Glebe House, Mont Pellier And Woodbury House: Three Country House Collections
Transcript of Glebe House, Mont Pellier And Woodbury House: Three Country House Collections
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GLEBE HOUSE, MONT PELLIER
AND WOODBURY HOUSE
THREE COUNTRY HOUSE COLLECTIONS
South Kensington17 June 2015
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AUCTION
Wednesday 17 June 2015 at 10.00 am
85 Old Brompton Road,South Kensington,
London SW7 3LD
VIEWING
Friday 12 June 9.ooam - 5.00pm
Saturday 13 June 11.ooam - 5.00pm
Sunday 14 June 11.ooam - 5.00pm
Monday 15 June 9.ooam - 7.30pm
Tuesday 16 June 9.ooam - 5.00pm
AUCTIONEERS
Anna Evans, Philip Belcher & Hugh Edmeades
AUCTION CODE AND NUMBER
In sending absentee bids or making
enquiries, this sale should be referred
to as GLEBE-11567
AUCTION RESULTS
UK: +44 (0)20 7839 9060US: +1 212 703 8080
christies.com
CONDITIONS OF SALE
This auction is subject to
Important Notices,
Conditions of Sale and
to reserves.
[25]
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G H, M P W HThree Country House Collections
Wednesday 17 June 2015
GLEBE HOUSE LOTS 1-125 The Property of the late Mr Anthony Hobson
MONT PELL IER LOTS 126-297 The Property of the late Mrs Barbara Overland
WOODBURY HOUSE LOTS 298-368 The Property of the late Hon. Mr & Mrs Anthony Samuel
Front cover: Lot 42 (detail)Inside front cover: Lot 350 (detail)Back cover:Interior with Lots 293 and 294 in situ
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Private Collections and Country House Sales
Andrew WatersDirector of Sales, Decorative Arts,London and Head of Department
Orlando RockChairman, UKInternational Head of Decorative Arts
Amjad RaufDirector of European Collections
Amelia WalkerDirector,Specialist Head of Department
Adrian Hume-SayerAssociate Director, Specialist
Nathaniel NicholsonJunior Specialist
Gillian WardBusiness Manager
Alexandra CrudenProject Manager
Caitlin YatesJunior Specialist
Katharine CookeProject Manager
Charlotte YoungAssociate Director, Specialist
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Specialists and Services for this Auction
COPYRIGHT NOTICE
No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form or
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permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2015)
HEAD OF SALE
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Tel: +44 (0)20 7389 2519
SPECIALISTS
FURNITURE & WORKS OF ARTNathaniel Nicholson
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& 20th CENTURY DESIGN
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CLOCKS
Celia Harvey
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Mark Henry Lampe
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OLD MASTER PAINTINGS
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OLD MASTER DRAWINGS
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James Richards
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VICTORIAN PICTURES
Sarah Reynolds
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Angus Granlund
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BRITISH & IRISH WORKS ON PAPER
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CONDITIONS OF SALE
This auction is subject toImportant Notices,Conditions of Sale and to Reserves
BUYING AT CHRISTIES
For an overview of the process,see the Buying at Christies section
christies.com
IMPORTANT NOTICE REGARDING
REMOVAL OF SOLD LOTS
All lots marked with a FILLED
SQUARE (Q) are transferred toan offsite warehouse at the close
of business on the day of the sale.
For information on all other lots
and further details, please refer to
the storage and collection page at
the rear of this catalogue.
IMPORTANT NOTICE REGARDING
LOTS OF IRANIAN ORIGIN
Bidders are advised that some
countries (such as the USA and
Canada) prohibit or restrict thepurchase and import of Iranian
origin works of conventional
craftsmanship [including carpets].
All bidders are responsible for
familiarising themselves with
the laws that apply to them and
ensuring that they do not bid
on or import this property in
contravention of relevant sanctions
or trade embargoes.
Please see the Important Notice on
page 172 for further information.
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A youthful prodigy in his field (appointed Head of Sothebys BookDepartment when he was only 27) Anthony Hobson, who died in2014 at the age of 92, was the greatest expert in the world onRenaissance bookbinding. Academic honours were showered upon
him throughout his career, but his preeminence in the book worldwas sealed by his presidency of the Internationale de Bibliophilie(1985-1999), where his patrician elegance, considerable charm,command of languages and profound scholarship made him amagisterial figure.
An all-round bibliophile of great distinction, he was also an ardentand lifelong collector of art and furniture. While the Renaissancevalues of order and beauty were cornerstones of his aesthetic,his Old Master drawings, for instance, stand as a shorthand forthe whole notion of the Grand Tour, the question of which artone could best live with was of almost equal interest: never the
GLEBE HOUSE, HAMPSHIRE
The Property of the late
Mr Anthony Hobsonlots 1-125
crushing centrepiece that drains the soul out of a room, alwaysthe brilliant pieces that set the stage, flaring into life or recedinginto the background as needs be.
Greatly informed by the taste of his wife, Tanya Vinogradoff,granddaughter of the painter Algernon Newton, R.A., hiscollection ranged with confidence and delight across periods andregisters, endlessly curious and endlessly increasing. MedievalPersian, Neoclassical, 18th Century Indian, Regency, Pre-Raphaeliteindividual delights became part of a much larger whole in thebeautiful Queen Anne house he lived in for the last 55 years of hislife. This sale is testament to an exceptional life of the mind andsenses (except for the digital remarkably enough he lived his lifewithout letting a television, radio or computer darken his door)led by the man singled out by Cyril Connolly as among the mostimpressive scholar aesthetes of our day.
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A LARGE PAIR OF TALAVERA MAIOLICA VASES
CIRCA 1700-25
Each painted in blue with an upturned palm revealing an
open eye, possible emblematic of the Hand of God, within an
acanthus scroll cartouche, bands of scrolling acanthus to the
neck and lower part
16in. (42.5 cm.) high (2
4,000-6,000 $6,300-9,300
5,600-8,300
2
A PAIR OF ITALIAN GILTWOOD MODELS OF
RECUMBENT LIONS
19TH CENTURY
Each mounted on a modern ebonised plinth
8 in. (20.5 cm.) high; 11 in. (28 cm.) wide;
5in. (13.5 cm.) deep, overall (2
600-1,000 $940-1,600
840-1,400
6
1
A GEORGE III BRASS HEXAGONAL HALL LANTERN
LATE 18TH CENTURY
The openwork corona above later glass panes headed by
palmettes, wired for electricity
27qin. (70 cm.) high; 15in. (40 cm.) diameter
2,000-3,000 $3,200-4,700
2,800-4,200
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4
JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)
Herdsmen on a riverbank in a hilly landscape
signed and dated Jean Pillement 1794. V.S.
black, blue and red chalk, watercolour, brown ink and
graphite framing lines
8 x 12in. (20.5 x 31 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
5JEAN-BAPTISTE PILLEMENT (LYON 1728-1808)
Fisherman on a riverbank with an arched bridge
signed and dated Jean Pillement 1794. V.S
black, blue and red chalk, watercolour, brown ink and
graphite framing lines
8 x 12in. (20.4 x 30.7 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
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FRANCESCO PANINI (ROME 1745-1812)
Santa Maria Maggiore, Rome
bodycolour, over the engraving made to Paninis design
by Francesco Barbazzo (1765-1790)
18
x 27
in. (45.8 x 69.5 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
PROVENANCE:
Lord Arundell, Wardour Castle; Sothebys, London, 26 October 1964,
possibly lot 229.
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7
8
LAURENS SCHERM (ACTIVE 1689-1701) AFTER
JACOB VAN CAMPEN (1596-1657)
Views of the Town Hall of Amsterdam(Uytstekend Raadhuys tot Amsteldam)
the set of three etchings by Laurens Scherm, 1689-1701,
on laid paper, each impressions of the first state (of two),published by Nicolaes Visscher II, presumably the full
sheets, each with central vertical folds with associated
splitting at the lower sheet edge, time and backboard
staining, framed
Plate: 520 x 620 mm., Sheet: 560 x 670 mm. (each) (3)
1,000-1,500 $1,600-2,300
1,400-2,100
LITERATURE:
Hollstein 19-21
8 (a set of three)
7
GIOVANNI BATTISTA PIRANESI (1720-1778)
Veduta del Tempio della Fortuna virile
etching, 1758, on laid paper, without watermark, Hinds
third state (of seven), from a contemporary Roman
Edition, with margins, the usual central vertical fold
showing mostly in the margins, pinpoint foxing in the
upper margin, otherwise in good condition, framed
Plate: 380 x 588 mm.
800-1,200 $1,300-1,900
1,200-1,700
LITERATURE:
Hind 46
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AN ENGLISH GILTWOOD OVERMANTEL MIRROR
19TH CENTURY, OF GEORGE II STYLE
The rectangular plate with a bead-and-reel frame surmounted by
palm leaves, with Vitruvian scroll base, inscribed Ripon in blue chalk
to reverse
77in. (197.5 cm.) high; 42 in. (106.5 cm.) wide
1,500-2,500 $2,400-3,900
2,100-3,500
10
A SET OF FOUR ITALIAN GILTWOOD CHAIRS
FLORENCE, LATE 19TH/EARLY 20TH CENTURY
Comprising two armchairs and two side chairs, each a pierced shaped
back, incised with foliate decoration to the reverse, the padded back,
arms and seat covered in striped green silk, on tapering square legs and
block feet, restorations36in. (92 cm.) high; 28in. (71.5 cm.) wide;
19in. (49 cm.) deep (4
2,000-3,000 $3,200-4,700
2,800-4,200
PROVENANCE:
Anonymous sale, Christies, London, 9 June 1988, lot 101.
Anonymous sale, Sothebys, London, 2 December 2008, lot 203.
