GREAT BRITISH & IRISH SILVER

WORKS - OF - ART

PAINTINGS

RECENT ACQUISITIONS

PRICES ON REQUEST

A PAIR OF IMPORTANT GEORGE III SILVER-GILT FOUR LIGHT CANDELABRA

Retailed by Rundell, Bridge & Rundell, London 1804

Maker’s mark of Digby Scott and Benjamin Smith

26 inches high

Each applied with the cast Royal coat-of-arms as borne by Ernest Augustus,Duke of Cumberland (1771 - 1851) and King of Hanover from (1837 - 1851).

Of the highest quality, these candelabra represent one of the finest interpretations of the ‘Egyptian’ style that became popular during the early 1800’s. The fashionwas largely inspired by archaeological discoveries made during Napoleon’s military campaigns of 1798.

Following Napoleon’s defeats in Egypt of that year, and also at Trafalgar in 1805, the style became a patriotic celebration of Nelson’s famous victories, particularly among patrons such as the Prince of Wales and the Royal Dukes.

The Royal Collection includes an identical set of twenty four candelabra, made between 1804 and 1813, including twelve by Scott and Smith of 1804.The Royal Collection also includes a set of four matching, larger seven-light candelabra, illustrated in E. A. Jones, The Gold and Silver of Windsor Castle, London 1911, plate LXIV.

1.

ROBERT WOODCOCK (1692 - 1728)

The Launch of a Man-of-War

Signed and dated 1727, oil on canvas

17x 20 inches

Paintings by Robert Woodcock are rare. He died at the young age of 38, having been a professional artist for only 5 years. His style was greatly influenced by the celebrated Dutch artist, Willem van der Velde the Younger.His most celebrated work, a sea battle between British and Dutch ships, is in the collection of the National Maritime Museum, Greenwich.

2.

REUBEN CHAPPELL (1870 - 1940)

A Naval Schooner in two positions

Signed, oil on canvas

18 x 25 inches

3.

A CHINESE CLOISONNE TRAY, ON GILT LACQUER STAND

Decorated in colours with a multitude of butterflies on a turquoise ground.

The tray early 18th century, the stand 19th century

32 inches high, 27 inches wide

In Chinese art, the butterfly is a symbol of summer, joy and love. For centuries

it has been a favourite theme for poets, artists and sculptors.

4.

BOLESLAW BIEGAS (1877 - 1954)

A large figural Art Deco group of a man astride four coiled serpents.

Signed and dated 15 November 1917, Bronze

33 inches high

Boleslaw Biegas is one of the most celebrated Polish artists of the 20th century.In 1950, he established his own museum in Paris to celebrate not only his own art and sculpture, but also those of other Polish artists of the period.

5.

A PAIR OF RARE GEORGE III MAHOGANY SERPENTINE CHESTS

Each with two long and two short drawers, on shaped bracket feet

Circa 1770

42 inches wide

6.

A REGENCY MAHOGANY BRASS MOUNTED CARD TABLE

On sabre legs and simulated bronze lion paw feet

Circa 1810

39 inches wide

7.

A RARE CHARLES II SILVER SUGAR BOX WITH HINGED COVER

Maker’s mark of Robert Cooper, London 1679

10 inches wide

Sugar boxes first appear around 1650. One of the earliest known is of plain oval form and made in London in 1651, now in the collection of the Worshipful Company of Goldsmiths.

8.

A FINE GEORGE II SILVER BASKET WITH SWING HANDLE

Maker’s mark of Paul de Lamerie, London 1744

14 inches long

Cast, chased and applied with cherub and lion masks with shells and trailing foliage between, with pierced sides and swing handle.Engraved with the coat-of-arms of Holmes impaling Leigh, of Northcourt, Isle of WightA small number of George II silver baskets by the celebrated Paul de Lamerie, each with similar cast elements and comparable pierced sides, all dating between1738 and 1744, have been noted. Furthermore, an almost identical example is in the collection of the Ashmolean Museum, Oxford and is illustrated in E. Alfred Jones, Catalogue of the Collection of Old Plate of William Francis Farrer, London, 1924, p.154

9.

