Ponte Sant’Angelo, Wrapped by&nbsp;<a href="https://www.sothebys.com/en/search?query=Christo&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Christo</a>, 2011.<ul><li>Christo (Bulgarian, 1935-2020).</li><li>Collage on lithograph.</li><li>Signed and numbered.</li><li>Edition of 160 Arab and 90 Roman.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Ponte Sant’Angelo, Wrapped

Wrapped Globe (Eurasian Hemisphere) by <a href="https://www.sothebys.com/en/search?query=Christo&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Christo</a>, 2019.<ul><li>Christo (Bulgarian, 1935-2020).</li><li>Collage, silkscreen and mixed media.</li><li>Signed and numbered.</li><li>Edition of 160 Arab and 90 Roman.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Wrapped Globe (Eurasian Hemisphere)

Wrapped Statues, Project for Die Glyptothek, München, from: Seoul Olympic Games, by <a href="https://www.sothebys.com/en/search?query=Christo&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Christo</a>, 1988.<ul><li>Christo (Bulgarian, 1935-2020).</li><li>Screenprint with collage on Wove paper.</li><li>Hand-signed and numbered.</li><li>Part of an edition of 300, plus 30 artist's proofs.</li><li>This work is presented unframed.</li></ul> This screenprint with collage and photograph is hand signed in pencil by the artist "Christo" at the lower right of the image. It is hand numbered from the edition of 300, at the lower left of the image. There were also 30 artist's proofs impressions. It was printed by Landfall Press, Chicago and published by the Olympic Games Committee, Seoul, South Korea. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Wrapped Statues, Project for Die Glyptothek, München, from: Seoul Olympic Games

Christ, in a large initial, from a manuscript choir book&nbsp;most likely decorated by a Picard <a href="https://www.sothebys.com/en/search?query=illuminated+manuscripts&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">illuminator</a> working in Naples during the Angevin rule, on <a href="https://www.sothebys.com/en/search?query=vellum&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">vellum</a>.<ul><li>[Italy (Naples), circa 1325].</li><li>Tall and thin cutting from a manuscript leaf, with large initial ‘I’ enclosing Christ as a standing figure, robed in green and burgundy, with a halo formed from burnished gold with black details, on a dark blue ground with large gold bezants and scrolling white foliage, the foot of the initial trailing off into colored acanthus leaves and a gold bezant, the later inscription “IES[U]” added over Christ’s body at thigh height, the reverse with remains of 3 lines of music in square notation on 4-line red staves (rastrum 49mm), with one line of text in a gothic liturgical script.</li></ul> This is a long-lost cutting from a fascinating Neapolitan choir book, apparently produced by French artists in the Kingdom of Naples during the Angevin rule, connected to King Robert of Anjou or a member of his court. 182 leaves of this choir book now survive in the National Museum in Stockholm. The part now in the National Museum in Stockholm was purchased in Naples in 1857, and saints Francis and Clare are in prominent positions, suggesting that the original parent book was made for the major church of the city, Santa Chiara, or the Franciscan and Clarissan monasteries that are part of the same structure there. While there are two artists’ hands represented in the illumination of the whole choir book, the one here presents as the most skillful and exceptional. The artist blends Italian and French motifs to form a bewildering and enticing hybrid style of medieval art.

Illuminated Christi Miniature

Noble & Private Collections Including Jewels from the Collection of Stanley J. Seeger & Christopher Cone

Circular, with gadroon borders, 29.5cm, 11½in diameter 8841gr., 284¼oz

View 1 of Lot 129: A set of twelve silver underplates, Asprey & Co., Sheffield, 1987

a set of twelve silver underplates, asprey & co., sheffield, 1987

Shaped-circular, with gadroon borders and matching crests, comprising seven marked for John Scofield, London, 1788; one for Peter Archambo, London, 1740 (with addition marks on the border); one for Smith & Sharp, London 1760; one for Fogelberg & Gilbert, London, 1789; one for William Sumner, London, 1821; one for Angell & Angell, London, 1830,

Shaped-circular, with gadroon borders and matching crests, comprising seven marked for John Scofield, London, 1788; one for Peter Archambo, London, 1740 (with addition marks on the border); one for Smith & Sharp, London 1760; one for Fogelberg & Gilbert, London, 1789; one for William Sumner, London, 1821; one for Angell & Angell, London, 1830, approximately 25cm, 10¾in. diameter 7449gr., 239½oz

