Dreweatts 1759 | The Collection of The Hon. Patrick and Lady Amabel Lindsay

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

A PAIR OF MEISSEN BLUE GROUND AND GILT SERPENT HANDLED VASES, LATE 19TH CENTURY

1

Quantity

1

0 GBP

Opening bid

180 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A REGENCY CREAM AND BLUE PAINTED GOTHIC SIDE CHAIREARLY 19TH CENTURY

2

Quantity

1

240 GBP

Opening bid

240 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

400 - 600 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

3

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 400 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A GILT METAL CYLINDRICAL HALL LANTERN OF GEORGE III STYLE

4

Quantity

1

0 GBP

Opening bid

1,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,200 - 1,800 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A GREY PAINTED AND PARCEL GILT OVERMANTEL OF LOUIS XVI STYLE

5

Quantity

1

0 GBP

Opening bid

300 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

500 - 800 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CHINESE BLUE GLAZED BUST OF A RED ARMY SOLDIER, 20TH CENTURY

6

Quantity

1

0 GBP

Opening bid

150 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

250 - 350 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A NEOCLASSICAL GILT VARNISHED SILVER ('MECCA') SIDE TABLE, ITALIAN

7

Quantity

1

0 GBP

Opening bid

4,500 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

5,000 - 8,000 GBP

A NEOCLASSICAL GILT VARNISHED SILVER ('MECCA') SIDE TABLE ITALIAN, LATE 18TH/EARLY 19TH CENTURY With a rectangular Sicilian jasper slab above a foliate panelled frieze with guilloche and beaded borders on beaded and acanthus-carved tapering and spiral-fluted legs, restorations to jasper slab 87cm high, 152cm wide, 71cm deep Provenance: Rt. Hon. Sir Ronald Charles Lindsay (1877-1945), Stepleton House, Blandford Forum, Dorset and thence by descent Stepleton House was built in the mid 17 th century by Thomas Fownes on land he bought from George Pitt of Stratfield Saye. The property was sold in 1745 by Fownes' descendent, also Thomas, to Julines Beckford, brother of William Beckford of Fonthill House, Wilts. Beckford extensively remodelled the house and surroundings, adding flanking pavilions in 1758 and creating pleasure gardens by damming the River Iwerne. Beckford's son Peter inherited around 1764 and in 1773 he married the Hon. Louisa Pitt, daughter of George Pitt, 1 st Baron Rivers. The estate was ultimately sold by the (then) Pitt Rivers family in 1917. Patrick inherited Stepleton from his great-uncle Sir Ronald Lindsay (d.1945), British Diplomat and Ambassador to the United States from 1930 - 39. Patrick however never lived at Stepleton, instead it was rented by Lady Amabel's cousin Robert Fermor-Hesketh who asked for Amabel's help in decorating it, retaining a number of pieces from Ronald's time including the impressive table offered here and three mirrors (lots 5, 60 and 198). Condition Report: Good `country house condition' , structurally secure with wear and tear consistent with age and use. There are dents marks and scratches and shrinkage cracks. The jasper slab is generally good but with repair to front left corner and visible areas of filler across the top. The decoration scuffed and chipped, some losses to the carved decorations of the frieze rails, the legs scuffed. Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A LATE VICTORIAN GILT METAL TAPERING CYLINDRICAL HALL LANTERN, LATE 19TH CENTURY

8

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 4,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CHINESE BLUE AND WHITE BALUSTER VASE AND COVER, KANGXI (1662-1722)

9

Quantity

1

350 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

600 - 900 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

Y AN EMPIRE ORMOLU MOUNTED BRAZILIAN ROSEWOOD CONSOLE TABLE, EARLY 19TH CENTURY

10

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 4,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF GILTWOOD CONVEX MIRRORS, 19TH CENTURY

11

Quantity

1

0 GBP

Opening bid

1,300 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,500 - 2,500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ ALFREDO PINA (ITALIAN, 1883-1969)- A CARVED WHITE MARBLE FIGURE 'SLEEPING NYMPH'

12

Quantity

1

0 GBP

Opening bid

3,500 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

4,000 - 6,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ RENATO GUTTUSO (ITALIAN 1912-1987) LAVANDAIA CON UN CESTA IN TESTA AD ANACAPRI

