Woolley & Wallis Arts & Crafts June 2012 by Jamm Design Ltd

Woo l le y & WA l li s SA L I S B U R Y SA L E R O O M S

Arts & Crafts Wednesday 20th June 2012

Specialist Departments Please dial +44 (0)1722 followed by the number listed below

20TH CENTURY DESIGN Michael Jeffery

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424505

ASIAN ART John Axford MRICS ASFAV — Sophie Lister — Clare Durham — Tim Wright (Consultant)

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VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598 ACCOUNTS & OFFICE MANAGER Janice Clift —

424500

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GENERAL OFFICE Ruth Pike Pauline West Linda Garthwaite

CLOCKS Will Hobbs — Richard Price (Consultant)

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SALEROOM MANAGER David Jordan

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424500

PRESS & PUBLICITY Kate Williams

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BOOKS & MANUSCRIPTS Liz Merry (Consultant)

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 John Axford MRICS ASFAV — 424506 Sophie Lister — 424591 FURNITURE Will Hobbs Mark Richards Jim Gale Gemma Bush

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Grazier

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Members of The Society

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BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director Willi Verdon-Smith

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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FRICS FRSA

FRICS

COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA

of Fine Art Auctioneers

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508

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424599

Arts & Crafts Wednesday 20th June 2012 at 10.30am Viewing Times Saturday 16th June Monday 18th June Tuesday 19th June Wednesday 20th June

10.00am – 1.00pm 10.00am – 4.30pm 10.00am – 4.30pm 9.00am – 10.30am

ENQUIRIES Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

There is no surcharge for using this service.

Index Glass Ceramics Works on Paper Furniture W.A.s Benson Metalware & Works of Art dr Christopher dresser Liberty & Co 2

Lots

1-35 36-349 350-361 362-419 418-425 420-547 548-565 566-619

A pair of vaseline glass shades, cylindrical form, 12cm. high

£50-100

2. Two vaseline glass shades with patinated copper fittings, each shade teardrop form with twisted decoration unsigned ,shades 16cm. high £100-200 3. A pale green etched glass vase, the design attributed to James Powell & Sons, Whitefriars, waisted form, etched with Crown Imperial lily stems unsigned 23cm. high £80-120 4. A James Powell & Sons Medieval goblet vase, on applied foot, applied with ruby jewel decoration unsigned 11.5cm. high £100-200 Literature Design Record Museum of London, page 255 plate 361 for a comparable item (pat. no.1098) 5. An amethyst glass lantern with wrought metal mount, probably James Powell & Sons, and another similar unsigned 25cm. high £200-300 6. A James Powell & Sons, Whitefriars Venetian glass hall lantern, amber glass inside wrought iron frame unsigned 29cm. long £200-300 7. A James Powell & Sons, Whitefriars glass vase in wrought iron frame, designed by Harry Powell, latticed straw opal glass body with wrought iron tripod frame unsigned 29cm. high £300-500 Literature Lesley Jackson Whitefriars Glass The Art of James Powell Sons, Richard Dennis Publications, page 101 plate 21 for a comparable vase 8. A James Powell & Sons, Whitefriars Goblet wine glass, designed by Harry Powell, the double knopped stem with embedded gold foil inclusions unsigned 14cm. high £400-600 Literature Lesley Jackson The Art of James Powell & Sons, Whitefriars Glass, Richard Dennis Publications, page 113 plate 75 for a comparable glass. This range was exhibited at the Paris Exhibition 1914. 9. A rare James Powell & Sons, Whitefriars amber glass decanter, ovoid form with cylindrical neck, with silver mount and cover surmounted with Japanese ivory netsuke finial stamped marks JATS London 1885 20cm. high £700-900

10. A faceted glass bowl, probably continental, faceted form on applied foot, in the manner of Josef Hoffmann, unsigned 25cm. diam. £80-120 11. A rare Gordon Russell Ltd Lygon glass table service, designed by Gordon Russell, manufactured by Stevens and Williams, comprising; footed bowl, five finger bowls, four tumblers, five sherry glasses, five liqueur glasses, and nine various flutes unsigned tallest flute 15.5cm. high £2,200-2,800 Literature Annette Carruthers and Mary Greensted Simplicity or Splendour, Cheltenham Art Gallery and Museum, page 156 catalogue number 205. 12. A James Powell & Sons, Whitefriars shallow cut flat clock face decanter and stopper, designed by Harry Powell, on applied foot, cut with stylised flower design unsigned 31cm. high £200-300 Literature Glasses with History Museum of London, page 273 plate 413 item 1 for a drawing by Harry Powell of this design 13. A pair of Powell, Whitefriars glass vases, footed goblet form with applied prunts unsigned 16.5cm. high £50-100 14. A James Powell & Sons, Whitefriars glass vase designed by Edward Spencer, flaring cylindrical purple glass with bubble inclusions, applied with prunts and rigoree band unsigned 12.5cm. high £500-700 12

15. 'The Legend of St Giles' a watercolour on paper design for a stained glass window by Henry John Hunt, under the coat of arms for Camberwell, mounted on card, painted signature 30 x 19cm. £300-500 Exhibited Henry John Hunt exhibited a 'design for stained glass - Arms of Camberwell' at the Royal Academy in 1941. Literature Christopher Wood A Very Victorian Design, Christie's 28th February 2007 lot 279 for another example. 16. A heraldic stained glass panel, shield-shaped panel with three hen’s head crest 26cm. high £150-250 17. A stained glass window, after a portrait of Cardinal Albrecht of Brandenburg, by Albrecht Durer, 29 x 21cm. £200-300 18.

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A stained glass panel of a saint, shaped panel, the saint depicted kneeling and praying, and another similar damages 61cm. high £300-400 A stained glass panel of a saint, the shaped panel, depicting a saint holding a wooden cross 50cm. high £100-150

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A stained glass roundel, heraldic, modelled with a bird holding a broken spear 26cm. diam.

£150-250

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A stained glass panel, heraldic shield decoration below a crown 50 x 26cm

£100-200

22. An Aesthetic Movement stained glass window, four panels, painted with a fish below waterweed and grasses with three birds flying, in modern wood protective frame unsigned 120 x 89cm. £300-500 23.

A stained glass panel of Christ preaching in a temple setting, attributed to Percy Bacon, for the Bacon Brothers, unsigned 110 x 69cm. £300-500

24. A large Loetz glass vase, flaring bucket form on applied foot, blue graduating to clear with splashed golden iridescence unsigned 24cm. high £150-200 Provenance The Albert E Wade Collection 25. An iridescent glass vase attributed to Loetz, tapering cylindrical form with five flaring flower stem apertures, covered in an iridescent finish, a shouldered glass vase with applied prunts and another unsigned 16cm. high £150-250 Literature Loetz Hatje Kantz page 74 catalogue no.23 for a comparable. 26. A Loetz Papillon glass vase, tapering cylindrical form with flared, pinched rim, covered in an iridescent splash unsigned 20cm. high £150-250 27. An Austrian iridescent glass vase, probably Loetz, cylindrical form, surface decorated with green trails and iridescent gold lustre unsigned, small chips to top rim 16.5cm. high £50-150 28. An Austrian Iridescent glass vase, probably Loetz, the dimpled square section with flaring rim, and another smaller unsigned 14cm. high £200-300 29. A continental liqueur glass, the design attributed to Otto Prutscher, faceted purple bowl on clear glass stem, a golden iridescent glass vase a Villeroy and Boch Secessionist vase and a Lear Pottery solifleur vase, glass unsigned 12.5cm. high £50-100 30. A small Art Nouveau Emile Galle cameo glass solifleur vase, mottled orange with red overlay decorated with orchid sprays cameo signature Galle 10cm. high £300-500 31. An Art Nouveau Galle overlay glass solifleur vase, designed by Emile Galle, compressed body with tall cylindrical neck, brown and amber graduated glass overlaid with brown grape vine with pendulous bunches of grapes, cameo signature Galle 20cm. high £300-500 32. A tall Art Nouveau Emile Galle vase, tapering cylindrical form with swollen base and everted top rim, purple overlay decorated with buddleia flower sprays acid etched Galle signature 35cm. high £3,000-5,000 32

33. `Louis C Tiffany Rebel in Glass’ a reference book by Robert Koch, six other books and catalogues on Tiffany and one book on Steuben glass £50-100 34

34. A Louis Comfort Tiffany Favrile Jack in the Pulpit vase, model no. C-244, covered in a golden iridescence etched signature to base 23cm. high £1,500-2,000 Literature Klaus-Jurgen Sembach Art Nouveau Taschen page 14 and front cover for a comparable vase.

35. A Tiffany Studios bronze and Favrile glass floor lamp, designed by Louis Comfort Tiffany, model no.423, swollen cylindrical stem on five angled feet, with hinged light fitting, the Favrile shade opaque glass with peacock feather lustre decoration, stamped marks to base, 142cm. high £6,000-10,000 35

36. Four early Minton tiles, the design attributed to A W N Pugin, slip painted with foliate roundels and ogee panels in yellow on terracotta impressed marks, 15cm. square £200-300 37. Four Minton encaustic tiles, designed by A W N Pugin, decorated with a stylised foliate panel in sand on a terracotta ground impressed marks, chips 15.5cm. square £250-300 38. A set of four Minton encaustic tiles, each with fleur de lys motif in white on a blue and yellow ground, framed 15cm. square £250-350 39. A Minton encaustic tile, designed by A W N Pugin, black and brown on ochre ground with flower roundel impressed marks 15cm. square £150-250 40. Four Maw & Co encaustic tiles, decorated with a frieze of strawberry plants, in colours impressed marks, 15cm. square £150-250

41. A Maw four tile panel, each tile dust pressed in low relief with acorn and oak leaf radiating design, glazed brown, a Mintons four tile panel, a Mintons Aesthetic tile printed with a flying crane and three other tiles various marks, acorn tile panel 30cm. square £50-100 Literature: Fired Earth Dennis & TACS, page 109 catalogue number 237 for a comparable tile. 42. Two Maw & Co press moulded tiles attributed to J P Seddon, decorated in low relief with stylised flowers and foliage on a strawberry pink ground, and two other Maw tiles impressed marks, 15cm. square £100-200 43. A Minton’s encaustic five tile floor repeat, the central round eucharistic tile flanked by four shaped tiles, decorated with geometric fleur de lys panels impressed marks, roundel 16cm. diam £400-600 Provenance: Southwark Cathedral Literature: Fired Earth Richard Dennis/TACS page 98 for a comparable set illustrated

44. A Maw & Co tile, designed by J P Seddon, printed with foliate repeat on a mint ground, and seven other encaustic tiles various marks 15cm. square £100-150 45. Two early Minton tiles designed by A W N Pugin, painted with Henry III and an archbishop, in yellow on a terracotta ground unsigned 16cm. square £200-300

46. Four Minton’s press moulded tiles, designed for J Sainsbury’s, decorated in low relief with flower swags before scrolling foliage in ochre and cream on a green ground impressed marks, minor frits 15cm. square £80-120

47. Four W Godwin encaustic tiles, designed by J P Seddon, each decorated with a radial, geometric flower design in ochre on a black ground impressed marks to reverse 15cm. wide £150-250

48. Three Minton & Hollins tiles, the design attributed to Dr Christopher Dresser, printed with flower panels, in brown and ochre, framed impressed marks, 15cm. square £150-200

49. A Minton tile designed by A W N Pugin, printed in blue on a white ground with flower and foliage design, another in the same design and four other tiles impressed marks 15cm. square £100-200

50. A Doulton Lambeth tile, decorated with a Slater’s Patent textured surface, painted with a flower in shades of blue and gold impressed marks 15.5cm. square £50-100

51. A Maw & Co three tile panel, designed by Walter Crane, printed in brown on a pale beige with birds inside scrolling flowers and foliage, framed impressed marks each tile 15cm square £150-200

52. Three Maw & Co tiles, designed by J P Seddon, decorated with medieval revival floral repeat in blue, ochre and brown impressed marks, each tile 15.5cm. square £50-100 Literature Jeremy Cooper Victorian and Edwardian Furniture and Interiors Thames and Hudson, page 184-185 plates 179-182 for this design reproduced

53. A pair of Minton’s & Hollins Pottery tiles, designed by Dr Christopher Dresser, printed with a stylised floral repeat, in colours on a black ground impressed marks 21cm. square £80-120

54. Five Edwards ruby lustre tiles, designed by Lewis F Day, each painted with a flower, framed impressed marks 15.5cm. diam. £100-200

55. Two William De Morgan tiles, each painted with yellow buttercups amongst grasses, and two other William De Morgan tiles, unsigned, restoration to rim chips, 6.5 x 15.5cm. £100-200

56. Two Morris & Co Tulips & Chequers tiles, painted in blue with panels of chequerboard, turk’s cap lily and tulip flowers unmarked, minor glaze chips 13cm. square £150-200 Literature Richard and Hilary Myers William Morris Tiles, Richard Dennis page 118 fig 205

57. A large William De Morgan Chelsea Period carnation tile, painted in shades of blue and green on a white ground impressed mark, 20.5cm. square £200-300

58. A large William De Morgan Merton Abbey Bedford Park Daisy tile, painted in shades of green and yellow on a white ground impressed factory mark 20.5cm. square £200-300

59. A William De Morgan three tile panel, painted with a fruiting stem, in shades of yellow and bluegreen on a white ground unsigned, restoration to rim chips 46.5 x 15cm £100-200

60. A William De Morgan tile, painted with a kingfisher catching a fish, in blue on a white ground impressed mark 15.5cm. square £500-800

61. A William De Morgan tile, painted in ruby lustre with carnation and foliage spray chequered design, and two William De Morgan ruby lustre tiles decorated with foliate spray, framed damages 15cm. square £100-200

62. A pair of William De Morgan tiles, on Wedgwood blanks, each painted with a leaping scaly fish in ruby lustre on a white ground unsigned chips, one with chipped edge 14.5cm. wide £100-200

63. A William De Morgan KL Rose tile, on Wedgwood blank, glazed in ruby lustre on a white ground, framed 15cm. square £200-300 65

64. A William De Morgan tile, on Wedgwood blank, painted with two scaly fish before scrolling foliage in ruby lustre on a white ground unsigned, chips to edge 14.5cm. square £100-200

65. A William De Morgan tile, on Wedgwood blank, painted with a serpent eating a fruiting bough, in ruby lustre on a white ground unsigned, wear 14.5cm. diam. £100-200

66. A William De Morgan tile, on Wedgwood blank, painted with a standing griffin, in ruby lustre on a white ground unsigned, chipped edge 14.5cm. square £100-200 66

67. A William De Morgan Merton Abbey vase, shouldered form painted with carnation flowers in ruby on a white ground impressed mark, chips 12cm. high £80-120

68. A J.H Beal pottery vase, ovoid with cylindrical neck, painted in ochre with geometric design indistinct impressed mark, chips to base rim 19cm. high £50-150

69. A William De Morgan Early Fulham pottery ginger jar and cover, painted with grotesque beasts and a mythical masked figure, in pale copper on a sand ground impressed tulip mark, minor chips 11cm. high £150-250

70. A William De Morgan Pottery charger, painted with a leaping scaly fish, in ruby and sand lustre on a white ground, the reverse with scroll design impressed 17 to reverse, restored rim 36cm. diam. £200-400 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 49 catalogue number 1379 for the original design illustrated

71. A William De Morgan charger, painted in ruby lustre with a serpent attaching an eagle, with hints of copper lustre unsigned, restoration 36cm. diam. £1,500-2,000 71

72. A William De Morgan Sand’s End Pottery twin-handled vase, by James Hersey, painted with an eagle fighting a serpent that has climbed a tree, with a star background, in ruby lustre on a cream ground impressed and painted marks, repaired damages 26cm. high £400-600 72

73. A large William De Morgan pottery vase, ovoid with knopped cylindrical neck, painted with sprays of flowers, the neck with a band of eagles, in ruby and copper lustre on a white ground impressed Tulip mark, professionally restored top rim 33cm. high £2,000-3,000 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 239 plate 257 for a smaller comparable vase illustrated. 73

74 details

74. A Martin Brothers stoneware jardinière, incised with six grotesque birds resting amongst foliage sprays, one with a frog in its beak, in shades of ochre, green and blue on a buff ground incised Martin Brothers London & Southall 10-1892, Zeitlin paper label, restored 20cm. high £600-1,000 Provenance Zeitlin Collection 75. A Martin Brothers stoneware miniature Aquatic vase, square section, each side incised and painted with a jelly fish, in green and ochre on a blue ground incised 3-1913 Martin London & Southall, very minor professional restoration to top rim, 4.5cm. high £300-500

76. An early Martin Brothers stoneware vase by Robert Wallace Martin, shouldered form with cylindrical neck, incised with cattle resting by a stream, glazed in shades of blue ochre and brown, below bands of decoration, inscribed to one band ‘L C 1876’ incised MM 1876 R W Martin London, restored 34cm. high £700-1,000 The signature of MM might allude to Mark V Marshall the Doulton Lambeth artist who it is believed worked briefly with the Martin Brothers. 77. A rare Martin Brothers stoneware fireplace, by Robert Wallace Martin, dated 1881, nine architectural panels, incised with scrolling flowers and foliage panels containing serpents, dragons and mythical beasts, panels of oak leaf and acorns, the sides with further incised panels of scrolling foliage with birds and squirrels, glazed ochre, brown and blue and four other Martin Brothers stoneware architectural panels incised R W Martin 1881, other marks, impressed mark to bottom right corner, losses and damages 122cm. high, 142cm. wide £300-500