View 1 of Lot 48: A set of twelve matched Georgian silver soup plates, various dates and makers

a set of twelve matched georgian silver soup plates, various dates and makers

Dial: lapis lazuli with diamond-set hour markers

Dial: lapis lazuli with diamond-set hour markers Calibre: cal. 16-250 manual winding, 18 jewels Movement number: 1'276'246 Case: 18k yellow gold, lapis lazuli and diamond-set Case Number: 2'765'380 Closure: integrated 18k yellow gold, lapis lazuli and diamond-set bracelet Size: 31 x 27mm, bracelet circumference approximately 175mm Signed: case, dial, movement and clasp Box: yes Papers: yes Accessories: Patek Philippe Certificate of Origin, product literature, presentation case and outer packaging

View 1 of Lot 241: Reference 4399 | A yellow gold, diamond, and lapis lazuli bracelet wristwatch | Circa 1982

reference 4399 | a yellow gold, diamond, and lapis lazuli bracelet wristwatch | circa 1982

decorated by Wolfgang Rossler, Nuremberg, painted with a circular panel with a figure pushing a barrel on a cart, in a mountainous and rocky wooded river landscape, a church on a hill in the distance, within a border of pink roses and leaves, the hinged pewter cover with a ball thumbpiece and foliate terminals, Nuremberg maker’s touch mark to the underside of the pewter cover

decorated by Wolfgang Rossler, Nuremberg, painted with a circular panel with a figure pushing a barrel on a cart, in a mountainous and rocky wooded river landscape, a church on a hill in the distance, within a border of pink roses and leaves, the hinged pewter cover with a ball thumbpiece and foliate terminals, Nuremberg maker’s touch mark to the underside of the pewter cover Height 25 cm., 9 ⅞ in. overall

View 1 of Lot 65: A German fayence pewter-mounted Hausmalerei tankard and cover (Birnkrug), circa 1690-1700, the jug attributed to Frankfurt, the mount to Nuremberg

a german fayence pewter-mounted hausmalerei tankard and cover (birnkrug), circa 1690-1700, the jug attributed to frankfurt, the mount to nuremberg

comprising one faux-bamboo carved wood and painted chinoiserie example with faux-Chinese characters and one tôle-peint example possibly from the London workshop of John Gilbert

comprising one faux-bamboo carved wood and painted chinoiserie example with faux-Chinese characters and one tôle-peint example possibly from the London workshop of John Gilbert the tôle-peint example: 22.2cm high including handle, 19cm wide, 19cm deep; 8 ¾ in., 7 ½ in., 7 ½ in. the chinoiserie example: 11.5cm high, 12.8cm wide, 10.5cm deep; 4 ½ in., 5in., 4 ⅛ in.

View 1 of Lot 178: Two Regency tea caddies, early 19th century

two regency tea caddies, early 19th century

Shelf Life: Books, Manuscripts and Works on Paper from the Library of Stanley J. Seeger and Christopher Cone

George Eliot Middlemarch. A Study of Provincial Life. London & Edinburgh: William Blackwood & Sons, 1871 FIRST EDITION IN THE ORIGINAL PARTS, 8 volumes, 8vo (182 x 122 mm), half titles, advertisements, errata slip tipped in to part 4, publication notices tipped in to parts 5–6, publisher's 62-page catalogue bound in at the end of part 8, original printed wrappers, one half of first leaf of advertisements torn away and lacking pages 17–18 in same, occasional scattered foxing, lower wrapper and backstrip of part 1 replaced with plain green paper, top margin of upper wrapper of part 3 extended with plain green paper, lower wrapper of same detached, spines faded, split, and torn with some losses to spine ends RARE IN THE ORIGINAL PARTS. The pagination conforms to the book edition of four volumes, with each set of two parts having consecutive pagination. PROVENANCE: Sale in our New York rooms, 15 June 2006, lot 148 LITERATURE: cf. Sadleir 815

View 1 of Lot 55: George Eliot | Middlemarch, Edinburgh and London, 1871, first edition in the original parts

george eliot | middlemarch, edinburgh and london, 1871, first edition in the original parts

with a grey Saint-Anne marble top 99.5cm high, 200cm wide, 50.5cm deep; 39 ⅛ in., 78 ¾ in., 19 ⅞ in.

