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Lot 245
AN IRISH GEORGE III ROCOCO BALUSTER SILVER HOT WATER JUG, Dublin 1771, mark of John Craig, the lid with pineapple finial, the sides decorated with continuous scrolls and foliage amongst cartouches enclosing lake side bathing swan and feeding heron, with applied caned handle, raised on a circular spreading foot (24ozs inc. handle). 30cm high
Lot 317
A MATCHED SILVER TEASET COMPRISING OVAL TEAPOT, with domed finial and partially wyvern fluted body, Sheffield 1891, retailed by Mappin Brothers (32oz in all); together with an oval baluster teapot with way gadroon border, raised on four leaf and paw feet, London Marks; together with an oval sugar casket with hinged lid and partially reeded body, Hallmarks rubbed (3)
Lot 563
A PAIR OF FRENCH SEVRES PORCELAIN POT POURRI URNS AND COVERS, 19th Century, each with pierced dome covers with gilt acorn finial, over a baluster body painted with a floral reserve on a traditional blue ground, with ram head side handles picked out in gilt, on a square pedestal base 23cm high
Lot 90
Shotgun - a 12 bore percussion shotgun by `Richards` (Westley Richards?). Barrel 34 inch part round, part octagonal. Silver furniture (hallmarked for c1805). The gun a possible conversion from flintlock. With original brass tipped ramrod. Walnut stock (some minor repair), silver trigger guard with acorn finial and dog & pheasant engraved motif. (Several screws missing). This is an attractive gun of medium quality. Engraved back action lock by `Richards` silver butt plate engraved with the same bird motifs.
Lot 186
A Vienna Style Porcelain Goblet and Cover, circa 1900, the domed cover with floriform finial on a tapering cylindrical body and knopped circular socle, painted with ``Bachusfest``, on a gilt band and green ground gilt with bands of stiff leaf and ivy leaves and with white enamel jewelling, titled in red, stamped shield mark in underglaze blue, 29.5cm high
Lot 344
A Pair of French Gilt Bronze Three-Light Candelabra, in Louis XIV style, with foliate sheathed sockets, circular drip pans, and scrolling branches issuing from a central column with flamiform finial hung swags, on an acanthus and husk moulded circular domed base, 33.5cm high See illustration Provenance: Belonged to Primrose Dampier-Blackburn (nee Atkinson)
Lot 691
A Victorian Silver Three Piece Teaset, Charles Boyton, London 1884, of globular form with ebonised scroll handle and domed cover with fluted button finial, foliate chased in Indian style throughout, in a fitted case, with a matching teaspoon and a pair of sugar tongs, the teapot, 12cm high, 12oz all in See illustration
Lot 692
A Victorian Silver Kettle on Stand, Charles Stuart Harris, London 1881, retailer`s stamp of Lambert, Coventry St, London, the three leaf capped shell and scroll feet supporting a circular burner and part fluted cape form kettle with wooden handle, domed cover with button finial, 33cm high, 56oz 13dwt all in
Lot 698
A Victorian Silver Kettle, Stand and Burner, Thomas, James & Nathaniel Creswick, Sheffield 1840, the three cast shell and scroll legs supporting a circular burner and pierced circular standing rising to a baluster pot with ivory turned handle and domed cover with cast foliate finial, engraved with C scrolls and trelliswork reserves, 35cm high, 54oz 4dwt all in See illustration
Lot 714
A George II Silver Coffee Pot, Thomas Whipham, London 1749, the moulded foot rising to a tucked-in cylindrical tapering body with ebonised leaf capped scroll handle and domed cover with acorn finial, later foliate chasing throughout, bearing a mid-19th century armorial and baronial crest, 25cm high, 28oz 1dwt all in See illustration
Lot 716
A George II Silver Cup and Cover, Richard Gurney & Thomas Cooke, London 1731, the spreading foot supporting a girdled vase shaped body with twin leaf capped scroll handles and domed cover with fruiting finial, later chased with Bacchic figures and fruiting vines throughout, later inscribed to foot, 28cm high, 46oz 11dwt See illustration
Lot 317
Various Chinese ceramics comprising: Guangxu teapot decorated with reserve panels depicting fishermen on a bank, the cover with fruit finial, base having red six character mark, 11cm high together with two wine cups, each decorated with fruit and having apocryphal four character marks, 6.25cm high and a Famille Rose cylindrical box and cover decorated with roosters, 8.5cm high Minor nibbles around the two cups - General condition consistent with age **
Lot 355
Japanese silver, shibuichi and enamel urn and cover, the dome cover having an eagle finial and multi coloured enamel decoration on a black ground, the urn with six Shibuichi panels, each having copper and silver inlay depicting birds amongst foliage and fish, the flared foot with conforming multi coloured foliate enamel decoration on a nanako ground, the underside signed Tadamasa Sei, one of the panels also bearing a signature, 23.5cm high Eagle finial is loose and cannot be tightened as it is held in place with an internal nut. Some minor loss of enamel on cover - General condition consistent with age **
Lot 404
19th Century Austrian silver mounted meerschaum pipe bowl, carved in high relief with a hunter, hounds, deer and rabbit, the silver mounts and cover hallmarked for Vienna 1848 and having a Poodle finial, mask head decoration and with indistinct makers mark, 16.25cm high Poodle finial has been re-attached at some point and has two blobs of solder to underside of cover. Meerschaum is a little scratched in places and has a few very minor nibbles - General condition consistent with age **
Lot 479
Victorian cut glass circular butter bowl having a silver cover and stand, the cover having a finial formed as a recumbent cow, makers Henry Wilkinson & Co, Sheffield 1846, diameter of bowl 12cm, diameter of stand 16cm, total silver weight 9oz approx The cover is very slightly buckled - General condition consistent with age **
Lot 483
19th Century Indian Colonial white metal claret jug, the hinged cover having a pineapple finial, decorated with multiple foliate panels, the handle formed as a female deity emerging from the mouth of a large fish, standing on a circular foot, unmarked, 31.5cm high, 32.7oz approx Hinge of cover is slightly buckled - General condition consistent with age **
Lot 60
A very large Chinese Yixing teapot and cover 18th century, applied with fruiting vine leaves amidst which squirrels clamber, the handle, spout and finial formed as gnarled branches, extensive chipping, 26.5cm. (2) Provenance: Gunton Park, Norfolk, purchased in the 1980s. 十八世紀 紫砂松鼠葡萄壺 來源：1980年代購自諾福克甘頓公園
Lot 818
A Japanese Imari dish and cover c.1700, the rim scalloped, painted with seven panels containing a vase of flowers, small huts beneath pine and fruits within in a scrolling foliate border, the reverse with flower sprays, the cover octagonal with a looped finial, damages, 29.2cm. Provenance: formerly in the B F Edwards collection.
Lot 199
"AN IMPORTANT IMPERIAL RUSSIAN ICON TRIPTYCH, FABERGÉ & SIGNED N. EMELIANOV, CIRCA 1912 The central reserve displaying a finely painted image of The Serafimo-Ponetaevskaya Sign Mother of God, characteristically painted with a gem and pearl encrusted veil. The Christ Child as well as the head of the Virgin, encircled with ornate silver repousse haloes, the Virgin’s halo embellished with cabochons. Both hallmarked St. Petersburg, and with Cyrillic maker`s mark FABERGÉ beneath the Imperial Warrant and workmaster`s initials TR for Phillip Theodor Ringe. Below the Virgin are inscribed the standard troparion (left) and kontakion (right) celebrating icons of the “Sign”. And further still lower right the icon is signed in Cyrillic “Painted by N. Emelianov”. Above the Virgin on either side are painted two full length images identified by inscriptions as Angels of the Lord. To the Virgin’s right (viewers left) a vertical panel divided into six sections each depicting a church feast day or other related event. From top to bottom they are; The Birth of the Mother of God, The Entrance of the Mother of God Into the Temple, The Translation of the Relics of Saint Alexander Nevsky from Vladimir to St. Petersburg, Saints Peter and Paul, The Appearance of the Wonderworking Icon of Kazan, and The Translation of the Relics of Saint Theodore Stratelates. To the Virgin’s left (viewers right) a similar vertical panel divided into five sections depicting the following iconographical subjects; The Resurrection, The Transfiguration, The Apostle and Evangelist Saint Matthew, The Dormition, and The Assembly of the Archangel Michael. Further out, the left wing depicts a finely painted full length image of Saint Nicholas whose head is encircled by a silver repousse halo stamped with the workmasters initials TR and who stands beneath an image identified by the Slavonic inscription as the Not-By-Hand-Made Image of Our Lord. Below Saint Nicholas is a reserve divided into four sections depicting various subjects. Clockwise from upper left they are; The Transferring of the Vladimir Mother of God Icon, Saint George, Saints Konstantin and Helen, and the Translation of the Relics of Saint Nicholas. The right wing depicts a finely painted full length image of Saint Seraphim of Sarov whose head is also encircled by a silver repousse halo stamped with the workmaster initials TR and who stands beneath an image of The Old Testament Trinity. Below Saint Seraphim a reserve divided into two sections depicts the following subjects; The Discovery of the True and Life-Giving Cross and an image of The Kazan Mother of God. Each shaped panel separately painted and set into the ornately carved one piece frame displaying an eight-sided cross finial atop the left and right wings and the central section surmounted by a similar cross flanked by a pair of six-winged Seraphim. The wide lower margin with two medallions carved in high relief and depicting Saint George (left) and The Archangel Michael (right). The verso of carved frame lined with brass edging around the border and the entire back covered in kid leather and stamped in Cyrillic ?.??????? beneath the Imperial Warrant and with St. Petersburg address. Height 23.3 inches (59.4cm).Width 16.4 inches (41.5cm).Provenance:Colonel Dmitrii Nikolaivich Loman, circa 1912, presumably a gift from Empress Alexandra Feodorovna. With Bowater Gallery, London, where acquired by Mrs. Harold Leather of Hamilton, Ontario, Canada, accompanied by original receipt of purchase dated August 10, 1970. Thence by descent to her son, Sir Edwin Leather (1919-2005) former Governor of Bermuda, and acquired by the present owner from the estate of Sir Edwin Leather.The Mother of God of the Sign icon known as the Serafimo-Ponetaevskaya was imbued with particular significance for Tsar Nicholas II and his wife Alexandra Feodorovna. As the last icon of this iconographic type to be declared miracle-working in Russia (1885), it became for the Imperial couple a symbol of Holy Rus reborn and triumphant in the modern age, and a direct link to the miraculous powers and protection of Saint Serafim of Sarov, to whom the Empress Alexandra was especially drawn. When the couple attended the celebrations marking the canonization of the Nizhnii Novgorod saint in 1903, the Ponetaevskaya icon was one of three venerated for their connection to Serafim’s life and work. The Empress was given a copy to mark the occasion and this icon accompanied her until her final days and death in Ekaterinburg in 1918. The Ponetaevskaya icon was particularly associated with Tsarskoe Selo, which in 1901 became the official Imperial residence and from 1909 was the site of the Fedorovsky Gorodok, an elaborate complex intended to recreate the spirit and culture of an idealized Russian past in a modernized idiom. It is with Colonel Dmitrii Loman, the driving force behind the construction and conception of the Fedorovsky Gorodok and a trusted member of the Imperial family’s inner circle, that the offered lot is associated.The icon’s name derives from the Serafimo-Ponetaevskaya convent, established in 1864 in memory of Saint Serafim (1754/9 - 1833), whose hermitage was located at nearby Sarov. The convent was famous for its icon painting workshops, and in 1879, a novice named Klavdia Voiloshnikovna made a copy of an icon of the Sign that had been acquired from the artist Pavel Sorokin who oversaw the painting studio. In addition to the canonical features of Sign icons - the half-length figure of the Mother of God with her hands raised in prayer and the Christ Child encircled by a nimbus within Her womb - the icon that Voiloshnikovna copied had several distinctive features. The Mother of God’s eyes are lifted to heaven and a pearl and gem encrusted veil sheathes her head and shoulders, imparting to her face a teardrop-shaped contour. The faces are rendered in the painterly style popular in the nineteenth century and have a certain sentimental sweetness. On May 14, 1885 the icon performed the first of many miracles and by the end of the year was officially proclaimed miracle-working by the Holy Synod.In 1909 an exact copy of the icon arrived at Tsarskoe Selo as a gift from the Abbess of the Ponetaevskaya convent. That same year, Tsar Nicholas II approved construction of a temporary church to serve the devotional needs of His Majesty’s Own Regiment, who were permanently stationed there. Dedicated to Saint Serafim of Sarov, the church was an experiment in resurrecting an idealized Russian past. It was appointed with an iconostasis designed by Prince Mikhail Putyatin (see fig. #3 & #4) and filled with icons painted by noted iconographer Nikolai Emelianov executed in the 17th century style. The Ponetaevskaya icon occupied a place of honor in the church, along with relics associated with Saint Serafim.At the same time Nicholas and Alexander gave permission and funds to build a permanent cathedral on the grounds of the Alexander Palace at Tsarkoe Selo, where their family might worship surrounded by their most devoted troops as well as their favorite sacred images. Consecrated in 1912, the cathedral contained two churches. In the upper church dedicated to the Feodorovskaya Mother of God icon, a five-tiered iconostasis was installed, filled with new icons painted by Emelianov in the same 17th century style and lavishly adorned with silver basma. On the lower level, space was carved out for a crypt church and it was here that the temporary church’s altar, icons, relics and fixtures were transferred. To the Ponetaevskaya icon was added a copy of the Umilenie Mother of God that had been Saint Serafim’s personal icon, together with an icon of the saint himself. A second Ponetaevskaya icon hung nearby in the empress’s own private chapel, donated by the empress’s sister, Grand Duchess Elizaveta Feodorovna in 1912 and adorned with a sumptuous silver oklad and costly embroidered veil (Fig.1).The offered triptych of the Ponetaevskaya Mother of God with Saints Nicholas and Serafim can be securely traced to Dmitrii Loman (1868-1918), a Colonel in His Majesty’s Own Regiment, whose energy and organizational talents made him an indispensable and sympathetic aide to the Imperial couple and was by all accounts very close to the Empress, who was the Godmother of Loman’s son, Yuri. A contemporary photograph dated to 1914 shows the icon hanging in the upper corner of Loman’s office located in the refectory at Tsarskoe Selo (Fig.2). Colonel Loman served in countless capacities that reflected the Emperor and Empress’ trust. In addition to being churchwarden of the cathedral, during WWI he served as the Empress’ representative on the Tsarskoe Selo Military Hospital Train No. 143 and similar trains under the protection of the grand duchesses. He was also on friendly terms with Grigorii Rasputin (Fig.3) who was a frequent visitor and was one of the few people actually present at his burial. Loman’s great passion was the preservation of early Russian art, music, and popular culture, and his collections of liturgical and folk art were intended to serve as inspiration for the revival of a single national style in all facets of contemporary life. In 1915, he was instrumental in creating the Society for the Renaissance of Artistic Rus, a group that included the leading artists and architects working in a neo-Russian style. The society’s goals included the study and preservation of Russian antiquities, the revival of pre-Petrine aesthetic traditions adapted to contemporary conditions, publishing textbooks on Russian art for schools, and restoring the purity of the Russian language. The complex of buildings that grew up around the Feodorovsky Cathedral, the Feodorovsky Gorodok, was to be a prototype for the realization of these goals on a national scale.In every sense the offered triptych is a microcosm and memento of the Feodorovsky Cathedral whose construction and decoration Loman oversaw. The painting is the work of the Palekh- trained Moscow-based court iconographer and restorer Nikolai Sergeevich Emelianov. Having proved his ability to interpret the spirit of 17th century icons in a modern idiom with the iconostasis for the temporary church, Emelianov was among a select group of iconographers (including Mikhail Dikarev) commissioned to provide icons for the cathedral’s upper church (Fig.4). Emelianov also prepared the drawings for the mosaic icons that marked the multiple entrances to the cathedral. In addition to the iconostasis, in 1910-11 Emelianov painted 102 icons for the cathedral itself, including “an icon of the Mother of God of the Sign with attendant angels,” of which the present icon may have been the model for the Loman triptych. Icons by Emelianov from the Feodorovsky Cathedral and other late Imperial churches are preserved in the State Museum of the History of Religion and, like the present icon, are generally signed in the lower right corner. So pleased were the royal family with his work, that Emelianov was awarded a silver medal on a Vladimir ribbon for his icons in the Feodorovsky Cathedral together with the Emperor’s “personal thanks.”The elegantly elongated figures of the two attendant saints - the tsar’s name saint Nicholas and Saint Serafim himself - and the miniature painting of the marginal scenes of festivals and saints are subtly adapted to the distinctly modern features of the Ponetaevskaya Mother of God. An exceptionally rich visual rhythm is created by the variations in scale and size of the scenes that flank that central image and create a continuous horizontal band along the lower edge. The three panels are set within a carved wooden framework that echoes the elongated gables of the iconostasis designed by Vladimir Pokrovsky for the upper church (Fig 5.). The carved relief roundels on the lower margin reference the mosaic icons of Saint George and Saint Michael that Emelianov designed to mark the north and south entrances into the cathedral (St. George appropriately designated the officers’ entrance). Reflected in the cabochon-studded haloes is the rich intricacy of 17th century devotional icons that established the aesthetic ideal espoused by enthusiasts like Prince Shirinsky-Shikhmatov and Loman himself. The fact that they were made in the workshops of the Imperial silversmith Fabergé reflect the status and importance of the person who commissioned the offered triptych. The carving borrows some of the stylized folk motifs from the furnishings designed for the cathedral by Nikolai Bartram and executed in the workshops of the Moscow Zemstvo at Sergiev Posad. Here too a balance is sought between the lushly ornamented upper half in the neo-Russian style and the neoclassical simplicity of the lower section, so typical of Fabergé’s work in burl and Karelian birch.Clearly, the triptych is a testament to Loman’s deeply held conviction - one he shared with the Imperial couple - that a renaissance of Old Russian values in contemporary life was a goal within reach. In the absence of a presentation plaque or other documentation we can only speculate as to its origins. It would certainly have been a fitting gift of appreciation and remembrance from the Empress for whom Loman had proved so indispensable. It is displayed in Loman’s office near an assortment of personal photographs depicting Tsar Nicholas II and the Empress of the type known to have been given by the royal couple to those whom they held in high esteem. However, perhaps the best clue as to who might have commissioned this icon rests in the fact that it was decorated by the firm of Fabergé. For it is well known that when the Tsar and Tsarina wanted to favor someone special with an extraordinary gift they would call upon the workshop of Fabergé to fulfill such requests. When all known facts are taken into consideration, Imperial silversmith Fabergé, court iconographer Emelianov, and the triptych being situated in the office of dutiful royal confidant and administrator Dmitrii Loman, it is fair to presume that the offered lot was indeed a gift from Nicholas and Alexandra to Loman most likely upon the completion of the cathedral in the fall of 1913 which Loman oversaw, including the task of primary fundraiser. After decades of decay and destruction, in 2009 a concerted restoration of the Feodorovsky Cathedral at Tsarskoe Selo was undertaken and the iconostasis reconstructed on the basis of several surviving icons by Emelianov. Loman’s son Yuri (1906-1988) survived the times or terror, successfully adjusted to communist rule and towards the end of his life penned a biography, “Memories of the Empress’ Godson”. The Society for the Renaissance of Artistic Rus of which Loman was instrumental, ceased its activities in October 1917. Loman perished (was shot) during the terror of 1918 and by 1928 the old icons from the Feodorovsky Cathedral had been dispersed, some made their way to the Russian Museum, while others, including some painted by Emelianov went to the State Museum of the History of Religion. Others, like the offered lot, thankfully found safe haven elsewhere and after decades of silently preaching in places far removed from the splendor of Tsarskoe Selo, are now being enjoyed by a new generation of enthusiasts who have come to appreciate the true geniuses of those artisans who created a unique Russian style that has now risen from the ash heap of history to reign again in splendor."
Lot 336
A FABERGÉ SILVER AND GUILLOCHE ENAMELED FRAME, ANDRE GORIANOV, ST. PETERSBURG, 1899-1908. Circular form and translucent oyster enamel over moiré engine-turning, set with floral swags, beaded border and ribbon tied finial. Wood back with silver scroll strut. Hallmarked St. Petersburg 1899-1908, Cyrillic workmaster initials "AG" and 84 silver standard. Height 3.1 inches (7.8 cm).
Lot 345
A LARGE RUSSIAN SILVER-GILT AND CLOISONNÉ COVERED BEAKER, VASILIY NAUMOV, MOSCOW, 1908-1917. Of slightly flared cylindrical form, resting on a half dome foot. The sides overall enameled with scrolling foliage and flowerheads, the slightly domed fitted lid similarly enameled with rope twist border and enameled onion form finial. Hallmarked Moscow 1908-1917, Cyrillic makers mark "V.N." for Vasiliy Naumov, and 84 silver standard. Height 8.5 inches (21.6 cm).
Lot 389
A RUSSIAN SILVER-GILT AND CLOISONNÉ ENAMEL SERVING SPOON, KHLEBNIKOV, MOSCOW, 1888. The large circular bowl overall enameled with flowerheads, strapwork, and clovers, twist handle with crown form enameled finial above a band of fish-scale enameling, interior of bowl engraved in Russian "Nizhny Novgorod." Length 7.25 inches (18.4 cm).
Lot 390
A RUSSIAN SILVER KOVSH, MOSCOW, 1886. Resting on a domed oval foot, the interior repoussed with a central medallion amidst scrolling foliage and flowerheads, the shaped flat handle chased with a similar design, and the front of rim coming to a point and displaying a ball finial. Hallmarked Moscow, dated 1886, Cyrillic makers mark "IM" probably for Ivan Mnyekin, and 84 silver standard. Length 5.5 inches (14 cm).
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