13

Quantity

1

0 GBP

Opening bid

5,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

6,000 - 8,000 GBP

λ RENATO GUTTUSO (ITALIAN 1912-1987) LAVANDAIA CON UN CESTA IN TESTA AD ANACAPRI Oil on canvas Signed (lower right) 50 x 38cm (19½ x 14¾in.) Painted in 1954. Provenance: Private Collection, Rome Ernest Brown & Phillips Ltd. at The Leicester Galleries, London Exhibited: London, Ernest Brown and Phillips Ltd at the Leicester Galleries, Exhibition of the Recent Works of Renato Guttuso , March 1955, no. 5 London, Artists International Association, R.B.A. Galleries, 1958 Literature: Ernest Brown and Phillips at the Leicester Galleries, Catalogue of an Exhibition of the Recent Works of Renato Guttuso , March 1955, no. 5 (illus.) E. Crispolti, Catalogo ragionato generale dei dipinti di Renato Guttuso , Milan 1984, vol. 2, p. 10, no. 54/15 (illus.) In 1931, Renato Guttuso exhibited two paintings at the Quadriennale Nazionale d'Arte Italiana in Rome, which set him on the path to becoming an artist. He abandoned his university studies and his thoughts of pursuing a career as a lawyer and turned to painting. He became Italy's leading exponent of Social Realism and he frequently used his art as a vehicle to highlight injustice and abuses of power. From the 1940s, he also began to design stage sets, creating scenery for productions throughout Italy. This remained a passion of his throughout his life. Guttuso's life was something of a paradox; he joined the Communist Party in 1940, in a response to fascism, and remained a member until his death, serving as a communist MP in the 1970s. Yet his long-term partner was a countess. In 1948, he exhibited a group of works at the Venice Biennale, which brought his work to the attention of the international press. One of the critics at the Biennale, Douglas Cooper was instrumental in bringing Guttuso's work to London. He organised his first exhibition in London at the Hanover Gallery in 1950. Five years later, Leicester Galleries held an enormously successful solo exhibition, presented by John Berger. His work sparked lively debate in the English press. The critic for the Spectator Magazine noted that Guttuso was in the almost unique position of having his work hung both in the Museum' of Modern Art in New York and in the Stalin Museum in Moscow ... a rip-roaring propagandist who represents the extrovert, heroic side of Western 'disintegration' as seen through Marxist eyes. Peasants on the march, slaughtered workers and the blood- baths of patriots are his meat . ( The Spectator , op. cit). Both lots 13 and 68 were included in the 1955 exhibition and were regarded by Berger as worthy of being illustrated in the accompanying catalogue Condition Report: Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ NICKY BARTHORP (BRITISH 21ST CENTURY) UNTITLED

14

Quantity

1

0 GBP

Opening bid

180 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ NICKY BARTHORP (BRITISH 21ST CENTURY) ONENESS

15

Quantity

1

180 GBP

Opening bid

180 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ HECTOR MCDONNELL (BRITISH B. 1947) WOMAN IN THE SNOW, TSURPHU

16

Quantity

1

0 GBP

Opening bid

600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,000 - 1,500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ JAAP DE VRIES (DUTCH 1959-2014) BIRCH (NO. 6)

17

Quantity

1

0 GBP

Opening bid

240 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

400 - 600 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ FFIONA LEWIS (BRITISH B.1964) BLUE - LIGHT, ULTRAMARINE, CERULEAN, PRUSSIAN

18

Quantity

1

0 GBP

Opening bid

300 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

500 - 700 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ CHANTAL JOFFE (BRITISH B.1969) FIGURES IN A BED

19

Quantity

1

0 GBP

Opening bid

600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,000 - 1,500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A MAIOLICA WALL FITTING IN DELLA ROBBIA STYLE AND MODELLED AS A WINGED ANGEL, ITALIAN, 19TH CENTURY

20

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

21

Quantity

1

0 GBP

Opening bid

60 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

100 - 200 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CARVED OAK FIGURE OF A SERVANT POURING WINE AT THE WEDDING FEAST AT CANA. FLEMISH

22

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 3,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CARVED OAK GROUP OF CHRIST AND MARY AT THE WEDDING AT CANA, FLEMISH

23

Quantity

1

1,800 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 3,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A DELFT GILT METAL MOUNTED FIVE LIGHT CANDELABRUM, THE VASE DUTCH, LATE 18TH CENTURY