77 detail

Provenance The Albert E Wade Collection

78. A C J C Bailey, Fulham stoneware vase and cover, the design attributed to J P Seddon, cast in relief with flowers amidst scrolling foliage, glazed blue and brown incised Bailey Fulham, minor glaze nicks 26cm. high £150-250

79. A Doulton Lambeth Silicon Ware vase by Harry Barnard, applied with Aesthetic Movement design of roundels of carp fish before a dragonfly and iris stems, on a chevron ground impressed marks, 22.5cm. high £200-300

80. A Doulton Lambeth stoneware candlestick, the design attributed to George Tinworth, carved with three heron figures inside pillars, below a circular drip tray, glazed in green, ochre and blue impressed marks, incised EES for Emily Stormer 19cm. high £80-120 Provenance The Albert E Wade Collection

81. A Doulton Lambeth stoneware vase by George Tinworth, made for the Art Union of London, shouldered form, with flaring neck, carved and incised with scrolling seaweed design, with applied florets and beadwork, in shades of blue and brown on a buff ground decorated with slip impressed marks, incised monogram, restored neck 39cm. high £150-200

82. A large Doulton Lambeth stoneware jardiniere and stand, by Mark V Marshall, tubelined decorated with flower panels, in shades of ochre and green impressed and incised marks and artist monogram, hairlines, 125cm. high £1,200-1,800

83. A Doulton Lambeth Majolica jardiniere and stand, modelled in high relief with masks and four looped caryatid figures, the jardiniere with four Poseidon masks below swags of foliage and shells, in green ochre and yellow, impressed marks, damages 118cm. high £400-600 Provenance The Albert E Wade Collection Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares Richard Dennis, page 255 for a reproduction of this design, 1898 83

84. A Doulton Lambeth stoneware vase, by Francis Pope, slender, swollen form with everted rim, incised with stylised foliage in shades of blue, green and ochre, and another Royal Doulton stoneware vase impressed and incised marks, damages 39cm, high £80-120 85. A pair of Doulton Lambeth stoneware jardinieres by Emily Stormer, swollen cylindrical form, incised with a band of scrolling foliage, above geometric bands, in shades of blue, green, brown and ochre impressed and incised marks 19cm. high £200-400 86. A Royal Doulton stoneware tankard probably by George Smith, slip decorated with foliate panels, in shades of green and brown, a Doulton Lambeth Art Nouveau candlestick and four other Doulton items impressed marks candlestick 23cm. high £100-200 87. Four Doulton Lambeth salt-glaze stoneware jugs, with applied stylised flower stems, another decorated with harvest scenes and a cruet set impressed marks, minor damages 19cm.high £80-120

88. A Royal Doulton stoneware vase by Harry Simeon, tubeline decorated with a bird perched in a tree bough, in colours impressed and incised marks 19.5cm. high £80-120 89. A Royal Doulton pottery vase designed by Sir Frank Brangwyn, decorated with stylised flowers and foliage in shades of blue, yellow and green on a pink ground printed factory mark, hairline to top rim 16.5cm. high £150-250 90. ‘Kelmscott’ a Doulton Burslem wash basin and ewer, printed with Art Nouveau flowers and foliage in shades of coral red and blue, the rim highlighted in gilt printed marks, crazed 37cm. wide £80-120 91. ‘Queen Victoria 1837-1897’ a Doulton Lambeth commemorative jug, barrel form, printed with portrait panels impressed marks 19cm. high £50-100 92. A rare Doulton Lambeth Persian Ware wall charger by William Rowe, painted with carnation flowers and foliage in turquoise, blue and aubergine on a white ground impressed marks, remains of paper retail label, glaze blisters and hairlines 35cm. diam. £300-500 93. ‘Doulton Carrara’ a stoneware advertising figure, modelled seated on a rectangular base, glazed in cream signed to the base 16.5cm. high £80-120 Provenance The Albert E Wade Collection

94. A Doulton Lambeth Persian Ware stoneware jardiniere stand, cylindrical form, cast in low relief with interlocking arch design above flower stems, in blue, ochre and brown impressed marks, 38.5cm. high £80-120

95. A tall Doulton Faience vase by Beatrice Durtnall, baluster form, painted with wild blackberry flowers and fruit in colours on a mottled blue ground printed and painted marks 55cm. high £300-500

96. A Doulton Lambeth stoneware jug with metal mount, dated 1882, incised with a frieze of cattle and ponies, between panels of foliage, in shades of green and blue on a buff ground impressed and incised marks, 23cm. high £150-200

97. A Doulton Lambeth stoneware vase by Florence Barlow, pate sur pate decorated with a finch perched on a bough, inside beadwork border and slip decorated ground impressed and incised marks 25cm. high £80-120

98. A Doulton Lambeth stoneware biscuit barrel and electroplated cover, by Hannah and Lucy Barlow, dated 1884, pate sur pate painted with a pair of lions resting whilst one stands alert, in colours on a buff ground impressed and incised monograms 17cm. high £800-1,200

99. ‘Football’ a rare Doulton Lambeth stoneware figure group by George Tinworth, modelled as a scrum of frogs around a football, glazed ochre, brown and green impressed Doulton Lambeth mark, 12cm. high £3,000-5,000 Literature Peter Rose George Tinworth page 132 plate 125 for an example of this group

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100. A Minton cloisonne plate, the design exhibited at the 1878, Exposition Universelles - Paris, painted to the well with a stylised flowerhead inside a border of scrolling flowers and foliage, the rim with bands of formal stylised foliage, in colours, highlighted in gilt on a turquoise ground unsigned 24cm. diam. £200-300 Literature H Blairman & Son Aesthetic Movement exhibition catalogue 2011, page 32 for an identical plate illustrated, signed to the reverse Paris Exhibition 1878. 101. A Minton Pottery Aesthetic Movement plate, painted with a peacock feather, and a spray of yew berries and foliage, in colours, highlighted in gilt, and a modern Pugin plate impressed factory mark 23.5cm. diam. £80-120 102. A Burmantofts Faience wall plate by Pierre Mallet, decorated in low relief with a maiden portrait, under a blue glaze, a pair of pillar candlesticks and five other vases impressed marks, 26.5cm. diam. £80-120 108

103. An Old Hall Pottery jug, in the style of Dr Christopher Dresser, the handle modelled as a ferocious dragon, the vase painted with chrysanthemums in colours on an ivory ground, highlighted in gilt printed factory mark, 30cm. high £120-180 104. Two large Minton’s Shakespeare Series tiles designed by John Moyr Smith, comprising ‘Midsummer Nights Dream’ and ‘Romeo and Juliet’ glazed in ochre and black on a white ground, and seven other Minton’s tiles designed by John Moyr Smith impressed marks, damages 20.5cm. wide £80-120 105. A moonflask probably manufactured by Minton’s, resist decorated and applied with geometric flowerhead design in ochre and brown on a green ground unsigned 22.5cm. high £80-120 106. Three Minton Pottery plates designed by John Moyr Smith, printed in ochre on a white ground with ‘The Crucifixion’, ‘Christ Stilling the Tempest’ and ‘The Weaver’ signed in the print, impressed marks, 22cm. diam. £100-200 107. A pottery vase probably Ault, compressed ovoid form with collar neck, covered in a running red to green glaze unmarked, small chip to top rim 16cm. high £80-120 108. An interesting pair of tile plaques depicting fishing and hunting in the Highlands, possibly designed by George Cartlidge, glazed in colours, in a copper and brass strapwork Arts and Crafts frame 29 x 14cm. £500-800

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109. A set of four painted glass panels, rectangular, each painted with an Art Nouveau flower stem, in colours, framed unsigned each panel 76 x 15cm. £80-120

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110. A pair of Bretby vases, each modelled as a bird beside an open egg, model no.1184, glazed in colours, a Bretby stork and bamboo vase and a collection of art pottery including Bretby impressed marks, 13cm. high £100-200 111. A pair of Ault Pottery Clam shell flower vases, glazed yellow and brown, an Ault jardiniere modelled with a Dragon and a pair of Bretby vases impressed marks, 16.5cm. high £80-120 112. An unusual Burmantofts Faience jardiniere and stand, model no. 1915, cast and modelled with clam shell design, glazed olive green impressed factory marks, damages 93cm. high £150-250 113. A Bretby Pottery jardiniere, cast in low relief with foliate design glazed red, green and ochre, on a brass tripod stand impressed marks, 80cm. high £80-120 114. An Ault Pottery jug, in the manner of Dr Christopher Dresser, ovoid with pulled vertical spout and applied handle, glazed yellow to red, a tall vase with applied handles to the shoulder, a pair of Bretby vases and three other items impressed marks,21cm. high £80-120 115. A pair of Watcombe Torquay shell vases, on domed base, covered in a running green and brown glaze, and two other Watcombe, Torquay pottery vases impressed marks 18cm. high £80-120 116. A Bishop and Stonier Aesthetic Movement wall charger painted in colours on a turqouise ground with sunflowers, another similar and another charger painted with birds nesting amongst flowers impressed marks 34.5cm. diam. £150-250

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117. Eight Ault Pottery graduated jardineres, each modelled as three leaves, glazed in colours impressed marks, damages largest 17cm. high £80-120 118. A pair of Wardle Pottery candlesticks, slip decorated with tall trees, in shades of yellow, green and blue impressed Wardle England 47cm. high £100-200 119. A Minton Pottery tile plaque, rectangular, painted with a school of stylised dolphins, before mountain coastline, in colours, framed 50 x 13cm £150-200

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120. A pair of Torquay Pottery jugs, modelled in relief and painted with a peacock perched on a tree bough, in colours printed Torquay England 31cm. high £150-250

121. A Longpark Pottery jug by Blanche Vulliamy, modelled as a comical bird, glazed green printed factory mark 16cm. high £200-250

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122. A C H Brannam Barnstaple, terracotta chamberstick, modelled as a dragon holding a flower sconce, glazed matt orange and yellow impressed marks 17cm. wide £200-250

123. Two West Country pottery models of birds, attributed to C H Brannam by James Dewdney, glazed in shades of green, blue and cream incised JD to one, damages and minor restoration 19cm. wide £50-100

124. A large C H Brannam, Barnstaple jug, dated 1904, painted with scaly fish, amongst waterweed, in colours on a green ground, and another smaller made for the Hungarian Millennial exhibition, 1986 incised marks, glaze loss 20cm. high £100-200

125. A large C H Brannam, Barnstaple vase, by James Dewdney, dated 1893, ovoid with cylindrical neck and everted rim, incised with scaly fish amongst waterweed, in shades of brown, blue and ochre incised marks, restoration to top rim 28cm. high £100-200

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126. A C H Brannam, Barnstaple terracotta wall pocket, dated 1891, modelled as a moth like insect, glazed in shades of blue and ochre, incised marks and date, minor professional restoration 20cm. wide £250-300

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127. A Granville Pottery bottle vase by Carlo Manzoni, dated 1897, painted with poppy flowers and panels of geometric decoration, in shades of turquoise, yellow, brown and blue painted marks to base 19cm. high £200-300 128. A Granville Pottery jug by Carlo Manzoni, dated 1897, decorated with foliage design and panels of flower stems, in green, blue and yellow incised marks, 14cm. high £150-200 129. An unusual Della Robbia vase, shouldered twin-handled form, slip decorated with a roundel of a galleon at sea, before foliage sprays painted Della Robbia Forrest to base 18cm. high £200-300 130. A Miniature Della Robbia vase by Cassandia Annie Walker, ovoid with collar neck, incised with Art Nouveau flower stems in yellow and ochre on a blue ground incised marks and monogram to base, minor glaze loss to top rim 7cm. high £150-250 131. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with flaring cylindrical neck, slip decorated with a flowering bough, and a ewer similar painted Elton, ewer restored 17cm. high £100-200 132. A Sunflower Pottery vase by Sir Edmund Elton, tall, slender form, slip decorated with flowers and foliage in shades of green and ochre on a streaked blue ground, and a Sunflower Pottery jardiniere painted marks, damages 45cm. high £150-200

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133. A Sunflower Pottery ewer by Sir Edmund Elton, ovoid with tall spout and pinched neck, covered in a copper and gold crackled lustre glaze painted mark, repaired damages 23cm. high £60-100 134. A Sunflower Pottery vase by Sir Edmund Elton, compressed with flaring neck and pinched rim, slip decorated with mistletoe in green and brown on a streaked dark green glaze painted Elton mark 16cm. high £80-120 135. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form, slip decorated with flowers and foliage, in brown and red on a streaked green ground painted Elton mark, restored neck 24cm. high £150-200 136. A Sunflower Pottery vase by Sir Edmund Elton, ovoid with pinched rim, covered in a rich gold crackled glaze painted Elton, glaze frits to top rim 9cm. high £250-300 136

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137. A Leeds Fireclay Company Lefco Ware model of a lizard, covered in a speckled oatmeal glaze impressed Lefco ware mark, chips 11.5cm. wide £50-100 138. A Burmantoft’s Faience Anglo Persian vase, model no.2084, slip decorated with stylised carnation flowers in shades of blue and green on a cream ground impressed marks 20cm. high £80-120 139. A Burmantoft’s Faience Anglo Persian vase model no. 2197, swollen form with knopped neck, decorated in low relief with entwined dragons, glazed in shades of green, blue and brown impressed marks 23cm. high £550-600 140. A Lear Pottery Aesthetic Movement mantle clock, cast in low relief with foliate designs and mask handles, glazed green, with enamelled face impressed marks, 27cm. high £80-120 145

141. A Royal Worcester Sabrina Ware single handled vase, the handle modelled as a bamboo stem, covered in a streaked blue lustre glaze printed factory mark 25cm. high £50-100 142. A ‘Gainsborough Hat’ Frank Beardmore & Co Fenton Pottery vase, the design attributed to Spencer Edge, printed with an Art Nouveau maiden reading a book in a stylised parkland setting, painted in colours printed factory marks, 32cm. high £100-200 143. An E R Wilkes New Spectria box and cover, covered in a mottled flambe glaze, a Burmantoft’s Faience solifleur vase and two ruby lustre vases incised marks, 18cm. wide £80-120 144. A Beswick blank jug decorated by Helen Paxton Brown, painted in colours with hollyhocks impressed marks to base 11.5cm. high £80-100

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145. A Wedgwood Falling Leaves tea set for two designed by Milicent Taplin, SH 243, painted with a green and silver leaf design, comprising; teapot and cover, milk-jug, sugar basin and cover, two cups, saucers and side plates printed and painted marks, minor damages teapot 9cm. high £100-200 Literature Maureen Batkin Wedgwood Ceramics, Richard Dennis Publications, page 163 for a comparable part set illustrated 146. A set of seven Wedgwood earthenware Playing Cards plates, designed by Augustus Jansson, each plate printed and enamelled with court cards, impressed and printed marks, printed monogram to design 26.5cm. diam. £150-250

147. A rare Stanley Thorogood Pottery figure of on knight on horseback, cast earthenware with hand-finishing, with two attendants one lying on the ground, the other holding the horse's reins, gazing upwards, on shaped rectangular base, painted in colours incised signature to base, minor damages 32cm. high £300-500 Provenance The Albert E Wade Collection Literature Art Nouveau, Art Deco and the Thirties, Brighton Museum catalogue, page 96 catalogue number 233 for a comparable figure. The Studio Yearbook 1926 page 127 for a comparable figure Stanley Thorogood (1873-1953) designed a series of mounted medieval figures inspired by the book illustrations of Ducourtioux et Huillard who produced wood engravings for Boutet de Monvel's Jeanne d'Arc, published in 1896.