PAUL SIGNAC (1863 - 1935)

Le Pont des Arts, Été, Paris

Signed and dated 1910, pencil and watercolour

12 x 16 inches

This charming watercolour depicting a bustling view of the Seine, with tugboats, a crane and the imposing Gare D’Orsay beyond, is one of his celebrated series of paintings of the many bridges spanning the famous Parisian river.From 1894, Signac concentrated on painting in watercolour, pencil and charcoal, rather than in oils, as he felt this allowed him a greater feeling of spontaneity.

10.

JACOB HENDRIK PIERNEEF (1886 - 1957)

Port Sudan

Signed and dated ‘26, oil on canvas

18 x 24 inches

This rare view of a busy harbour scene, was painted on the artist’s travels to Europe from South Africa commencing in 1925, a much longed for visit, particularlybearing in mind his Dutch ancestry. It is a spontaneous, colourful work with assured brushstrokes and clearly shows the influence of his art teacher and mentor, Frans Oerder (1867 - 1944).Jacob Piernef was elected a member of the South African Society of Art in 1917 and is regarded as one of the most important South African art pioneers.

11.

A FINE VICTORIAN CAST CENTREPIECE DEPICTING KING WILLIAM III

Maker’s mark of Robert Garrard, London 1862

30 inches wide

This unique sculptural centrepiece, was commisioned by the Conyngham family of Slane Castle, Ireland and was made by the Royal Goldsmiths Garrards. The cast family arms are applied twice to the ebonized wood base.

The subject depicts two men on horseback at the Battle of the Boyne, one King William III, the other Sir Albert Conyngham who proved invaluable to the King at the battle by raising, at his own expense, a regiment of gadroon guards.

The Battle of the Boyne was fought between King William III and his father-in-law King James II on 1st July 1690 and is regarded as one of the most significant events in Irish history. The two kings were rival claimants to the English, Scottish and Irish thrones. Protestant King William (of Orange) had deposed Catholic King James in 1688. William’s victory was the turning point in James’ unsuccessful attempt to regain the crown and ultimately ensured a continuationof Protestant supremacy in Ireland, and also in the United Kingdom.

12.

THE BATTLE OF THE BOYNE SILVER CENTREPIECE

A FRENCH ACID ETCHED GLASS PINE CONE VASE

Argy-Rousseau of Paris

Circa 1910

5 inches high

13.

A FRENCH CAMEO GLASS DRAGONFLY VASE

Daum of Nancy

Circa 1900

7 inches high

14.

A FRENCH CAMEO GLASS CHESTNUT LEAF BOWL

Daum of Nancy

Circa 1900

8 inches high

15.

JOHN PIPER (1903 - 1992)

Withy Beds, Earl Stonham, Suffolk

Signed, oil on canvas

36 x 52 inchesThe career of John Piper spanned almost 60 years. He is particularly well known for his romantic landscapes, views of ruined churches, castles and stately homes.

During the Second World War, he was appointed an official war artist and recorded the devastating effects of the Blitz on London. From 1941, he also produced a large number of drawings of Windsor Castle.

From 1940 he held numerous solo exhibitions and his works are exhibited in galleries throughout the world including the Tate Gallery, London and theMuseum of Modern Art, New York.

16.

JOHN PIPER (1903 - 1992)

Variations on Ancient Seals VI

Signed, oil on board

11 x 20 inches

17.

ZHAO SHAO’ANG (1905 - 1988)

Kingfisher on a branch (detail)

Signed and extensively inscribed, watercolour

43 x 25 inches

Zhao Shao’ang, a native of Guangzhou province, was perhaps the most influentialartist of the Lingnan School of Guangdong painters. The school was especially well known for Western-inspired realism in their work. Exhibiting extensively abroad from the early 1950’s, Zhao may have had a greater impact on the West than in China.His works are found in major museums and private collections worldwide.