24

Quantity

1

180 GBP

Opening bid

180 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

SEVEN GLASS RUMMERS ENGRAVED WITH HUNTING SCENES, SECOND QUARTER 20TH CENTURY

25

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A SET OF TWELVE WILLIAM IV MAHOGANY DINING CHAIRS, CIRCA 1835

26

Quantity

1

0 GBP

Opening bid

2,200 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,500 - 4,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF CHINESE SQUARE SECTION BLUE AND WHITE CANDLESTICKS, 19TH CENTURY

27

Quantity

1

70 GBP

Opening bid

70 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

100 - 150 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF ORMOLU MOUNTED BLACK MARBLE FOUR LIGHT CANDELABRA OF LOUIS XVI STYLE

28

Quantity

1

0 GBP

Opening bid

1,300 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,500 - 2,500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A FRENCH GILT BRASS ADJUSTABLE KERB FENDER, EARLY 19TH CENTURY

29

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 400 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BRITISH 1833-1898) AND STUDIO

30

Quantity

1

0 GBP

Opening bid

50,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

60,000 - 100,000 GBP

SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BRITISH 1833-1898) AND STUDIO STUDY OF NIMUE FOR 'THE BEGUILING OF MERLIN' black chalk and oil on a prepared canvas, unlined 76.4 x 59.2cm (30 x 23¼in.) Provenance: Anonymous sale [Lady Clay]; Christie's, London, 3 February 1976, lot 161 Possibly The Fine Art Society, London The present oil sketch is a study for the figure of Nimuë in Burne-Jones's celebrated painting The Beguiling of Merlin (1874, Lady Lever Art Gallery, Port Sunlight, fig. 1), one of a group of eight works Burne-Jones exhibited at the first Grosvenor Gallery exhibition in 1877. The picture was commissioned by Burne-Jones's great patron F.R Leyland (1831-1892) for the famous interior he created at 49 Prince's Gate, London. The Grosvenor Gallery was established as an alternative to the Royal Academy by Sir Coutts Lindsay (1824-1915) and set itself apart from mainstream exhibiting societies. It was more a private organisation defined in terms of distinction and the artists it promoted embodied this rarified identity. The pictures were hung (in contrast to the Royal Academy) in an aesthetic hang which embraced the ideal of 'art for art's sake'. Burne-Jones's exhibits, displayed on scarlet damask, shone out and marked him out as a leader of the new aesthetic sensibility. For Burne-Jones his debut at the inaugural Grosvenor Gallery exhibition marked a triumphal return to public exhibition after a break of seven years when he resigned from the Old Water Colour Society in 1870 after a member of the public complained about the nudity in Phyllis and Demophoon (Birmingham Museums Trust). The Beguiling of Merlin is based on the late Medieval French text Le Roman de Merlin . Merlin and Nimuë was one of Burne-Jones' favourite Arthurian themes. He discovered a copy of the 1817 edition of Sir Thomas Malory's Morte d'Arthur in a Birmingham bookshop in 1855, and painted an Arthurian subject in a mural for the old Debating Hall of the Oxford Union in 1857. He also executed a watercolour of the same subject in 1861 (Victoria & Albert Museum, London). In the story Merlin was so in love with Nimuë that at her request he taught her all his magic skills, which she wrote down. The picture depicts the moment when snake crowned Nimuë has lulled the magician to his doom, enchanting Merlin with his own sorcery by binding him into a hawthorn tree. Merlin is shown paralysed and helpless and the subject matter symbolising entrapment in which a male protagonist falls victim to a hidden, threatening female power. Find out more Condition Report: Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (1833-1898) SPES AND DAPHNE