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148. ‘Ariel and Puck’ a Late Foley Shelley Intarsio vase designed by Frederick Rhead, model no.3470, ovoid with cylindrical neck, printed and painted with Shakespearian scenes between foliate panels, printed factory marks, 14cm. high £200-300

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149. A massive Wedgwood charger, painted with sprays of foliage to the well, the rim with panels of foliage, in shades of green, blue and ochre on a white ground impressed and painted marks NB monogram, paper labels, damages 56cm. diam. £300-500 Provenance Wedgwood Richard Dennis exhibition 1982, catalogue number P126 The Harrimann Judd Collection, Sotheby’s New York

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150. Two small Harris, Farnham pottery owl jugs, one glazed green the other blue, another Harris, Farnham owl jug larger and two small bowls impressed marks 11.5cm. high £50-150 151. A large Farnham Pottery owl jug, glazed green minor chips 32cm. high £150-250 152. A rare Farnham Pottery tobacco jar and cover, decorated with a coaching house scene, of huntsman with their hounds receiving refreshments, glazed in green and ochre incised to the base Green Yell, small chip to cover 12cm. high £150-250 153. A Ruskin Pottery shouldered vase, dated 1915, covered in a purple lustre glaze, a Ruskin souffle glaze vase and two small eggshell bowls impressed marks, damages 22cm. high £80-120

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154. A Ruskin Pottery eggshell bowl, covered in a golden and running blue lustre glaze, and a Carlton Ware Tutankhamen vase impressed marks, damages bowl 20cm. diam. £50-100 Provenance The Albert E Wade Collection 155. A large Ruskin Pottery elephant’s foot vase, dated 1924, covered in a yellow and blue lustre glaze impressed marks 36cm. high £400-600 156. Seven Ruskin Pottery stone brooches on Varco silver and metal mounts, various glazes, all on paper mounts stamped marks largest 5cm. wide £150-200 157. A Ruskin Pottery stoneware baluster vase, dated 1933, covered in a graduated yellow to blue matt crystalline glaze, another Ruskin crystalline vase and another Ruskin ovoid crystalline vase impressed marks, 22cm. high £150-250 158. A Ruskin Pottery High-fired stoneware vase, dated 1914, shouldered form with everted rim, mottled red and purple with splashes of turquoise, a Ruskin Pottery cylinder vase and a Ruskin crystalline vase impressed marks, damages 30cm. high £100-200

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159. A Ruskin Pottery high-fired stoneware vase, dated 1923, ovoid with everted rim, covered in a silver-grey speckled glaze with splashes of sang de boeuf impressed marks 19cm. high ÂŁ500-600 159

160. A Ruskin Pottery high-fired vase, dated 1906, shouldered form, covered in a speckled lavender and silver glaze over sang de boeuf glaze impressed marks 19cm. high ÂŁ200-300 160

161. A massive Ruskin Pottery High-fired stoneware vase, ovoid with tall cylindrical neck and everted rim, covered in a purple glaze with mint and turquoise speckles painted Ruskin England, repaired base 38cm. high ÂŁ300-500 Provenance The Albert E Wade Collection 161

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162. A Howson’s Pottery vase, dated 1912, baluster form covered in a rich flambe glaze, a Holyrood high-fired vase and a Dunnill lustre plate incised marks, 23cm. high £80-120 163. An Ashby Guild pottery vase, shouldered form with collar neck, painted in gold lustre with flying peacock and butterfly over grasses, on a rich ruby ground impressed Ashby Guild mark 21cm. high £400-600 164. An Ashby Guild pottery vase, dated 1913, flaring cylindrical form with inverted rim, painted with panels of stylised foliage in a rich ruby glaze over white painted and impressed marks to base 18cm. high £400-600 165. An Ashby Guild pottery lamp base, compressed form with tall cylindrical neck, covered in a streaked blue glaze, with brass mounts unsigned 30cm. high £150-200 166. A Bernard Moore bowl, painted to the well with a leaping, scaly fish in purple and copper lustre, the exterior with ruby flowerheads printed Bernard Moore mark 24cm. diam. £80-120

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167. A Bernard Moore vase, shouldered ovoid form, mottled blue glaze over red flambe printed Bernard Moore mark 14cm. high £100-200 168. A Bernard Moore ovoid vase glazed with a smoked silver over flambe glaze incised BM mark 8cm. high £50-100 169. A Bernard Moore Pottery vase, by John Adams, shouldered form, painted with Art Nouveau flower stems in shades of ruby flambe, between borders, printed Bernard Moore mark, painted artist cypher 23.5cm. high £300-500 170. A Bernard Moore vase, shouldered, waisted cylindrical form, covered in a streaked lavender over flambe high-fired glaze printed Bernard Moore mark 15cm. high £80-120 171. A Bernard Moore floating bowl, internally decorated with flowers and foliage inside chequer border, rich flambe glaze marked Bernard Moore 24cm. diam. £150-200

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172. A pair of Howson’s Pottery vases, dated 1910, compressed form with cylindrical neck, covered in a ruby glaze incised marks 25cm. high £100-200

173. A Howson’s silver mounted pottery vase, dated 1912, the shouldered body glazed flambe, mounted with silver foot and neck incised marks, stamped marks Birmingham 1923, 25cm. high £200-300

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174. An unusual pair of Minton Secessionist chargers designed by John Wadsworth and Leon Solon, each painted in black slip with flowers and foliage on a celadon ground with blue rim impressed marks, hairline to rim of one 40cm. diam. £400-600

175. A Minton Secessionist wall charger, designed by Leon Solon and John Wadsworth, slip decorated with Art Nouveau water lily flowers in green, blue and mustard printed factory mark 39cm. diam. £500-1,000 175

176. A fine Minton’s Secessionist exhibition twelve tile panel by Leon Victor Solon, painted with an Art Nouveau maiden , wearing elaborate gown, smelling the perfume of a white lily flower, before trees on a riverbank, tubelined detail, glazed in colours and highlighted in gilt, mounted on board, minor glaze chips 123 x 41cm. £8,000-12,000 This design by Leon Victor Solon is believed to be based on a poster design by Alphonse Mucha. Provenance Private collection Literature Paul Atterbury & Maureen Batkin, The Dictionary of Minton, Antique Collector’s Club, page 222 for an illustration of the Minton stand circa 1905 with this panel design displayed. Also a detail of this design illustrated as a single tile by Solon, page 303.

177. A fine Minton’s Secessionist exhibition twelve tile panel by Leon Victor Solon, painted with an Art Nouveau maiden gathering water in a vase, from a waterfall, wearing elaborate gown, tubelined detail, glazed in colours and highlighted in gilt, mounted on board, minor glaze chips 123 x 41cm. £8,000-12,000 Provenance Private collection Literature Paul Atterbury & Maureen Batkin, The Dictionary of Minton, Antique Collector’s Club, page 222 for an illustration of the Minton stand circa 1905 with a similar tile panel displayed.

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178. A Pilkington’s Lancastrian bowl by William Mycock, dated 1933, modelled by E T Radford, painted to the well with a heraldic lion, in gilt on a red ground impressed and painted marks, restored 23cm. diam. £50-150 179. A Pilkington’s Lancastrian vase, shouldered form, modelled in low relief with two ibex, covered in a ruby lustre glaze indistinct marks to base 20cm. high £50-150 182

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180. A Pilkington’s Royal Lancastrian bowl, by Richard Joyce, modelled in low relief with a flowerhead design, glazed flambe over turquoise, and a Pilkington’s Lancastrian vase impressed marks 20.5cm. diam. £80-120 181. A Pilkington’s Lancastrian vase, dated 1912, shape no.3064, ribbed form modelled in low relief with a grape vine design to shoulder, glazed green on a curdled green and ochre, a Pilkington’s vase with streaked blue glaze ground and five various Pilkington’s dishes impressed marks, some with damages 25cm. high £80-120

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182. A Pilkington’s Lancastrian Pottery vase, swollen square section with moulded top rim, covered in a rich ruby glaze, and a taller Pilkington’s Lancastrian vase covered in a mottled red lustre glaze impressed marks, larger vase repaired 22cm. high £80-120 183. A Pilkington’s Lancastrian vase by Richard Joyce, modelled in low relief with a frieze of lions, covered in a ruby lustre glaze, and a Pilkington’s Royal Lancastrian bowl impressed and painted marks, smashed and repaired 24cm. high £50-100

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184. A Pilkington’s Lancastrian bowl by Gladys Rogers, painted with a stylised flowerhead to the interior, the exterior with geometric banding in flame lustre, another Pilkington’s Lancastrian bowl and two Pilkington’s orange glaze vases various marks, restored damages 12cm. diam. £80-120 185. A Pilkington’s Lancastrian solifleur vase, by Gladys Rogers, painted with Tudor rose motif in gold on an orange and red ground impressed and painted marks 11cm. high £100-200 186. Two Pilkington’s Lancastrian lustre tiles exhibited in a fireplace at the 1908 Franco-British Exhibition, London, modelled in low relief with a cypress tree before scrolling foliage, in copper on a deep red ground, painted numbers to reverse 15.5cm. square £100-200 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles Richard Dennis, page 36 plate 38a for a similar tile and page 37 plate 39 for a photograph of the FrancoBritish exhibition 1908. Provenance Fine Art Society 187. A pair of early Pilkington’s Lancastrian vases, ovoid with slightly flaring cylindrical neck, covered in a streaked purple and lavender glaze impressed marks 19.5cm. high £300-500

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188. A fine Pilkington’s Lancastrian vase designed by Walter Crane, painted by Richard Joyce, dated 1917 shouldered form with everted rim, painted with a frieze of classical figures dancing between cypress trees and oil lanterns, in silver and ruby lustre on a rich blue lustre ground , between flame and column borders, impressed marks, painted artists cyphers and date mark 31cm. high £6,000-8,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles Richard Dennis Publications, page 9 plate II for two comparable vases

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189. A Pilkington’s Royal Lancastrian vase by William S Mycock, ovoid form with incised and painted panels of stylised foliage, glazed matt green, a Minton twin-handled vase and a collection of Art Pottery including Bretby impressed and incised marks, 16cm. high £100-200 190. Three Pilkington’s Lancastrian tiles, designed by Lewis F Day, slip decorated with flower sprays in blue and green on a cream ground impressed P mark 15.5cm. square £100-200 191. A Pilkington’s Lancastrian tile designed by C F A Voysey, decorated with a galleon at sail, in colours on a blue ground, framed impressed P marks 15cm. square £150-250 192. A Pilkington’s Royal Lancastrian vase, cylindrical form, modelled in low relief with prowling lion frieze, glazed in a matt orange glaze impressed mark 25cm. high £150-200 193. An early, large Pilkington’s Lancastrian vase, tapering cylindrical form with everted rim, modelled in relief with mask frieze, glazed in streaked crystalline printed Bee mark for 1903-1904, impressed P, professionally restored top rim 38cm. high £300-500 194. A Pilkington’s Lancastrian bowl by Gladys Rodgers, flaring form, painted in gold lustre with linear triangular design to the exterior, the interior with golden hearts on a mottled red and orange ground impressed marks, painted artist monogram 10.5cm. diam. £150-250 Provenance: The Bill Coles Collection. 195. A Pilkington’s Royal Lancastrian vase and cover, by Richard Joyce, painted with fish amongst waterweed in ruby and copper lustre on a blue ground impressed and painted marks, restored finial 16cm. high £80-120 196. A Pilkington’s Lancastrian Pottery vase by Charles Cundall, dated 1909, solifleur form, painted with panels of stylised foliage, the neck with flowerheads, in gold and ruby lustre painted marks to base deep glaze crazing 14.5cm. high £100-200

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Provenance: Pilkington’s Royal Lancastrian Pottery Exhibition, Richard Dennis, 1980, catalogue number 140 The Albert E Wade Collection 197. A Pilkington’s Lancastrian box and cover by William S Mycock, dated 1910, painted to the cover with a heraldic lion, the box with a band of scrolling foliage in golden lustre on a blue and flambe red ground impressed and painted marks 20cm. diam. £200-300 198. A Pilkington’s Lancastrian baluster vase by Richard Joyce, painted with prunus sprays in golden lustre on a blue lustre ground impressed marks, painted monogram, base restored 19cm. high £50-100

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199. A fine Pilkington’s Lancastrian solifleur vase by William S Mycock, dated 1912, painted with wild boar, in golden lustre on a flame ground impressed and painted marks, restored neck 26cm. high £300-500

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200. A Carter’s, Poole Pottery vase, dated 1906, shouldered square section with everted rim, covered in a running gold and red lustre glaze incised Carter’s Poole 1906 24cm. high £100-200 201. A Carter’s Poole Pottery lustre vase, probably designed by Owen Carter, baluster form with modelled shoulder, covered in a green lustre glaze, a Doulton stoneware vase and a Royal Doulton Army Club ashtray £50-150 202. A Carter, Stabler & Adams, Poole Pottery Bluebird vase, designed by Truda Carter, painted by Eileen Prangnell, in colours on a white ground, and a charger in the same pattern impressed and painted marks, 16cm. high £150-250 Provenance: The Albert E Wade Collection 203. A Carter, Stabler & Adams, Poole Pottery twin-handled vase designed by Truda Carter, pattern EJ, painted by Anne Hatchard in colours, and a Carter, Stabler & Adams jug pattern LD impressed and painted marks, 18.5cm. high £80-120 Provenance: The Albert E Wade Collection

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204. A Carter, Stabler & Adams Poole Pottery vase, by Truda Rivers pattern NI, the pattern attributed to Truda Carter, painted with flowers and scrolling foliage in shades of purple, blue, yellow, pink and green on a silver-grey ground impressed marks, painted artist cypher, damages 36cm. high £100-200 Provenance: The Albert E Wade Collection 205. A Carter, Stabler & Adams, Poole Pottery vase by Anne Hatchard, pattern NE, painted with purple, pink and blue flowerheads on berried foliage, on a silver-grey ground impressed mark, painted pattern mark 29cm. high £200-400 Provenance: The Albert E Wade Collection 206. An Early Carter, Stabler & Adams Poole Pottery Bluebird vase by Anne Hatchard, pattern no.NT, shouldered form, painted in shades of blue, purple, pink and green on a silver-grey ground impressed mark, painted artist cypher 28cm. high £200-400 Provenance: The Albert E Wade Collection 207. A Carter, Stabler & Adams Poole Pottery vase, designed by Truda Carter, pattern no EW, painted by Anne Hatchard with flower and foliage in colours on a white ground, and a bowl in the same pattern impressed and painted marks, 28cm. high £80-120 Provenance: The Albert E Wade Collection

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208. A Carter, Stabler & Adams, Poole Pottery wall charger, by Anne Hatchard, pattern JC, the design attributed to Truda Carter, painted with a vase of stylised flowers, in colours on a silver-grey ground impressed marks, painted artist cypher, restored hairline to rim 44cm. diam. £200-400 Provenance: The Albert E Wade Collection 209. A Carter, Stabler & Adams, Poole Pottery vase, designed by Truda Carter, painted by Eileen Prangnell, pattern BX, painted with stylised flowers and foliage in colours on a white ground impressed and painted marks, 27cm. high £150-250 Provenance: The Albert E Wade Collection 210. A Carter’s Poole Pottery tile designed by Edward Bawden, printed with a sailor drinking from a tankard, inscribed ‘Using Pots at Poole’ framed, impressed marks, 12.5cm. square £250-350

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211. ‘Aurelian’ a Moorcroft Pottery solifleur vase, designed by William Moorcroft, printed in blue, coral and gilt on a white ground printed factory mark 23cm. high £150-200 212. A James Macintyre and Co Aurelian Ware twin-handled vase, designed by William Moorcroft, printed with Art Nouveau opium poppy flowers in coral and blue, highlighted in gilt on a white ground printed factory mark 17cm. high £150-250 213. A James Macintyre & Co Aurelian Ware solifleur, printed in blue and coral red on a white ground, highlighted in gilt printed factory marks 23cm. high £120-180 214. A James Macintyre & Co jug, printed in blue and white Art Nouveau flower stems, highlighted in gilt, and another similar printed factory marks, minor chips 20cm. high £100-200 215. ‘Gesso Faience’ a James Macintyre and Co teapot and cover designed by William Moorcroft, painted in blue and celadon on a white ground printed mark, hairline to base 11cm. high £80-120 216. ‘Littleton Alfred Powys’ a Moorcroft Pottery commemorative twin-handled mug, designed by William Moorcroft, slip decorated with coat of arms and inscription to either side, in blue on a celadon ground painted green signature, chip to top rim 14cm. high £150-200 Provenance Littleton Alfred Powys was John Cowper Powys’ son born in 1902, he used this mug as his shaving cup. 218 217. An interesting archive of handwritten letters by Littleton Powys and John Cowper Powys (1872-1963), circa 1955, and ephemera relating to the men, including a letter from John Cowper Powys dated Jan 8th 1955 illustrated with Jugglers and musicians, and another listing the fate of a hedgehog and cat fighting £100-200 218. ‘Violets’ a Florian Ware solifleur vase designed by William Moorcroft, slender, waisted form with fluted rim, in shades of blue on a pale blue ground printed factory mark, painted green signature 25cm. high £700-1,000 219. ‘Lustre Grape and Vine’ a Moorcroft Pottery vase retailed by Liberty & Co, flaring bucket form, painted in shades of purple, blue and green on a yellow lustre ground painted green signature, printed Liberty mark, professionally restored top rim 15cm. high £650-750 Literature Paul Atterbury Moorcroft Pottery Richard Dennis Publications, this actual vase illustrated page 61 plate 5. 219

220. ‘Tulip’ A James Macintyre & Co twin-handled vase, designed by William Moorcroft, painted with panels of tulips and wild flowers in shades of green, blue and yellow on a white ground printed and painted marks, retailers mark for J W Baker Aberdeen, minor professional restoration to top rim 25.5cm. high £1,200-1,800 220

221. ‘Alhambra’ a James Macintyre & Co twin-handled vase, designed by William Moorcroft, painted in shades of blue, red and gilt on a salmon ground printed factory mark 22cm. high £1,000-2,000 221

222. ‘Dahlia’ a rare Moorcroft Pottery Green and Gold Florian goblet, designed by William Moorcroft, printed and painted in blue and gilt with Art Nouveau flower sprays, on a green ground printed and painted factory marks, glaze bruise to base rim 23.5cm. high £1,000-2,000 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 51 plate 5 for an identical large goblet vase. 222