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A DUTCH GILTWOOD CONSOLE TABLE
19TH CENTURY, AFTER THE 17TH CENTURY MODEL
The serpentine Rouge de Mainemarble top above a foliate and rocaille
frieze, on bearded and helmeted soldier headed legs joined by a
X-stretcher, on bun feet, lacking frieze carving
33qin. (85 cm.) high; 55in. (140.5 cm.) wide; 24 in. (61 cm.) deep
4,000-6,000 $6,300-9,300
5,600-8,300
This console table in the Dutch William and Mary style of around 1700 was almost
certainly made in the 19th century as a pair to an original console. Inspired by French
prototypes introduced to the Netherlands by the celebrated architect and designer
Daniel Marot (1661-1752), such tables furnished the most important palaces. Examples
of which can be found in the collection of H.M. Queen Beatrix of the Netherlands at
Palace Huis ten Bosch near The Hague as well as in the gallery of Het Loo Palace near
Apeldoorn; a similar console table with frieze carving was sold at Christies, London,
11 September 2008, lot 31.
11
A LARGE BLUE AND WHITE AND UNDERGLAZE RED
BALUSTER JAR
KANGXI PERIOD (1662-1722)
Boldly decorated with scrolling peony on a blue ground covering the
necks and shoulders and descending in large and small shaped lappets
within blue surrounds, the flowers depicted in underglaze red, with
smaller foliage picked out in white, all reserved on white grounds with
small lozenge-shaped floral panels and stylised lotus on tall stems risingfrom the foot
24qin. (62 cm.) high
4,000-6,000 $6,300-9,300
5,600-8,300
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A PAIR OF LOUIS XVI ORMOLU TWIN-BRANCH WALL-LIGHTS
CIRCA 1775-80
Each tapering fluted backplate surmounted by a flaming and garlanded urn finial above a lions mask,
issuing two acanthus clasped branches, with black inked stencil 1287 CHT to side of the backplate,
drilled for electricity
20qin. (52 cm.) high (2)
7,000-10,000 $11,000-16,000
9,800-14,000
PROVENANCE:
Probably acquired through the dealer Edward Holmes Baldock by William, 2nd Earl of Lonsdale, for 14-15 Carlton House
Terrace and by descent at Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co. house sale, 15-17
April 1947.
COMPARATIVE LITERATURE:
S. Eriksen, Early Neo-Classicism in France, London, 1974, p. 354, pl. 212.
H. Ottomeyer & P. Prschel, Vergoldete Bronzen, Munich, 1986, vol. 1, p. 186, fig. 3.9.2.
The stencilled inscriptions 1287 C.H.T. and 302 C.H.T. are most probably an
inventory mark for William Lowther, 2nd Earl of Lonsdale a politican, whose
father, the 1st Earl of Lonsdale, acquired 14-15 Carlton House Terrace in 1837.
Furniture from this residence was stencilled C.H.T., generally with a three
digit inventory number. Property from 14-15 Carlton House Terrace was later
absorbed into Lowther Castle, near Penrith, Cumberland. The contents of
Lowther Castle were sold by the 5th Earl of Lonsdale in 1947. The collection
of French furniture at Carlton House Terrace was probably formed by both
the 1st and 2nd Earls, and probably included items from their previous London
residence as well. The 1st Earl was a noted Francophile and intimate of George, Prince of Wales, and like the future King
George IV, extensively patronised the celebrated purveyor of French works of art Edward Holmes Baldock, who may possibly
have acquired these wall-lights and mantel clock on the Earls behalf at one of the many spectacular sales of the period. Whilst
the 1st Earl initiated the move into Carlton House Terrace, his son joined the two houses together, decorating them in the
French manner and evidently making further important purchases of French furniture and works of art.
Carlton House Terrace that we see today, with its magnificent white stucco-faced houses and Corinthian columned faade,
surmounted by an elaborate frieze pediment overlooking St. Jamess Park was built on crown land between 1827 and
1832, primarily on the designs of the architect to the Prince Regent, John Nash (1752-1835). The terrace replaced Carlton
House that was substantially rebuilt by the architect Henry Holland between 1783 and 1796 as the residence for the Prince
Regent. Holland introduced aspects of French neoclassical style of architecture into his plans as he was more in favour of the
contemporary French taste.
When the Prince Regent became George IV in 1820, he gave consideration to enlarging Carlton House further, but instead
rebuilt Buckingham House, now Buckingham Palace. Subsequently, Carlton House was demolished and transformed into
Carlton House terrace, with the portico donated to the National Gallery and the proceeds of the leases put towards the cost
of Buckingham Palace.
These superb twin-branch wall-lights were probably made during the fashionable got grecperiod of the third quarter of the
18th Century. The form of these wall-lights with rams masks or ttes de belierand acanthus clasped branches are similar to
several models that were supplied by Quentin-Claude Pitoin (circa 1725-1777) and Jean-Charles Delafosse (1734-1791),
well-known bronziersof the time. A similar pair with husk-draped candle branches was sold anonymously, Christies, London,
14 December 2000, lot 66.
13 (Detail of the inventory stamp)
14 (Detail of the inventory stamp)
Carlton House Terrace, the East Terrace soon after completion William Lowther, 2nd Earl of Lonsdale
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A LOUIS XVI ORMOLU STRIKING MANTEL CLOCK
LEPAUTE, LATE 18TH CENTURY
The arched case surmounted by an urn, the rear door
inscribedA.W. 302 C.H.T, the white enamel dial with Roman
hours and Arabic five minutes, signed LEPAUTE/H. DU. ROI,
with recoil anchor escapement and count wheel strike to bell;
with pendulum15qin. (39.5 cm.) high; 9 in. (23 cm.) wide;
4qin. (11.5 cm.) deep
4,000-6,000 $6,300-9,300
5,600-8,300
PROVENANCE:
Probably acquired through the dealer Edward Holmes Baldock by William,
2nd Earl of Lonsdale, for 14-15 Carlton House Terrace and by descent at
Lowther Castle until 1947 when sold by the 5th Earl of Lonsdale, Maple & Co.
house sale, 15-17 April 1947, lot 1239.
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A NAPLES MAIOLICA ALBARELLO
DATED 1723, PAINTED MARK G.B.C.
Painted in blue with a scene from the life of Saint Francis of Paola,
with inscription below, adapted as a lamp
18 in. (45.7 cm.) high, including fitments
1,500-2,000 $2,400-3,100
2,100-2,800
17AN ITALIAN PAINTED TERRACOTTA FIGURE OF ARIVER GOD
FLORENTINE, 18TH CENTURY
On an integrally modelled rocky base, repairs and restorations, with blue
bordered paper label inscribed 1432
15 in. (38 cm.) high
3,000-5,000 $4,700-7,800
4,200-7,000
16
A SET OF FIVE DANISH PAINTED TERRACOTTARELIEF PANELS
BY P. IPSEN, 19TH CENTURY
Four stamped to the reverse P.IPSEN KIOBENHAVN ENERET and
numbered 386, 388, 390 and 391
The largest: 7qin. (19 cm.) high; 18qin. (47 cm.) wide (5
700-1,000 $1,100-1,600
980-1,400
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1
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ATTRIBUTED TO VINCENZOBRENNA (FLORENCE 1745-1820SAINT PETERSBURG)
Design for a ceiling with grotesque decorationand a central panel of Venus and Psyche (?)
graphite, pen and brown ink, bodycolourand watercolour
22x 24 in. (56.5 x 60.8 cm.)
2,000-4,000 $3,200-6,200
2,800-5,600
19
ATTRIBUTED TO VINCENZOBRENNA (FLORENCE 1745-1820
SAINT PETERSBURG)Design for a ceiling with grotesque decorationand a central panel of Minerva
graphite, pen and brown ink, bodycolour
and watercolour, watermark Strasburg lily
with letters C & I Hon[ig]
20x 20in. (51 x 51 cm.)
3,000-4,000 $4,700-6,200
4,200-5,600
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22
CARLO INNOCENZO CARLONE (SCARIA 1686-1775 COMO)
Mars
oil on paper, oval
4x 6qin. (10.5 x 16.6 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
PROVENANCE:with T.P. Grange, London, 1955.
21
ATTRIBUTED TO ELISABETH SOPHIE CHRON(PARIS 1648-1711)
A Classical sacrifice, after an engraving
black and red chalk, watercolour and bodycolour
9qx 7in. (24.2 x 19.4 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
An attribution to Nicolas Vleughels (1668-1737) has also been suggested.
20
NEAPOLITAN SCHOOL, CIRCA 1820
Twelve figures in Neapolitan costume
pencil and watercolour, brown ink framing lines, watermark
J WHATMAN
8qx 14in. (21.3 x 36.2 cm.) (12
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:Sir Thomas Philipps, Bt.
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24
DANIEL GARDNER (1750-1805)
Portrait of a gentleman, traditionally identified as Mr. Smyth, of NewBond Street, bust-length, in a brown coat and waistcoat with a white
stock; and Portrait of a lady traditionally identified as his wife, Mrs.Smyth, bust-length, in a blue dress and a lace shawl
the male figure with inscription on the backboard Mr Smyth of Bond
Street, and the female figure with Mrs Smyth/ Lady F. Edens/ mother
pastel, oval
9 x 7 in. (22.8 x 17.7 cm.)
a pair (2)
4,000-6,000 $6,300-9,300
5,600-8,300
23
VIVIANO CODAZZI (BERGAMO C.1604-1670 ROME) ANDDOMENICO GARGIULO, CALLED MICCO SPADARO(NAPLES 1609/10-1675)
An courtyard with figures and a mule by a well, a mountainouslandscape beyond
oil on canvas
33x 44in.
6,000-8,000 $9,400-12,000
8,400-11,000
LITERATURE:G Briganti, L Laureati, L. Trezzani, I Pittori Bergamaschi Dal XIII al XIX Secolo, Il Seicento I,
Bergamo, 1983, p. 692, no. 38, illustrated p. 715.
D.R.Marshall, Vivian and NiccolCodazzi and the Baroque Architectural Fantasy, Milan, 1993,
p. 90, no. 17, illustrated.
G. Sestieri and G. Dapr, Domenico Gargiulo detto Micco Spadaro, Paesaggista e cronista
napoletano, Milan, 1994, p. 106, illustrated.
