight-day bell-striking movement with 12 inch brass break-arch dial applied with mask and foliate spandrels, a silvered Roman and arabic chapter ring, matt centre and subsidiary STRIKE/SILENT selection dial to the arch, signed on a silvered plaque 'Step. Asselin LONDON' the gilt and polychrome decorated red japanned case with chinoiserie landscapes, a domed caddy surmount 258cm high, 50.5cm wide, 26cm deep Provenance: Christie's, London, Property From A European Noble Family, 10th November 2005, lot 40, where purchased by Robert Kime Formerly at Docker Nook and Warwick Square, see Alastair Langlands, Robert Kime, Francis Lincoln Limited, London, 2015, p205 Stephen Asselin is recorded working in London from around 1700. He is not recorded as becoming a member of the Clockmaker's Company which suggests that he was most likely a Huguenot immigrant.   Condition Report: Movement is essentially in working condition however mechanism is dirty/dusty hence a clean/service is required. Notches cut the 3 o'clock edges of the plates indicates that an alarm mechanism was once fitted that is no longer present. Otherwise movement appears complete and all-original. The dial in in original albeit in dirty/neglected condition. The centre shows evidence of being fitted with an alarm disc (curved cut-outs to the seconds ring and signature plate). The areas of silvering are now very thin presenting as almost brass in colour. The right-hand corner of the plate has evidence of being bent and re-straightened; the dial foot behind also has a small loss to the tip (section above the securing pin hole). The right-hand mount to the arch is missing a fin from the dolphin. The hour hand has been repaired; the minute hand and selection pointer to the arch are replacements. The seatboard is original to the movement which rests on blocks applied to the case uprights (cheek); the presence of these blocks suggests that the movement and dial re not original to the case. The dial sits a little wonky (leans to the right) hence some adjustment to the blocks will be required to level it. The case is very original retaining old surface in essentially untouched condition. The hood is in good original condition with notable faults limited to blind fret panels missing from the quadrants above the break-arch pediment and some historic worm damage. The rear of the superstructure is interestingly backed with old thick paper inscribed in ink with random Iberian text. The trunk and base are in very fine original condition with faults limited to some very slight localised flaking to the raised decoration; the finish can be best described as fine patinated old original surface with pleasing degree of age-related wear, discolouration and fading. The backboard is in fine condition and the skirting is also original albeit with historic worm damage and a small scarf repair to inner panel to the rear left hand corner. The left-hand side has some slight shrinkage cracking towards the rear edge; the lock to the trunk door is a replacement. Clock has pendulum, a pair of modern cast iron weights a crank winder and a case key. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PAIR OF MOTHER OF PEARL AND BONE INLAID MIRRORS, FIRST HALF 20TH CENTURY

25

Quantity

1

0 GBP

Opening bid

700 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A KARABAGH RUNNER SOUTH CAUCASUS, LATE 19TH CENTURY

26

Quantity

1

3,500 GBP

Opening bid

3,500 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,500 - 2,500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A 'LOTTO' RUG, WESTERN ANATOLIA, FIRST HALF 17TH CENTURY

27

Quantity

1

0 GBP

Opening bid

28,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

30,000 - 50,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A 'SMALL-PATTERNED HOLBEIN' RUG, WESTERN ANATOLIA, 16TH CENTURY

28

Quantity

1

0 GBP

Opening bid

45,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

50,000 - 70,000 GBP

A 'SMALL-PATTERNED HOLBEIN' RUG WESTERN ANATOLIA, 16TH CENTURY Approximately 175cm x 135cm This early and exquisite rug is a rare and apparently unpublished example of a well known group of Ottoman rugs thought to date from the mid 15th until the mid16th centuries. It is thought that these rugs were woven in western Anatolia, in the Ushak region. The rugs in this group share a design of alternating columns of octagonal and cruciform medallions, and in this rug the design is set on a deep, bottle green ground. The rug displays remarkable retention of colour. Most rugs from the group have a variant of a 'kufic' border design that is reminiscent of a type of stylised calligraphy that originated in the city of Kufa in the 7th century. However, this rug is different, and although the border has aspects in common with 'kufic' border designs, it is particularly rare in its combination of design elements (for example the use of partial stellar motifs). The border is also uncharacteristically wide. The group derive their name from the painter Hans Holbein the Younger, as a rug of this design appears in his Portrait of George Gisze of 1532. However, rugs of this design appear in the work of many European artists from the mid 15th until the 17th century, see: Mills, John 'Small Pattern Holbein' Carpets in Western Paintings, Hali, vol.1 no.4, 1978, pp 326-334. Among these are Piero della Francesca, Andrea Mantegna and Domenico Ghirlandaio. Perhaps most famously, an example of a rug of this type appears in a painting, artist unknown, that documents the Somerset Conference of 1604, a peace treaty to negotiate the end of the Anglo-Spanish war. This painting hangs in the National Portrait Gallery. For related examples at auction see Christie's, London 27th April 2023, lot 198; Christie's, London 1st May 2003, lot 34. Both of these examples are much more worn than the present lot. Condition Report: Generally in good pile, and in largely original condition. A small number of small areas of re-piling and repair. Corrosion to charcoal wool, with darkest brown pile mostly lost. Lighter walnut brown also corroded, pile low but mostly extant. Selvages (side cords) not original, and missing in places. Uneven loss to both ends, with outer guard stripe partially lost Condition Report Disclaimer