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223. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in colours on a blue ground painted green signature, small chip to top rim 16cm. high £100-200 224. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, squat form with collar rim, painted in colours on a blue ground painted green signature 13cm. high £400-600 225. ‘Pomegranate’ a Moorcroft Pottery inkwell with pewter mounts, designed by William Moorcroft, painted in colours on a blue ground impressed marks, 7.5cm. high £100-200 226. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted green signature 13cm. high £200-300 227. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted blue signature 17cm. high £700-900 228. ‘Pomegranate’ a tall Moorcroft Pottery vase, designed by William Moorcroft, shouldered form with everted rim, painted in colours on a blue ground, painted blue signature, professional restoration 37cm. high £1,000-1,500 229. ‘Leaf and Berry’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in colours on a blue ground painted blue signature 18cm. high £300-500 230. ‘Pomegranate’ a Moorcroft Pottery bucket vase designed by William Moorcroft, painted in colours on a blue ground painted green signature, restored, 17cm. high £400-600 231. ‘Pomegranate’ a large Moorcroft Pottery vase, designed by William Moorcroft, shouldered, flaring cylindrical form, glazed in colours on a mottled blue ground painted green signature, hairlines to top rim 38cm. high £700-1,000

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232 232. ‘Dawn’ a Moorcroft Pottery twin-handled bowl, painted in shades of blue under a light flambe glaze sky painted blue signature 27cm. diam. £800-1,200

233. ‘Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, painted between chevron and scallop borders, in salt-glazed blue painted blue signature 12cm. high £1,000-1,500 233

234. ‘Dawn’ a Moorcroft Pottery footed vase designed by William Moorcroft, painted in salt-glaze shades of blue between chevron and scallop borders impressed marks, painted blue signature, minor professional restoration to base rim, 15cm. high £600-800 234

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235. ‘Flambe Freesia’ a large Moorcroft Pottery vase, designed by Walter Moorcroft, painted in colours under a light flambe glaze painted blue signature 37cm. high £1,000-1,500 236. ‘Hazledene’ a rare Moorcroft lustre landscape vase, designed by William Moorcroft, made for retail by Liberty & Co, rich ruby lustre glaze incised and printed marks to base, small chips to foot rim 19cm. high £600-800 237. ‘Cornflower’ a Moorcroft Pottery vase, designed by William Moorcroft, solifleur form, tubeline decorated under a flambe glaze, converted for electricity 40cm. high £2,000-3,000

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238. ‘Pomegranate’ a Moorcroft Pottery bottle vase designed by William Moorcroft, painted in colours on a mottled green and blue ground painted green signature, minor professional restoration to top rim 23cm. high £400-600 239. ‘Banded Pomegranate’ a tall Moorcroft Pottery vase designed by William Moorcroft, painted in colours on a blue ground, between peacock feather bands impressed factory marks, painted blue signature, hairline to top rim 31cm. high £700-900 240. ‘Banded Pomegranate’ a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in colours between peacock feather bands, on a blue ground painted blue signature 18.5cm. high £700-900

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241. ‘Late Florian Ware’ a Moorcroft Pottery vase, designed by William Moorcroft, tall, flaring cylindrical form with inverted rim, painted with flowers and foliage in shades of green, blue and yellow impressed marks, painted signature, professional restoration to base rim 36cm. high £500-800 Provenance The Albert E Wade Collection 242. ‘Cornflower - Powder Blue’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of blue on a mottled blue ground painted blue signature 25.5cm. high £500-700 243. ‘Pansy’ a pair of Moorcroft Pottery candlesticks with Liberty Tudric Pewter mounts, designed by William Moorcroft, painted in colours on a blue ground stamped marks to pewter 20cm. high £1,000-1,500 244. ‘Pansy’ a Moorcroft Pottery baluster vase designed by William Moorcroft, painted in colours on a green to blue graduated ground impressed marks, painted green signature, professional restoration to base rim 32cm. high £1,200-1,800

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245. ‘Poppy’ a large and impressive Moorcroft Pottery ginger jar, designed by William Moorcroft, dated 1928, painted in shades of purple, pink, green and ochre on a blue ground painted blue signature and date 42cm. high £4,000-5,000 The large scale of this vase and the fact that it is dated suggest it probably was made for exhibition. in 1928 Moorcroft received the Royal Warrant as potter to Her Majesty Queen Mary. 245

246. ‘Claremont’ a Moorcroft Pottery solifleur vase designed by William Moorcroft, painted in colours on a green-blue ground impressed marks, painted green signature 24cm. high £1,500-2,000 246

247. ‘Big Poppy’ a Moorcroft Pottery twin-handled vase, designed by William Moorcroft, painted in colours on a blue ground painted green signature 13cm. high £1,000-2,000 247

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248. ‘Clematis’ a pair of Moorcroft Pottery vases, designed by Walter Moorcroft, painted in colours applied paper labels 7.5cm. high £150-200

249. ‘Anemone’ a Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours on a blue ground painted blue signature 14cm. high £200-300

250. ‘Clematis’ a Moorcroft Pottery vase, designed by Walter Moorcroft, painted in colours on a blue ground, and a Moorcroft Pottery flambe glazed baluster vase impressed factory marks, small chip to base of flambe vase 9cm. high £80-120

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251. ‘Anemone’ a Moorcroft Pottery vase designed by Walter Moorcroft, compressed with cylindrical neck, painted in colours painted green signature 15cm. high £120-180

252. ‘Leaf and Berry’ a Moorcroft Pottery vase, designed by Walter Moorcroft, bucket shape on drum foot, painted in colours painted blue signature 18cm. high £200-300

253. ‘Wisteria’ a Moorcroft Pottery plate designed by William Moorcroft, painted in colours on a pale blue ground, and a Fresia pattern box cover impressed marks, 16.5cm. diam. £60-100 254

255 254. ‘Flambe Columbine’ a Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours under a flambe glaze impressed factory marks 10cm. high £200-300

255. ‘Clematis’ a Moorcroft Pottery vase, designed by Walter Moorcroft, compressed ovoid form, painted in colours on a blue ground impressed marks, paper label 11cm. high £100-200

256. ‘Springflowers’ a Moorcroft Pottery box and cover, designed by William Moorcroft, painted in colours on a white ground impressed marks, paper label to cover 9.5cm. high £200-300

257. ‘Springflowers’ a Moorcroft Pottery beaker vase, designed by William Moorcroft, painted in colours on a white ground impressed factory marks, small bruise to base rim 13cm. high £100-200

256

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258. ‘Leaf and Berry’ a Moorcroft Pottery vase, designed by William Moorcroft, ovoid with collar rim, painted in colours on a blue ground impressed factory marks 10cm. high £150-200

259. ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, painted in colours under a light flambe glaze impressed factory marks, 10cm. high £150-250

260. ‘Leaf and Berry’ a salt-glaze Moorcroft Pottery vase designed by William Moorcroft, painted in shades of ochre painted blue signature, chip to underside of base rim, 22cm. high £350-450

262

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261. ‘Leaf and Berry’ a salt-glazed Moorcroft Pottery solifleur vase, designed by William Moorcroft, painted in shades of pink, green and ochre painted green signature to base 15cm. high £300-500

262. ‘Freesia’ a Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours on a blue ground painted blue signature 15cm. high £300-500

263. ‘African Lily’ a Moorcroft Pottery vase, designed by Walter Moorcroft, painted in shades of pink and green on a graduated sand to blue ground painted blue signature 10.5cm. high £350-450

264. ‘Leaf and Berry’ a Moorcroft Pottery vase designed by William Moorcroft, painted in colours on a graduated green to blue ground painted blue signature 22.5cm. high £300-400

265. ‘Pansy’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted blue signature 17cm. high £300-500

266. ‘Leaf and Berry’ a Moorcroft Pottery dish, designed by William Moorcroft, painted in colours impressed marks 11cm. diam. £80-120 266 267. ‘Flambe Hibiscus’ a Moorcroft Pottery bowl, designed by Walter Moorcroft, painted in colours under a flambe glaze painted blue signature 24cm. diam. £250-350 267

268

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268. ‘Clematis’ a Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours, and a ‘Cluny’ Moorcroft Pottery vase impressed marks tallest 27cm. high £80-120

269. ‘Crown Imperial’ a modern Moorcroft Pottery Trial vase, designed by Rachel Bishop, 1997, tall, slender form, painted in colours painted marks and dated to base 31cm. high £400-600

270. ‘Honeysuckle’ a Moorcroft Pottery vase, painted in colours on a blue ground painted marks 18cm. high £100-150

272

271. ‘Carousel’ a Moorcroft Pottery vase designed by Rachel Bishop, painted in colours painted marks, numbered 529, 28cm. high £300-500

272. ‘Penguin’ a modern Moorcroft Pottery limited edition vase, designed by Sally Tuffin, painted in colours painted marks, numbered 254/350 25.5cm. high £400-500

273. ‘Kyoto’ a modern Moorcroft Pottery twin-handled vase, designed by Rachel Bishop, painted in colours on a blue ground painted green monogram 33cm. high £2,000-3,000

273

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274. ‘Furzey - New Forest’ a Moorcroft Pottery vase, designed by Rachel Bishop, painted in colours impressed and painted marks 18cm. high £100-200 275. ‘Anemone’ and ‘Hibiscus’ two Moorcroft Pottery box and covers designed by Walter Moorcroft, painted in colours impressed marks 12cm. wide £100-200 276. ‘Clematis’ a Moorcroft Pottery vase designed by Walter Moorcroft, compressed form painted in colours on a blue ground painted blue signature 17cm. high £300-500 277. ‘Flambe Anemone’ a Moorcroft Pottery vase designed by Walter Moorcroft, compressed form with everted neck, painted in colours under a rich flambe glaze painted blue signature 11cm. high £400-600

282

278. ‘Caribbean’ a modern Moorcroft mug designed by Walter Moorcroft, tubeline decorated in colours on a pale blue ground impressed marks 12cm. high £150-200 279. ‘Peacock Feather’ a modern Moorcroft Pottery vase, painted in shades of green, blue and sand painted blue WM monogram, signed Anji 25cm. high £150-200 280. ‘Powder Blue’ a Moorcroft Pottery service retailed by Liberty & Co, designed by William Moorcroft, speckled blue glaze, comprising; two egg cups, two covered pots, a jug, six various bowls, six coffee cans, saucers and seven side plates, four various tea cups, eleven saucers, seven side plates, and nine larger side plates impressed marks, minor damages £200-400

283

Literature Barbara Morris Liberty Design, Trefoil, page 67 for a comparable service illustrated. 281. ‘Silver Jubilee King George V’ a Moorcroft Pottery commemorative mug, glazed ochre and green painted and impressed marks to base, small chip to top rim 12cm. high £80-120 282. ‘Flamminian Ware’ a Moorcroft Pottery vase, designed by William Moorcroft, retailed by Liberty & Co, incised and tubeline decorated with Art Nouveau foliate panels, covered in a red glaze incised W Moorcroft, stamped Liberty mark, chips to top rim 15cm. high £150-250

284

283. ‘Flamminian Ware’ a Moorcroft Pottery twin-handled bowl designed by William Moorcroft, retailed by Liberty & Co, slip decorated with a foliate roundel in blue on a green ground painted green signature, printed Liberty mark, professionally restored rim 24cm. diam. £150-250 284. ‘Flamminian’ a Moorcroft wall charger designed by William Moorcroft for retail by Liberty & Co, the well slip decorated with Art Nouveau foliate roundels, glazed red painted signature, printed Liberty mark 26cm. diam. £300-400 285. ‘Flamminian’ a Moorcroft wall charger designed by William Moorcroft for retail by Liberty & Co, the well slip decorated with Art Nouveau foliate roundels, glazed green painted signature, printed Liberty mark 26cm. diam £300-400

285

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286. A Coldrum Pottery vase by Reginald Fairfax Wells, shouldered form, covered in a streaked pink and white glaze, and another Coldrum Pottery vase impressed mark 13cm. high £80-120 Provenance The Albert E Wade Collection

290

291

287. A tall, slender Upchurch Pottery vase, shouldered form covered in a running green and violet glaze, two other Upchurch vases and three other Upchurch items impressed and incised marks 37cm. high £150-250 288. An Upchurch Pottery vase, shouldered form, covered in a streaked blue-green glaze incised Upchurch 18cm. high £80-120 289. A large Upchurch Pottery vase, shouldered square form, with moulded lugs, covered in a running matt blue and green glaze, two other Upchurch vases and bowl impressed marks 23cm. high £100-200 Provenance The Albert E Wade Collection 290. A Leach Pottery St Ives stoneware coffee pot and cover, covered to the foot in a mottled ochre glaze, three other Leach Pottery jugs and a Lowerdown Pottery jug impressed seal marks 23cm. high £80-120 291. A Lowerdown Pottery celadon box and cover by David Leach, circular form, incised with a willow design, impressed LD mark 11cm. diam. £60-100

292

293

292. An Aldermaston Pottery Albarello vase by Nick Caiger Smith, cylindrical form painted in green lustre on a blue ground painted marks to base 28cm. high £100-200 Provenance Pottery, People and Time, September 1998, Richard Dennis Gallery exhibition catalogue number 76 293. An Aldermaston Pottery vase by Nick Caiger-Smith, painted in gold lustre with a four tier repeat on a red and silver ground painted marks 22cm high £50-100 Provenance Pottery, People and Time, September 1998, Richard Dennis Gallery exhibition catalogue number 100 294. An Aldermaston Pottery plate by Alan Caiger Smith, with simple ruby lustre brushstroke design, painted monogram 27cm. diam. £80-120

294

295

295. An Aldermaston Pottery vase by Alan Caiger-Smith, open bowl form, painted in red with shoals of fish swimming in a meandering river on a silver ground painted marks 16cm.high £100-200 Provenance Pottery, People and Time, September 1998, Richard Dennis Gallery exhibition catalogue number 40

296

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296. Two Longwy Pottery tiles, each painted with an exotic bird, in colours on a pale blue background, and a collection of tiles impressed and painted marks 20.5cm. square £80-100 297. A pair of Dutch slip decorated tiles, one decorated with a Kingfisher flying past waterlily flowers, the other a swallow before a blossom tree, in colours, framed 34 x 19cm. £300-500 298. A Choisy le Roi plate, painted to the well with a cow grazing by a riverside, in colours, and a Sarreguemines vase, modelled in low relief with scroll design, glazed red various factory marks 24cm. diam. £80-120 299. A continental pottery mantle clock, in the manner of Longwy hexagonal form mounted with dog of fo, and elephant mask handles, painted in colours, with later movement indistinct impressed and painted marks, chips, 34cm. high £80-120 300. A pair of Mettlach Pottery vases, model no.1870, swollen cylindrical form with applied elephant mask handles, painted with aesthetic, formal foliage panels, in colours on a matt blue ground impressed factory marks, 34cm. high £300-500 301. A Thun terracotta charger, painted to the well with a Swiss lakeside scene, in colours inside slip decorated millefleur rim unmarked 38cm. diam. £80-120

303

302. A pair of Rambervilles Pottery book ends, modelled as a fox stalking two rabbits, under a rich green lustre glaze, a vase and a continental pottery vase impressed marks, minor damages 15cm. high £80-120 303. A large Louis Etienne Desmant earthenware Bayeux Tapestry bowl, with five lug handles, painted to the well with knights on horseback, the rim with panels of animals and birds, in colours incised Desmant Subles Normandie 38cm. wide £200-300 304. A pair of Theodore Deck Iznik vases, painted with panels of flowers and foliage in shades of blue, coral red, green and turquoise impressed TD mark, repaired chips 25cm. high £3,200-3,800 Literature Theodore Deck Ceramiste H Blairman & Son /Haslam & Whiteway catalogue 2000, catalogue number 26 for a jug in the same pattern 304

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307

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308

311

305. A Vallauris Pottery vase by Pierre Perret, modelled and painted with flag iris stems in lustre on a ruby lustre ground, and a Rambervilles stoneware pot and cover painted marks 17cm. high £80-120 306. An Art Nouveau Amphora Pottery vase, slender flaring stem flanked with waterlily stems and pad leaves, glazed matt green and blue, highlighted in gilt impressed marks, hairlines to two handles 22cm. high £80-120 307. A French Art Nouveau style ewer, with metal mount, the tapering cylindrical body painted with sinuous flower stems in shades of ochre and white on a green ground printed factory mark 40cm. high £150-200 308. A Rozenburg Pottery miniature vase, shouldered cylindrical form, painted with flowers and foliage in colours and a Gouda Holland Juliana Ivora printed factory mark, chip to top rim 11cm. high £50-100 312 309. A pair of Brantjes Purmerend vases, twin-handled form. painted with Art Nouveau opium poppies in shades of green, brown and blue painted Faience de Purmerend marks to base 20cm. high £650-750 310. An Art Nouveau Royal Bonn pottery mantle clock, painted with lily stems radiating from the circular dial, in shades of pink, green and bowl printed mark to base 27cm. high £200-400 311. A large Zuid, Holland Art Nouveau vase, twin-handled form, painted with flowers and foliage in colours impressed 174 to base 35cm. high £600-700 312. A large Royal Bonn Pottery vase, ovoid form with narrow solifleur neck, painted with cartouche of flowers and foliage in colours on a green and brown ground printed mark, restored neck 32cm. high £100-200 313. A large Art Nouveau Boch Freres, Keramis lustre vase, shouldered form with four loop handles, painted with poppy flowers in ruby and copper lustre painted BFK 17 to base 44cm. high £300-500 Provenance The Albert E Wade Collection

