Auctions

INSIDE THE AUCTION: NIALL HOBHOUSE AT HADSPEN, CHRISTIES

Sep 29, 2025

In this series, Inside the Auction, we journey through historic catalogues—some forgotten, others legendary—to rediscover the stories objects tell about their owners.

One auction of particular interest is West ~ East: The Niall Hobhouse Collection, offered at Christie’s London on 22 May 2008. More than a sale, it reflected Hobhouse’s lifelong fascination with the meeting of cultures, expressed through a discerning eye for art and design. The auction presented a remarkable selection of Anglo-Indian works—treasures from both Western and Oriental traditions—that revealed his admiration for the profound artistic exchanges between Europe and the Indian subcontinent.

Much of the collection had been assembled at Hadspen, the family home in Somerset, where Hobhouse’s interests in architecture, history, and connoisseurship converged. Hadspen, an attractive Georgian villa constructed of honeycomb-coloured stone, was built in 1687 and substantially enlarged a century later by Henry Hobhouse. The estate remained in the

Hobhouse family for some 230 years before its sale and is now operated as a hotel, The Newt.

Hadspen House

As a collector, curator, and writer, Hobhouse consistently framed objects within larger cultural narratives. His library extended beyond art into rare and out-of-print books on architecture, decoration, and antiques, reflecting the intellectual breadth of his pursuits. For Hobhouse, this engagement was not abstract: his family had strong ties to India dating back to the 19th century, and his collecting instinct was rooted in a sensitivity to how traditions influence, reshape, and enrich one another.

The objects on offer—paintings, decorative arts, and architectural works—illustrated not only India’s enduring impact on European artists but also the creative transformations sparked by European influence on Indian painters and craftsmen. The Hobhouse auction remains a portrait of sensibility: historically attuned, globally minded, and intellectually rigorous. More than a collection, it is a treasure trove of singular, distinctive objects that reflect Hobhouse’s incomparable eye.

SELECTED LOTS

A CARVED WALNUT MIRROR MODELLED AS A CLASSICAL RUIN

CIRCA 1850, POSSIBLY ITALIAN

This mirror, beyond being fun and visually striking, exemplifies what I love about Italian furniture: you can often sense the character and personality of the craftsman. In this piece, the carver blends the allure of ancient ruins with a touch of exoticism. The palm tree, rising alongside the ruin, evokes Roman sites in North Africa and creates an irresistibly captivating effect.

A PREHISTORIC FOSSILISED SPECIMEN OF A CRYNODENDRON IN AN ITALIAN CARVED AND GILDED FRAME, THE FRAME LATE 17TH CENTURY, BOLOGNESE

This extraordinary piece, a prehistoric fossilized specimen of a Crynodendron, exemplifies well executed dialogue between natural history and craftsmanship. Encased in a late 17th-century Bolognese carved and gilded frame, the specimen is transformed from a scientific curiosity into a work of art. The rich gilt and intricate carving of the frame enhance the fossil’s textures and forms, creating a captivating interplay between nature and human artistry.

Jacob Peter Gowy (active 1632-c. 1661)

The Marquess of Worcester's dappled grey stallion, with Worcester House beyond

This moody painting by Gowy captures the elegance and presence of the Marquess of Worcester’s dappled grey stallion, with Worcester House providing a stately backdrop. Gowy’s meticulous brushwork brings the horse to life, emphasizing its musculature, sheen, and noble bearing, while the architectural setting situates the scene firmly within a refined, aristocratic milieu.

The work is further enhanced by its Sansovino carved and gilded frame, whose classical motifs—acanthus leaves, scrolling ornament, and layered moldings—echo the grandeur of 17th-century Flemish equestrian portraiture. The frame’s architectural presence and rich gilding create a dialogue between painting and setting, elevating the composition and highlighting both the artistry of Gowy and the aristocratic dignity of his subject.

A SOUTH-EAST ASIAN PAINTED LACQUER PAPIER-MACHE STORAGE BOX IN THE FORM OF A PUMPKIN, EARLY 20TH CENTURY

These pumpkin-shaped ritual boxes from Myanmar, often lacquered and delicately carved, exemplify the marriage of artistry and spirituality in Southeast Asian decorative arts. Traditionally used to transport offerings to Buddhist monasteries, their rounded, organic form evokes fertility and abundance, while the central stem—sometimes removable—demonstrates the artisan’s mastery of both form and function. Beyond their utilitarian role, these boxes are potent symbols of merit-making, reflecting the cyclical rhythms of life and harvest central to Burmese cosmology. I have a particularly beautiful one in my collection, which is available to buy here.

AN ANGLO-INDIAN EBONY AND IVORY ARMCHAIR, CIRCA 1880

This armchair is particularly appealing to me because it embodies a perfect balance of elegance, craftsmanship, and history. The contrast of ebony and ivory is visually striking, while the turned legs and spindle back reveal the skill of colonial-era artisans. It feels both refined and alive with the story of its creation. It feels very modern.

A JAPANESE BLACK AND SILVER LACQUER KODANSU

CIRCA 1900

This Japanese black and silver lacquer kodansu, circa 1900, is a compact chest traditionally used to store personal items such as writing tools, documents, or small valuables. Crafted in deep black lacquer with delicate silver checkerboard decoration, it exemplifies the Meiji-period mastery of lacquer as both a functional and decorative medium.