31

Quantity

1

0 GBP

Opening bid

60,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

70,000 - 100,000 GBP

SIR EDWARD COLEY BURNE-JONES, BT. A.R.A., R.W.S. (BRITISH 1833-1898) SPES AND DAPHNE Pencil on two joined sheets of paper laid on linen, wrapped around a wooden board 93.5 x 123.2cm (36¾ x 48½in.) In the original frame Provenance: The artist, and by descent to his son, Sir Philip Burne-Jones, Bt. Sale of the remaining works by the late Sir Edward Burne-Jones Bt .; Christie's, London, 5 June 1919, probably lot 20 (25 gns to Gooden & Fox). William Hesketh Lever, first Viscount Leverhulme, who gave it to the Lady Lever Art Gallery, Port Sunlight, probably in 1922. Trustees of the Lady Lever Art Gallery ; Christie's, London, 6 June 1958, lot 12. The present drawing is one of Burne Jones's most highly finished drawings and is one of the group of large scale, semi-independent works that relate to the needlework frieze designed to hang round the upper walls of the dining-room at Rounton Grange, Northallerton, a house commissioned from the architect Philip Webb (1831-1915) by the Novocastrian ironmaster and metallurgist Sir Isaac Lowthian Bell (1816-1904) in 1872. The commission in 1874 to decorate the interior of the house was one of the most important to date for Morris and Company and included wallpapers, ceilings, furniture and carpets. Burne-Jones and William Morris took the opportunity afforded by the commission to illustrate the medieval tale Romaunt of the Rose on a needlework frieze which was to be was worked by Sir Lowthian's wife, Margaret, and his daughters who were experienced needlewomen. Burne Jones designed the figures and William Morris the background of stylised briar roses. The frieze was completed in 1882 and survives in the William Morris Gallery, Walthamstow. The subject of the frieze was the thirteen-century Romance of the Rose , written by Guillaume de Lorris. It was among the most popular secular texts of the late Middle Ages, though considered controversial due to its sensuous language and imagery and often condemned by contemporary moralists. The Romaunt is a meditation on the nature and vicissitudes of courtly love cast in allegorical form and describes how a young poet dreams of an encounter with the god of Love (one of Burne Jones's favourite emblematic personifications). The poet enters a secret garden where after trials and tribulations he discovers a wonderful rose, symbolising perfect love. The tapestry covered three sections of the north, south and west walls of the dining room, in the centre, over a massive stone fireplace, Burne-Jones depicted the Pilgrim gazing on the miseries of the world - Hate, Felony, Villainy, Covetousness, Avarice, Envy, Sorrow, Age, Time, Hypocrisy and Poverty, represented by free-standing bronze sculptures set in niches along the exterior wall of the Garden of Idleness, while on either side is the poet's dream of Love leading the Pilgrim to safety and away from danger, and introducing him to the Garden of Idleness, where he finds ineffable beauty in the heart of the rose. The Garden itself is populated by beneficent presences Spes and Daphne is one of the four pairs of figures which personify the Virtues, the others are Love and Beauty , Largesse and Richesse and Courtesie and Fraunchise which aid the Pilgrim in his search for his beloved. Burne-Jones worked these pairs of Virtues, of which the present work is one, and Love Leading the Pilgrim (all private collections) up to exquisite highly finished drawings. The romantic, complex and scholarly story was translated from the French into middle English by one of Burne-Jones's favourite poets, Chaucer. Chaucer was one of the cornerstones of Burne-Jones's and Morris's medievalism and they first read him as undergraduates at Oxford. The story would have greatly appealed to Burne-Jones's sensibilities and was also the subject of one of his favourite illuminated manuscripts in the British Museum. G.P. Boyce records a visit to the Museum on 14 April 1860 when he, his sister Joanna, and her husband, the painter H.T. Wells, were shown this exquisite book by Burne-Jones, who evidently knew it well [1]. The lavishly illuminated manuscript was written in Bruges at the end of the 15 th Century and illustrated with miniatures that conjured up a picturesque and highly-coloured world in keeping with the poem's celebration of courtly love. The finished embroidery worked from this design is illustrated in Edward Burne-Jones: Victorian Artist-Dreamer , exhibition catalogue, Metropolitan Museum, New York, 1989, pp. 180-181; two comparative highly finished drawings for the project of Love and Beauty and Largesse and Richesses are illustrated, loc.cit ., nos. 73, 75. Several of the designs were re-cycled as easel paintings or tapestries for Morris & Co. Notably Love leading the Pilgrim (Tate Britain), his last major picture, exhibited at the New Gallery in 1896-7 and The Pilgrim at the Garden of Idleness , 1884 (Dallas Museum of Art), illustrated op.cit . pp. 182, 184, nos. 74, 78. The group of full-size pencil drawings, which includes the present drawing, Spes and Daphne , were finished to an exceptional level and reveal Burne-Jones's love of the medium and the irresistible opportunity they afforded him to execute such works. Dating from the early 1870s they clearly reflect the influence on his style of his visits to Italy in 1871 and 1873 where he studied Italian Renaissance paintings. The drawings are in his most 'Florentine' manner, notably the lively Ghirlandaio-style movement of the figures and the billowing Botticellian drapery with great emphasis on linear invention. How highly the artist rated this group of drawings is evidenced by the fact that Margaret Bell and her daughters were given photographic enlargements from which to work their embroidery while Burne-Jones retained the originals. Tellingly he gave Love Leading the Pilgrim , 1876-77 (private collection) to Frances Horner, the daughter of his patron William Graham, with whom he was platonically in love for years. In summary these exceptional drawings, including Spes and Daphne 'seem to have been taken to a degree of finish more out of pleasure than of necessity.'[2] [1] V. Surtees, The Diaries of George Price Boyce, Norwich, 1980, pp. 29-30. [2] Edward Burne-Jones: Victorian Artist-Dreamer, exhibition catalogue, p. 180. Condition Report: Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