313

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317

318 319 320 321 314. A Clement Massier pottery vase, compressed with tapering cylindrical neck, covered in a running ruby and golden lustre glaze painted mark to base 9.5cm. high £50-150 315. An Art Nouveau Clement Massier, Golfe Juan vase, tapering, dimpled form with square rim, painted with scrolling foliage in ruby lustre painted Golfe Juan AN monogram 11cm. high £100-200 316. A continental pottery vase, probably Zsolnay Pecs, covered in a golden iridescent glaze apparently unsigned, glaze frits 22cm. high £100-200 Provenance The Albert E Wade Collection 317. A Clement Massier Golfe Juan vase and cover, twin-handled cylindrical form, painted with flowers in a golden lustre glaze painted marks to base 20cm. wide £100-200 Provenance The Albert E Wade Collection 318. A Zsolnay Pecs Eosin glazed vase, shouldered cylindrical form, painted with stems of fruiting plum, in ruby lustre on a brown ground printed marks 19.5cm. high £150-250 Provenance The Albert E Wade Collection 319. An Art Nouveau Clement Massier, Golfe Juan vase, tapering cylindrical form with knopped neck and twin-handles, painted with slipper orchids on purple, gold and copper lustre painted marks, minor professional restoration to top rim, 14.5cm. high £100-200 Provenance The Albert E Wade Collection 320. A Clement Massier vase dated 1887, painted with pink lustre carnations on a yellow ground painted monogram and date, minor chips 13cm. high £80-120 321. A Clement Massier, Golfe Juan vase with silver mount, the shouldered body with tapering neck, painted with cyclamen leaves in a green lustre glaze, with Art Nouveau silver twin-handled mount stamped marks to silver, impressed marks 21cm. high £300-500 Provenance The Albert E Wade Collection 322. A large Clement Massier, Golfe Juan jardiniere, with applied lug handle decoration, covered in a rich ruby glaze impressed marks, 39cm. high £300-500 Provenance The Albert E Wade Collection 322

323

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324

328

325

326

329

323. A Cantagalli Pottery dish, decorated to the well with a heart inscribed ‘Amor’ on a scroll, inside a border of church bells, the rim with stylised foliage in shades of blue, red and golden lustre painted cockerel, Italia 20cm. diam. £120-180 324. A Sevres pot with silver cover, by E Granger, the pot tubeline decorated with flowers and foliage, the cover cast with a flower spray printed signed in the design, stamped marks to metal 14cm. diam. £200-300 325. A Rosenthal porcelain tea service for twelve, pattern no. 3622, printed with bands of flowers and foliage in gilt on a green ground, between coral red borders, comprising; teapot and cover, hot-water pot and cover, twelve cups, saucers and side plates and two sandwich plates printed number Thomas Bavaria marks, minor damages hot water pot 26cm. high £300-500 326. A Gmundner Keramik pottery figure, modelled as a young girl playing a pipe, her faithful dog sitting attentively , glazed in colours, indistinct signature to base, applied paper label, small chip to base rim 19cm. high £50-150

330

327. A Van Briggle pottery model of a big cat, seated on its haunches, covered in a matt brown glaze incised marks to base, minor glaze frits to base rim 26cm. high £80-120 328. A Rookwood Pottery vase, tapering cylindrical form, painted with a peacock feather on blue ground impressed marks 19cm. high £50-100 329. A Woodclyffe Persian charger by William Smith, dated 1882, painted in colours, painted monogram and date, smashed and repaired, museum restored 35.5cm. diam. £50-150 330. A Van Briggle pottery vase, cast in low relief with three Native American Indians, blue glaze running to deep red incised marks, Van Briggle, small glaze nick to top rim 31cm. high £300-500 331. A Wiener Keramik pottery centrepiece designed by Michael Powolny, modelled as a child holding up flowers and foliage impressed marks to base 21cm. high £500-700 Provenance Sotheby’s 24th February 2004, lot 131 Literature Bel Etage 2001 catalogue page 118 for an example of this figure

331

332

333

334

335

332. An Iznik pottery vase, painted with sprays of carnations and stylised flowers in shades of blue, green and ochre on a white ground unsigned, 31cm. high £150-200

333. A Lachenal Pottery Persian wall plate, painted with flowers and foliage in shades of blue, turquoise and coral red on a white ground impressed mark 28cm. diam. £100-200

336

334. A modern, large porcelain plaque by Jun Takegoshi, painted with finches perched on bamboo, enamelled in Kutani colours on a white ground, mounted in wooden frame paper label to reverse 44cm. wide £100-200 Provenance New Ceramics, Jun Takegoshi, The Fine Art Society, 2004 The Albert E Wade Collection

335. A modern Iznik charger by Jun Takegoshi, painted with sailing boat repeat, another charger and two Iznik tiles by Jun Takegoshi painted marks 37cn, diam. £100-200 Provenance The Albert E Wade Collection

336. A large Rosenthal Pottery vase, painted by Fritz von Stockmayer, 1944, in coral and blue with boughs of autumnal foliage printed marks to base, artist painted cypher, original paper label 30cm. high £500-800

337. A Limoges silver mounted porcelain vase, twin-handled form, the silver overlay of art nouveau foliage printed factory marks 24cm. high £600-900 337

338

339

340

341

338. A Roger Guerin stoneware vase, with applied twin-handled, incised and painted with a frieze of Greek figures, in brown on a buff ground impressed and incised marks to base 32cm. high £200-300

339. A large Roger Guerin floor vase, shouldered form with applied handles, incised with a band of Greek soldiers, glazed in ochre and browns impressed and incised marks 64cm. high £200-300

342

343

340. An Ernst Wahliss Austrian pottery wall plaque cast in low relief with an Art Nouveau maiden amidst flag iris, in colours impressed marks 33cm. diam. £120-180

341. An Art Nouveau Turn, Austrian porcelain bust of a show girl, in exotic, lace trimmed dress and ostrich feather tiara, glazed in colours printed marks to base, minor nicks, 52cm. high £500-600

342. A terracotta model of a naked female and a fawn, dated 1927, cast from a model by Paul Jean Sebastien Guery, on fitted wooden base signed and dated to the base 32cm. wide £150-250 Provenance The Albert E Wade Collection 344 343. ‘Vichy Source De Beaute’ a pottery shop display figural light, after a model by Jean Marie Camus, modelled as a woman washing from a pedestal basin, with glass shade signed to the base, damages 51cm. high £120-180

344. A large terracotta figure of a female nude, cast from a model by J Ortes, modelled crouching with one arm raised to her face, on rectangular base signed to the base, impressed marks, minor restorations to base 61cm. wide £200-400 Provenance The Albert E Wade Collection

345. ‘The Desert Sheik’ a large terracotta bust by Auguste Biaggi, glazed in ochre and terracotta incised Biaggi 63cm. high £200-400 Provenance The Albert E Wade Collection

345

346

347

346. A Secessionist continental pottery bust of a maiden, glazed in shades of green and sang de boeuf unsigned, minor chips 21cm. high £50-100 Provenance The Albert E Wade Collection

347. An Art Nouveau Goldscheider Pottery bust by Montenave, model no.2437, cast with sideways, downcast pose, wearing a dress of grasses and flowers, matt glazed impressed marks, chips, 57cm. high £250-350 Provenance The Albert E Wade Collection Literature Ora Pinhas Goldscheider Pottery Richard Dennis Publications, page 56 for a comparable example

348. A large Goldscheider Pottery The Water Carrier figure by Cherc, model no.2790, cast standing holding an urn before her, wearing Dutch peasant costume, glazed in colours impressed marks, one arm restored neck 74cm. high £250-300 Provenance The Albert E Wade Collection

348

Literature Ora Pinhas Goldscheider Pottery Richard Dennis Publications page 43 for a comparable figure

349. An Art Nouveau Goldscheider Pottery bust of a maiden, by A Gory, model no.3129, downcast contemplative gaze, her dress embellished with stars and flowers glazed impressed marks 39cm. wide £250-350 Provenance The Albert E Wade Collection 349

350

351

352

353

354

355

356

357

353. ‘Die Deutsche Werbe Graphik’ by Dr Walter Schubert, published by Verlag Francken & Lang 1927, a reference book £250-350 354. ‘A Floral Fantasy - In an Old English Garden’ by Walter Crane, published by New York and London Harper and Brothers, 1899 illustrated by Walter Crane 27 x 19.5cm. £60-100

358

355. Six bound volumes of The Studio, dated 1907 and 1908, £50-150

359

356. ‘Arts and Crafts’ a Studio Special, Autumn 1916, a reference book, and four other Studio Specials £50-100 357. ‘The Studio’ 45 volumes, from Volume III, 1894, to volume 89, 1925 bound in green, £500-800 358. ‘Boudoir Ensemble’ Pl.17, a print by Maurice Dufrene, framed, signed in the print image 39 x 27cm. £100-200

360

361

350. ‘The Modern Carpenter and Joiner and Cabinet Maker’ volumes 1-8, published by Gresham publishing, with cover designs by Talwin Morris £50-100 351. ‘The Book of Glasgow Cathedral’ published by Morison Brothers, 1898 with cover designed by Talwin Morris £50-100 352. ‘The Book of the Home’ volumes 1-8, a set of books published by Gresham Publishing, the covers designed by Talwin Morris, signed with a monogram to the cover £50-150

359. A collection of reference books on Art Deco, Sculpture, Arts and Crafts and 20th Century Design £80-120 360. A collection of 32 woodblock prints by Morris & Co for Earthly Paradise, with designs by William Morris and Edward Coley Burne Jones £600-1,000 Provenance Philip Henderson, London, circa 1948 361. ‘Meadow Sweet’ a print from The Flower Book by Edward Coley Burne-Jones, framed, image 16cm. diam. £80-120

362 detail 362. A pair of Aesthetic Movement ebonised wood sideboards, painted with panels of birds amidst flowers, the doors painted with a renaissance portraits 177cm. high, 107cm wide ÂŁ500-700 Provenance The Albert E Wade Collection 362

363. An Aesthetic Movement oak bureau, cabinet, in the manner of T E Collcutt, with central drop front bureau, on six turned legs, painted panels, brass furniture 212cm. high. 173cm. wide ÂŁ600-1,000 Provenance The Albert E Wade Collection Literature Elizabeth Aslin, The Aesthetic Movement, Ferndale, page 85 for an ebonised cabinet by T E Collcutt 363

364

365

366

367

364. An Aesthetic Movement ebonised wood side table, with turned legs and runner, the top with geometric marquetry design unsigned 71cm.high £100-200

365. A Gillow & Co, Lancaster walnut chair, with turned legs and stretchers, ball finials to back, leather seat and back, the front legs on casters stamped marks 97cm. high £50-100

366. A pine Gothic Revival lectern, stencilled decoration 122cm. high, 87cm. wide £50-100

368

367. An ebonised wood Sussex chair, possibly Morris & Co, with rush seat unsigned 85cm. high £80-120

368. An Aesthetic Movement walnut cabinet, glazed angled side doors with central, hinged doors below mirror back and turned rails unsigned 184cm. high, 122cm. wide £50-150

369. An Aesthetic Movement ebonised wood cabinet, with painted bird ogee panels to doors, mirror back unsigned 177cm. high, 106cm wide £300-500 Provenance The Albert E Wade Collection 369

370

371

372

373

370. A J.A.S Schoolbred oak armchair, with straight back splats applied ivorine label 112cm. high £50-100

371. An Arts and Crafts rush seated armchair probably retailed by Liberty & Co, and an ebonised wood chair similar unmarked 86cm. high £80-120

374

375

372. An Aesthetic Movement bamboo wall mirror, rectangular form unsigned 54cm. high £60-100

373. A Gothic Revival oak hanging wall cabinet, the hinged door with mirrored glass panels 82cm. high £200-300

374. A set of four William Birch oak chairs, with strung seats 100cm. high £150-250

375. A William Birch oak chair, with rush seat unsigned 98cm. high £80-120

376. A Coalbrookdale cast iron hall stand, 191cm. high, 83cm. wide £200-400 376

377

378

379

381

380

382

377. A large ebonised wood wall bracket, with rectangular marble tablet unsigned 40cm. high £50-100 378. Three carved wood panels, dated 1944, titled ‘The Oak’, ‘The Cherry’ and ‘The Magpie, each carved in low relief with boughs incised marks, date and monogram TA 66 x 20cm £80-120 379. A Mahogany sideboard, probably retailed by Liberty, with brass furniture unsigned 102cm. wide £150-250 380. A carved wood box, possibly a marriage box, carved with panels of paired birds, the base incised MAS 1898 unsigned £100-200

383

384

381. A Cotswold School low foot stool, rectangular section, unsigned £150-200 382. A pair of oak Coronation armchairs, attributed to the Barnsley Workshops, drop in seat stamped ER crown Sterling and 1952 94cm. high £200-400 383. A pair of J S Henry mahogany chairs, designed by G M Ellwood, tapering square seats, the back with stylised flower stem splats unsigned 101cm. high £600-800 384. A Shakers, Mt Lebanon NY No.7 rocking chair, with red and black wove seat stamped gilt mark to back 105cm. high £500-800 385. A Bath Cabinet Makers mahogany display cabinet, tapering column legs supporting glass fronted cabinet with carved Glasgow rose panels, unsigned 106cm. wide, 160cm. high £700-900 386. A Mahogany occasional table, in the manner of Liberty & Co, with pierced Art Nouveau supports, the shaped top inset with floral marquetry panel unsigned 72cm. high £300-500

385

386

387. A Lake District oak corner cupboard the door with brass hinges and furniture, carved with stylised flower and scrolling foliage unsigned 135cm. high £250-350

388. A Gillow & Co mahogany and ebony inlaid cabinet, probably designed by Henry William Batley, the doors painted with panels depicting the Arts stamped Gillow & Co 191cm. high, 100cm. wide £1,000-2,000 387

388

389. A large, Aesthetic Movement Gillow & Co mahogany sideboard mirror back with painted bird panels, 170cm. high, 190cm wide £1,500-2,000 389

390

391

392

390. An Aesthetic Movement ebonised wood three fold screen, with pink silk damask panels, stamped 377 146cm. high £100-200

391. A mahogany table with lazy susan the design attributed to E W Godwin, circular form with turned tripod legs unsigned 89cm. high £250-300 Literature Susan Weber Soros The Secular Furniture of E W Godwin, Yale, catalogue number 207 page 143 for a comparable example manufactured by William Watt

392. An oak occasional table, with pierced roundel motif, tapering square legs stamped Caudle 71cm. high £80-120

393

393. An Anglo Japanese walnut armchair, originally designed by E W Godwin, unsigned 71cm. high £500-700

394. An Anglo Japanese ebonised wood cabinet, the design attributed to E W Godwin, unsigned 124cm. wide £2,000-3,000

394

395

396

397

395. An oak mounted copper fire screen, the rectangular panel hammered in low relief with a panel of fruiting foliage unmarked 73cm. high £150-250

396. An Art Nouveau mahogany desk, in the manner of Shapland & Petter, with inlaid marquetry and copper flower panels, on eight legs unsigned 105cm. wide, 103cm high £300-500

398

397. A set of four mahogany chairs, probably Shapland & Petter, each with carved, pierced heart motif to the back splats, with leather seats unsigned 106cm. high £100-200 Provenance The Albert E Wade Collection

398. An Art Nouveau inlaid walnut table, probably continental, rectangular top with tapering square legs and shaped stretcher, inlaid with panels of stylised foliage unsigned 130 x 84cm. £200-400

399 399. A Shapland & Petter billiard cue stand, inset with green tile border unsigned 151cm. high, 47cm. wide £200-400

400. A Shapland & Petter oak hall table, model no.1407, with crenelated rail, carved and pierced heart-shaped flower fret work sides, the back applied with a patinated copper Art Nouveau foliage panel, above two drawers with patinated copper furniture impressed R 1407 86 marks to reverse 102cm. wide, 43cm. deep. £600-900 Literature Daryl Bennett Shapland & Petter Ltd, Arts and Crafts Furniture page 70 plate 5.7 for a comparable piece. 400

401

402 401. A Thonet bentwood rocking chair, with cane seat and back rest unsigned 86cm. high £200-400

402. A set of six bentwood chairs, probably Thonet, each with cane seat and back panels, unsigned 102cm. high £200-300 403

403 detail

403. A Dimoline mahogany piano, after a design by Mackay Hugh Baillie Scott, patinated brass fittings, the back inset with marquetry daffodil stems, below mother of pearl roundels, with electric light fittings 147cm. wide £400-600

404. A Darmstadt mahogany and brass inlaid display cabinet, designed by Richard Ludwig, with domed, faceted glass door reverse decorated with secessionist gilt motif, flanked with columns supporting glass mantle, above twin-door cupboard with inlaid decoration applied metal label Richard Ludwig Mobelfabrik 180cm. high, 90cm. wide £800-1,200 Provenance Fine Decorative Arts from 1870, Sotheby's Olympia, 24th February 2004 lot 134. The Albert E Wade Collection Literature Mobel und Interieurs, 1905

404

405. A rare light oak bracket clock designed by A W N Pugin, originally designed for the New Palace of Westminster, rectangular form with carved oak leaf and acorn panels to side and front, below pierced foliate mantle, carved 'Sic Omnia' with enamelled circular dial by S Bone, the dial with a foliate radial frieze 74 x 33cm. ÂŁ10,000-15,000 Literature A W N Pugin Master of Gothic Revival, Bard Graduate Centre for Studies in the Decorative Arts/Yale Press, catalogue number 87 for a comparable clock.