The present pair of pastels probably dates from the late 1770s, and the sitters are John
Paul Smyth (17351797), perfumer of Bond Street, and his wife, ne Mary Higford
(17371800). Their daughter Anne (c.17741808), married Sir Frederick Morton Eden
2nd Bt (17641809).
We are grateful to Neil Jeffares for his help in preparing this catalogue entry.
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25
WILHELM SCHUBERT VAN EHRENBERG(ANTWERP C.1630-C.1676)
The interior of St. Peters, Rome
signed and dated WS van Ehrenberg fe: 1665 (lower centre) and
inscribed with scale (lower centre)
oil on canvas
65qx 54 in. (166.4 x 137.2 cm.)
20,000-30,000 $32,000-47,000
28,000-42,000
PROVENANCE:Pope Pius VII, by whom gifted to,
Colonel Rottiers.
Lord Charles Townshend, by 1854.
Dr. Anderson.
H.L. Bischoffsheim; his sale, Christies, London, 7 May, 1926, lot 32 (65 gns. to
Goldschmidt).
Anonymous sale [Ralph Vicars]; Christies, London, 25 February 1949, lot 111 (30 gns. to
Arcade Galleries).
Anonymous sale [Miss D.E. Brahmall]; Christies, London, 15 June 1956, lot 147 (190 gns.
to Drey).
Anonymous sale; Sothebys, London, 18 November, 1959, lot 77 (300 to Vaughan).
LITERATURE:Dr. A. Wurzbach, Niederlandisches Kunstler - Lexicon, 1906, vol I, p. 486.
This large painting of the interior of St. Peters in Rome, dated to 1665, is a particularly
early documentation of Gian Lorenzo Berninis outstanding contribution to the decoration
of the church. Looking from the central nave, at the height of the Chapels of the
Sacrament and of the Choir towards the high altar, the viewpoint adopted here shows
the vast scale and the splendour of Berninis Baldachin. Commissioned by Pope Urban VIII,
the bronze Baldachin stands 29 metres high, towering over the papal altar, an exuberant
masterpiece of the Baroque. An early work in Berninis career, executed between 1624
and 1632, it was inaugurated on the feast of Saints Peter and Paul, 29 June 1633.
Through the four colossal twisted columns which are adorned with spiral channelling,
branches of olive and bay trees and topped with composit capitols, we can see the
Throne of Saint Peters in Glory or Cattedra: a complex construction projected by
Bernini which contains the relic of the seat of the Apostle Peter. The monument, later
completed in 1666, by the date of this painting was still missing the gilded glory of sunrays
and sculpted clouds that soon surround the central window. Faint rays, few angels anda dove give a hint of the Gloria, however the central window is still easily recognizable
and has not yet been overwhelmed by the baroque clouds and putti. Roberto Battaglia
(R. Battaglia, La Cattedra Berniniana di San Pietro, Rome 1943) describing the long and
complex construction of the Cattedra, confirms that the four doctors and throne were
placed on the apse at the beginning of 1665, while the Gloria was still to be completed.
According to Battaglia, scaffoldings were still present around the monument on the 29th
of November and were demolished soon afterwards: this would suggest that the present
picture was created on December 1665. After work was completed on the Gloria and
window, the Cattedra was inaugurated on the 17th January 1666.
The gilded stucco decoration on the ceiling of the apse above the Cattedra is yet to be
applied, and what is visible here is only the design. To the sides of the Cattedra are the
Monument to Paolo III (on the left we look), sculpted by Giacomo della Porta under
Michelangelos direction, and the Monument to Urban VIII (on the right) by Bernini.
The four piers looking towards the papal altar were decorated to compliment the
Baldacchino. Four niches were opened, each with a colossal statue of a saint, and four
loggias directly above would hold the corresponding relic of the sacred figure. In the
north-west pier we see Andrea Bolgis statue of Saint Helen carrying the Cross, completed
in 1640, above which stucco angels carry the Cross. Over the loggias, the pendentives
of the dome are decorated with circular mosaics of the four Evangelists. Saint John th
Evangelist, with the Eagle, was executed by Giovanni de Vecchi, while Saint Mark, only
partly visible in the present painting, by both Cesare Nebbia and Paolo Rossetti.
In the 18th century various altarpieces were removed from the basilica, and replaced with
copies in mosaic of more famous paintings. This was the case with the altarpiece on thealtar of Saint Jerome, of which we get a glimpse to the right. Originally, the altar contained
a painting of Saint Jerome by Girolamo Muziano (now in S. Maria degli Angeli, Rome), and
was replaced in the 1730s by Pietro Paolo Cristofaris mosaic after Domenichinos Last
Communion of Saint Jerome (now in the Pinacoteca Vaticana). It might be due to artisti
licence, however the painting depicted in this picture does not seem to correspond to
Muzianos altarpiece.
Along with the signature and date, the artist has inscribed the base of the painting with
a scale measured in roman feet (1 roman foot = circa 29.6 cm.). The scale is meant to
underline the grandeur of the building, the largest of all churches. The numerous figures
are possibly painted by Charles Emmanuel Biset (Mechelen 1633-1710 Breda), known to
have collaborated with van Ehrenberg.
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~27
A PAIR OF LACQUERED BRASS ANDROSEWOOD THREE-TIER ETAGERES
LATE 19TH/EARLY 20TH CENTURY
Each on brass castors; together with a brass-mountedmahogany and rosewood crossbanded two-tier etagere,
20th Century, with remnants of a paper inventory label
to the underside
The pair: 28in. (72 cm.) high; 14qin. (37 cm.) square
(3)
1,000-1,500 $1,600-2,300
1,400-2,100
26
AN ITALIAN SCAGLIOLA TABLE TOP
20TH CENTURY
The rectangular top depicting parrots perching on
branches, butterflies, snails and scrolled foliage, on
tapering square fluted legs and block feet
18in. (46 cm.) high; 41qin. (105.5 cm.) wide;
21in. (55 cm.) deep
600-1,000 $940-1,600
840-1,400
PROVENANCE:Anonymous sale; Christies, London, 9 June 1988, lot 134.
28
A NORTH EUROPEAN RED AND GILTJAPANNED CHEST-ON-STAND
19TH CENTURY
Decorated overall with chinoiserie buildings, landscapes
figures and foliage, with an arrangement of short andlong drawers, the stand with cabriole legs
47 in. (120 cm.) high; 41qin. (105.5 cm.) wide;
19in. (49 cm.) deep
1,500-2,500 $2,400-3,900
2,100-3,500
20
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32
A LARGE BOW WHITE PORCELAIN FIGURE OFKITTY CLIVE
CIRCA 1750
In the character of The Fine Lady from David Garricks farce Lethe,
holding a spaniel under her right arm, standing on a pedestal base
applied with musical and theatrical trophies
13in. (33.6 cm.) high
2,000-3,000 $3,200-4,700
2,800-4,200
This figure is more commonly found on a low base such as the example illustrated by
Rosalie Wise Sharp, Ceramics, Ethics and Scandal (2002), p 126. For another example
of a figure on the more unusual high base, see the figure sold at Bonhams, London
8 September 2010, lot 75.
Lethe was a one act play reworked in 1749 to include the roles of Mrs Riot and the Fine
Gentleman, famously played by Henry Woodward and forming the companion figure to
the present lot.
31
A CHARLES VYSE (1882-1971) EARTHENWARE FIGURE
LAVENDER SELLER, 1922
Modelled and cast as a street vendor, hand painted in colours beneath
a transparent glaze, signed with artists CV monogram, Chelsea 1922
(restored)8in. (21.3 cm.) high
500-700 $780-1,100
700-970
30A PAIR OF MEISSEN FIGURES OF NEPTUNE AND JUPITER
EARLY 19TH CENTURY, BLUE PAINTED MARKS,
PRESSNUMMERN 163 AND 164
Neptune emerging from a shell, Jupiter holding a thunderbolt and
standing astride an eagle, each on a stepped pedestal base
4in. (12.1 cm.) and 5qin. (14 cm.) high (2)
1,000-1,500 $1,600-2,300
1,400-2,100
29
A WIENER WERKSTATTE GLAZED TERRACOTTA HEADBY LOTTE CALM
CIRCA 1930
Her hair dressed with ribbons and flowers, painted and glazed, impressed
marks, overlapping WW in a rectangle, Made in Austria, 960; with laterwooden display stand
9 in. (23 cm.) high
2,000-3,000 $3,200-4,700
2,800-4,200
COMPARATIVE LITERATURE:Gabriele Fahr-Becker, Wiener Werkstatte 1903-1932, Germany, 1994, p. 151 (similar head
illustrated)
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A RUSSIAN PARCEL-GILT SILVER ANDNIELLO SNUFF BOX
APPARENTLY UNMARKED EXCEPT FOR A
LATER DUTCH CONTROL MARK, PROBABLY
PROVINCIAL, CIRCA 1795
Circular with pull-off cover and bead borders,
cover and base set with niello oval reserves
depicting respectively a bay with buildings
around it, and a huntsman and his houndshooting at a deer in a woodland setting, gilt
interior
3qin. (8.9 cm.) diameter
7.25 oz. (225 gm.)
1,000-1,500 $1,600-2,300
1,400-2,100
~36
A GOLD-MOUNTED MOTHER-OF-PEARL OVAL SNUFF BOX
UNMARKED, PROBABLY ENGLISH OR DUTCH,
CIRCA 1720
The cover carved in the baroque manner with
a shell, acanthus leaves and foliate scrolls on
a large scallop, stand-away hinge, interior of
cover painted with a cupid holding a musical
score in one hand2in. wide (7.1 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
~37
A GEORGE III GOLD-MOUNTEDBLONDE TORTOISESHELL OVALSNUFF BOX
APPARENTLY UNMARKED, CIRCA 1790
The cover set with gold oval engraved withinitial B; together with a Continental silver-
mounted ivory snuff box, circa 1770, the cover
base and sides all carved in relief with scenes
of youths within a rococo scroll frame, musical
and gardening trophies and birds and hounds
The first box 3in. (9.2 cm.) long; the second
2in. (6.7 cm.) long
600-800 $940-1,200
840-1,100
~35
A GEORGE III GOLD-MOUNTEDIVORY TOOTHPICK BOX
UNMARKED, CIRCA 1790
Navette-shaped with rounded ends, cover
applied with gold-bordered miniature painteden grisaillewith a Classical female musician
playing a lyre beside a female figurine atop a
column, the gold mounts engraved with bands
of chainwork and chevron motifs, interior of
cover set with mirror and lined in cherry-red
velvet
4 in. wide (10 cm.)