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Auction date(s): Oct 04

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A GROUP OF SIX COTSWOLD SCHOOL FIRE TOOLS IN THE MANNER OF ERNEST GIMSON , CIRCA 1900-1910

29

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1

260 GBP

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260 GBP

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300 - 500 GBP

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Auction date(s): Oct 04

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A PAIR OF GOTHIC CAST IRON ANDIRONS, ATTRIBUTED TO WILLIAM BURGES, CIRCA 1875

30

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1

0 GBP

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1,100 GBP

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1,200 - 1,800 GBP

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Auction date(s): Oct 04

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A CAST IRON FIRE GRATE, ATTRIBUTED TO WILLIAM BURGES FOR HART, SON, PEARD & CO., CIRCA 1875

31

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1

0 GBP

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1,100 GBP

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1,200 - 1,800 GBP

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Auction date(s): Oct 04

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A CARVED GILTWOOD EIGHT LIGHT CHANDELIER FRENCH, AFTER ANDRE-CHARLES BOULLE, EARLY 18TH CENTURY

32

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1

4,500 GBP

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4,500 GBP

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5,000 - 7,000 GBP

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Auction date(s): Oct 04

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A PAIR OF EBONISED 'SAVERNAKE' ARMCHAIRS BY ROBERT KIME LTD

33

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1

0 GBP

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3,500 GBP

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4,000 - 6,000 GBP

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Auction date(s): Oct 04

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A FRENCH FAIENCE TWO HANDLED JARDINIERE OR CISTERN PROBABLY ROUEN, 18TH CENTURY

34

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1

700 GBP

Opening bid

700 GBP

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0 GBP

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GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

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A KASHMIRI CREAM AND GILT DECORATED WOOD AND BRASS MOUNTED SET OF BELLOWS, 19TH CENTURY

35

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1

190 GBP

Opening bid

190 GBP

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0 GBP

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GBP

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300 - 500 GBP

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Auction date(s): Oct 04

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A TEXTILE COVERED OTTOMAN BY ROBERT KIME

36

Quantity

1

8,500 GBP

Opening bid

8,500 GBP

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Estimate

2,000 - 4,000 GBP

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Auction date(s): Oct 04

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ANDREW NICHOLL (IRISH 1804-1866), WILDFLOWERS

37

Quantity

1

1,800 GBP

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1,800 GBP

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2,000 - 3,000 GBP

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Auction date(s): Oct 04

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ALBERT GOODWIN (ENGLISH 1845-1932), POMPEII BC 75

38

Quantity

1

0 GBP

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1,800 GBP

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0 GBP

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2,000 - 3,000 GBP

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Auction date(s): Oct 04

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A PAIR OF LOUIS XVI ORMOLU CANDLESTICKS, LATE 18TH CENTURY

39

Quantity

1

350 GBP

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350 GBP

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400 - 600 GBP

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Auction date(s): Oct 04

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A CARVED GILTWOOD OVERMANTEL MIRROR, NORTH ITALIAN, SECOND QUARTER 18TH CENTURY

40

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1

0 GBP

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2,600 GBP

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3,000 - 5,000 GBP

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Auction date(s): Oct 04

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A WHITE PORCELAIN MINIATURE ‘SHIPWRECK’ GARNITURE, CHINESE, 18TH CENTURY