406

407

408

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406. A Bath Cabinet Makers mahogany chest on stand, stepped top, turned wood handles unsigned 138cm. wide £500-800

407. A pair of Robert ‘Mouseman’ Thompson oak twin-branch wall lights, carved scrolling form with carved mouse signature 29cm. wide £500-700

408. A Robert ‘Mouseman’ Thompson oak bread board, octagonal form, carved with mouse signature, 30.5cm. wide £50-150

410

411

409. A Robert ‘Mouseman’ Thompson oak book shelf, with carved mouse motif 45.5cm. wide £200-300

410. A limed oak occasional table, in the manner of Heal’s, circular top over rectangular frame with bookshelf, unsigned 56cm. wide £300-500

411. A limed oak cupboard, angled top with central drawer above hinged cupboard door, patinated metal furniture unsigned 18cm. high, 76cm. wide £50-100

412. A Heal’s mahogany bureau chest, with concealed side cupboard to rear ivorine label 137cm. high, 68cm. wide £300-500

413. A Morris, Glasgow mahogany bureau, over drawers, inset with black perspex top, brass furniture stamped to drawer Morris, Glasgow 109cm. high £80-120

412

413

414

414A

415

414. A set of four modern stained oak high-back chairs, originally designed by Charles Rennie Mackintosh, with pierced back splats and sprung loose seat pads, applied metal label 107cm. high £150-200 These chairs were originally designed for the Ingram Street Tea-rooms in 1901.

414A. A display cabinet in the manner of Wylie & Lochhead, inlaid with mother of pearl, pewter and box wood flower stems, on six stilt legs, with leaded glass door unsigned 107cm. wide, 190cm high £800-1,200 Provenance The Albert E Wade Collection

415. A Wylie & Lochhead oak sideboard, possibly designed by E A Taylor, canted cupboards and open shelves on bow fronted base, the doors set with enamelled metal panels, stamped Design 4765, Work NO,2805-01 152cm. wide, 167cm. high £800-1,200 Provenance The Albert E Wade Collection Literature John Andrews Arts and Crafts Furniture Antique Collector’s Club page 168 plate 176 for a comparable design

416

416. A walnut Philippines chair designed by George Walton, with pierced heart to back and inlaid marquetry flower spray unsigned, reduced legs 109cm. high £150-250

417. A mahogany display cabinet designed by George Walton, over hanging mantle with carved geometric panels, above carved foliate panels decorated with gilt, on six legs, with recessed copper handles unsigned 163cm. wide, 188cm. high £1,500-2,000 Literature John Andrews Arts and Crafts Furniture Antique Collector’s Club page 165 plate 172 for a comparable cabinet 417

418

419

WILLIAM Arthur sMIth Benson 418. A W.A.S Benson carved pine corner cupboard, designed by W.A.S Benson, the hinged door carved with a foliate column terminating with a pendulous light, incised W.A.S. B. to the inside of the door 82cm. high £300-500

418 detail

Woolley and Wallis would like to thank Peter Rose for his help in cataloguing this lot and also pointing out Benson’s lighthearted use of the electric light as a carved decorative element in the design.

419. A W.A.S Benson pine carved fitted cupboard and shelf unit, designed by W.A.S Benson, with two twin-door cupboards flanked by three arched open compartments, the doors carved with Art Nouveau foliate columns, above a long shelf carved with leaf detail to the brackets, unsigned 67cm. high, 229cm. wide £300-500 Literature Ian Hamerton (editor) W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books, page 161 plate 144 for the reproduction of an original watercolour design for a green painted version designed for the Art Workers’ Guild. 420

421 420. A brass table lamp the design attributed to W.A.S Benson, tripod foot with central tapering stem flanked with scroll unsigned 31cm. high £80-120

421. A W.A.S Benson brass candlestick, scrolling stem with foliate feet, the circular sconce balanced with a seedpod counterweight unsigned 31cm. wide £600-900 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 121 plate 98 for a comparable example

422. A pair of brass and copper three-light candlesticks, designed by W.A.S Benson, tripod foot with knopped central stem applied with copper foliate decoration and three flaring branches unsigned 34cm. high £300-500 Literature Ian Hamerton (editor) W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC books, page 121 plate 97 for a comparable pair of three light candlesticks.

422

423. A fine pair of W.A.S Benson gilt metal three-branch wall sconces, the arched stems with cast leaves decoration and flowerbud terminals stamped Benson 42cm. high £1,000-2,000 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design Antique Collector’s Club, page 257 plate 8 for a single branch version similar 423

424. A rare W.A.S Benson patinated metal table lamp base, the base cast with foliate motif, with central fluted stem flaring to tripod support stamped mark to base rim 42cm. high £800-1,200 Literature Ian Hamerton (Editor) W A S Benson Arts and Crafts Luminary and Pioneer of Modern Design Antique Collector’s Club page The Best of British Paul Reeves/Sothebys selling exhibition for a comparable example page 111 PR89. 424

425. A Pair of W.A.S Benson brass table/wall lamps, slender, curved arms with adjustable light fittings, on heart-shaped base, with vaseline glass shades unsigned 46.5cm. high £2,000-3,000 Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 115 plate 91 for a comparable example illustrated from the Benson catalogue 1899-1900. 425

426

427

428

429

426. An oak panelled fire screen, set with two rectangular metal and patinated copper panels, with blue and green enamel roundels unsigned 82cm. high £150-250

427. A patinated copper box with hinged cover, rectangular section, the hinged cover set with abalone shell panels unsigned 23cm. wide £100-200

431

430

428. A Coalbrookdale bronze tazza, cast and pierced with classical figures riding sea beasts, amongst scrolling foliage panels, the border classical scrolling foliage, with central chrysanthemum flowerhead and another similar unsigned 22cm. diam. £80-120 Literature Coalbrookdale illustrated catalogue no.19

429. An Aesthetic Movement ebonised wood mantle clock, rectangular case set with blue and white floral enamel panels 34cm. high £150-200

433

432

430. An oak planter with lead liner, tapering square section, each side carved with a bird amongst foliage unsigned 26cm. high £80-120

431. A pair of Dryad, Leicester painted wood candlesticks, painted in shades of green, ochre and black printed mark to base 14cm. high £80-120

432. An Irish brass pedestal dish, the well dated 1899, the rim with a frieze of classical beast amongst scrollwork unsigned 17.5cm. diam. £80-120

433. A large brass tray, possibly Fivemiletown, square section with upturned, pinched rim, stamped to the well with a displaying peacock unsigned 59cm. square £100-200

434. A patinated metal lantern, square section, the base cast with flying griffin creatures, Gothic tracery decoration with amber glass panels unsigned 65cm. high £200-300

434

435

436

437

438

435. A pair of continental painted wood bookends, each modelled as an owl, on rectangular base unsigned 19cm. high £50-100

436. A French bronze inkwell, cruciform base with curved, pierced rim, set with central square inkwell, with engraved geometric decoration and applied with marble feet and polished stone panels, and a pair of cast metal dragon candlesticks unsigned 22cm. wide £80-120

439

440

437. An Arthur John Seward Homespun electroplated box with hinged cover, hammered effect with riveted decoration, the cover surmounted with large enamel stone medallion, cedar lined stamped HS mark 15.5cm. wide £200-300

438. A patinated copper lamp base, cylindrical from on flaring square section base unsigned 55cm. high £150-250

439. A patinated brass ceiling light attributed to the Birmingham Guild, three branch form, around circular frame and scroll decoration, and three cast metal wall lights unsigned 67cm. high £300-500

440. A pair of patinated bronze twin-branch wall lights, floriform, each with patinated copper flower bud sconces and foliate panels unsigned 31cm. high £500-800

441. A brass standard lamp, on cast leaf-shaped feet unsigned 155cm. high £150-250

442. An Art Nouveau continental copper and wrought iron standard lamp, 153cm. high £100-200 441

442

443

444

445

445A 443. Four enamelled metal shop signs designed by Sir Edward Lutyens for Cockington, Devon, comprising an archer, a blacksmith at his Anvil, a still life of fruit, teapot and vases, and a woman at her loom, each enamelled in colours, with a small scrap album relating to the village unsigned blacksmith 55cm. high £1,500-2,000 Sir Edward Lutyens was requested to plan an extension to the village of Cockington in the 1930s, to include an Inn, shops and house around the village green. Work was interrupted by World War II with only the village inn, originally called The Forge Inn but re-named The Drum Inn. These shop signs were made at the local forge by the blacksmith Bill Bradford to the designs of Lutyens.

444. ‘Spring’ and ‘Autumn’ pair of painted wood panels, rectangular form unsigned 78 x 25cm. £100-200

446

445. A Scottish painted wood frame, rectangular form, painted with an Italian landscape with cypress trees unsigned 50 x 34cm. £200-300

445A. A pair of linocut prints on paper by G Hoyes-Lewis, depicting Christ carrying the cross and Christ in the tomb, framed signed in the print 61 x 38cm. £100-200

446. A large Aesthetic Movement embossed linen table cloth, possibly designed by Lewis F Day, decorated with panels of birds unsigned 532 x 220cm £300-500

447. A collection of modern Kilim carpets and bags Provenance The Albert E Wade Collection

447

£100-200

448. A silk embroidered linen panel of a peacock, the work attributed to Lady Millais, Leacon Hall, Warehorne, signed ERC dated 1906, framed, signed and dated, paper label for Lady Millais to reverse, 45 x 26cm. £100-200

449. An interesting pair of painted and silk embroidered panels depicting summer and autumn, embroidered on a silk ground, with maidens before flowers and foliage, above a poem monogrammed MS, framed, unsigned 83 x 32cm. £1,200-1,800

448

449

450. A large Morris & Co silk embroidery panel, with green velvet border, 230 x 140cm. £1,500-2,000

451. ‘The House That Jack Built’ a printed cotton panel manufactured by Morton Sundour Fabric Ltd, designed by C F A Voysey, mounted on wooden stretcher unsigned 138 x 87.5cm. £2,000-3,000 Provenance Fine Art Society, London Private collection Literature Wendy Hitchmough C F A Voysey Phaidon, page 211, catalogue number 17 for the original design dated 1929. 450

451

452. A large Glasgow School patinated copper wall mirror, rectangular with overhanging mantle, stamped in relief with Glasgow Rose and flower stems, set with green enamel roundels unsigned 114cm. wide, 74cm. high £2,500-3,500

453. A Liberty & Co copper wall mirror, rectangular form with stamped stylised flowerhead roundels, above riveted joints, applied Liberty & Co label to reverse 64.5 x 55cm £500-700

452

454. A patinated metal wall mirror, rectangular, hammered finish, with reeded rim unsigned 61 x 46cm £200-300

455. A copper and wrought iron fire screen, rectangular copper panel with wrought iron foliage stem decoration unsigned 68cm. high £250-350

453

454

456. A large copper coal box and cover, tapering square section, with slightly domed cover, each side set with large Ruskin ceramic roundel, with riveted decoration unsigned 36cm. high £80-120

457. A copper fender, stamped in low relief with heart motif unsigned 121cm.wide £200-400

458. An Aesthetic Movement patinated iron fender and fire dogs, in the style of Dr Christopher Dresser, with scrolling foliate design indistinct regd diamond to fire dogs fender 105cm. wide £100-200 455

456

457

458

459

460

461

459. A John Pearson copper box with hinged cover, rectangular form, repousse hammered with birds to the front, the hinged cover with a Celtic cross motif, cedar lined, stamped JP dated 1902 17cm. wide £200-400

460. A John Pearson repousse hammered copper coal box and cover, dated 1905, drum form on four feet, hammered in relief with animal masks and tulip flower stems, stamped JP 1905 to base 33cm. high £400-600

462 461. A John Pearson copper charger, repousse hammered to the rim with a band of scrolling tulip flowers, the well with similar floral roundel, unsigned 61cm. diam. £500-800

462. A John Pearson copper pen tray and inkwell, the rectangular tray repousse hammered with vine wrapped around trees, before a rising sun, on four bun feet, with cut glass square section inkwell with hinged cover, unsigned 33.5cm. wide £400-600

463. A good John Pearson repousse copper bowl, dated 1893, deep rimmed form, hammered to the well with a manned galleon at full sail etched J Pearson 1893 to reverse 38cm. diam. £1,500-2,000 Literature Daryl Bennett Liberty’s Furniture 1875-1915 Antique Collector’s Club, page 176 plate 5.40 for a comparable piece 463

464

465

466

467

464. A patinated copper box and cover probably John Pearson, circular, hammered finish, the cover repousse hammered with four heart-shaped leaf motif, and a copper and brass caddy stamped in relief with inscription ‘There is no herb like it under the canopy of heaven’ stamped mark to caddy 10cm. high £100-200 465. A cooper wall mirror, rectangular form with hammered foliage motif and ceramic roundel decoration unsigned 53 x 38cm. £220-280 466. A pair of copper wall mirrors, rectangular, stamped in low relief with pendulous bell flowers below a flowerhead roundel, with riveted joint and hammered finish unmarked 56 x 41cm. £200-300 468

469 467. A brass wall mirror, rectangular with hammered finish, set with blue ceramic roundels unsigned 61 x 31cm. £150-250 468. A Newlyn Industrial Classes repousse copper wall charger, hammered to the well with a galleon at full sail, the rim with a border of fish, waterweed and scallop shells unsigned 45cm. diam. £700-900 Literature Daryl Bennett & Colin Pill Newlyn Copper, Sansom & Company page 11 for a comparable charger 469. A Newlyn Industrial Classes repousse copper charger, the rim hammered in relief with a frieze of stylised classical dolphin motif, unsigned 45cm. diam. £600-800

470

471 470. A Newlyn copper cigarette box with hinged cover, cedar-lined, repousse hammered with scaly fish flanking a scallop shell, stamped Newlyn 13cm. wide £200-300 471. A Newlyn copper rose bowl and cover, repousse hammered with fruit, stamped Newlyn 18cm. wide £200-300 472. A John Williams repousse copper twinhandled vase, possibly Fivemiletown, hammered in relief with scaly fish swimming amongst water lily pads, unsigned 19.5cm. high £150-200 473. A Newlyn copper tray, hammered in low relief with sailing boats, another with flowers, a Tea caddy and covered pot probably by Newlyn and another tray unsigned 20cm. wide £150-250

472

473

474

475

476

474. A Keswick School of Industrial Arts brass tray, rectangular, hammered in low relief with scrolling flowers and foliage inside border stamped mark, 47 x 36cm. £150-250 475. Two graduated brass trays probably Keswick School of Industrial Arts, rectangular section, stamped in low relief with stylised chrysanthemum stems, the rim with a border of raised roundel motif unsigned largest 56.5cm wide £80-120 476. A Keswick School of Industrial Arts copper tray, by W H Mawson, rectangular, hammered in low relief with a frieze of scrolling foliage, stamped marks, 46cm. wide £80-120 476A. A Keswick School of Industrial Arts patinated copper post box, D shaped section, hammered in low relief with a green king mask, flanked with mythical birds amongst foliage, the back plate with birds perched, inscribed ‘Post’ stamped KSIA 27cm. high £300-500

476A

477

477. A hammered copper vase, cylindrical form with applied strap handle, hammered with two exotic birds unsigned 23cm. high £80-120 478. A Hugh Wallis patinated white metal and pewter tray, oval, inset to the well with a basket of stylised flowers, inside chevron border to rim and another smaller stamped HW mark 50cm. wide £100-200 479. A large Hugh Wallis patinated copper and white metal tray, oval, the well inset with a galleon at full sail, inside chevron border to the rim stamped HW mark 55cm. wide £100-200

478

479

480

481

480. An Edward Spencer Artificers Guild patinated copper tray, circular twin-handled form, the handles cast and pierced with scrolling intertwined foliage design, with punched and fine rope borders unsigned 58.5cm. wide £100-200 481. An Edward Spencer Artificers Guild copper and white metal tray, model no. 463, rectangular, twin-handled form, the handles pierced and cast in relief with scrolling intertwined foliage, with fine rope border stamped mark 61cm. wide £100-200

482

483

486

487

484

488

485

489

482. A copper cup and cover, tapering faceted form with knopped stem, with hammered finish the base set with green enamel roundels, with rope borders unsigned 33cm. high £100-200

483. A copper letter rack, simple folded sheet form, stamped in low relief with foliate panels unsigned 24cm. high £50-150

484. A burr walnut cedar lined box, by Chris Vickers, dated 1992, signed and dated on the reverse 12.5 x 9cm. £50-150

490

485. A brass book cover, stamped in low relief with an owl perched amongst foliage border unsigned 34.5cm. high £50-100

486. A patinated copper bell in the manner of Charles Robert Ashbee, Guild of Handicrafts, hammered finish, the handle seven twisted rods of copper with ball finial unsigned 17cm. high £100-200

487. A patinated metal coal box and cover, waisted square form, stamped in low relief with Art Nouveau flower stems, with applied brass riveted panels, the cover and final set with Ruskin Pottery stones, with ring handles unmarked 42cm. high £500-700

488. A Cotswold’s school polished steel coal shovel and a poker, the handles with scrolling terminal and stamped decoration, unsigned 51cm. long £200-300

489. A patinated copper footed bowl, in the manner of Edward Spencer, flaring faceted form unsigned 36cm. diam. £80-120

490. A Birmingham Guild patinated copper jardiniere, the hammered bowl, with applied patinated brass handles, unsigned 17.5cm. high £300-500

491. A Birmingham Guild cast metal painted gilt panel, cast in low relief with a figure emblematic of Autumn, flanked by a wheat sheaf and a cornucopia of fruit, cast Birmingham Guild panel to reverse 51cm. high £80-120

491

491A

492

493

494

491A. A large patinated brass door plate, pierced and stamped in low relief with bell flowers, a brass coal bin and three fire tools unsigned, door plate 67cm. long £50-100

492. A Rowley Gallery marquetry mirror, inlaid with a Japanese landscape scene, and a Rowley marquetry panel, entitled ‘The Villlage Street’ paper labels to reverse with titles mirror 62 x 32cm. £100-200

493. ‘Castle By The Lake’ a Rowley Gallery marquetry wall mirror, rectangular section, applied paper label to reverse 70 x 32cm. £220-280

495

494. A Rowley Gallery gessoed mirror, rectangular form, inset to the top with a painted panel of flowers in a vase, signed Rowley 86 x 29cm. £100-200

495. A copper hall lantern, copper riveted bands below a flaring circular mantle, cylindrical frosted glass shade unsigned 26cm. high £100-200

496. An Omar Ramsden patinated copper tobacco jar and cover, dated 1920, octagonal section, the slightly domed cover with ropework finial surmounted with balls, signed Omar Ramsden Me Fecit dated MCMXX 18cm. high £300-500 496

497

498 499 500 497. ‘Awakening’ a gilded bronze figure of a naked maiden, cast from a model by Bavig, on circular base, signed in the cast 54cm. high £100-200 Provenance The Albert E Wade Collection

498. ‘Summer’ and ‘Winter’ two patinated spelter busts unsigned 20cm. high

501

£100-150

499. An alabaster bust of a maiden, by Henri Michel Antoine Chapu, on oval base signed Chapu 23cm. high £50-150 Provenance The Albert E Wade Collection

500. A gilt bronze model of a panther on a rock outcrop, cast from a model by T. Cartier, signed in the cast 33cm. wide £200-400 Provenance The Albert E Wade Collection

502 501. a patinated copper plaque, cast in low relief with an ascension scene, set in a coastal setting, ebonised wood frame unsigned 51 x 39cm. £100-200

502. A patinated bronze figure cast from a model by Aline Sassoon, dated 1907, modelled as a seated woman a nude figure kneeling at her feet, cast by Alexis Rudier, Foundry Paris, signed and dated in the cast, foundry marks to side 23cm. high £200-300 Aline Caroline de Rothschild (Lady Sassoon) 1865-1909.

