Marie-Séverine Hoare represents the fifth generation of the British family firm Watts 1874, shaped by a childhood immersed in interior design, heritage, and fine craftsmanship. Educated in Classics, Architecture, and cultural management, she now leads the house as CEO alongside her husband, Belgian Prince Jean de Caraman Chimay, Design Studio Director. Guided by 150 years of creative independence, together they unite tradition and modernity with timeless elegance and uncompromising quality.

Marie-Séverine tells us, “Historical design carries emotion. A decorative motif, a fabric, an antique chair or a fragment of ornament all contain traces of lives previously lived. When thoughtfully reinterpreted, these elements bring soul, depth and humanity into contemporary interiors.

“People increasingly seek interiors that feel collected rather than decorated. They want spaces that carry memory, atmosphere and personality. Historical design offers this naturally, from artistic gestures to cultural continuity.”

Marie-Séverine de Caraman Chimay’s Top Picks

No. 1

Lot 7: After the antique, a large red figure volute krater urn, probably Italian, 19th or 20th century | Est. £1,000-1,500 (+ fees)

"Distinguished by its strong horizontal emphasis and figural decoration, this Classical Revival volute krater urn reflects the enduring influence of Neo-Classical design. Its formal composition recalls the historicist sensibilities favoured by Bodley and Watts in the late nineteenth century, making it a fitting companion to decorative schemes."

No. 2 

Lot 40: A Queen Anne black lacquer and japanned dressing table and mirror, circa 1710 | Est. £3,000-5,000 (+ fees)

"With its delicate foliage and finely stencilled decoration, this black lacquer dressing table evokes the hand-crafted refinement characteristic of Bodley’s interiors. Elegant in its restraint, the piece would complement the rich textures and subtle sophistication of a Watts velvet, creating a harmonious decorative ensemble."

No. 3

Lot 77: A George III carved giltwood mirror, circa 1780 | Est. £2,500-4,000 (+ fees)

"This elegant George III mirror would sit comfortably within a decorative scheme inspired by Watts. Its gently twisting curves and refined carving echo the flowing naturalism characteristic of Watts’ textile designs, creating a harmonious dialogue between furniture and fabric."

No. 4

Lot 89: A large pair of carved giltwood mirrors, in the manner of Thomas Chippendale and Thomas Johnson, 18th or 19th century | Est. £8,000-12,000 (+ fees)

"These carved gilt mirrors draw the eye upwards towards their expressive palm-tree cresting, lending both height and drama to an interior. Their striking silhouette and decorative vitality encourage a richer engagement with the surrounding space, enhancing the character of any chosen room."

No. 5

Lot 99: A large bronze gothic hexagonal hall lantern, early 19th century | Est. £10,000-20,000 (+ fees)

"Inspired by the draughtsmanship and Gothic sensibilities of Pugin, this angular lantern introduces a bold architectural presence. When paired with the Hesketh wallpaper, it creates a dynamic tension in which modernity and Gothic revivalism meet, resulting in a richly layered decorative scheme."

No. 6

Lot 110: A pair of tole peinte chestnut urns, circa 1830 | Est. £2,000-3,000 (+ fees)

"Executed on a cooling black ground and enriched with softly scrolling gilt foliage, these painted chestnut urns offer both decorative presence and visual balance. Their reflective qualities make them particularly effective when paired with Venetian Gold, creating an atmosphere of quiet elegance and contemplation."

No. 7

Lot 140: A George III carved giltwood and gesso architectural mirror, in the manner of William Kent, circa 1760 | Est. £1,000-1,500 (+ fees)

"This George III carved giltwood and gesso mirror embodies a Neo-Classical vision reminiscent of the work of William Kent. Kent’s Gothic Temple at Stowe, Buckinghamshire, built in 1735, provided a source of inspiration for later generations, including George Gilbert Scott, who sketched it enthusiastically during his youth. In this mirror and Watts’ fabrics, Britain’s Classical and Gothic traditions merge with remarkable ease, producing a scheme of enduring sophistication."

No. 8

Lot 167: A George III carved giltwood mirror, circa 1760 | Est. £1,000-1,500 (+ fees)

"This finely carved George III mirror demonstrates the elegance and balance associated with mid-eighteenth-century design. Its restrained ornament and refined proportions lend it a versatility that allows it to integrate effortlessly into both traditional and contemporary interiors."

No. 9

Lot 168: An Italian painted and parcel gilt console or side table, late 18th or early 19th century | Est. £2,000-3,000 (+ fees)

"With its marble top and richly decorated frame, this Italian painted and parcel-gilt side table provides an ideal surface from which to reflect the colours and patterns of Watts’ wallpapers. Continental in character yet timeless in appeal, the piece brings a sense of refinement and grandeur to a living space."

No. 10

Lot 189: A large Italian silvered wood and foliate carved mirror, mid 18th century | Est. £1,000-1,500 (+ fees)

"The scrolling woodwork and rectangular mirror plate of this Italian silver mirror create a pleasing sense of harmony and symmetry. Its gently curling foliate ornament recalls Bodley’s “Oscar” wallpaper and reflects the nineteenth-century fascination with naturalistic forms, making it a sympathetic addition to an Arts and Crafts-inspired interior."

No. 11

Lot 213: A pair of Regency solid carved mahogany vases or stands, attributed to Gillows, circa 1820 | Est. £5,000-10,000 (+ fees)

"Originating from Tissington Hall, a distinguished Jacobean house noted for its progressive decorative history, this pair of Regency mahogany vases conveys a sense of quiet dignity. Their restrained elegance and timeless form lend an atmosphere of tradition and permanence to an interior."

No. 12

Lot 401: After the antique, a large bronze figure of The Dying Gaul, 19th century | Est. £2,000-3,000 (+ fees)

"A reproduction of the celebrated antique original, The Dying Gaul captures a moment of poignant repose and emotional intensity. The figure’s expressive modelling and classical restraint make it a powerful decorative statement. Paired with Venetian Gold, the sculpture creates a compelling dialogue between Classical serenity and Renaissance richness, bringing both gravitas and beauty to the interior."

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Auction Details

Tuesday 23 & Wednesday 24 June 2026, 10.30am GMT
Donnington Priory, Newbury, Berkshire RG14 2JE

Bidding is available in person at our salerooms, online, by telephone or you can leave commission (absentee) bids.

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VIEWING:

• Viewing at Dreweatts Newbury: Donnington Priory, RG14 2JE
  • Friday 19 June: 10am-4pm
  • Saturday 20 June: 10am-3pm
  • Sunday 21 June: 10am-3pm
  • Monday 22 June: 10am-4pm
  • Tuesday 23 June: 9am-4pm
  • Wednesday 24 June: 9am-1pm
• Dreweatts 360 Virtual Auction Tour | Available from Friday 19 June

Further Information: 
General enquiries: + 44 (0) 1635 553 553 | furniture@dreweatts.com
Press enquiries: press@dreweatts.com 

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Website: watts1874.co.uk
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+44 (0) 20 7376 4486
sales@watts1874.co.uk

Watts 1874, Second Floor, North Dome, Unit 219B, Design Centre Chelsea Harbour, London SW10 0XE