41

Quantity

1

1,300 GBP

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1,300 GBP

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Estimate

1,000 - 2,000 GBP

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Auction date(s): Oct 04

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A DELFT BLUE AND WHITE TRANSITIONAL VASE LAMP, CIRCA 1700

42

Quantity

1

1,800 GBP

Opening bid

1,800 GBP

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2,000 - 3,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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A KASHMIRI POLYCHROME AND PARCEL GILT OCTAGONAL TABLE, POSSIBLY SRINIGAR, LATE 19TH CENTURY

43

Quantity

1

850 GBP

Opening bid

850 GBP

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GBP

Estimate

500 - 800 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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A GEORGE II MAHOGANY SIDE CHAIR, MID 18TH CENTURY

44

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1

0 GBP

Opening bid

650 GBP

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GBP

Estimate

700 - 1,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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AN ARTS AND CRAFTS BRASS CANDLESTICK, IN THE MANNER OF HART, SON, PEARD & CO., 19TH CENTURY

45

Quantity

1

320 GBP

Opening bid

320 GBP

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GBP

Estimate

300 - 500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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A CALAMANDER OCTAGONAL OCCASIONAL TABLE, SECOND HALF 20TH CENTURY

46

Quantity

1

0 GBP

Opening bid

450 GBP

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GBP

Estimate

500 - 800 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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A GROUP OF THREE CUSHIONS, THE FABRIC 19TH CENTURY

47

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1

0 GBP

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350 GBP

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400 - 600 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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AN EMBROIDERED VELVET TUNIC OF A SHERWOOD FORESTER, 17TH CENTURY

48

Quantity

1

1,100 GBP

Opening bid

1,100 GBP

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1,200 - 1,800 GBP

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Auction date(s): Oct 04

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GEORGE FREDERICK WATTS (ENGLISH 1817-1904), FOR HE HAD GREAT POSSESSIONS

49

Quantity

1

16,000 GBP

Opening bid

16,000 GBP

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Estimate

15,000 - 25,000 GBP

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Auction date(s): Oct 04

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ENGLISH SCHOOL (EARLY 17TH CENTURY), PORTRAIT OF A MAN WITH A PICKAXE AND A SPADE IN A LANDSCAPE

50

Quantity

1

30,000 GBP

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30,000 GBP

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0 GBP

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Estimate

10,000 - 15,000 GBP

ENGLISH SCHOOL (EARLY 17TH CENTURY) PORTRAIT OF A MAN WITH A PICKAXE AND A SPADE IN A LANDSCAPE Oil on panel Inscribed 'QVIA PATER CREDIDIT MVLIERI' (upper left) and 'ATATIS SVA. 36. A. DNI 1601' (upper right) 104.5 x 82cm (41 x 32¼ in.) Literature: E.S. Whittlesey, Symbols and legends in Western art; a museum guide, New York, 1972. This Elizabethan portrait of an unidentified member of the gentry by an unknown artist is replete with symbols, which depict the sitter's social standing. Dressed in aristocratic, ornate costume - a white linen under shirt with tassels and frilled cuffs; a red, billowing over shirt; silver and gold belt and black breeches with silver thread detail - the agricultural tools he carries, attributes of the hedger and ditcher, are a stark contradiction. The portrait is a morality painting about the illegitimate birth of the sitter and perhaps his exclusion from inheriting his 'paternal' social status and property. This is reinforced by the inscription on the upper left: 'QVIA PATER CREDIDIT MVLIERI' / 'Why should the father have believed his wife' suggesting that the 'father' was made a cuckold by his wife. The spade and pickaxe (mattock) represent Adam and Eve and the Expulsion from the Garden of Eden: for her disobedience, Eve was condemned to painful childbearing and to be ruled over by Adam, and Adam had to toil in the fields with a spade or hoe for his daily bread until he died (Hall's Dictionary of Subjects and Symbols in Art, p. 5). The pickaxe is also an attribute of Pluto or Hades, ruler of the underworld, and thus a further allusion to the ignominy of the sitter's birth (Whittlesey, p. 133). The painting was possibly commissioned by the sitter himself; an inscription on the upper right of the portrait records the age of the sitter and the date the painting was made: 'ATATIS SVA. 36. A. DNI 1601'. This proposal is strengthened by the inclusion of positive symbols such as the rising sun, often used as a symbol of hope, new beginnings, and the promise of a better future - although equally the sun can be read as 'the attribute of truth personified because all is revealed by its light' (Hall, p. 292). However, the pickaxe represents breaking through obstacles or barriers that stand in the way thus overall the painting's message is possibly triumph over adversity. Although no other closely related portrait has come to light, in 1644, Jan Steen painted Celebrating the Birth in which there is a subplot that the 'father' has been made a cuckold (Wallace Collection, London, Inv. P111). Condition Report: The following condition report has been provided by Hamish Dewar, Fine Art Conservation. Please contact housesales@dreweatts.com to access the full report with additional images. Structural condition The panel has vertical joins which have in the past been secured with canvas strips. The joins are visible in a raking light but appear to be reasonably secure, as are a number of other repaired splits and fracture lines within the panel. Paint surface The paint surface has old historic discoloured varnish layers, together with numerous old retouchings which are visible in natural light and have also discoloured. They are also clearly visible under ultraviolet light. There are also areas of wear and abrasion which have not been retouched, such as those on the sitter's jacket. As the painting is stable it may well be felt that rather than fully cleaning the painting, and removing the old retouchings, it may be preferable to merely very lightly surface clean and revarnish the paint surface and not remove the old retouchings. If one was to remove all the old retouchings, and then retouch where found to be necessary, this would involve a considerable amount of work. Summary The painting has therefore undergone a considerable amount of restoration in the past but is now reasonably stable. Condition Report Disclaimer