600-800 $940-1,200
840-1,100
34
A GOLD-MOUNTED AGATESNUFF BOX
UNMARKED, PROBABLY ENGLISH OR GERMAN,
CIRCA 1740
Of rounded oblong form3 in. wide (7.6 cm.)
600-800 $940-1,200
840-1,100
36 (detail)
33 (detail)
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38
NORTHERN ARTIST ACTIVE IN ITALYCIRCA1640
An architectural capriccio of Roman ruins,with drovers and cattle
oil on canvas
28x 36in. (72.7 x 91.8 cm.)
8,000-12,000 $13,000-19,000
12,000-17,000
PROVENANCE:
Sir Robert Gregg, K.C.M.G, Cairo.
with Thos. Agnew & Sons, London, by 1930.
LITERATURE:
N. Coural, Les Patel: Pierre Patel (1605-1676) et ses fils: lepaysage de ruines Paris au XVIIe sicle, Paris, 2001, p. 322
pp. r34, (r=rejected), illustrated..
39
NORTH ITALIAN SCHOOL, CIRCA 1700
A wooded river landscape with a town beyond
oil on canvas
32x 34 in. (83.3 x 86.4 cm.)
4,000-6,000 $6,300-9,300
5,600-8,300
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40
ITALIAN SCHOOL, 18TH CENTURY
A Turkish encampment with figures, soldiers, camels and cows
oil on canvas
46x 64in. (117.5 x 164.5 cm.)
10,000-15,000 $16,000-23,000
14,000-21,000
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41
ALGERNON CECIL NEWTON, R.A. (1880-1968)
Portrait of the artists mother
signed and inscribed a portrait in brown/a.newton (on the stretcher)
oil on canvas24 x 20in. (61 x 51.5 cm.)
Painted in 1916.
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.
EXHIBITED:
Sheffield, Graves Art Gallery,Algernon Newton R.A. 1880-1968, July - August 1980, no. 4.,
this exhibition travelled to Plymouth, City Art Gallery and Museum, September - October
1980 and London, Royal Academy of Arts, November - December 1980.
Born in 1880 Algernon Newton, grandson to the founder of Windsor & Newton, the
celebrated artists materials firm, was the third generation of Newtons to paint. Such
was his passion for art that he left Clare College, Cambridge without a degree in 1900
to study at Frank Calderons School of Animal Painting and the London School of Art,
Kensington. In 1916, having been invalided out of the army during the First World War
with pneumonia, Newton returned briefly to the artistic colony in Cornwall, where hispaternal grandparents lived, and met Alfred Munnings, who appears to have had some
influence on his oeuvreat this time.
In 1918 he left Cornwall to explore his artist direction; unsure of his technique and
style, he looked to the Old Masters at the National Gallery for inspiration and it was
the works by Canaletto that particularly drew his attention. From his observations of,
and experiments with, Canalettos technique of monochrome underpainting, his oeuvre
evolved in the 1920s to depict what a recent exhibition catalogue states as an almost
ethereal film noir lighting which gives an edge to an otherwise everyday scene. He became
fascinated with the faded grandeur of inner city suburbs, deserted waterways and derelict
industrial buildings around Paddington, Camden Town and Regents canal.
His first one-man show was at the Leicester Galleries in 1931 and in 1936 he was elected
as an Associate member to the Royal Academy of Arts. During this time he embarked on
a new kind of subject matter: the country house portrait, capturing the magnificent Stowe,
Buckinghamshire, amongst others. Between 1941 and 1947 he and his second wife lived
in the remote hamlet of Beck Hole in North Yorkshire, before returning to London, and
his work during this period was dominated by countryside landscapes.
Despite regularly selling all of his permitted quota of six paintings at the annual RoyalAcademy Summer Exhibition on Private View day, sadly and unjustly his name quickly
faded after his death in 1968. Only two known solo exhibitions have been held since, both
emphasised how underappreciated he has been: one curated by Sheffield City Art Gallery
which travelled to the Royal Academy in November 1980 and another more recently at
Danny Katz Fine Art, London in December 2012.
ALGERNON CECIL NEWTON, R.A. (1880-1968)
As the youngest of four boys, Newton was particularly close to his mother, Georgiana
(nee Nicholls), who until her death in 1918 proved to be one of his favourite models
This portrait painted in 1916 is considered to be one of the most attractive of his earlyperiod. It is a sensitive and serene study dressed waiting for her carriage which art critic
Nicholas Usherwood noted in his introductory essay to the exhibition catalogue of 1980
demonstrates a firmness of handling and confidence in composition that gives some firs
hints of those qualities of stillness and strong sentiment that were later to become the mos
characteristic qualities of his work.
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42
ALGERNON CECIL NEWTON, R.A. (1880-1968)
A river landscape with a country house and a farm
signed and dated A. Newton 24 (lower right)
oil on canvas
24 x 30 in. (61 x 76.2 cm.)
7,000-10,000 $11,000-16,000
9,800-14,000
PROVENANCE:
By descent to the artists granddaughter, Tanya Vinogradoff, Mrs Anthony Samuel.
Painted in 1924, this sweeping estuary scene depicting a white rendered Georgian manor house is as yet unidentified.
It does however bear some similarities to the landscape of the River Erme, Devon, which Newton was commissioned
to paint a few years later in 1928 for Lord Mildmay, whose family estates were close by at Mothercombe. Although
best-known for capturing the everyday urban landscape of London, Newton was also captivated by the light of rural
landscapes, and his melancholic tone and the common sense of foreboding seen is also evident in the stormy skies in
the present work.
43 No Lot
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45
ADOLPHE CHARLEMAGNE (1826-1901
A group traditionally identified as CzarAlexander II, Prince Alfred, afterwards Duke
of Edinburgh and John Savile 1st Baron Savileof Pontefract riding in a carriage
signed and dated Adolphe
CHARLEMAGNE.1864 (lower right)
pencil, pen and black ink and watercolour
heightened with white
9qx 13in. (24 x 34 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
44
ADOLPHE FORESTIER
(FRENCH, 1801-1885)
Queen Victoria in the drawing room at Cinier;Queen Victoria arriving in Nice; King EdwardVII, Queen Alexandra and the Duke ofClarence on the deck of a ship; Statue of LordRoberts, unveiled at Calcutta by the ViceroyLord Elgin; and King Edward VII, seated in acarriage beside President Loubet
the first signed, inscribed and dated
AFORESTIER/Cinier 21 March 97(lower
left); the second signed, inscribed and dated
AFORESTIER/ NICE 99 (lower left); the
third signed AFORESTIER (lower left); the
fifth signed with monogram (lower left) and
indistinctly inscribed (lower right)
pencil, watercolour and bodycolour
on paper
19qx 15in. (49.5 x 40 cm.); and smaller
(5
800-1,200 $1,300-1,900
1,200-1,700
PROVENANCE:
(3) Anonymous sale; Sothebys, London, 22 May 1997,
part lot 535.
LITERATURE:
(1)The Illustrated London News, 18 March 1899, not traced
(2)The Illustrated London News, 27 March 1897, not traced
(4)The Illustrated London News, 2 March 1899, not traced.
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47
ABRAHAM-LOUIS-RODOLPHE DUCROS (YVERDON-LES-
BAINS 1748-1810 LAUSANNE) AND GIOVANNI VOLPATO
(BASSANO 1733-1803 ROME)
The Temple of Minerva Medica in Rome, with Grand Tourists admiringthe ruins and goatherds in the foreground
inscribed Du Cros et Volpato f. Rome and Vu du Temple de Minerva
Medica Rome (on the mount)
watercolour, over an etching by Giovanni Volpato
19x 28win. (50.3 x 73.2 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
46
ABRAHAM-LOUIS-RODOLPHE DUCROS (YVERDON-LES-
BAINS 1748-1810 LAUSANNE) AND GIOVANNI VOLPATO
(BASSANO 1733-1803 ROME)
The Colosseum in Rome, seen from afar, with Pope Pius VI viewingantiquities
inscribed Du Cros et Volpato f. Rome and Vu du Colise Rome
(on the mount)
watercolour, over an etching by Giovanni Volpato
19x 29in. (50 x 74.4 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
46
47
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48
A NORTH EUROPEAN MARBLE PORTRAIT RELIEF
OF A NOBLEWOMAN
PROBABLY LATE 17TH CENTURY OR EARLY 18TH CENTURY
In a later giltwood frame
17in. (44 cm.) high; 14 in. (36 cm.) wide
1,500-2,500 $2,400-3,900
2,100-3,500
~49
A LOUIS XIV ORMOLU-MOUNTED BRASS, PEWTER
AND TORTOISESHELL-INLAID BOULLE STRIKING
TABLE CLOCK
JAQUES (III) THURET, PARIS, EARLY 18TH CENTURY
The case of architectural form with flaming urn finials and a
lambrequin to base, the dial with brass Roman chapter ring and
signed to cartouche beneathJ. Thuret/ AParis, the twin barrel
movement with later half dead beat escapement and count
wheel strike to bell, the back plate conformingly signed; with
pendulum, case key and winding key
20qin. (52 cm.) high; 11in. (30.5 cm) wide;
5qin. (14 cm.) deep
2,000-3,000 $3,200-4,700
2,800-4,200
50
A DANISH GILT-LEAD-MOUNTED, PARCEL-GILT,
WALNUT AND CROSSBANDED BOMBE COMMODE
MID-18TH CENTURY AND LATER,IN THE MANNER OF MATHIAS ORTMANN
The later white marble top above three drawers on carved
scrolledrocaillefeet, the giltwood base replaced
32 in. (81.5 cm.) high; 31in. (79.5 cm.) wide;
19 in. (48 cm.) deep
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
Anonymous sale; Sothebys, London, 6 July 1956, lot 164.