503. A patinated bronze figure cast from a model by Phoebe Stabler, dated 1907 for the Art Union of London, modelled with the seated Madonna cradling the Christ child, her arm around St John The Baptist, on stepped black marble base signed and dated in the bronze 35cm. high £500-800

503

504. ‘Charles George Gordon’ a patinated bronze figure of General Gordon by William ‘Hamo’ Thornycroft R.A, dated 1888, published by Arthur Leslie Collie 1889 signed in the bronze 37cm. high £1,500-2,500 Provenance William ‘Hamo’ Thornycroft, thence by descent.

505. ‘The Mirror’ a plaster relief by William ‘Hamo’ Thornycroft, R.A. dated 1889, framed signed and dated 70 x 66cm. £500-1,000 Provenenace William ‘Hamo’ Thornycroft. thence by descent. The Mirror, 1889 was produced in plaster, bronze and marble, with the marble example being accepted as his Diploma work at the Royal Academy on 10th April 1890. This plaster version is possibly the original clay example listed as “working at clay model October - December 1889”, Miss Earle sitting and daughter Joan posing as infant. 505

506. A pencil sketch of Agatha Thornycroft by William ‘Hamo’ Thornycroft, titled Highbridge Sept 5th 1896, framed unsigned, annotated to the reverse Hamo Thornycroft R.A. Portrait of Agatha Thornycroft (1896) image 17.5 x 12cm. £200-300 Provenance William ‘Hamo’ Thornycroft, thence by Descent Agatha Thornycroft, Hamo Thornycroft’s wife, also sat for several of his bronze plaques, medals and sculptures. This portrait, although dated 6 years after the medal of her by Hamo and cast by the James Moore foundry, bears a striking resemblance. Agatha is often cited as one of the inspirations for Thomas’ Hardy’s Tess of the d’Urbevilles, and he is recorded stating she is “the most beautiful woman in England...... on whom I thought when i wrote ‘Tess of the d’Urbevilles’. Reproduced letter from Hamo to Agatha May 4th ‘94 page 125 Marble & Bronze, The Art and Life of Hamo Thornycroft by Elfrida Manning). 506

507. A carved oak stool and step, probably from the studio of William ‘Hamo’Thornycroft, the stool with carved flaring legs, the plank top with chiselled pie-crust edges each stamped HT monogram to underside stool 46cm. wide £100-200 Provenance William ‘Hamo’ Thornycroft, thence by descent.

507

508. ‘The Bather’ a fine patinated bronze sculpture by Sir William ‘Hamo’ Thornycroft RA, 1898, rich green patination, on stepped slate base signed Hamo Thornycroft and dated 1898 in the cast 56cm. high £6,000-8,000 Provenance Howard Bliss Private collection Exhibited British Sculpture 1850-1914 The Fine Art Society, 1968 catalogue number 168 page 33 Literature Elfrida Manning Marble and Bronze The Art and Life of Hamo Thornycroft, Trefoil, the bronze version illustrate plates 116 a & b, 118 pages 158 and 161, catalogue number 15. According to Thornycroft’s biographer Elfrida Manning (his daughter) the model for the sculpture was Oliver, Hamo Thornycroft’s son

509

510

513

511

514

512

515

516

509. A Hamburg American Clock Company Secessionist oak and copper mantle clock, domed, rectangular cast with glass panel, the domed, circular dial with arabic numerals £350-450 510. A patinated metal book-slide, cast to each end with an owl seated on a large book, stamped 9821 31.5cm. wide (closed) £80-120 511. A Gustav Stickley The Craftsman Workshops copper tray, round with hammered well, with twin riveted copper handles, stamped mark to reverse 41cm. diam. £100-200 512. A continental Secessionist copper and brass centrepiece, the hammered copper bowl on four raised brass feet unsigned 29cm. diam. £100-200 513. A Aesthetic Movement Brevete ‘s & DG triptych hanging mirror, square bamboo frame, with hinged Japoniste panels stamped marks and patent mark 26th Sept 187627cm. high £100-200 514. A continental pewter and glass tray, in the style of Josef Hoffmann, oval section, the geometric, pierced body with arched handle and glass liner stamped marks 26cm. wide £50-100 517 515. ‘Peterskirche’ a Wiener Werkstatte printed cardboard box square section, applied paper label 12cm. square £50-100 516. A large patinated copper wall charger, probably Continental, stamped to the well with a carp swimming unsigned 78cm. diam. £200-300 517. A large patinated metal four branch ceiling light, circular section, with four stylised bird branches, with clear glass ball shades unsigned 81cm. high £200-400 518. A continental Secessionist mantle clock, tapering square section with riveted decoration, circular copper dial with arabic numerals, on wooden plinth with presentation inscription July 1909 unmarked, 39cm. high £500-800 This clock was presented to Mr Everard by the Rambler’s Club of the South Western Polytechnic on the occasion of his marriage in July 1909.

518

519

520

521

519. A French pewter salver and ewer by A Viplien, cast in low relief with scrolling foliage and flowers stamped marks and incised signature 46cm. high £80-120

520. An Art Nouveau W.M.F pewter inkwell, cast in low relief and pierced with whiplash foliate design, and an Art Nouveau pewter wall plate cast with a maiden portrait and a Civic pewter vase stamped marks to inkwell 20cm. wide £50-150

521. A pair of W.M.F electroplated candlesticks, pierced whiplash foliage design stamped marks, 27.5cm. high £80-120

522

Provenance The Albert E Wade Collection

522. An Art Nouveau W.M.F pewter tall twin-handled vase, with green glass liner, cast in relief with flower stems stamped marks, 41cm. high £300-400

523. A Kayserzinn pewter decanter modelled as a bird, by Hugo Leven, model no.4433, with hinged cover, stamped marks, 29cm. high £600-1,000 Literature Paul Carter Robinson, 20th Century Pewter Art Nouveau to Modernism, Antique Collector’s Club, page 49 plate 1.89 and on the cover for a comparable example Gerhard Dietrich and Eckard Wagner Kayserzinn Arnoldsche, page 139 plate 103. 523

524

525

528

526

529

527

530

531

524. A large Limoges enamel plaque, square, painted with a woman in ball gown, holding an orange ostrich feather, in a garden setting, framed painted marks to top corner 24 x 24cm. £250-350 525. A D.G Collins silver and enamel salt and spoon, the salt on tripod heart-shaped feet, cast with Art Nouveau flower columns, enamelled blue, stamped marks, Birmingham 1905 4.5cm. wide £100-200 526. An Art Nouveau electroplated metal picture frame, probably Continental, stamped in low relief with two peacocks before a setting sun, on a velvet lined wooden back with easel support unsigned 22cm. high £100-200 532

527. A Hardy Brothers, Sydney & Brisbane, silver bowl, on tripod feet with scrolling handles, stamped marks, London 1905 18cm. wide £150-200 528. A white metal circular brooch in the style of Dorrie Nossiter, with rope work border, cast in relief with a flower and foliate design, and a bar brooch cast with grapes and vine leaf unsigned, 3cm. diam. £100-150 529. A Charles Horner silver brooch, modelled as a thistle flowerhead on Art Nouveau scrolling wirework stem, a silver Charles Horner hatpin, a yellow metal pendant and a pewter brooch with ‘Ruskin’ stone roundel and a David Anderson, Norway enamelled leaf brooch various marks 3cm. wide £100-200 530. A white metal pendant necklace, wirework frame with central abalone shell panel, flanked with four blister pearl roundels unmarked 3.5cm. high £100-150

533

531. A Tiffany & Co silver Olympian pattern caddy spoon, the handle cast in low relief with Diana and her nymphs being surprised by Pan, the reverse with a mask stamped marks, 11cm. long £200-300 Literature Charles H Carpenter Jr Tiffany Silver, page 112 plate 136 for a knife and fork in the same pattern, first produced in 1878. 532. A Nathan & Hayes silver box with enamel cover, circular section, the hinged cover with an enamel scene of a galleon at sail stamped marks, Chester 1906 9.5cm. diam. £500-700

534

533. A cloisone enamel pendant necklace with blister pearl drop, the design attributed to W S Hadaway, the circular enamel decorated with a ship at full sail, in shades of green, blue and purple unsigned 3cm. diam. £400-600 Literature British Decorative Arts, including the Larner Collection of Jewellery, London 9th October 1992 lot 73 for a comparable brooch. Art Workers Quarterly, 1904 page 117 for a similar pendant. 534. A Murlle Bennett Secessionist silver pendant necklace, set with emerald matrix stone stamped marks 4cm. high £300-500 535. A silver ring, in the manner of Edith Linnell, the silver cast with flowers and foliage set with dyed chalcedony stones stamped silver, six K 1/2 £100-200

535

536. A James Hardmann & Co silver cup and cover, in the manner of A W N Pugin, the cup with flaring base and knopped stem, engraved panels of stylised foliage, the domed cover with wirework cross finial stamped marks, Birmingham 1865 18cm. high £400-600

537. A pair of Henry Wilkinson silver candlesticks, after a design by James Dixon, tapering square section with circular sconce and drip pan, riveted decoration stamped marks Sheffield 1909 22.5cm. high £1,500-2,000

536

537

538. A pair of A. E. Jones silver and oak candlesticks, the twisted oak stems on domed foot, with flaring circular drip-pan and sconce stamped marks, Birmingham 1919 15cm. high £500-700

539. An Elkington twinhandled silver cup, stamped in low relief with a frieze of Aesthetic Movement bullrush and grasses, the twin-handles with cast foliage decoration stamped marks E&CoL London 1894 30cm. high £600-1,200

538

539

540. An unusual A. E. Jones silver mounted copper tea caddy, square section, with four riveted feet, the slightly raised hinged cover with a panel of a longboat at full sail, cedar lined, with cedar internal lid unsigned 11cm. high £1,000-1,500 540

541

542

543 541. A pair of James Dixon electroplated metal candlesticks, tapering square section, with riveted panel decoration stamped marks to underside of drip pan 22cm. high £500-1,000

542. A Sebastian Garrard & Co Ltd silver bowl, footed form with three scrolling handles, stamped marks, SG London 1914 17cm. diam. £150-250 544

545 543. An electroplated metal and enamel box and cover, rectangular form with hinged cover, applied ropework borders, the cover set with blue and green enamel plaque, unmarked 14.5cm. wide £300-500

544. An A. E. Jones silver mounted mazer bowl, the hammered bowl with ropework borders, applied ball motif and chased chevron border, stamped marks, Birmingham 1928 22cm. diam. £800-1,200

546

545. A Guild of Handicraft silver porringer, after a design by Charles Robert Ashbee, the hammered bowl with wirework handle, stamped marks GofH London 1925, Hart & Huyshe, Campden 17cm. wide £1,200-1,500

546. A Sybil Dunlop silver quaich, on shallow foot, the hammered bowl applied with Celtic panels, the handles with Celtic roundels set with chrysoprase stamped marks, London 1927 20cm. wide. £1,500-2,000

547. A Sybil Dunlop silver quaich, footed form with twin handles, applied with celtic dragon panels, on a hammered ground stamped marks, London 1928 20.5cm. wide £1,500-2,000

547

dr. ChrIstoPher dresser

548

548. A rare Linthorpe Pottery Fijian sake bottle designed by Dr Christopher Dresser, the dimpled body glazed streaked green and ochre, with unglazed terracotta head unsigned, professionally restored spout 19cm. high ÂŁ1,200-1,800 Literature Michael Whiteway Christopher Dresser 1834-1904 Skira, page 119 plate 116 for a comparable example

549

Judy Rudoe Decorative Arts 1980-1950 A Catalogue of the British Museum Collection, page 183 catalogue number 96 for a comparable tray 549. A rare Stapleton Torquay terracotta Fijian dish, designed by Dr Christopher Dresser, modelled as a figure, with unglazed head and stylised body glazed ochre and green impressed marks, 19cm. long ÂŁ600-700 Literature Michael Whiteway Christopher Dresser V&A page 93 plate 114 for a comparable

550

551

554

552

555

553

556

557

550. An Ault Pottery vase, model no.619, cast in low relief with three cat faces, covered in a yellow and brown glaze impressed marks to base 12cm. high £100-150 551. An Ault Pottery flower brick, designed by Dr Christopher Dresser, domed form with pierced flower holes, glazed green impressed facsimile signature 10cm. wide £50-150 552. A large Ault Pottery twin-handled Jardiniere, the design attributed to Dr Christopher Dresser, with pulled lug handles, cast with bands of geometric decoration under a streaked green and yellow glaze impressed Ault vase mark 65cm. wide £400-500

558

553. A Watcombe terracotta vase the design attributed to Dr Christopher Dresser, the ovoid pot with applied handles and decoration forming a stylised face impressed birds feet mark 14cm. high £200-300 554. A Richard Perry enamelled tin chamberstick, probably designed by Dr Christopher Dresser, circular section, with loop handle unsigned 17cm. wide £50-100 555. ‘Studies in Design’ plates IV and LIX, two prints by Dr Christopher Dresser, published by Cassell, Petter and Galpin, framed, image 38 x 26cm £100-200 556. A Benham & Froud mixed metal tray designed by Dr Christopher Dresser, circular brass tray inlaid with copper and white metal bird flying past flowers and foliage stamped mark 27cm. diam. £100-200

559

557. A Benham & Froud inlaid copper plate the design attributed to Dr Christopher Dresser, the well decorated with stylised flowers stamped mark 26.5cm. diam. £100-200 558. A Benham & Froud coal perdonium and shovel, the design attributed to Dr Christopher Dresser, brass furniture and handle unsigned 42cm. high £200-300 559. A Hukin & Heath electroplated sugar basin and shovel, designed by Dr Christopher Dresser, model no. 2372, with ebonised wood handles stamped marks 16cm. wide £150-250 560. A Benham & Froud copper and wrought iron coal scuttle with shovel, designed by Dr Christopher Dresser, stamped marks to base 51cm. wide £300-500

560

561. A large James Couper & Sons Clutha glass vase, designed by Dr Christopher Dresser, ovoid with knopped neck, green glass streaked white with air bubble inclusions unsigned 38cm. high £3,000-5,000

562. A James Dixon and Sons electroplated teapot designed by Dr Christopher Dresser, model no.2273, ovoid body on three scroll feet, hinged cover and arched ebonised rod handle stamped marks, facsimile signature 10cm. high £1,500-2,000 Literature Michael Whiteway Christopher Dresser 1834-1904 Skira, page 109 plate 100 for a comparable teapot 561

563. A good James Couper & Sons, Clutha glass jug, designed by Dr Christopher Dresser, compressed form with pulled vertical spout and applied handle, mottled green glass internally decorated with pink and white whorls and air bubbles acid etched Clutha mark 23cm. high £3,000-5,000 Literature Widar Halen Christopher Dresser, Phaidon page 192 plate 225 for a reproduction of this model produced for a Liberty & Co Yule Tide Gifts catalogue, 1895. 562

563

564. A Coalbrookdale cast iron stick stand, designed by Dr Christopher Dresser, pierced and cast design with geometric foliage design cast regd marks 71cm. high ÂŁ300-500

565. A Coalbrookdale cast iron hall stand designed by Dr Christopher Dresser, cast and pierced with stylised foliage, with drop in tray to base, later painted green cast regd diamond to back 186cm. high ÂŁ2,000-3,000 Provenance Richard Dennis Literature Michael Whiteway Christopher Dresser V&A page 110 plate 145 for a hallstand with comparable decoration

LIBerty & Co. 566. A Liberty & Co terracotta planter and stand, designed by Archibald Knox, probably made by Compton Pottery, cast in low relief with Celtic entrelac band impressed Liberty mark 56cm. diam. £600-1,000 Literature Stephen A Martin Archibald Knox ARTMEDIA, page 277 for this design illustrated

567. A large Compton Potters' Art Guild Fafnir (Snake) terracotta jardiniere, designed by Mary Seton Watts, retailed by Liberty & Co. cast in relief with serpent handles, stamped Compton Potters’ wheel mark 62cm. wide, 42cm. high £3,000-5,000

566

Literature Yule-Tide Gifts Liberty & Co catalogue, circa 1903-04 this design illustrated, reproduced in Modern Celtic Art Garden Pottery by Veronica Franklin Gould page 20.