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Auction date(s): Oct 04

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A ROUEN FAIENCE BLUE AND WHITE OCTAGONAL SECTION BALUSTER VASE, 18TH CENTURY

51

Quantity

1

700 GBP

Opening bid

700 GBP

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0 GBP

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GBP

Estimate

800 - 1,200 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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A LOUIS XIV RED VELVET COVERED TABLE BOX, 17TH CENTURY

52

Quantity

1

0 GBP

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550 GBP

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600 - 1,000 GBP

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Auction date(s): Oct 04

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A LATE VICTORIAN OAK CENTRE TABLE BY GILLOWS, LATE 19TH CENTURY

53

Quantity

1

0 GBP

Opening bid

650 GBP

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GBP

Estimate

700 - 1,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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AN IMARI PILGRIM’S BOTTLE WITH GILT MOUNTS CHINESE, 18TH AND EARLY 19TH CENTURY

54

Quantity

1

0 GBP

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1,300 GBP

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GBP

Estimate

1,500 - 2,500 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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AFTER THE ANTIQUE, A BRONZE FIGURE OF APHRODITE ANADYOMENE

55

Quantity

1

0 GBP

Opening bid

650 GBP

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GBP

Estimate

700 - 1,000 GBP

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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λ DAVID JONES (BRITISH 1895-1974), SPIRIT IN AN ORCHARD

56

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1

0 GBP

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9,000 GBP

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Estimate

10,000 - 15,000 GBP

λ DAVID JONES (BRITISH 1895-1974) SPIRIT IN AN ORCHARD Pencil, watercolour and bodycolour Signed and dated 26 (lower left) 38 x 55cm (14¾ x 21½ in.) Born on 1 st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele. The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones , Tate Gallery, London, 1981, p.24) As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer

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λ DAVID JONES (BRITISH 1895-1974), NANT-Y-BWCH III

57

Quantity

1

0 GBP

Opening bid

6,500 GBP

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Max bid

GBP

Estimate

7,000 - 10,000 GBP

λ DAVID JONES (BRITISH 1895-1974) NANT-Y-BWCH III Pencil and watercolour Inscribed and dated 'Nant-y-Bwch, Capel 1925' (verso) 38.9 x 27.5cm (15¼ x 10¾ in.) Provenance: Anthony d'Offay, London, where purchased by Barnabas McHenry Christie's, South Kensington, 20 th Century British Art Including Works from the Collection of Bannon and Barnabas McHenry, 17 December 2008, lot 13, where purchased by Robert Kime Born on 1 st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele. The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones , Tate Gallery, London, 1981, p.24) As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Hinged to the top left and right corners. Slight undulation to the sheet. Very light staining to the upper corners possible caused by glue residue from the mounting process. Small crease to the lower left corner. Appears to be in generally good original condition. Condition Report Disclaimer

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Auction date(s): Oct 04

Lot location: Newbury, Berkshire

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ERIC RAVILIOUS (BRITISH 1903-1942), NEW YEAR SNOW