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53
A REGENCY PARCEL-GILT AND
GREEN-PAINTED WINDOW SEAT
CIRCA 1820
With padded back, scrolled ends and squab
cushion, on ring-turned legs and brass hairy-
lions-paw feet and castors
31qin. (80 cm.) high; 64 in. (162.5 cm.) wide;15 in. (38 cm.) deep
1,000-1,500 $1,600-2,300
1,400-2,100
52
A NORTH ITALIAN POLYCHROME
DECORATED OCCASIONAL TABLE
LATE 19TH CENTURY, PROBABLY TYROL
The shaped top depicting two scrolling
acanthus leaves framing a chessboard on an
acanthus leaf X-frame base28in. (73 cm.) high; 35 in. (89 cm.) wide;
21qin. (55 cm.) deep
700-1,000 $1,100-1,600
980-1,400
~51
A GROUP OF THREE GEORGE III
TEA CADDIES
LATE 18TH CENTURY
The green-stained tortoiseshell octagonal
example inset with a pale green jasparware
roundel and ivory banding; the ivory decagona
example with a gold oval medallion engraved
with the monogram WAB; the tortoiseshelloctagonal example inlaid with ivory banding,
losses
The largest: 6 in. (15 cm.) high
2,000-3,000 $3,200-4,700
2,800-4,200
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54
LOUIS LAGUERRE (PARIS 1663-1721 LONDON)
Cupid and Psyche before Jupiter - a bozzetto for a ceiling
oil on canvas
36 x 48in. (91.4 x 122.3 cm.)
10,000-15,000 $16,000-23,000
14,000-21,000
PROVENANCE:
with Hazlitt Gallery, London.
It is unknown to which ceiling the present bozzetto relates, but the story of Cupid and Psyche was a
subject Laguerre painted on several occasions. In 170ya contract was drawn up between the Duke
of Leeds and Laguerre to paint four panels in the great hall, and the walls and ceiling of the staircase
at Kiveton Hall, Yorkshire (demolished in 1811). Laguerre painted scenes from the story of Cupid and
Psyche for the walls of the staircase and he depicted the marriage of Cupid and Psyche on the ceiling.
There is a sketch on paper for the ceiling in the collection of the Duke of Leeds, which is presumably
one and the same as the sketch mentioned in the contract. The sketch however does not correspond
with the bozzetto for the ceiling at the Victoria & Albert Museum, London, of Psyche being robed by
the Gods for her marriage with Cupid.
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55CHARLES GEORGE NICHOLLS (FL. 1792-1818)
Bridge at Saumpoor near Dacca; Guptar Ghaut near Fyzabad on theGoggra; Burrumdeo near where the Gaggra starts; View of an ancientgateway at Dacca; View of Peer Pointy, name of the Saint who is buriedthere; and A mosque on the north bank of the Gagra near Debowly
five signed C.G.Nicholls delt (lower left and lower right) and inscribed
as title
pencil and watercolour, some heightened with touches of white and
with scratching out, within the artists black-lined border, on paper
7x 9in. (18.5 x 23.5 cm.); and slightly smaller (6
6,000-8,000 $9,400-12,000
8,400-11,000
PROVENANCE:
Visions of India; Christies, London, 17 June 1998, lots 62, 65, 69, 70 and 76.
56
WILLIAM ALEXANDER (MAIDSTONE 1767-1816)
A Chinese soldier with his matchlock, with a faint subsidiary sketch of hishead
indistinctly inscribed (upper right) and numbered 13 (upper centre)
pencil and watercolour
8 x 5in. (20.4 x 14.5 cm.)
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
William Beckford; Hamilton Palace; Christies house sale, 30 June 1882, lot 146.
The Earl of Derby.
This work is a study for the illustration in W. Alexander, Picturesque Representations of the
Dress and Manners of the Chinese, London, 1814.
56
57
5
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57
THOMAS JOHNSON (1714-1778)
Design for a table support illustrating Aesops fable of The Fox and theStork
pencil, pen and grey ink, grey and pink wash on paper
5qx 4 in. (13.3 x 10.1 cm. )
1,000-2,000 $1,600-3,100
1,400-2,800
PROVENANCE:
T.E. Lowinsky (L. 2420a).
Johnson was a furniture carver, who adapted Francis Barlows (circa.1626-1704)
illustrations to Aesops Fables into furniture designs. In the 1750s he published several
popular design books, largely rococo in style.
This drawing was previously in the collection of Thomas Edmond Lowinsky (1892-1947),
a collector of drawings and a distinguished artist in his own right, most of his collection
was sold en blocto the Yale Center for British Art.
n58
A GEORGE II PARCEL-GILT MAHOGANY RUSTICATED
ARCHITECTURAL CABINET
MID-18TH CENTURY
The broken pediment with egg-and-dart frieze, above a pair of doors
with arched mirror plates enclosing three adjustable shelves, flanked
by fluted pilasters, the lower section with three long drawers and ogee
bracket feet on wooden castors
91in. (233 cm.) high; 51 in. (129 cm.) wide; 24 in. (61 cm.) wide
4,000-6,000 $6,300-9,300
5,600-8,300
The geometric design of this unusual cabinet with fluted pilasters and rusticated
drawer fronts demonstrates the influence of the architectural Palladian style on British
cabinetmakers in the second quarter of the 18th century. Architect and furniture designe
William Kent (1648-1748) is the celebrated exponent of the style, designing masterpiece
such as Houghton Hall circa 1726.
For a similar rusticated bookcase see The Collection of Robert Hatfield Ellsworth Part V
Christies, New York, 21 March 2015, lot 1029.
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62A MAHOGANY AND ROSEWOOD CROSSBANDED
CENTRE TABLE
FIRST HALF 19TH CENTURY AND LATER
The circular top on a parcel-gilt and ebonised fluted column, the
concave-sided base with scroll feet and castors, top and base associated
29in. (75.5 cm.) high; 48 in. (122 cm.) diameter
700-1,000 $1,100-1,600
980-1,400
60
A REGENCY BRASS-MOUNTED, PARCEL-GILT AND
EBONISED OCCASIONAL TABLE
CIRCA 1815
The glazed top inset with a handcoloured panel and a mezzotint
depicting Psyche holing a lamp, above scroll supports on a X-shaped
plinth base with brass hairy-paw-feet
27 in. (68.5 cm.) high; 18in. (47.5 cm.) wide; 14in. (36 cm.) deep
800-1,200 $1,300-1,900
1,200-1,700
61
A SOUTH GERMAN POLYCHROME-PAINTED WAX RELIEF
OF A MONK IN A LIBRARY
SECOND HALF 19TH CENTURY
Depicting a monk writing, signed Joanes Elvenick, in a walnut cushion
moulded frame
10x 10 in. (27.5 x 25.5 cm), including frame
500-700 $780-1,100
700-970
PROVENANCE:
Anonymous sale; Sothebys, London, 17 September 1997, lot 245.
59
A PAIR OF CHINESE AGATE TWO-HANDLED BOWLS
19TH/20TH CENTURY
Each bowl with a slightly everted rim and two mythological-head
handles, one bowl with loose rings, and of a pale grey-beige tone;
together with two further agate bowls, one with branch-form handles
The largest 4 in. (10 cm.) diameter (4)
800-1,200 $1,300-1,900
1,200-1,700
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GEORGE RICHMOND, R.A.
(BROMPTON 1809-1896 LONDON)
Double portrait of Inglis and Henrietta Synott, as children, full-length,
seated on a terrace
signed, inscribed and dated George Richmond delin. 1844 (lower left)
pencil, pen and black ink and watercolour heightened with white,
framed with an arched top
27 x 19 in. (68.5 x 48.2 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
PROVENANCE:
Anonymous sale; Sothebys, London, 8 April 1988, lot 96.
64
JOHN FREDERICK LEWIS, R.A., P.O.W.S.
(LONDON 1804-1876 WALTON-ON-THAMES)
Study of a Spanish lady, full-length, wearing a black mantilla over ared dress
black and red chalk and watercolour heightened with white on buff
paper
14x 9in. (36.2 x 24.8 cm.)
2,000-3,000 $3,200-4,700
2,800-4,200
The present drawing is for the right-hand figure of the lithograph Las Dos Hermamas
which was executed for Lewis Sketches of Spain, 1836, a copy of which is sold with thi
drawing.
63
JOHN FREDERICK LEWIS, R.A., P.O.W.S.
(LONDON 1804-1876 WALTON-ON-THAMES)
A soldier in Albanian costume, full-length, his left arm on his hip
pencil, watercolour and bodycolour, on buff paper
14x 9win. (37.1 x 25.1 cm.)
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
Anonymous sale; Christies, London, 8 February 1902, lot 47.
Mrs R.H.C. Duncan; Sothebys, London, 4 April 1968, lot 75.
LITERATURE:
Major General M. Lewis C.B.E.,John Frederick Lewis, R.A., London, 1978, no. 337.