ATTRIBUTED TO SIR EDWARD COLEY BURNE-JONES

32

Quantity

1

0 GBP

Opening bid

2,600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

3,000 - 5,000 GBP

ATTRIBUTED TO SIR EDWARD COLEY BURNE-JONES, BT., A.R.A., R.W.S. (BRITISH 1833-1898) STUDY OF A WOOD NYMPH AND A SEA NYMPH Brown and grey wash, white chalk over pencil on brown paper 35.5 x 51cm (13¾ x 20in.) The present drawing, previously given to Thomas Matthews Rooke (1842-1942) Burne-Jones's main studio assistant (for further information on Burne-Jones's studio see lot 30) appears to be an early first design for Burne-Jones's Designs for sculptural reliefs: Sea-Nymph and Wood-Nymph, 1878 which precede his important painting, A Sea-Nymph, 1881 (private collection) and its companion, A Wood Nymph , 1883 (South African Museum, Cape Town), which were commissioned by Burne-Jones's patron William Connal, (see J. Christian, Daughter's of Delight , exhibition and sale catalogue, Christie's, London, 2005). As Christian noted, op.cit. Burne-Jones fondness for the theme of the sea-nymph is usually linked to his acquisition of a house at Rottingdean, four miles east of Brighton in 1880, though as is often the case with Burne-Jones, the idea had been used earlier and subsequently recycled. These subjects had their roots in earlier decorative work and his work record for 1875 records 'mermaids for woven stuffs', where we see two of these mer-figures, one moving from left to right holding fishes, one moving from right to left clasping mer-babies, they were Burne-Jones's contribution to a repeating pattern of fabric or wallpaper for William Morris. In 1878 he noted he had designed three panels for low relief, one of a wood nymph, a water nymph and Hesperides . These were the Designs for sculptural reliefs: Sea-Nymph and Wood-Nymph, sold Christie's, London, 15 December 2010, lot 34, executed in bodycolour on brown paper and are framed within a narrow border. There is some evidence that these designs were originally conceived as a relief to decorate either end of a cassone or chest with the longer Hesperides panel decorating the front section. Although there are many differences from the sketch in the present drawing to the sculptural designs- the wood nymph is standing full-length, rather than emerging from the tree itself and the mermaid swims with her back to us and other sea creatures are added such as a pencilled-in whale and a large sea snail, however the mermaid is reminiscent of a watercolour and bodycolour work of the artist, from 1882, see Christian, op.cit , fig. 23. Notable are the striking and almost comical depictions of the gaping eel-like fish, identified as gurnies and for which Burne-Jones executed independent studies, also on brown paper, sketches of which are in The Whitworth, University of Manchester and Palazzo Butera. Condition Report: Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF CARVED GILTWOOD GIRANDOLES, ITALIAN, OF ROCOCO STYLE, 19TH CENTURY

33

Quantity

1

0 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 4,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF SATINWOOD BOWFRONT SIDE CABINETS OF GEORGE III STYLE

34

Quantity

1

1,800 GBP

Opening bid

1,800 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

2,000 - 4,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A SET OF THREE TOLE PEINTE FLORAL CHANDELIERS, CONTINENTAL