18.

AN IZNIK POTTERY TILE

Decorated with foliage in cobalt-blue, red and green on a white ground

Ottoman Turkey, circa 1580, within later frame

10 x 8 inches

19.

A RARE ITALIAN BRONZE DOOR-KNOCKER

Formed as two entwined mermaids conjoined at the base with a grinning mask and surmounted by a coat-of-arms

Probably Venetian, late 16th century

9 inches high

20.

A RARE JAPANESE CINNEBAR AND MAKI-E LACQUER SADDLE (KURA)

Carved in relief with Shisi lions among flowers and foliage

19th century

18 inches long

21.

JAMES POLLARD (1792 - 1867)

Phaeton with gentlemen, horses and riders

Signed and dated 1841, oil on canvas

14 x 18 inches

More than any other artist, James Pollard brings to life the great days of theremarkable coaching era. From 1821 until 1839, he exhibited at the Royal Academy including works painted in conjunction with John Herring senior.

22.

PETER BIEGEL (1913 - 1988)

Huick Holler

Signed, oil on canvas

20 x 24 inches

23.

A PAIR OF MASSIVE VICTORIAN SILVER PILGRIM BOTTLES

Maker’s marks of John Bodman Carrington and Sebastian Garrard, London 1892 and 1901

31 inches high

Each finely engraved with the coat-of-arms of Cadogan, for George 5th Earl Cadogan K.G., P.C. (1840 - 1915). In 1900 he became the first Mayor of Chelseaand it is likely that these pilgrim bottles were commissioned in celebration.

The form of the pilgrim flask or bottle has its roots in the leather water flasks carried by the pilgrim or traveller of the Middle Ages. T. Schroder in, The Gilbert Collection of Silver and Gold, Los Angeles, 1988, p. 455, traces the development of the form to French silver examples of the late 16th century. Although described as ‘flagons’ they have the same pear shape, elongated neck and oval section of later examples. Popular until the end of the 16th century, a revival of their manufacture took place in the 1660’s. Particularly grand flasks with fine cut-card work that were produced in the late 17th and 18th century provided the inspiration for Edward Farrell and Robert Garrard in the 19th century. They were used as grand display plate and many of the later examples by Garrard were presentationpieces from the Royal families of Europe such as those exhibited at Sotheby’s in London, English Silver Treasures from the Kremlin, 1991, no. 111, which were given by the Royal families of Greece and Denmark to Alexander III on his marriage to Maria Fedorovna in 1866.

24.

A SET OF FOUR FINE GEORGE III SILVER-GILT WINE COASTERS

Retailed by Rundell, Bridge & Rundell, London 1804

Maker’s mark of Digby Scott and Benjamin Smith

6 inches wide

Each interior finely engraved with the coat-of-arms of Charles Lennox, 3rd

Duke of Richmond (1737 - 1806) who commissioned the set for the Egyptian dining room at Goodwood House.

25.

A FINE GERMAN GOLD AND ENAMEL SNUFF BOX

The cover painted in the style of Teniers with figures dancing in an interior

The box by Esaies Obiker, the enamel painted by Johann Berneaud, Hannau,

circa 1830, with original fitted red leather case

4 inches wide

26.

A PAIR OF CHINESE EXPORT GOLD AND BLACK LACQUER SIDE TABLES

Each with two tiers and fitted with two drawers, painted overall with large peony flower heads and trailing foliage (detail)

19th century

34 inches wide

27.

AN ITALIAN PIETRA-DURA TABLE TOP

Inlaid in the Neo-classical style with fruits, birds and ribbon-tied foliage (detail)

19th century

60 x 30 inches

28.