View 1 of Lot 2: A French parcel-gilt wrought iron console table, in the Louis XVI manner, circa 1950

a french parcel-gilt wrought iron console table, in the louis xvi manner, circa 1950

Property from the Collection of Stanley J. Seeger and Christopher Cone

Property from the Collection of Stanley J. Seeger and Christopher Cone George Jones, R.A. London 1786–1869 A study of a reclining man, wearing a military sash signed and dated lower left: George Jones RA / 1815 oil on board unframed: 33.4 x 39.6 cm.; 13⅛ x 15⅝ in. framed: 42.8 x 48.4 cm.; 16⅞ x 19 in.

View 1 of Lot 179: A study of a reclining man, wearing a military sash

a study of a reclining man, wearing a military sash

each of flattened circular form with twin blue and gilt handles flanking a cylindrical neck, decorated in coloured pâte-sur-pâte with a diagonal spray of flowers and foliage falling across the front, shoulder and back, against a deep brown ground, the blue-ground neck with a gilt anthemion border, impressed Mintons and shape no. 1348

each of flattened circular form with twin blue and gilt handles flanking a cylindrical neck, decorated in coloured pâte-sur-pâte with a diagonal spray of flowers and foliage falling across the front, shoulder and back, against a deep brown ground, the blue-ground neck with a gilt anthemion border, impressed Mintons and shape no. 1348 Height 26.7 cm., 10 ½ in.

View 1 of Lot 159: A pair of Mintons brown-ground and coloured pâte-sur-pâte moon flask vases, late 19th century

a pair of mintons brown-ground and coloured pâte-sur-pâte moon flask vases, late 19th century

the gilt-bronze lid cast with a twig finial, the vase of bulbous form with two square handles mounted with foliage branches, centred by a bearded mask, the lingzhi washer resting on a foliage, c-scrolls and rock-work base

the gilt-bronze lid cast with a twig finial, the vase of bulbous form with two square handles mounted with foliage branches, centred by a bearded mask, the lingzhi washer resting on a foliage, c-scrolls and rock-work base 28cm. high, 20.5cm wide; 11in., 8 ⅛ in.

View 1 of Lot 97: A gilt-bronze mounted flambé-glazed vase (Fanghu) and washer, the Chinese porcelain Qing dynasty (1644-1912), 18th century, the mounts late 19th century

a gilt-bronze mounted flambé-glazed vase (fanghu) and washer, the chinese porcelain qing dynasty (1644-1912), 18th century, the mounts late 19th century

Christoph Willibald Gluck Autograph manuscript of part of the celebrated air “J’ai perdu mon Eurydice” from Orphée et Eurydice A WORKING DRAFT DIVERGING FROM THE FIRST EDITION, including changes to the music and text, beginning with the accompanied recitative for Eurydice and Orphée (“[Reçois] donc mes derniers adieux”), including Orphée’s fatal backward glance and Eurydice’s death, and concluding with the opening twenty-five bars of Orphée’s air (up to the Adagio “C’est ton amant”), in score, for voices and instruments, notated in dark brown ink on three five-stave systems per page, some annotations in pencil and red crayon, with deletions, smudging, and alterations, the manuscript extensively reworked by the composer, including a revision of the passage leading up to Eurydice’s death, notated on a single stave at the foot of the first page, with some earlier passages, diverging from the final published versions, still legible (including “objet de mes amours”) 4 pages, folio (c. 300 x 230 mm), 16-stave paper, [1774], a few minor tears, a little paper loss caused by oxidation of the ink, some spotting and staining, strengthened at spine THIS IS THE AUTOGRAPH MANUSCRIPT OF ONE OF THE MOST FAMOUS ARIAS IN ALL OPERA; IT IS WITHOUT DOUBT THE MOST IMPORTANT MANUSCRIPT BY GLUCK TO HAVE BEEN OFFERED AT AUCTION. This is a working manuscript, containing Gluck’s draft of the crucial scene preceding Orphée’s famous air, where, having been forbidden to look back at Eurydice as he leads her out of the underworld, the hero finds he is unable to resist her plaintive cries, glances at her, and causes her death. Gluck has deleted early versions of several passages in Orphée’s part and extensively remodelled them, the earlier drafts still visible under his heavy deletions; some of these reveal different words as well as different music from the final versions known today. The moment of Eurydice’s death is underscored by the momentary singing together of the two voices (not found in the Italian version), and this too is subject to deletions and revisions. Gluck deletes the first version of the words and writes the revision at the foot of the page (“Eu Orfée o Ciel je Meurs”). Even the words of Orphée’s “J’ai perdu mon Eurydice” are different, the second line “…rien n’égale mon Malheur” here given as “j’ai perdu tout mon bonheur”; similarly the words “c’est ton Epoux” of the Adagio are given here as “c’est ton amant”. Gluck originally wrote Orfeo ed Euridice as an opera in Italian (Vienna, 1762), with the hero sung by a castrato. No autograph manuscript survives: the first edition is the primary source for the Vienna version. The composer greatly amplified the opera for Paris in 1774, rewriting the hero’s part for haut-contre (a high tenor). There is no complete autograph manuscript of the Paris version, though sections survive in Paris, Berlin and Stanford, amounting to roughly two-thirds of the score. In the present manuscript, Orphée’s part is notated in the alto clef, although the composer mistakenly began writing part of the opening of the air in the tenor clef. This air has been celebrated as a star vehicle for mezzo sopranos and contraltos from Pauline Viardot in the nineteenth century to the present. It was especially beloved in this country as “What is life to me without thee?”, as sung by the great contralto Kathleen Ferrier. PROVENANCE: Sale in these rooms, 3 December 2008, lot 35

View 1 of Lot 62: Christoph Willibald Gluck | Autograph manuscript of part of the celebrated air 'J’ai perdu mon Eurydice' from "Orphée et Eurydice", 1774 

christoph willibald gluck | autograph manuscript of part of the celebrated air 'j’ai perdu mon eurydice' from "orphée et eurydice", 1774

with rebrowned swamped octagonal barrels signed ‘Wogdon, London’ in script on the flats and with bent bores, fitted with silver fore-sights, engraved with a band of beadwork at the breeches and struck with London proof mark and the barrelsmiths initials ‘RW’ beneath, engraved breeches decorated with a band of beadwork and fitted with back-sights, border-engraved flat detented locks signed in capitals ‘Manton’, engraved with a Britannia trophy on the tails, fitted with ‘French’ cocks (top-jaws and screws replaced), semi-rainproof pans and steel springs with rollers (light surface rust, small areas of light pitting), set triggers, highly figured walnut full stocks, finely chequered butts (rubbed, the stocks with light bruising), engraved steel mounts (small areas of light pitting) comprising spurred trigger-guards engraved with a flower head on the bow and with acorn finials, and a pair of ramrod-pipes, silver barrel bolt escutcheons (one loose), associated copper alloy-tipped wooden ramrods each with steel worm, in earlier fitted case relined in green baize (one small crack at the front, the lid with a closed crack on the exterior), with copper alloy carrying handle, complete with loading mallet and later powder flask

with rebrowned swamped octagonal barrels signed ‘Wogdon, London’ in script on the flats and with bent bores, fitted with silver fore-sights, engraved with a band of beadwork at the breeches and struck with London proof mark and the barrelsmiths initials ‘RW’ beneath, engraved breeches decorated with a band of beadwork and fitted with back-sights, border-engraved flat detented locks signed in capitals ‘Manton’, engraved with a Britannia trophy on the tails, fitted with ‘French’ cocks (top-jaws and screws replaced), semi-rainproof pans and steel springs with rollers (light surface rust, small areas of light pitting), set triggers, highly figured walnut full stocks, finely chequered butts (rubbed, the stocks with light bruising), engraved steel mounts (small areas of light pitting) comprising spurred trigger-guards engraved with a flower head on the bow and with acorn finials, and a pair of ramrod-pipes, silver barrel bolt escutcheons (one loose), associated copper alloy-tipped wooden ramrods each with steel worm, in earlier fitted case relined in green baize (one small crack at the front, the lid with a closed crack on the exterior), with copper alloy carrying handle, complete with loading mallet and later powder flask 25.5 cm barrel 46.5 x 20.0 x 7.0 cm case

View 1 of Lot 25: A pair of 28 bore flintlock duelling pistols by Manton, with earlier barrels by Robert Wogdon, early 19th century

a pair of 28 bore flintlock duelling pistols by manton, with earlier barrels by robert wogdon, early 19th century

comprising, an Anglo-Indian silver mounted malacca cane, the handle cast with figures;a knarled wood stick, the stem later mounted with a George III carved mahogany surmount in the form of a gentleman’s head inset with a silver plaque engraved JR;a polychrome decorated Malacca stick with a polished nut finial;a fruitwood cane, the surmount carved with the head of a hound, mounted with glass eyes;a fruitwood and ebonised cane, carved with entwined snakes and a finial in the form of a clenched fist;a bamboo and silver mounted evening cane, with hallmarks for Birmingham, and a brass trench art walking stick made from bullet cases. Anglo-Indian example, 94.5cm long; 3ft. 1 ¼ in. Example with hound finial, 84.5cm long; 2ft. 9 ½ in.

View 1 of Lot 251: A collection of seven walking sticks and canes, late 19th/early 20th century

a collection of seven walking sticks and canes, late 19th/early 20th century

Joseph Sheppard 1834–1928 Farmyard oil on canvas, circular unframed: 23 x 23 cm.; 9 x 9 in. framed: 28.5 x 28.5 cm.; 11¼ x 11¼ in.

farmyard

the gilt-tooled brown leather surface above three frieze drawers, the opposite side and the sides with dummy drawers, above tapered legs, bronzes replaced

the gilt-tooled brown leather surface above three frieze drawers, the opposite side and the sides with dummy drawers, above tapered legs, bronzes replaced 75.5cm high, 166cm wide, 92.5cm deep; 29 ¾ in., 65 ⅜ in., 36 ⅜ in.

View 1 of Lot 6: A Louis XVI style ebony bureau plat, late 19th century, in the manner of Martin Carlin

a louis xvi style ebony bureau plat, late 19th century, in the manner of martin carlin

Bucket-form, with liners and covers to transition to ice buckets, with lion mask drop-ring handles, engraved with a coat-of-arms,

Bucket-form, with liners and covers to transition to ice buckets, with lion mask drop-ring handles, engraved with a coat-of-arms, 30cm, 11¾in. high 8860gr., 284¾oz (including unmarked handles)

View 1 of Lot 121: A large pair of silver wine coolers/ice pails, maker's mark 'EMK', London, 1994

a large pair of silver wine coolers/ice pails, maker's mark 'emk', london, 1994

Jean Baptiste Du Halde Description géographique, historique, chronologique, politique et physique de l'Empire de la Chine et de la Tartarie. Paris: Le Mercier, 1735 4 volumes, folio (426 x 281mm), half-titles, titles printed in red and black with engraved vignettes by M. Baquoy after A. Humblot, 65 engraved maps and plates, including 1 page of engraved sheet music, by Delahaye, Desbrulins, and Fonbonne after d'Anvillee, Humblot, Lucas, Le Parmentier and others, 4 engraved head-pieces after Humblot, occasional engraved initials, modern period-style calf gilt, spines with raised bands in 8 compartments, two with calf gilt-lettered labels, one tan, one black; the rest gilt, endleaves renewed, the "Dixiéme feuille particulière de la Tartarie Chinoise" shaved at margins, traces of removed bookplate to half-title of first volume, with minor loss of text The first edition of Du Halde's celebrated and comprehensive history of China and the most important cartographic record of the region from the eighteenth century. The work is further noted as a cornerstone of northwest Americana, as it contains the earliest printed record of Bering's first expedition with the earliest map of any portion of present-day Alaska. In 1685, seeking to capitalize on failing relations between China and the Portuguese (i.e. papal) missionaries over the rites controversy, Louis XIV sent six French Jesuits to China as scientific emissaries. These early French missionaries would launch incredible interest in France for all things related to China. In 1735, Jesuit priest and historian Jean Baptiste Du Halde was given the monumental task of collating and editing the published and manuscript accounts of Jesuit travelers in China into a single work. Du Halde prominently cites the names of twenty-seven missionaries who served as his primary sources, including Martini, Verbiest, Bouvet, Gerbillon and others. The range of the work is impressive. Not only does Du Halde cover the geography, history, culture and religion of China proper, but geographically he extends the coverage of the work to include neighboring countries. The important maps within Du Halde's work are by Royal geographer Jean Baptiste Bourguignon d'Anville. Based on surveys conducted by French Jesuits at the behest of the Emperor Kang Hsiand, the work constitutes the first scientific mapping of China and forms the most important cartographic record of the region from the eighteenth century. The work also contains the first separate printed map of Korea and the first detailed survey of Tibet. The first volume of Du Halde's history comprises a general description of China, describing each province as well as each historical dynasty; the second volume encompasses government, law, commerce, art, literature, etc.; the third volume treats religion and science; the final volume expands the work to include neighboring regions (Mongolia, Tibet, Korea, etc,) and with accounts of late 17th century expeditions. Within the final volume (pp.452-458), although not listed in the Contents, appears "Relation succinte du voyage du capitaine Beering dans la Siberie"---the first published account of Bering's first expedition through the straits that now bear his name. The text is accompanied by an attractive map, titled "Carte des pays traversees par le Capne. Beering depuis la ville de Tobolsk jusqu' Kamtschatka," considered the first printed map of any portion of present-day Alaska (i.e. St. Lawrence Island). Lada-Mocarski writes: "The first French folio edition of 1735 is the most desirable and significant. Its importance lies in the Relation succinct ... which is, in abbreviated form, Bering's report of his first expedition. It had not been published previously and the history of its getting into Du Halde's hands is interesting. On Bering's return to St. Petersburg in March 1730 he brought with him a brief report accompanied by a map. This map (and presumably the report) was sent to the King of Poland as a suitable present. The Polish King, in turn, gave the documents to the Jesuit Du Halde with permission to use them as he saw fit. Thus, the first printed report of Bering's 1725-28 expedition burst upon the world in the French work herein described. It was not until much later that a more complete narrative of this historical event was published in Russia." LITERATURE: De Backer & Sommervogel IV:35; Brunet II:870; Cordier I:45-8; Cox I:355; Lust 12; Lada-Mocarski 2; Wickersham 6099; Lowendahl 394 Please note that this lot will not be included in the exhibition in our New Bond Street galleries. We would be happy to facilitate a viewing for you, though – please contact cameron.dileo@sothebys.com to arrange this.

View 1 of Lot 138: Jean-Baptiste Du Halde | Description géographique… de l'empire de la Chine, Paris, 1735, 4 volumes, modern period style calf gilt

jean-baptiste du halde | description géographique… de l'empire de la chine, paris, 1735, 4 volumes, modern period style calf gilt

each naturalistically modelled, the stork with an eel in its beak, the heron with a fish, standing on a rock before bulrushes and iris forming a vase, the blue-glazed rocky base with water lilies

each naturalistically modelled, the stork with an eel in its beak, the heron with a fish, standing on a rock before bulrushes and iris forming a vase, the blue-glazed rocky base with water lilies Height of stork 72.5 cm., 28 ½ in. Height of heron 75 cm., 29 ½ in.

View 1 of Lot 157: A pair of Joseph Holdcroft majolica flower or stick stands in the form of a stork and a heron, circa 1880

a pair of joseph holdcroft majolica flower or stick stands in the form of a stork and a heron, circa 1880

5½-inch dial with rococo spandrels, matted centre with mock pendulum and date apertures, the arch with subsidiary regulation and strike silent dials flanking a silvered plaque signed Benn Gray, Just Vulliamy, London, the fusee movement with six knopped pillars, verge escapement with rise and fall regulation, striking the hours on a bell and pull quarter repeating with two hammer on a further bell, the backplate engraved with flowers and foliate scroll, signed in a reserve as the dial, the case with inverted bell top and brass carrying handle above gilt door frets, moulded base and gilt feet, the interior with an ivorine plaque for Percy Webster.

5½-inch dial with rococo spandrels, matted centre with mock pendulum and date apertures, the arch with subsidiary regulation and strike silent dials flanking a silvered plaque signed Benn Gray, Just Vulliamy, London, the fusee movement with six knopped pillars, verge escapement with rise and fall regulation, striking the hours on a bell and pull quarter repeating with two hammer on a further bell, the backplate engraved with flowers and foliate scroll, signed in a reserve as the dial, the case with inverted bell top and brass carrying handle above gilt door frets, moulded base and gilt feet, the interior with an ivorine plaque for Percy Webster. 32cm ; 12½in high

View 1 of Lot 75: A George III ebonised quarter repeating table clock, Benjamin Gray and Justin Vulliamy, London, circa 1760

a george iii ebonised quarter repeating table clock, benjamin gray and justin vulliamy, london, circa 1760

modelled standing, glazed in tones of blue, dark green and brown, the base incised 'R.W. Martin 2.878 (?) Southall’, the cover ‘R.W. Martin & Bros. Southall. 2.1.8’

modelled standing, glazed in tones of blue, dark green and brown, the base incised 'R.W. Martin 2.878 (?) Southall’, the cover ‘R.W. Martin & Bros. Southall. 2.1.8’ Height 21 cm., 8 ¼ in.

View 1 of Lot 158: A Martin Brothers stoneware 'bird' jar and cover, circa 1878

a martin brothers stoneware 'bird' jar and cover, circa 1878

One wire-coiled hoop earring with sculpted bull's head.

One wire-coiled hoop earring with sculpted bull's head. Gross weight approximately 4.0 grams.Diameter 4cm.

View 1 of Lot 183: Hellenistic Earring, 3rd Century BC

hellenistic earring, 3rd century bc

the pierced lattice-form back above a trapezoidal drop-in seat covered with a gros- and petit-point needlework depicting a basket of flowers, the square legs and stretcher with blind-fret carving

View 1 of Lot 106: A pair of George III mahogany cockpen chairs, circa 1760

a pair of george iii mahogany cockpen chairs, circa 1760

Each oval bezel of brushed design, depicting two stylised figures in relief, with textured mount to a polished hoop.

Each oval bezel of brushed design, depicting two stylised figures in relief, with textured mount to a polished hoop. Ring sizes approximately P and LOne ring signed Vourakis, one ring unsigned Circa 1970Total gross weight approximately 14 grams

two rings

replaced 5-inch dial with winged cherub spandrels, matted centre, date aperture, the fusee movement with five latched, knopped and ringed pillars, verge escapement, numbered outside count wheel striking on a bell, the backplate with engraved border, set-up ratchets and signed Henry Jones in ye Temple, the extensively restored case with domed cresting, gilt-brass handle and giltmounts, later veneered with finely cut oysters and with ebonised mouldings,

replaced 5-inch dial with winged cherub spandrels, matted centre, date aperture, the fusee movement with five latched, knopped and ringed pillars, verge escapement, numbered outside count wheel striking on a bell, the backplate with engraved border, set-up ratchets and signed Henry Jones in ye Temple, the extensively restored case with domed cresting, gilt-brass handle and giltmounts, later veneered with finely cut oysters and with ebonised mouldings, 25.5cm ; 10in high

View 1 of Lot 28: A small olivewood table clock, Henry Jones, London, circa 1690 and later, case, dial and movement associated

a small olivewood table clock, henry jones, london, circa 1690 and later, case, dial and movement associated

Upright rectangular form, the sides with scroll and floral chasing, the handle of the lid modelled as a shell, engraved with the arms of Haslewood of Oldington and Newton and of Bridgenorth, Shropshire,

Upright rectangular form, the sides with scroll and floral chasing, the handle of the lid modelled as a shell, engraved with the arms of Haslewood of Oldington and Newton and of Bridgenorth, Shropshire, 13.5cm, 5¼in. high 407gr., 13oz

View 1 of Lot 41: A George II silver tea caddy, Paul de Lamerie, London, 1745

a george ii silver tea caddy, paul de lamerie, london, 1745

The stylised design decorated with red enamel, with cabochon onyx and brilliant-cut diamond eyes and brilliant-cut diamond beak.

The stylised design decorated with red enamel, with cabochon onyx and brilliant-cut diamond eyes and brilliant-cut diamond beak. Signed Tiffany & Co.Measuring approximately 37 x 42mmGross weight approximately 35.0 grams

View 1 of Lot 210: Diamond, Onyx and Enamel Owl Brooch 

diamond, onyx and enamel owl brooch

Set throughout with half-pearls, centring a circular-cut garnet.

Set throughout with half-pearls, centring a circular-cut garnet. Measuring approximately 24mmHinged pendant loopCirca 1900Gross weight approximately 4.0 grams

View 1 of Lot 206: Half-pearl and Garnet Heart Brooch/Pendant 

half-pearl and garnet heart brooch/pendant

marbled in cream, brown and blue clays, comprising:

marbled in cream, brown and blue clays, comprising: a pecten-shell teapot and cover, with a scaly dolphin handle, the domed cover with a recumbent kylin knop, two globular teapots and covers, each raised on three feet, one with metal mounted spout, the other with branch handle and later cover; and one large and two small cream jugs, each of baluster-form, raised on three lion mask-and-paw feet and applied with a loop handle beneath a shaped rim (9) Height of pecten-shell teapot 13.8 cm., 5 ½ in. Height of tallest cream jug 10.5 cm., 4 ⅛ in.

View 1 of Lot 132: A group of six Staffordshire solid agateware teapots and jugs, circa 1750-60

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