35

Quantity

1

350 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

600 - 1,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF WUCAI BALUSTER VASES AND COVERS, 17TH CENTURY

36

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

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF BRASS CANDLESTICK TABLE LIGHTS, 20TH CENTURY

37

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF FRENCH EMPIRE GILT AND PATINATED BRONZE CANDLESTICKS, EARLY 19TH CENTURY

38

Quantity

1

350 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

600 - 1,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CHINESE BLUE AND WHITE CYLINDRICAL FLOOR VASE, MODERN

39

Quantity

1

320 GBP

Opening bid

320 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

100 - 150 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A LOUIS XVI ORMOLU-MOUNTED AND BRASS LINE INLAID MAHOGANY CONSOLE DESSERTE, CIRCA 1770

40

Quantity

1

0 GBP

Opening bid

600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,000 - 1,500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ IVON HITCHENS (BRITISH 1893-1979) FLOWER COMPOSITION, VIOLET AND ORANGE

41

Quantity

1

0 GBP

Opening bid

60,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

70,000 - 100,000 GBP

λ IVON HITCHENS (BRITISH 1893-1979) FLOWER COMPOSITION, VIOLET AND ORANGE Oil on canvas Signed (lower left), further signed, titled and inscribed (to artist's label on stretcher verso) 60.5 x 114cm (23¾ x 44¾in.) Painted in 1958. Provenance: Ernest Brown & Phillips at The Leicester Galleries, London Exhibited: London, Ernest Brown and Phillips at the Leicester Galleries, Recent Paintings by Ivon Hitchens, May 1959, no. 8 London, Bradford and Birmingham, Arts Council: Ivon Hitchens: A Retrospective Exhibition , Tate Gallery, 11 July - 18 August 1963, Bradford City Art Gallery, 31 August - 22 September 1963, Birmingham City Museum and Art Gallery 28 September - 20 October 1963, no. 105 Literature: Ernest Brown and Phillips at the Leicester Galleries, Catalogue of an Exhibition of Recent Paintings by Ivon Hitchens , May 1959, no. 8 (illus.) Arts Council, Ivon Hitchens, a retrospective exhibition , Lund Humphries, 1963, no. 105 (illus) The present work was first exhibited publicly in what was Hitchens' tenth one-man exhibition at the Leicester Galleries, in May 1959 and was the culmination of a twenty-year relationship between the artist and the gallery. Hitchens found a freedom of expression and a relief in his flower paintings as a welcome contrast to the demands of landscape painting. In his best works they afforded the opportunity to combine harmonious colour with a balanced composition. When subtle-brush work coincides with a unified composition, these flower groups transcend the decorative and invite a deeper contemplation, not merely of paint but of flowers . ...[They] invigorate by their vitality and colour . (Peter Khoroche, Ivon Hitchens , André Deutsch, 1990, p. 119-20). By 1958, when the present work was painted, the connexion between the jumping-off point of a painting-something seen and felt-and the painting itself had become for Hitchens ever more tenuous, be it a landscape or a flower piece. Now in his mid-sixties, he was moving towards an ever-greater freedom of form and colour, movement and gesture. There are paintings of this date and later in which flowers are distinctly recognizable. This is not one of them. Here colour-pattern, rhythm and variety of brush mark combine in a largely abstract design-a visual music of colour-shapes-sufficient in itself to engage the viewer's eye independently of anything it might represent. The violet and orange of the picture's title, heightened by their surround of pure white, first capture the eye then lift it up to the arc of pale blue and green at the top of the canvas before letting it dive down the long streak of black to find the answering patches of blue and green at bottom right. Here it finds itself exploring a complex funnel of competing dark and light colour-patches. Escape isn't easy but it lies along the broad sweeps of paint leading leftwards and up to the comparative freedom and spaciousness offered by the orange and violet where it began. Of course, that is just one possible itinerary over the competing elements in this lively and light-hearted composition. Grave analysis is out of place: whether one reads it as a flower piece or a landscape or neither, the essential is that one should keep exploring. Hitchens himself was happy enough with this forward-looking painting to wish to include it in his retrospective exhibition at the Tate in 1963 and it was he who wrote requesting its inclusion in the exhibition. No doubt he hoped it would startle and waylay those who had knowingly pigeon-holed him as a painter of landscapes. We are grateful to Peter Khoroche for his assistance with cataloguing this work. Condition Report: Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ AUGUSTUS JOHN O.M., R.A. (BRITISH 1878-1961) DORELIA IN A LANDSCAPE