A PAIR OF IMPORTANT CHARLES II SILVER-GILT FLAGONS

Maker’s mark only of an orb and cross, London, circa 1660

16 inches high

Each engraved with the arms of Montagu quartering Monthermer for Ralph, 1st Earl of Montagu, later 1st Duke of Montagu (1638 - 1709)The maker’s mark of an orb and cross, as yet unidentified, is found on a numberof important surviving pieces from the 1660’s, including the St. George Salts in the Royal Plate collection at the Tower of London.

29.

STUDIO OF JEAN-BAPTISTE MONNOYER (1636 - 1699)

Still life of mixed flowers in a niche

Oil on canvas

36 x 29 inches

30.

EDWARD SEAGO (1910 - 1974)

Dutch Canal

Signed, oil on canvas

20 x 30 inches

Edward Seago travelled extensively throughout Europe, visiting the Low Countries several times, mostly in his own boats Endeavour and Capricorn.

No doubt drawn by the similar topography to his native East Anglia, it is surprisingthat most of his Dutch scenes are of buildings and canals, rather than pastorallandscapes for which he is particularly well known.

31.

A LATE REGENCY UPHOLSTERED ROSEWOOD WINDOW SEAT

On four leaf-capped lion paw feet and with scroll ends

Attributed to Gillows, circa 1820

46 inches wide

32.

A GEORGE III MAHOGANY SOFA TABLE

On shaped lyre supports

Early 19th century

58 inches wide

33.

AN INDIAN GOLD MOUNTED WHITE JADE SPICE BOX AND COVER

Carved with bands of foliate scrolls and with detachable gem set cover, the interiorfitted with three silver and enamel leaf shaped containers

Moghul, 18th century

4 inches wide

34.

A RARE CHINESE WHITE JADE CANOPIED BOAT

Intricately carved with waves, a further smaller boat, two sages, other figures and cranes

Qianlong (1736 - 1795)

10 inches long

35.

JEAN JANSEM (1920 - 2013)

Poupee et les trois Marionettes

Signed, oil on canvas

46 x 35 inches

Jean Jansem, a French / Armenian painter, was born Hovhannes Semmerdjian inBursa, Turkey. By 1931, he was living and studying in Paris, where he was influencedby the work of Picasso.Jansem works in a figurative style. His sparse, yet sensitive works most often depict women and children.

36.

AN EXQUISITE VICTORIAN RUBY AND DIAMOND SET CROSS

Mounted in gold and with silver chain

by S.H. & D.GASS, 166 Regent Street, London, circa 1860

3 inches long, with original fitted red leather case

37.

A PAIR OF GEORGE III DIAMOND EARRINGS

Mounted in silver, circa 1800

38.

PETER CARL FABERGE (1846 - 1920)

A rare Russian gold and enamel mounted Renaissance style rock crystal cup

Workmaster’s mark of Michael Perchin, St. Petersburg, circa 1890

7 inches high

Faberge produced only a few Renaissance inspired objects, all of which were produced in Perchin’s workshop. A rock crystal vase given to King George V and Queen Mary to celebrate their Coronation remains in the Royal collection.

39.

LOUIS ICART (1888 - 1950)

Leda and the Swan

Signed, etching and aquatint with touches of hand colouring

22 x 33 inches

40.

EMMANUEL BENNER (1836 - 1896)

At the water’s edge

Signed and dated 1887, oil on canvas

62 x 91 inches

41.

A PAIR OF IMPORTANT GEORGE II IRISH SILVER EWERS

Maker’s mark of Thomas Williamson, Dublin 1742

10 inches high

Each flat-chased with Rococo scrolls, shells and stylized foliage

Pear-shaped silver ewers, occasionally made in pairs, became popular after the Restoration to be used for serving wine or beer. Irish examples are rare and itwould seem that these are among the earliest recorded. They are also one of the earliest dateable pieces of Irish silver with asymmetrical flat-chased Rococo decoration.

42.