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67
A GERMAN PORCELAIN
TWO-HANDLED SOUP TUREEN
AND COVER
THE COVER PROBABLY MEISSEN,
CIRCA 1740, THE TUREEN THURINGIAN,
BLUE CROSSED SWORDS MARKS AND
THREE DOTS TO INTERIOR
Of silver form, painted with the Onion
pattern, applied with scroll handles
terminating in goat masks
13 in. (33 cm.) across handles
1,000-1,500 $1,600-2,300
1,400-2,100
66
A REGENCY EBONY-INLAID,
EBONISED AND BURR-OAK
SOFA TABLE
EARLY 19TH CENTURY, IN THE MANNER
OF GEORGE OAKLEY
The rounded moulded rectangular twin-
flap top inlaid with oak leaves, above
two drawers and two opposing false
drawers, on end supports joined by a
stretcher, on C-scroll feet and brass
castors
27in. (70.5 cm.) high;
58 in. (147.5 cm.) wide;
26 in. (66 cm.) deep
2,000-4,000 $3,200-6,200
2,800-5,600
68
A SET OF TEN GEORGE IV
MAHOGANY DINING-CHAIRSCIRCA 1825, POSSIBLY SCOTTISH
Including two armchairs, each splat
centred by a scallop-shell-carved
medallion, the drop-in seats re-covered
in horsehair, some seatrails replaced
33qin. (85 cm.) high;
22 in. (56 cm.) wide;
8 in. (46 cm.) deep (10)
2,000-3,000 $3,200-4,700
2,800-4,200
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72
ROBERT HILLS, O.W.S.
(LONDON 1769-1844)
Stags on Richmond Hill, the Thames beyond
pencil and watercolour with scratching out
19qx 24 in. (49.5 x 61 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
70
ATTRIBUTED TO THOMAS DANIELL, R.A. (1749-1840)
A pointer in an extensive landscape
pencil and brown and grey wash, on paper
6 x 8in. (15.3 x 20.9 cm.)
600-800 $940-1,200
840-1,100
71
ATTRIBUTED TO SIR JAMES THORNHILL
Allegory of Plenty enthroned in the clouds with putti
black chalk, pen and brown ink, brown wash
7x 6win. (18 x 17 cm.)
600-1,000 $940-1,600
840-1,400
69
THOMAS ROWLANDSON (LONDON 1756-1827)
The Judgement of Paris
signed Rowlandson (lower left)
pen and brown ink and watercolour
7x 6in. (18.4 x 17.2 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
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75
ENGLISH SCHOOL,
AFTER DAVID ROBERTS
View of of Puente Nuevo, Ronda with figures
signed and dated D.Roberts . 1834 (lower right)
watercolour with scratching out on paper
12qx 8in. (31.8 x 22.3 cm.)
400-600 $630-930
560-830
74
JAMES DUNTHORNE, JR.,
18TH CENTURY
A book auction (probably at Sothebys)
pencil, pen and black ink and watercolour
14x 21in. (36.2 x 54 cm.)
4,000-6,000 $6,300-9,300
5,600-8,300
73
ENGLISH SCHOOL, 19TH CENTURY
The chapel at Blenheim Palace with amemorial to the 1st Duke of Marlborough,by Rysbrack
signed and dated David Roberts R.A 1854.
(lower left)
pencil and watercolour heightened with
bodycolour on buff paper
10x 9 in. (25.7 x 23.5 cm.)
400-600 $630-930
560-830
PROVENANCE:
with Appleby Brothers, London.
EXHIBITED:
London, Appleby Brothers,Autumn 1966 Exhibition,
no. 162.
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76
A COMPOSITE ENGLISH AND
FRENCH PORCELAIN
COFFEE-SERVICE
CIRCA 1810, UNDERGLAZE BLUE, GILT R AND
INCISED MARKS
Painted en grisaille with figures and buildings
in landscapes below giltguilloche bands,
comprising: a coffee-pot and cover, a milk jug,a sugar bowl, a slop bowl, eight coffee cans
and saucers; together with two Worcester
(Barr) porcelain bough pots and stands, circa
1800, and a similar pair of English porcelain
bough pots and stands (24
1,000-1,500 $1,600-2,300
1,400-2,100
77
A MEISSEN TWO-HANDLEDSOUP-TUREEN AND COVER
CIRCA 1745-50, BLUE CROSSED SWORDS MARK
AND PRESSNUMMER 21 TO TUREEN
Painted with deutsche Blumen and scattered
sprays, applied with twin branch handles
terminating in flowerheads, the cover with
cauliflower finial
11qin. (29.3 cm.) wide across handles
1,000-1,500 $1,600-2,300
1,400-2,100
78
A SOUTH EUROPEAN WALNUT,
SATIN-BIRCH AND FRUITWOOD
MARQUETRY SIDE TABLE
SECOND QUARTER 19TH CENTURY
With a short frieze drawer on a shaped plinth
base
33in. (86 cm.) high; 46in. (118 cm.) wide;
23qin. (60 cm.) deep
700-1,000 $1,100-1,600
980-1,400
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79
A PAIR OF ENGLISH BLACK BASALT
BUSTS OF ARISTOTLE AND CICERO19TH CENTURY
One inscribed ARISTOTLE to the socle, the
other CICERO
15qin. (39.5 cm.) high (2)
3,000-5,000 $4,700-7,800
4,200-7,000
80
A PAIR OF FRENCH BRONZE FIGURES
OF RECLINING RIVER GODS
18TH CENTURY
Each on a porphyry plinth
5qin. (14 cm.) high; 7qin. (19 cm.) wide;
4 in. (10 cm.) deep, overall (2)
3,000-5,000 $4,700-7,800 4,200-7,000
81
A PAIR OF FRENCH PATINATED
BRONZE BUSTS OF ROUSSEAU
AND VOLTAIRE
EARLY 19TH CENTURY
Each on a bronze socle and integral plinth
6in. (17 cm.) high, and slightly smaller (2)
1,000-1,500 $1,600-2,300
1,400-2,100
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83
WILLIAM HENRY HUNT, O.W.S. (LONDON, 1789-1864)
Birds nest, primroses, violets and an orchid on a mossy bank
signed W.HUNT. (lower right)
watercolour heightened with white on paper
10x 14qin. (27.4 x 36.8 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
85
THOMAS FOWKE (1827- C.1887)
An earthenware jug, glass bowl, a basket of eggs and a wooden case a
table, with an iron pan, kitchen utensils and a wicker basket, sandalsand a bust relief in an interior
signed and dated T.Fowke. 1868 (lower left)
oil on board
13x 11in. (35 x 29.8 cm.)
1,500-2,500 $2,400-3,900
2,100-3,500
PROVENANCE:
with Browse and Darby, London.
84
CIRCLE OF JOHAN-LAURENTS JENSEN (DANISH, 1800-1856)
Roses, iris, narcissi and convolvulus on a bank
oil on canvas
11 x 14qin. (27.8 x 36.8 cm.)
1,500-2,500 $2,400-3,900
2,100-3,500
82
ISIDORE-ALEXANDRE-AUGUSTIN PILS
(PARIS 1813-1875 DOUARNENEZ)
Study for a classical scene with figures and horses
signed I. PILS (lower right)
oil on canvas
21qx 25 in. (54.6 x 63.5 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
PROVENANCE:
Anonymous sale; Sothebys, London, 24 September 1997, lot 42.
Visit www.christies.com for additional information on this lot.
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88
A FRENCH GILT-METAL MOUNTED
MAHOGANY AND PATINATED BRONZE
CONSOLE
20TH CENTURY, INCORPORATING LATE 19TH CENTURYCARYATIDS
With a rectangular green variegated marble top
supported by two caryatids on plinths mounted with
laurel garlands
36 in. (92 cm.) high; 63 in. (160 cm.) wide;
24qin. (62 cm.) deep
800-1,200 $1,300-1,900
1,200-1,700
87
A VICTORIAN ORMOLU AND BRASS-MOUNTED
SATINWOOD, AMARANTH AND MAHOGANY BOOKCASE
SECOND HALF 19TH CENTURY
The breakfront grey-veined white marble top with pierced three-
quarter pierced gallery, above a fitted secretaire drawer, and two open
adjustable shelves between columns
37in. (96 cm.) high; 22qin. (57 cm.) wide; 10qin. (26.5 cm.) deep
1,000-1,500 $1,600-2,300
1,400-2,100
86
A FRENCH PATINATED BRONZE BUST OF A BOY
19TH CENTURY
On a white marble spreading socle13 in. (33 cm.) high
1,500-2,000 $2,400-3,100
2,100-2,800
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89
GIUSEPPE VALERIANI
(ROME 1708-1762 SAINT PETERSBURG)
A design for a ceiling decoration
point of the brush and grey ink, grey wash,
graphite framing lines
9x 9 in. (24 x 22.5 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
PROVENANCE:
The Duke of Leuchtenberg.
E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959,
part of lot 241 (an album of 143 drawings of various sizes
by Valeriani and his Studio.)
EXHIBITED:
Saint Petersburg, Lomonosoff et lpoque dElisabeth, 1912
(the whole album of which this drawing was a part).
LITERATURE:
A. Benois, Review of St. Petersburg exhibition, Stary Gody,
May 1912, pp. 3-28 (article on the whole album).
90
ITALIAN (?) SCHOOL,
MID-18TH CENTURY
Design for the grill of a mausoleum
pencil, pen and black ink, black wash, black
ink framing lines, watermark Strasburg lilywith letters LVG
16 x 18in. (40.5 x 47.5 cm.)
800-1,200 $1,300-1,900
1,200-1,700
91
FRENCH/ITALIAN SCHOOL,
LATE 18TH CENTURY
Design for the corners of a ceiling decoration
pencil, pen and brown ink, grey wash
and watercolour, grey ink framing lines,
countermark IV
5x 14win. (13.7 x 37.7 cm.)
300-500 $470-780
420-700
PROVENANCE:
E. Fatio (L. 3472).
92
GIUSEPPE BERNARDINO BISON
(PALMANOVA 1762-1844 MILANO)
Design for the wall of a chamber with grotesquedecoration
black chalk, pen and brown ink, bodycolourand watercolour, watermark C & I Honig
and fragmentary watermark with letter WR
11x 6in. (28.9 x 16.8 cm.)
500-800 $780-1,200
700-1,100
89
90
91
92
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95
THOMAS SANDBY, R.A. (1721-1798)
Design for a neo-classical entrance anddoorway with subsidiary plans of thesupporting Ionic columns
pencil, pen and grey ink, grey and yellow
wash on paper
6x 4 in. (15.9 x 10.1 cm. )
2,000-4,000 $3,200-6,200
2,800-5,600
PROVENANCE:
Collection of Drawings of Thomas and Paul Sandbyformed by William Sandby, Part I; Christies, London, 24
March 1959, possibly part of lot 13.