42

Quantity

1

0 GBP

Opening bid

18,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

20,000 - 30,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ AUGUSTUS JOHN O.M., R.A. (BRITISH 1878-1961) DORELIA WEARING A SHAWL

43

Quantity

1

0 GBP

Opening bid

13,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

15,000 - 25,000 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CHINESE CRACKLE GLAZED HU VASE, 20TH CENTURY

44

Quantity

1

0 GBP

Opening bid

150 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

250 - 350 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A LOUIS XVI ORMOLU AND BRASS MOUNTED MAHOGANY CONSOLE DESSERTE, LATE 18TH CENTURY

45

Quantity

1

0 GBP

Opening bid

600 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

1,000 - 1,500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A CONTINENTAL WHITE PORCELAIN SURTOUT DE TABLE, SECOND HALF 20TH CENTURY

46

Quantity

1

180 GBP

Opening bid

180 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

300 - 500 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

λ CRAIGIE AITCHISON R.A. (BRITISH 1926-2009) LANDSCAPE FROM INSIDE A CATHEDRAL

47

Quantity

1

0 GBP

Opening bid

18,000 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

20,000 - 30,000 GBP

λ CRAIGIE AITCHISON R.A. (BRITISH 1926-2009) LANDSCAPE FROM INSIDE A CATHEDRAL Oil on canvas 91.5 x 76.5cm (36 x 30in.) Painted in 1957. Provenance: Beaux Arts Gallery, London, 1959 Private Collection, Anthony Fry (1927-2016) Christie's, London, Modern British Art Day Sale , 20 November 2018, lot 177 Exhibited: London, Beaux Arts Gallery, Craigie Aitchison , 5 - 31 January 1959, no. 4 London, Nottingham, Portsmouth, Milton Keynes and Bolton, Arts Council of Great Britain: Serpentine Gallery, December 1981 - January 1982, Nottingham, Midland Group, February - March 1982; Old Portsmouth, City Museum and Art Gallery, April - May 1982, Milton Keynes, Central Library Exhibition Gallery, May - June 1982, and Bolton, Museum and Art Gallery, July - August 1982, Craigie Aitchison Paintings 1953-1981 , no. 5 Literature: Beaux Arts Gallery, Craigie Aitchison , 5 - 31 January 1959, no. 4 Arts Council of Great Britain, Craigie Aitchison Paintings 1953-1981 , no. 5 (illus.) Andrew Gibbon Williams, The Art of Craigie Aitchison , Edinburgh, 1996, pp. 42, 169, pl. 10 (illus.) Andrew Lambirth, Craigie Aitchison,Out of the Ordinary , R.A., 2003, p. 16 fig. 10 (illus.) Cate Haste, Craigie Aitchison A Life in Colour , Farnham, 2014, pp. 52-53, 239, pl. 38 (illus.) Mr Craigie Aitchison ... earns the label "romantic" by this ability to convey the mood felt in a certain place than the physical details of its appearance. His best paintings ... are so simplified that it would be tempting to compare them to abstract works, where it not that they are conceived entirely as attempts to represent a certain aspect of reality, and not as formal compositions . ( The Times , 1956 quoted in Andrew Gibbon Williams, The Art of Craigie Aitchison p. 51). Craigie Aitchison was born in Edinburgh. His father was a prominent lawyer, judge and politician, who died suddenly when Aitchison was fifteen. Aitchison initially followed his father 's footsteps into law, but whilst in London studying for the Bar, he began to spend more time painting and studying art. In 1952, he enrolled at the Slade School of Art, initially as a part time student. In 1953, he won the Slade School prize for a still life and in February the following year, he participated in his first group exhibition: Six Young Contemporaries at Gimpel Fils Gallery, London. Having been awarded the British Arts Council Italian Government Scholarship, in September 1955, Aitchison set off on a two month tour of Europe and Italy, in the company of friend and fellow student Myles Murphy. His time in Italy had a profound impact on Aitchison's art. He became fascinated by the work of the Early Renaissance artists, and particularly the stern geometry, muted tones and delicate palette of Piero della Francesco, as well as the simplification of form and composition inherent in the work of Giotto, where details are reduced to their essential elements. He found a fascination with the power of religious subjects and how their surroundings the candles and the darkness and the massive gold frames (Cate Haste, Craigie Aitchison A Life in colour , p. 47) added to the viewing experience. Equally profound an impact on the artist's work were the colours inherent in the landscape of Italy. The balance of greens and earthy colours of the area between Siena and Rome, introduced Aitchison into a new palette and encouraged him to abandon his previously bolder colour range. He discovered that raw umber and dark colours could be just as glamorous as bright one, just as exciting. ( loc. cit ). On his return to Britain, he produced works imbued with the contemplative atmosphere of the ordered landscape of the Italian campagna... Of the works produced in the years immediately following his time in Italy, it was a captivating small picture [the present work] that most forcefully conveys the impact Italy had on Craigie. The composition is arranged with almost geometric precision, each element from cypress tree to crucifix finding its niche; but what really clinches the success of the picture is the precise tonal organisation. Greens, ochres and above all the pellucid pale blue, hang together in perfect balance. And the air of melancholy that emanates from the picture results, more from the absence of incident . (Andrew Gibbon Williams, op. cit , p. 41). The present work was included in the artist's first solo exhibition held at Beaux Arts Gallery, in London, where it was seen by Aitchison's friend and fellow artist Anthony Fry, who later recalled that he couldn't stop thinking about it and although, he wasn't a great purchaser ... [and] didn't have much money. But [he] decided that definitely [he] was going to get it . ( ibid . p. 52). The artist was delighted, not only was it sold to a friend, but an artist purchasing it, validated it as a work of art; he apparently stated I can't be so bad after all if a painter has bought my picture . ( loc. cit .). Condition Report: Condition Report Disclaimer

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PORTUGUESE SILVER SMALL BULLET SHAPED TEAPOT, MARKED 'TITULO', LISBON POST 1938 .916 STANDARD

48

Quantity

1

0 GBP

Opening bid

150 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

250 - 350 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF GEORGE III SILVER OVAL SAUCEBOATS, DANIEL SMITH & ROBERT SHARP, LONDON 1774 AND 1778

49

Quantity

1

0 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

600 - 800 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A SET OF THREE GEORGE III SILVER OLD ENGLISH PATTERN SAUCE LADLES, LONDON 1781

50

Quantity

1

0 GBP

Opening bid

60 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

100 - 150 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A GEORGE III SILVER PLAIN HELMET SHAPED CREAM JUG, ROBERT HENNELL I & DAVID HENNELL II

51

Quantity

1

0 GBP

Opening bid

60 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

100 - 150 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF GEORGE III OLD ENGLISH PATTERN BASTING SPOONS, GEORGE SMITH III, LONDON 1784

52

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF QUEEN ANNE SILVER HANOVERIAN PATTERN BASTING SPOONS, DAVID WILLAUME

53

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

SIX VICTORIAN SILVER GILT SPOONS, JOHN WILMIN FIGG, LONDON 1844 (4) AND 1873 (2)

54

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A VICTORIAN GILT METAL CIRCULAR PLATEAU, LATE 19TH CENTURY

55

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A SILVER GILT COMMEMORATIVE MEDALLION, UNMARKED, 17TH CENTURY

56

Quantity

1

0 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

600 - 800 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF ELECTRO-PLATED SALT CELLARS, AFTER THE ORIGINALS AT BURGHLEY HOUSE, 20TH CENTURY

57

Quantity

1

350 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

AN ELECTRO-PLATED ART NOUVEAU VIDE POCHE, STAMPED 229, CIRCA 1900

58

Quantity

1

0 GBP

Opening bid

120 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

200 - 300 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A PAIR OF LATE VICTORIAN TAPERING CYLINDRICAL COFFEE POTS

59

Quantity

1

0 GBP

Opening bid

350 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

600 - 800 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

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

A GREEN PAINTED AND PARCEL GILT OVERMANTEL OF LOUIS XVI STYLE

60

Quantity

1

0 GBP

Opening bid

300 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

500 - 800 GBP

VIEW & BID

Please enter your max bid

Auction date(s): Jun 02

Lot location: Newbury, Berkshire

Auction currency	GBP
Buyer's premium	27 % (exc. Sales tax)
Accepted cards for registration
Accepted cards for payment
Other payment methods