A PAIR OF GEORGE III PLAIN PEAR-SHAPED SILVER BEER JUGS

Maker’s mark CB with star above, (unidentified), London 1767

14 inches high

Each engraved with a crest within a foliate cartouche

43.

A CHINESE FINELY CARVED LAPIS LAZULI BOULDER

Incorporating a retreat, pine trees, craggy outcrops, ravines and streams

18th century

10 inches high

44.

A CHINESE AGATE BOX AND COVER

The cover carved in deep relief with panels of scrollwork, the base on low bracket feet, incised seal mark

Qianlong (1736 - 1795)

5 inches wide

45.

JOHN EMMS (1843 - 1912)

Speculation, a dark bay hack

Signed and dated ‘92, oil on canvas

24 x 33 inches

46.

CECIL ALDIN (1879 - 1935)

Curly, a bay hunter

Signed and dated 1906, watercolour

16 x 20 inches

47.

A GEORGE V SILVER BOWL

Maker’s mark of Omar Ramsden, London 1936

Engraved ‘OMAR RAMSDEN ME FECIT’

14 inches long

The boat shaped body with two cast and applied naked nymph handlesOmar Ramsden is considered to be one of the finest silversmiths working in the 20th century. His work is highly individual and considerable emphasis was made of the ‘hammered’ finish, as found on this unusual bowl. Both Celtic and Medieval art were a great influence throughout his career.

A GEORGE II IRISH SILVER DISH RING

Maker’s mark of Robert Calderwood, Dublin circa 1760

8 inches wide

Pierced and chased with birds and foliate scrolls and engraved with a contemporarycoat-of-arms within a Rococo cartouche

48.

49.

JONATHAN KENWORTHY (B. 1943)

Warthog, seated

Signed and dated ‘70, Bronze

9 inches long

50.

A PAIR OF LOUIS XV STYLE BRONZE AND ORMOLU CHENETS

Each openwork Rococo base supporting a triton blowing a conch shell

After the model by Antoine Moreau

19th century

20 inches wide

51.

52. JEAN PETITOT THE ELDER (1607 - 1691)

Louis XIV, King of France (1643 - 1715), in plate armour with fine white Venetian lace cravat, red bow, wearing the blue moiré sash of the Royal French Order of the Saint Esprit and long curling brown wig.

Within a fine emerald set openwork gold frame, the reverse enamelled

2 inches high

Inspired by the royal portrait of the King by Claude Lefevre (1632 - 1675). A number of these miniatures are known, each intended as a Royal gift.

CHRISTIAN FRIEDRICH ZINCKE (1684 - 1767)

Walter Cary Esq., Warden of the Royal Mint in 1725

Within a plain gold frame, the reverse finely engraved with the sitter’s coat-of-armswithin a Baroque cartouche

2 inches high

53.

A PAIR OF BELLE EPOQUE DIAMOND AND RUBY PENDANT EARRINGS

Mounted in silver and gold, circa 1910

54.

A PAIR OF VICTORIAN DIAMOND PENDANT EARRINGS

Mounted in silver and gold, circa 1860

55.

AN ANGLO-FLEMISH LEAD STANDING FEMALE FIGURE

18th century

58 inches high

56.

MICHELANGELO MAESTRI (DIED 1812)

One from a set of thirteen paintings depicting hours of the night and dayGouache, each within a gilt wood frame

Late 18th century

16 x 12 inches

Maestri was an Italian artist working during the last quarter of the 18th century. His finest compositions are based on decorations and frescoes discovered in Pompeii and Herculaneum. He also copied designs by Raphael and his pupil Giulio Romano. Many of his paintings were acquired by European travellers on the ‘Grand Tour’.

57.

BINSCOMBE FARMHOUSE, BINSCOMBE, SURREY GU7 3QLstephen@stcfineart.co.uk www.stcfineart.co.uk

00 44 (0)1483 428001 07769698421