93
FRENCH SCHOOL, 19TH CENTURY
Two alternatives section of a domed pavilionwith vaulted ceiling with Ionic pilasters andrecessed alcove with vase and console table, onewith floor plan (verso)
pencil, pen and black ink and grey, green and
pink wash on paper
10qx 15qin. (26.7 x 39.4 cm.);
9qx 13qin. (24 x 34.3 cm.);
two in one mount
1,000-1,500 $1,600-2,300 1,400-2,100
94
A. TOD (FL. 1801-1805)
An elevation of Mr. Tassies house, 20 LeicesterSquare, London
signed and dated, A. Tod, Architect. 1806
(lower right), and inscribed Elevation/
of Mrr. Tassies house/ &..., Liecester [sic]
Square (upper centre, with a cartouche) and
annotated with scale (lower centre)
pencil, pen and ink, ochre, blue and grey
wash, within the artists black-line border,
on paper14x 9in. (36.2 x 24.8 cm.)
1,500-2,500 $2,400-3,900
2,100-3,500PROVENANCE:
with Wightman & Co., London (S1349)
LITERATURE:
H. Colvin,A Dictionary of British Architects, London, 1995,
p. 982.
Visit www.christies.com for additional information on
this lot.
96
THOMAS HOSMER SHEPHERD
(LONDON 1793-1864)
St. Georges Church, Bloomsbury, with figures
signed Thos. H. Shepherd (lower centre)pen and ink and brown wash
4x 3in. (11.5 x 9.5 cm. )
500-800 $780-1,200
700-1,100
93
95
94
96
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98
CIRCLE OF WILLIAM KENT (1685-1748)
Alternative designs for the main elevation andpavilions of an English Country House; and afloor plan of the ground floor
all annotated with scale
pencil, pen and grey ink, and grey wash on
paper, the plan with pale pink wash, twowatermark Strasburg lily, one I.VILLEDARY
10x 15in. (26 x 38.8 cm.); 8x 18w
(22.3 x 48 cm.); 12qx 18w(31.8 x 48 cm.)
(2
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
The Earl of Powis
with Wightman & Co., London (S1349).
97
OFFICE OF ROBERT ADAM (1728-1792)
Two designs for the elevation and pavilions ofthe east and west fronts at Gosford House, EastLothian, seat of the Earl of Wemyss
pencil, pen and grey ink, grey wash on paper
16 x 25qin. (40.6 x 64.9 cm.); two in one
frame (2
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
W.H. Playfair, Edinburgh.
It has been suggested that this drawing is in the hand o
one of Adams two lead draughtsmen from the period
1790-1792, John Robertson or Robert Morison. he
drawings do not show the house exactly as executed, as
it was not finished until 1800, eight years after Adams
death.
William Henry Playfair (1790-1857) was one of the
greatest Scottish architects of the 19th Century and th
designer of many of Edinburghs neo-classical landmark
Edinburghs New Town.
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100
FRENCH SCHOOL,
LATE 18TH CENTURY
section of an entrance hall with Ionic Column,
painted dome and coiffered vaulted ceilingannotated with scale (lower centre)
pencil, pen and black ink,grey, blue and pink
wash on two joined sheets of paper
14x 26 in. (37.1 x 66 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
99
FOLLOWER OF ROBERT ADAM
(1728-1792)
Design for a neo-classical entrance anddoorway with subsidiary plans for thesupporting Ionic columns
pencil, pen and grey ink, grey wash on
paper, lightly squared
18x 12 in. (47.6 x 30.5 cm.)
800-1,200 $1,300-1,900
1,200-1,700
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
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101
FRENCH SCHOOL, LATE 18TH CENTURY
Design for a Palladian villa set above a fountain andcolonnade
pencil, pen and black ink, grey wash, watercolour, on
two joined sheets, watermark D & C Blauw
11wx 28in. (30.2 x 71.6 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
102
ITALIAN SCHOOL, LATE 18TH CENTURY
Design for a room with a coffered vault and archeddoorway
pencil, pen and black ink, grey wash, watermark
D & C Blauw
17x 29qin. (43.5 x 75 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
103
ITALIAN (?) SCHOOL, 18TH CENTURY
Design for a fortified palazzo: Elevation and section
pencil, pen and black ink, grey, green and ochrewash on three joined sheets
15x 28in. (38.9 x 71.8 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh.
104
FRENCH SCHOOL, MID-18TH CENTURY
A design of a column in a piazza
with number 63 (verso)
pen and black ink, grey wash, on two joined
sheets, watermark Strasburg lily with letters H & V,
countermark Hessels & Vorster
19wx 28in. (50.2 x 71.8 cm.)
1,500-2,000 $2,400-3,100
2,100-2,800
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106
ATTRIBUTED TO GIUSEPPE GALLI DA
BIBIENA (PARMA 1696-1757 BERLIN)
Design for an altar with alternative styles for the walls,
niche and vaulttraces of pencil, pen and brown ink, watercolour
12x 9qin. (32.3 x 24 cm.)
400-600 $630-930
560-830PROVENANCE:
E. Fatio (L. 3472); Nicolas Rauch, Geneva, 3-4 June 1959, lot 34.
EXHIBITED:
Zurich, Technische Hochschule, Graphische Sammlung,Architektur-
und Dekorations-Zeichnungen der Barockzeit aus der Sammlung
Edmond Fatio, 1946, no. 68.
105
FRENCH SCHOOL, MID-18TH CENTURY
A cross-section of a church showing the dome, crossingand crypt
pencil, pen and black ink, grey wash, traces of
watercolour, on two joined sheets
21x 26in. (52.8 x 68.1 cm.)
1,000-1,500 $1,600-2,300
1,400-2,100
PROVENANCE:
W.H. Playfair (1789-1857), Edinburgh
The Signet Library, Edinburgh.
107
GIUSEPPE BERNARDINO BISON
(PALMANOVA 1762-1844 MILANO)
Design for a grotesque decoration with a heron
with number 28 (?) (verso)
black chalk, watercolour, bodycolour, partial
watermark Strasburg lily with letters WR
9 x 10in. (22.7 x 26.8 cm.)
500-800 $780-1,200
700-1,100
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109
110A FRENCH GILT-BRONZE, BLUED-STEEL AND
MAHOGANY GUERIDON
SECOND HALF 19TH CENTURY, OF LOUIS XVI STYLE
With a circular white marble top supported on three pairs of foliate
entwined columns with tripartite stretchers and hoof feet
30qin. (78 cm.) high; 13 in. (33 cm.) diameter
2,000-3,000 $3,200-4,700
2,800-4,200
109
A PAIR OF FRENCH ORMOLU TWIN-LIGHT
CANDELABRA LAMPS
LATE 19TH CENTURY, OF LOUIS XVI STYLE
Each central shaft issuing scrolling acanthus branches terminating in
nozzles, with shades and later fitted for electricity
21qin. (54.5 cm.) high (2)
600-1,000 $940-1,600
840-1,400
108
A PAIR OF FRENCH GILT-BRONZE THREE-BRANCH
CANDELABRA LAMPS
LATE 19TH/EARLY 20TH CENTURY, OF LOUIS XVI STYLE
Later fitted for electricity, with cream fabric shades
28 in. (71 cm.) high (2)
800-1,200 $1,300-1,900
1,200-1,700
108
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111
A PAIR OF EMPIRE PATINATED BRONZE CANDLESTICKS
EARLY 19TH CENTURY
Depicting Apollo and Diana; together with a pair of North European
patinated bronze ormolu-mounted candlesticks, early 19th century; and
a French ormolu encrier, 19th Century
The encrier: 5qin. (14 cm.) high; 10qin. (26.5 cm.) wide;
6 in. (15 cm.) deep
The candlesticks: 10qin. (26.5 cm.) high (5
1,500-2,500 $2,400-3,900
2,100-3,500
113
A GEORGE III MAHOGANY AND SATINWOOD PARTNERSPEDESTAL DESK
LATE 18TH CENTURY
The tooled green leather writing-surface above three frieze drawers and
six pedestal drawers to each side, on bracket feet and recessed castors
32 in. (81 cm.) high; 49 in. (124.5 cm.) wide; 37 in. (94 cm.) deep
2,500-4,000 $3,900-6,200
3,500-5,600
112
A REGENCY MAHOGANY CANED BERGERE
CIRCA 1815
The reeded frame with padded arms and two squab cushions
upholstered with green horsehair, on sabre legs
34qin. (87.5 cm.) high; 27in. (70.5 cm.); 30qin. (77.5 cm.) deep
800-1,200 $1,300-1,900
1,200-1,700
PROVENANCE:Samuel Leigh Sotheby (1805-1861), New Bond
Street, London.
Edward Grose Hodge.
Thomas Hodge.G. D. Hobson, and by descent.
According to a signed note from Mr. Hobson:
This desk belonged to Samuel Leigh Sotheby (d. 1861)
and was bequeathed by his widow, Julia Emma Sotheby,
to her husbands partner in Sothebys, Edward Frose
Hodge. It was inherited by his son, Tom Hodge, who sold
it to my father, Geoffrey Dudley Hobson. I used it in my
office in Sothebys until I left the firm in 1977.
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114
A GEORGE III MAHOGANY TUB BERGERE
LATE 18TH CENTURY
The rounded back and serpentine seat covered in studded brown
leather, on tapering channelled legs headed by paterae, with brass caps
and castors
36in. (93 cm.) high; 30qin. (77.5 cm.) wide; 31in. (80.5 cm.) deep
2,000-4,000 $3,200-6,200
2,800-5,600
115
A GEORGE III MAHOGANY BREAKFRONTLIBRARY BOOKCASE
LATE 18TH CENTURY
The cornice above four astragal-glazed doors and four cupboard doors,
on a plinth base
102 in. (259 cm.) high; 110 in. (279.5 cm.); 22 in. (56 cm.) deep
2,000-3,000 $3,200-4,700
2,800-4,200
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117
A SOUTH GERMAN BRASS-MOUNTED WALNUT,BURR-WALNUT, BIRDS-EYE MAPLE ANDEBONY BANDED BUREAU-CABINET
MID-18TH CENTURY
The upper section with a pair of mirrored doors enclosing an
arrangement of shelves centred by a small cupboard with three small
drawers, the base with a slope enclosing a fitted interior with drawers
and pigeon-holes over two short and three long drawers on bun feet
77qin. (197 cm.) high; 40qin. (103 cm.) wide; 25in. (65.5 cm.) deep
3,000-5,000 $4,700-7,800
4,200-7,000
118
A GEORGE II MAHOGANY CARD TABLE
MID-18TH CENTURY
The eared hinged top enclosing a baize-lined surface and counter wells,
above a frieze drawer, on club legs and pad feet
28in. (73 cm.) high; 33in. (84.5 cm.) wide; 16in. (41.5 cm.) deep
800-1,200 $1,300-1,900
1,200-1,700
116
WILLIAM HENRY DAVIS (FL. 1803-1849)
A prize roan bull in a landscape, a country house beyond
signed and dated W.H Davis / 1853. (lower left)
oil on canvas
22qx 30 in. (57.2 x 76.2 cm.)
2,500-3,500 $3,900-5,400 3,500-4,900
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122T. GREENWOOD HUNT (FL.1873-1878)
A tempting treat
signed and indistinctly dated T. Greenwood Hunt 187[?] (lower right)
oil on canvas
16 x 12 in. (40.6 x 30.5 cm.)
700-1,000 $1,100-1,600
980-1,400
121
AFTER PAUL CSAR HELLEU (1859-1927)
La lecture
Lithograph in colours, circa1900s, on thin wove paper, signed in
the plate (as issued), published in an edition of unknown size by
lImprimerie de la Socit des Artistes Lithographes, Paris, the full
sheet
Sheet: 823 x 675 mm.
500-700 $780-1,100
700-970
The location of the original drawing of this work is currently unknown.
120WILLIAM POWELL FRITH, R.A. (1819-1909)
Intercepted letter
signed and dated W.P. Frith/1901 (lower left), inscribed Intercepted
letter (on the reverse)
oil on canvas
17x 13qin. (44.7 x 34.3 cm.)
800-1,200 $1,300-1,900
1,200-1,700
119
ADOLPHE FORESTIER (FRENCH, 1801-1885)
An interior view of The Duke of Wellingtons room, Walmer Castle,
Kent
signed AFORESTIER(AF linked, lower left)
pencil, pen and black ink and grey wash, heightened with white
6x 9 in. (17.2 x 22.8 cm.)
600-800 $940-1,200
840-1,100
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123
A SET OF GEORGE III MAHOGANY METAMORPHIC STEPS
EARLY 19TH CENTURY
With four green baize-lined treads, hinging to form a rectangular gilt-
tooled green leather lined low table/luggage rack
As steps: 28 in. (71 cm.) high; 17qin. (44.5 cm.) wide;
28qin. (72.5 cm.) deep
800-1,200 $1,300-1,900
1,200-1,700
124A LOUIS XVI ORMOLU-MOUNTED MAHOGANYBUREAU PLAT
LATE 18TH CENTURY
The eared top inset with gilt-tooled brown leather over three frieze
drawers opposing false drawers, each side with a leather-lined slide, on
turned tapering fluted legs and castors, heavy wear to the leather and
fading to the reverse
30in. (77 cm.) high; 63 in. (160 cm.) wide; 30qin. (77.5 cm.) deep
1,000-2,000 $1,600-3,100
1,400-2,800
125
A GEORGE III MAHOGANY AND CHEQUER-BANDEDSERPENTINE CHEST-ON-CHEST
LATE 18TH CENTURY
The upper section with a moulded cornice above two short and three
long drawers, the base with three graduated long drawers, on canted
bracket feet, losses
63 in. (160 cm.) high; 46 in. (117 cm.) wide; 21qin. (54.5 cm.) deep
1,000-1,500 $1,600-2,300
1,400-2,100
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The Overland family lived in Jersey for over 40 years, where they enjoyed the amenities ofrural life and the privacy that the Channel Islands have to offer. They created a very specialhome at Mont Pellier, Trinity, which can be seen in the dedication and pride the late MrsBarbara Overland took in furnishing the house with English furniture, Old Master Paintingsand decorative objects. Many of the pieces were acquired with great care and thought toenhance the serene interiors, a characteristic of Mont Pellier, such as the perfectly formedGeorge II mahogany chest, acquired from Norman Adams Ltd, London (lot 230) and thecaptivating trompe loeilpainting of a letter rack by Edward Collier, acquired from Rafael
Valls, London (lot 182).Christies is honoured to have been entrusted with the sale of the contents of MontPellier, the proceeds of which will go to benefit the ongoing work of the charitable trustset up in the memory of the Overlands for generations to come.
MONT PELLIER, JERSEY
The Property of the late
Mrs Barbara Overlandlots 126-297
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*127
A CHARLES II OAK COFFER
SECOND HALF 17TH CENTURY
The hinged panelled top enclosing a candle-box, above a scroll and
paterae carved frieze flanked by symbolic strapwork
22qin. (57 cm.) high; 39in. (99.5 cm.) wide; 16in. (42.5 cm.) deep
800-1,200 $1,300-1,900
1,200-1,700
PROVENANCE:With Avon Antiques.
*128
A PAIR OF ENGLISH MAHOGANY HALL CHAIRS
19TH CENTURY
Each with a moulded shield back, carved with ribbon tied drapery swags,
centred by a crest, on tapering channelled legs, each with fragmented
depository label, Cowley & Co Ltd
35qin. (90 cm.) high; 19in. (49 cm.) wide; 19 in. (48 cm.) deep (2
800-1,200 $1,300-1,900
1,200-1,700
*126
A PAIR OF CHINESE BLUE AND WHITE BOTTLEVASE LAMPS
19TH CENTURY
Decorated with continuous scrolling foliage interspersed with lilies and
lotus blooms, with removable lamp fittings
The porcelain 15qin. (39.4 cm.) high, wood bases and shades (2
2,000-3,000 $3,200-4,700
2,800-4,200
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*131
A GEORGE III OAK DRESSER
LATE 18TH CENTURY, PROBABLY SOUTH WALES
The moulded top above three drawers, above an arched apron on
turned supports, joined by an undertier and block feet
31in. (79.5 cm.) high; 54 in. (137 in.) wide; 14qin. (37 in.) deep
2,000-3,000 $3,200-4,700
2,800-4,200
*130
A PAIR OF GEORGE III POLYCHROME-PAINTED
DUMMY-BOARDS
LATE 18TH CENTURY
Depicting a girl wearing a black dress with lace jabot and cuffs and a
feathered headdress, and a girl wearing a brown dress with white trimand red shawl, with later supports
45in. (115 cm.) high and smaller (2)
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:
With Avon Antiques.
*129
A DERUTA MAIOLICA DISH
CIRCA 1530
Painted with St. Barbara holding a martyrs palm and a castle within a
wide imbricated and foliate border
14in. (37.1 cm.) diameter
3,000-5,000 $4,700-7,800
4,200-7,000
PROVENANCE:With Jonathan Horne Antiques Ltd.
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*132
FOLLOWER OF JAN BRUEGHEL I
Allegory of Sight
oil on canvas
29x 45w(75.5 x 116.5 cm.)
10,000-15,000 $16,000-23,000 14,000-21,000
PROVENANCE:
Anonymous sale; Phillips, Son & Neale, London, 5 December 1995, lot 46, as Frans
Francken III.
with Rafael Valls Ltd., London, from whom acquired by the late Mrs. Barbara Overland.
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*133
A SET OF FOUR ENGLISH REVERSE-
PAINTED GLASS PICTURES OF SHIP
SILHOUETTES
LATE 19TH CENTURY
Each painted in black and gold, depicting
H.M.S. VICTORY, THE CAROLINE, H.M.S.
EASTERN MONARCH and H.M.S. ROYAL
ALBERT, in birds-eye maple frames
9x 12in. (23.5 x 31.3 cm.) approx. (4
800-1,200 $1,300-1,900
1,200-1,700
*134
A PAIR OF FRENCH WALNUT
THRONE ARMCHAIRS
MID-19TH CENTURY
The top rail centred by a grotesque satyr mask
on X-frame supports and lions-pawfeet joined
by a ring-turned stretcher
46 in. (117 cm.) high; 25in. (64 cm.) wide;
26 in. (66 cm.) deep (2
1,500-2,500 $2,400-3,900
2,100-3,500
*135
AN EARLY GEORGE II OAK
SIDE TABLE
CIRCA 1730The moulded rectangular top above four
drawers, one with fitted compartment, on club
legs and pad feet
28 in. (71 cm.) high; 37 in. (94 cm.) wide;
23in. (59 cm.) deep
1,000-1,500 $1,600-2,300
1,400-2,100
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*136
EBENEZER COLLS (1812-1887)
A three-decker calling for a pilot at the entrance to Portsmouth Harbour,with a paddle steamer and other shipping beyond; and Fishermen ona blustery day with prison hulks and a three-decker lying at anchor in
Portsmouth Harbour
both signed E. Colls (lower left)
oil on canvas
20 x 30 in. (50.8 x 76.3 cm.) a pair (2)
4,000-6,000 $6,300-9,300
5,600-8,300
*137
HUGH MUNRO (1873-1928)
The foot of the Garden
signed Hugh Munro (lower left)
oil on canvasboard
10 x 14 in. (25.4 x 35.5 cm.)
1,500-2,500 $2,400-3,900
2,100-3,500
PROVENANCE:
Given by the artist to the Scottish Artists Benevolent Association, in aid of a special fund
raised by the Association for the relief of artists in distress owing to the War, March 1915.
with T & R Annan & Sons, Ltd., Gl