568. A pair of Compton Potter’s Art’s Guild book ends, each modelled as a peacock, painted in colours unsigned 12cm. high £80-150

566 (mark)

569. A pair of Compton Potter’s Art’s Guild book ends, modelled in low relief with a galleon at full sail, painted in colours paper labels 17cm. high £80-120

570. A Compton Potter’s Art’s Guild wall plaque of The Spirit of the Lily, modelled in low relief, glazed in colours and another of the Madonna and Child impressed seal marks 18 x 12cm. £80-120

571. A Compton Potter’s Art’s Guild model of Saint Augustine, painted in colours and a modern Watts Gallery plaque of a archangel, dated 2001 impressed seal mark 22cm. wide £80-120 567

568

569

570

571

572

573

574 572. A Liberty & Co oak armchair, unsigned 95cm. high £200-400 573. An oak freestanding book shelf, probably retailed by Liberty & Co, five shelves, the back carved with cut out roundel, unmarked 157cm. high, 96cm. wide 100-200 574. A Liberty & Co patinated copper wall mirror, oval form with raised stylised foliate roundels, applied ivorine label 63cm. wide £400-600 575. A Liberty & Co walnut veneer side table, shaped rectangular top, with tapering square legs applied ivorine label 66 x 38cm £100-200

575

576

Literature Daryll Bennett Liberty’s Furniture 1875-1915, Antique Collector’s Club, page 277 plate 7.70 for a comparable table 576. A mahogany Thebes stool, probably retailed by Liberty & Co, square section seat with turned wood legs unsigned £300-500 577. A Liberty & Co mahogany side table, square section, decorated with panels of mashrabiya unsigned 44cm. square, 67cm. high £300-500 578. A mahogany inlaid side table, after a design by Mackay Hugh Baillie-Scott, possibly retailed by Liberty & Co, square section top, flaring turned legs with arched supports, inlaid with pewter and wood Art Nouveau mistletoe panels unsigned 69cm. high £800-1,200 Literature John Andrews Arts and Crafts Furniture Antique Collector’s Club page 123 plate124 for a comparable table

577

578

579

580

581

579. A Liberty style oak wall cabinet, by J & B Blower, the hinged cabinet door decorated with dutch girl applied label to reverse 92cm. wide £300-500

580. A small mahogany wall cabinet, possibly retailed by Liberty & Co, with overhanging mantle, three carved stylised flower motif, patinated brass furniture unsigned 53cm. wide £80-120

581. A Liberty & Co brass wall mirror, elliptical form, set with four turquoise Ruskin Pottery roundels, applied ivorine label 63cm. high £200-400

582

Provenance The Albert E Wade Collection

582. A watercolour of an interior, possibly for Liberty & Co, by EES, dated 1910, framed signed and dated image 31 x 24cm. £80-120

583. An Aesthetic Movement Liberty & Co mahogany armchair, with scroll arms and drop in rush seat, the back with carved flowerhead design stamped marks 84cm. high £80-120

584. A Liberty & Co carved mahogany settee, with carved back splats unsigned 180cm wide £1,000-1,500 583

584

585

586

587 585. A Liberty & Co printed canvas design, printed in pink and orange with fruit and scrolling stylised foliage stamped marks to reverse, 70 x 56cm. £50-80

586. An enamelled copper wall mirror, the design attributed to Archibald Knox for Liberty & Co, shaped rectangular form, cast in low relief with entrelac panels, with green and turquoise enamel panels, on wooden back unsigned 47cm. high £1,000-1,500

588

589

587. A pewter and abalone shell wall mirror, probably retailed by Liberty & Co, tapering rectangular form with arched mantle, set with a shield-shaped abalone shell panel to the top and an abalone snail to the base flanked by roundels, with riveted joint decoration unsigned 67 x 43cm £200-400 Provenance The Albert E Wade Collection

588. An oak dressing chest of drawers, the design attributed to Leonard Wyburd for retail by Liberty & Co, with brass furniture, the mirror supports with ochre ceramic roundels unsigned 108cm. wide £400-600

590

589. A large pewter mirror probably retailed by Liberty & Co, rectangular form, set to each corner with an abalone shell heart motif unsigned 98 x 68cm £500-700 Provenance The Albert E Wade Collection

590. An ash rocking chair, probably retailed by Liberty & Co, with wavy back splat decoration, cane seat, another similar and two other chairs unsigned 83cm. high £100-200

591. A large Liberty & Co Tudric Pewter pedestal bowl, designed by Archibald Knox, model no. 06, cast with a band of stylised honesty on whiplash stems stamped marks 36cm. high £700-900 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 205 for an example illustrated

591

592

596

593

597

594

595

598

599

592. A Liberty & Co Cymric bar brooch, Celtic form with hammered finish, and an Art Nouveau silver brooch stamped marks 4cm. wide £80-120 593. A Liberty & Co Cymric silver and enamel pendant, designed by Archibald Knox, cast in low relief with a flowerhead motif enamelled blue and green, set with abalone shell stamped marks, Cymric Birmingham 1903 3cm. £200-300 Literature Cymric Silver, Liberty catalogue, illustrated page 100/101 catalogue number 9. 594. A set of Liberty & Co silver teaspoons, each with cast bamboo stems, hammered bowl and quattro-lobed terminal set with turquoise stone , in original fitted wooden box with silk lining stamped marks, Birmingham 1899 9.5cm. long £300-500 595. A set of six Liberty & Co silver teaspoons, each set with a polished stone terminal in fitted case, stamped marks, Birmingham 1932 £300-400 596. A Pair of Liberty & Co silver spoons, each with twisted, tapering square stems and heart-shaped hammered bowl, the terminal set with turquoise stone, in matched silk-lined presentation case for Knight & Sons, Northampton L C & C Ltd mark Birmingham 1903 11.5cm. long £400-600 597. A Liberty & Co Cymric Silver box and cover, hinged cover inset with a silver, enamel and abalone roundel designed by Archibald Knox, inscribed ‘To the Master to the Mistress, English Church Pagent 1909’, cedar lined, stamped marks, Birmingham 1904, 8cm. wide £800-1,200

600

598. A Liberty & Co silver spoon designed by Archibald Knox, model no, 339, hammered stem, cast with stylised flower terminal, stamped marks, Birmingham 1911, 20cm. long £500-700 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 215 for comparable designs 599. A Liberty & Co silver and enamel belt buckle, the design attributed to Archibald Knox, cast and pierced with Art Nouveau whiplash foliage, enamelled green stamped marks, Birmingham 1906 8cm. wide £400-600 600. A Liberty & Co Tudric Pewter mantle clock, model no. 01318, cast in low relief with geometric frieze with green and blue enamelled roundels, the round dial with black enamelled arabic numerals stamped marks, 12cm. high £500-800 601. A Liberty & Co Tudric Pewter desk clock, designed by Archibald Knox, model no.0988, cast in low relief with a frieze of berries and ivy foliage, on easel back, stamped marks, 13cm. high £500-700 601

602. A Liberty & Co silver mantle clock, designed by H B Silver at the Silver Studios, model no.5789, square section, with fluted domed canopy, cast with panels of bead work, circular dial with arabic numerals, enamelled green and blue stamped marks, Birmingham 1910 13cm. high ÂŁ4,000-6,000 Literature Liberty 1875-1975 Victoria & Albert Museum exhibition catalogue page 65 catalogue number D120, for an example and a reference to this design included in the Silver Studio photographic archive number 06831.

603. A fine Liberty & Co silver and enamel clock, possibly designed by Archibald Knox, model no.6210, swollen rectangular form with overhanging mantle, cast in low relief with three Art Nouveau flower stems set it turquoise stone flowerheads, the top set with two turquoise stones, the circular dial enamelled blue and green with Roman numerals, stamped marks, Birmingham 1907 11cm. high ÂŁ15,000-20,000 Literature Stephen Martin Archibald Knox, ARTMEDIA, page 234 for a comparable clock model no.5217 which uses Turquoise stones in a comparable way.

604. A Liberty & Co English Pewter inkwell, designed by Archibald Knox, model no.0141, square section with hinged cover, cast in low relief with Art Nouveau flower roundels, the cover with a rectangular panel stamped marks 15.5cm. square £300-500 Literature Stephen Martin, Archibald Knox, ARTMEDIA page 228 for a comparable inkwell.

604

605

605. A Liberty & Co English Pewter crumb tray, designed by Archibald Knox, model no. 0532, cast in low relief with ivy foliage stamped marks 24.5cm. wide £80-120 Literature Stephen A. Martin Archibald Knox ARTMEDIA, page 272 for a comparable example illustrated.

606. A Liberty & Co Solkets English Pewter coffee pot designed by Archibald Knox, model no 0231, cast in low relief with foliate entrelac design, on hammered ground stamped marks, 22cm. high £80-120

606

607

Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 198 for this set illustrated

607. A large Liberty & Co Tudric Pewter and enamel cigarette box and cover model no.01355, the cover inset with an enamel plaque of a flowering bough, possibly Charles Fleetwood Varley, stamped marks, 17cm. wide £400-600

608. A William Hutton English Pewter mantle clock, model no.1331, swollen, domed form cast in low relief with two Secessionist roundels, the Mercedes movement with circular dial with Arabic numerals, stamped marks, 22cm. high £400-600 608

609 609. A Liberty English Pewter tray designed by Archibald Knox, model no.0357, rounded rectangular section with arched handle, cast in low relief with stylised ivy stems, a WMF pewter, brass and glass jar, stand and cover with serving fork, a WMF secessionist matchbox case and a Urania, Holland pewter dish with glass liner stamped marks, 30.5cm. wide £100-200

610. A Liberty & Co Tudric Pewter inkwell and pen tray, designed by Archibald Knox, model no.0404, rounded rectangular section, cast in low relief with stylised honesty stamped marks, 23cm. wide £400-600 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 222 this design illustrated

610

611. A Liberty & Co English Pewter mantle clock designed by Archibald Knox, model no.608, rectangular with swollen face, cast in low relief with stylised honesty, two enamelled blue/green, the circular dial enamelled blue and green with Roman numerals stamped marks, 14cm. high ÂŁ6,000-9,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 233 for a comparable clock

612. A Liberty & Co Tudric Pewter mantle clock, designed by Archibald Knox, model no.0761, architectural form, with enamelled blue and green copper dial, and Roman numerals stamped marks, 22cm. high ÂŁ5,000-7,000

613. A Liberty & Co pewter mantle clock, designed by David Veasey, model no.0385, waisted form, the face cast in low relief stylised foliage, circular blue and green enamel dial with Roman numerals stamped marks, 21cm. high ÂŁ3,000-5,000

614. A large Liberty & Co Tudric Pewter vase, designed by Archibald Knox, model no.0927, cast in low relief with Art Nouveau scrolling foliage, on tripod foot stamped marks, 29cm. high £800-1,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 186 for an enamelled version. 614

615. A Liberty & Co Tudric Pewter mantle clock, model no.01269, domed form with cast pilaster decoration, the circular dial enamelled green and blue with Roman numerals stamped marks 21cm. high £500-600 615

616. A Liberty & Co English Pewter mantle clock designed by Archibald Knox, model no. 0721, rectangular case with hammered finish, cast in low relief with ivy leaves, the face enamelled green and blue, circular dial with Roman numerals, stamped marks to base 11.5cm. high £1,500-2,000

100

616

617. A Liberty & Co Tudric Pewter and glass decanter, designed by Archibald Knox, model no.0308, cast in low relief with Art Nouveau whiplash foliage, with swollen green glass body stamped marks 30cm. high £1,500-2,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 188 for a comparable decanter illustrated 617

618. A Liberty & Co Tudric Pewter and glass jug, designed by Archibald Knox, model no. 0310, cast in low relief with stylised foliage, unsigned 20cm. high £300-500 Literature Stephen A Martin Archibald Knox, ARTMEDIA page 189 for a comparable example 618

619. A Liberty English Pewter twin-branch candlestick, designed by Archibald Knox, model no.0530, cast and pierced foliate central column, with flaring branches, with two pewter sconces stamped Solkets mark, 28cm. high £1,000-2,000 619

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Silver Tuesday 17th & Wednesday 18th July 2012

ENQUIRIES Rupert Slingsby Tel: 01722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Grazier Tel: 01722 424594 lucygrazier@woolleyandwallis.co.uk

A fine Edwardian silver-gilt Monteith punch bowl, by Elkington and Co, Birmingham 1907, presented to Lieutenant Alan Jerrard. V.C by The Staffordshire Territorial Force Association, in recognition of a great service and in appreciation of a very gallant action. Estimate: ÂŁ8,000 - ÂŁ12,000

Jewellery Thursday 19th July 2012

A pair of Art Deco emerald and diamond clips, probably Cartier. Estimate: ÂŁ10,000 - ÂŁ15,000

ENQUIRIES Jonathan Edwards FGAA Tel: 01722 424504 jonathanedwards@woolleyandwallis.co.uk Marielle Whiting FGA Tel: 01722 424595 mariellewhiting@woolleyandwallis.co.uk

20th Century Design Wednesday 3rd October 2012 Closing date for entries 1st August

ENQUIRIES Michael Jeffery Tel: 01722 424505 michaeljeffery@woolleyandwallis.co.uk

‘Nach Der Saison’ a rare double size original artwork by Dodo Burgner, for Ulk magazine 22nd February 1929, dated 1929. Estimate: £600 - £1,000

Asian Art Wednesday 14th November 2012 Entries are currently being accepted for our November sale

A fine Chinese Imperial ruyi sceptre inscribed with a poem by the Qianlong Emperor. Sold for ÂŁ260.000

ENQUIRIES John Axford MRICS ASFAV Tel: 01722 424506 johnaxford@woolleyandwallis.co.uk

Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office. LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

106

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter. PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

01582 493 099 info@albanshipping.co.uk www.albanshipping.co.uk

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers. 2. Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above. 3. Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility. 4. Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable. 5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

6. Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7. Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

8. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment. 9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding. 10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium. They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax. 11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

7. We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve. . Reserves. (a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking. 14. Authority to deduct commission and expenses and retain premium and interest. (a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due (b) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOK AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

21. English law applies to the interpretation of these Conditions.

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500

Valuations PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual clientâ&#x20AC;&#x2122;s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Christine Johnson 01722 424509

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

Woolley & Wallis valuations are accepted by all leading insurance companies.

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Woolley & Wallis Salisbury Salerooms Ltd. Registered in England No. 2998482 VAT No: 9832 29 in association with Woolley & Wallis, Chartered Surveyors Design & Production by Jamm Design Tel. 020 8901 7522

Woo L Le y & WA L LI s Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Arts & Crafts

Brief Decription

Wednesday 20th June 2012 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email Debit/Credit Card details: VISA OTHER

MASTERCARD

SWITCH

(please specify)

We do not accept American Express cards

Cardholder Card No. Valid from Expiry date Issue No.

(Switch only)

If you have not settled your account within 21 days of the auction Woolley & Wallis Salisbury Salerooms Ltd reserves the right to debit all charges due. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. By signing below you are authorising this payment to be taken by us. ID is required for all first time bidders.

Signature Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU • Tel: 01722 424500 Fax: 01722 424508

Price Excluding buyer’s premium & VAT

AuCtion CAlendAr FURNITURE & WORKS OF ART 3rd July 2012 Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk SILVER 17th & 18th July 2012 Rupert Slingsby 01722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Grazier 01722 424594 • lucygrazier@woolleyandwallis.co.uk JEWELLERY 19th July 2012 Jonathan Edwards 01722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting 01722 424595 • mariellewhiting@woolleyandwallis.co.uk

20TH CENTURY DESIGN 20th June 2012 – Arts & Crafts 3rd October – 20th Century Design 28th November – British Art Pottery Michael Jeffery 01722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 13th June 2012 Victor Fauvelle 01722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler 01722 424592 • jobutler@woolleyandwallis.co.uk ASIAN ART 14th & 15th November 2012 John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister 01722 424 591 • sophielister@woolleyandwallis.co.uk BOOKS & MANUSCRIPTS 13th June 2012 Liz Merry 01722 424500 • lizmerry@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 2nd October 2012 Clare Durham 01722 424507 • claredurham@woolleyandwallis.co.uk • Entries can usually be accepted up to six weeks prior to auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk