On May 24th, Roseberys presented an eclectic range of Fine & Decorative artworks spanning several periods and styles. The auction saw strong performances from works throughout all categories of the sale, and considerable pre-sale interest from clients across the globe. Top prices were achieved for English furniture, clocks, and ceramics alongside highlights such as a Russian silver-gilt and enamel icon and a verre églomisé work by Jonas Zeuner.

 

Lot 259: A Russian icon of Christ Pantocrator, Moscow, 1886

 

The solo standout lot from the auction was lot 259, a Russian icon of Christ Pantocrator (Christ in his iconographic form as ruler of the universe) made in Moscow in 1886 by Ivan Ovchinnikov. The beautifully crafted silver-gilt oklad with cloisonné and champlevé enamelled decoration was keenly competed for by international bidders before eventually selling to a UK private collector for £16,900 (including fees) - quadrupling its high estimate of £4,000. Another Victorian-era highlight was lot 47, a gilt-silver tea service in a velvet-lined wooden chest made by Martin, Hall, & Co. in London in 1882, which sold for £5,200.

 

 

Lot 529: A Flemish verdure tapestry fragment, 17th century

 

A much earlier highlight - made during the 17th century - was lot 529, a Flemish verdure tapestry fragment depicting a central lake with bullrushes, birds, and a coiling serpent around a tree trunk. The tapestry fragment was perfect as a furnishing piece and received considerable pre-sale interest, selling to a UK private buyer for over four-times its pre-sale estimate (totalling £6,500 including fees).

 

 

Lot 239: A George III mahogany repeating table clock, John Lambert, last quarter 18th century

 

Another highly anticipated lot at auction was lot 239, a George III mahogany repeating table clock made by John Lambert around 1770. The piece exemplified the precision and artistry that is so beloved in Georgian clocks, featuring rococo style quadrans, acorn motif finials, and a finely engraved backplate with scrolling flowers and foliage. The piece was sold to a local private buyer and sold for £7,800 (including fees).

 

 

 Lot 402: A George III satinwood and marquetry ladies writing table, last quarter 18th century

 

Other Georgian-era highlights included lot 402, a George III satinwood and marquetry ladies writing table that attracted substantial interest at the pre-sale view and was fiercely contested at auction with the winning bid securing the piece for £7,800 (including fees, over ten-times its low estimate); lot 197, a Staffordshire slipware circular baking dish which achieved £6,500 including fees; and lot 263, a Greek triptych travelling icon which similarly exceeded its estimate prices when it achieved £4,940 including fees.

 

Lot 159: A Frankenthal porcelain Chinese pavilion group, c.1770

 

Also made during this period was lot 159, a Frankenthal porcelain Chinese pavilion group offered as part of the second tranche of lots from the Robert G. Vater collection. Several items from Vater’s collection of European ceramics were on offer, collected by Robert and Ilse Vater during their married life. The work drew interest from continental bidders online and despite having been restored, the porcelain was secured by a German bidder online for above its top estimate, selling for £7,150 in total.

 

Lot 291: A Dutch verre églomisé picture, by Jonas Zeuner, Dutch, 1727-1814, c.1790

 

A final, highly anticipated highlight of May’s Fine & Decorative sale at Roseberys was lot 291, a Dutch verre églomisé picture by Jonas Zeuner, made around 1790. Works by Zeuner are rare and the artist is best-known for his engravings in gold and silver leaf depicting townscapes or canal scenes. Lot 291’s humorous composition shows a farmer’s wife discovering two young lovers in a countryside barn, with the gentleman making a swift exit up a background staircase. The piece came to Roseberys with strong provenance, having been sold at Asprey & Co. and Christie’s in London in the 1980’s. It was signed by Zeuner and displayed in an ebonised wood frame. The work sold to a European buyer for £5,720 including fees, nearly quadrupling its high estimate, perhaps thanks to the uncommonness of genre scenes by Zeuner.