58

Quantity

1

0 GBP

Opening bid

90,000 GBP

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0 GBP

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Estimate

100,000 - 150,000 GBP

ERIC RAVILIOUS (BRITISH 1903-1942) NEW YEAR SNOW Watercolour and pencil Signed (lower left) 46 x 56cm (18 x 22 in.) Painted in 1938. The present work was painted in Capel-y-Ffin, Breconshire. Provenance: Private Collection, Sir Duncan Oppenheim Sale, Christie's, London, The Collection of the Late Sir Duncan Oppenheim , 6 June 2003, lot 91, sold by order of the executors, where purchased by Robert Kime Exhibited: London, Arthur Tooth & Sons, Recent Watercolours by Eric Ravilious , 11 May-3 June 1939, no. 1 (18 guineas) Sheffield, Graves Art Gallery, Eric Ravilious , An Exhibition of Watercolours, Wood Engravings, Illustrations, Designs , 1958, no. 94, lent by Mr & Mrs D. Oppenheim London, Arts Council of Great Britain, Eric Ravilious Memorial Exhibition , 1948-9, no. 1 Colchester, The Minories, Eric Ravilious , 1972, no. 22; and touring London, Imperial War Museum, Eric Ravilious Centenary Exhibition , 2003, illus. in exhibition catalogue Literature: Freda Constable, The England of Eric Ravilious , Scolar Press, London, 1982, pl. 21 Helen Binyon, Eric Ravilious, Memoir of an Artist , Lutterworth Press, London, 1983, p.105, illus. Anne Ullmann et al, Eric Ravilious: Landscape, Letters and Design, Fleece Press, 2008, ill. p. 437 Alan Powers, Eric Ravilious, Imagined Realities , Imperial War Museum, Philip Wilson Publishers, 2012, pl. no. 46 illus James Russell, Ravilious in Pictures, A Travelling Artist , Mainstone Press, 2012, p.4, illus. Susie Hodge, Eric Ravilious, Masterpieces of Art , Flame Tree Illustrated, 2015, p. 54 illus This atmospheric watercolour depicts a picturesque valley in the Welsh borders and at the same time shows us a master at work. Early in 1938 Ravilious travelled to Capel-y-Ffin, a hamlet in the Honddu valley not far from the ruins of Llanthony Priory. Having concentrated on illustration and design for a couple of years he was at last free to paint watercolours, and to take his time doing so. He had booked a room in the hamlet's solitary farmhouse for two months, and looked forward to exploring a landscape that was wilder than his native Sussex. Steeped as he was in the English watercolour tradition, Ravilious was well aware that JMW Turner, John Sell Cotman and other luminaries had painted the valley before him, although those earlier Romantic artists had tended to focus on the ruined abbey. A more recent visitor was artist-poet David Jones, who stayed with Eric Gill and his entourage in Capel-y-Ffin in the 1920s. Ravilious admired the strong modern line and delicate palette of Jones's watercolours, which present subjects similar to this but in a very different style (see Lot 56 David Jones 'Spirit in an Orchard' In New Year Snow Ravilious presents a recognisable view south-east along the valley, towards the distinctive buttress of Loxidge Tump. He was no topographer, however, and here he has redirected the course of the river so that it bends across the composition, roughly mirroring the curve of hills against the sky. Water, land and clouds are painted with remarkable economy, with only the lightest of washes across the hilltops. Mostly the watercolour has been applied in single strokes, whether taut and wiry or roughly scuffed with a dry brush. White paper showing through suggests here the texture of grassland dusted with snow and there the shimmer of moving water, while simultaneously conveying a feeling of light-heartedness and freedom. In place of the ruins sought out by Turner's generation, we have the kind of man-made object that delighted Ravilious: a sheep feeder on wheels set centre stage and at a precarious angle. This positioning and the clarity of the draughtsmanship lend a slightly dreamlike quality to the scene. In May 1939 Ravilious held his third exhibition of watercolours at the prestigious London gallery of Arthur Tooth and Son, the show that cemented his reputation. In The Observer , Jan Gordon praised Ravilious's extraordinary technique, which made the most mundane object 'appear as something magic, almost mystic, distilled out of the ordinary everyday.' Ravilious chose twenty-seven watercolours for the exhibition; in the catalogue New Year Snow is No. 1. James Russell Art Historian, Author and Curator Condition Report: Examined out of glazed frame. There are no obvious condition issues or any evidence of restoration or repair. Condition Report Disclaimer

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A WILLIAM & MARY WALNUT AND PAPER SCROLL WORK WALL MIRROR CIRCA 1700

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A GILT AND POLYCHROME PAINTED PANEL, INDIAN, 19TH CENTURY

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