Paul Reeves | An Eye for Design feat. Textiles as Art II | 14 February 2019

2 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Thursday, 14th February, 2019 at 11am Sale Number LT548 Lots 1 - 293

Location Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR

Viewing Sunday, 10th February 12 noon - 4pm Monday, 11th February 10am - 5pm Tuesday, 12th February 10am - 5pm Wednesday, 13th February 10am - 5pm Morning of sale from 9am

Enquiries Tel. 0131 557 8844 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ20 (Parts I & II) Paul Reeves would like to thank Giles Middleton Bray of Middleton Bray Upholstery

Front Cover Lot 22 (detail)

Left: Lot 94 (detail)

Inside Back Cover Lot 91 (detail)

and Matthew Pomfret of Pomfret Furniture Studios

2 Lyon & Turnbull

Buyer’s Guide This sale is subject to our standard Conditions of Sale (available at the back of every catalogue and on our website).

If you have not bought at auction before we will be delighted to advise you.

Buyer’s Premium & Other Charges

Registration

Catalogue descriptions

The buyer shall pay the hammer price together with a premium, at the following rate, thereon.

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website. Please note that all fist time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

All item descriptions, dimensions and estimates are provided for guidance only.

It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person (public viewing times listed in every catalogue), our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.

25% up to £100,000/20% thereafter.

VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale).

Additional VAT † VAT at the standard rate payable on the hammer price * 5% import VAT payable on the hammer price No VAT is payable on the hammer price or premium for books bought at auction.

Droit de Suite § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012, this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the buyer on the hammer price and in addition to the buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale.

More information on Droit de Suite is available at www.dacs.org.uk

1–G overnment issued photo ID (Passport/ Driving licence) 2–P roof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/ or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale (available at the back of every catalogue and on our website).

Bidding & Payment For information on bidding options see our Guide to Bidding & Payment at the back of the catalogue.

Removal of Purchases Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser.

Import/Export Prospective buyers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to; rhino horn, ivory, coral and tortoiseshell. Accordingly, prospective buyers should familiarise themselves with all relevant customs regulations prior to bidding if they intend to import lots to another country. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale nor any delay in making full payment for the lot.

Endangered Species Please be aware that lots marked with the symbol Y contain material which may be subject to CITES regulations when exporting outside the EU. For more information visit http:// www.defra.gov. uk/ahvla-en/ imports-exports/cites

Paul Reeves: An Eye for Design 3

Meet the Specialists At Lyon & Turnbull we want to make buying at auction as easy and enjoyable as possible.

Our specialist team are on hand to assist you, whether you are looking for something in particular for your home or collection, require more detailed information about the history or current condition of a lot, or just want to find out more about the auction process.

John Mackie

Theodora Burrell

Olivia Ross

Furniture, Ceramics & Works of Art

Furniture, Ceramics & Works of Art

Department Administrator

john.mackie@lyonandturnbull.com

theo.burrell@lyonandturnbull.com

olivia.ross@lyonandturnbull.com

How to find us in Edinburgh

Lyon & Turnbull

York Place Tram Stop Waverley Station, Princes Street

4 Lyon & Turnbull

Paul Reeves: An Eye for Design 5

Introduction Paul Reeves has been a friend and advisor for most of my thirty years as Curator of Cardiff Castle. We met very soon after I took up the post when he wrote enquiring if an item he was researching might possibly be the work of William Burges. Ironically, at that stage, he knew far more about Burges than I did. When we finally met, I realised that here was no traditional antique dealer, but somebody who had a completely different approach and whose critical ability was both unblinkered and unerring.

Where Paul differs from the rest of us, is his ability to look at an object, whether it be significant or inconsequential, and to know that it has that special quality of inventiveness and style. Seeing it though his eyes makes one take a second look and realise that of course, he’s absolutely right.

I’ve witnessed Paul sweep swiftly through a warehouse full of antique furnishings before homing in on the hidden gem. It’s an enviable instinctive ability, and one that cannot be learned. It was though, polished by his early career in fashion and interior design, when he breathed new life into the work of earlier, sometimes forgotten designers – seeing that their originality might be re-invented.

An unrecognised but interesting item may sit for a long time in his collection until he finally identifies it. Faith in his own instinct gives Paul a patience that would irritate lesser researchers, and marks him as somebody who truly has that rare quality – ‘an eye for design’ Matthew Williams, AMA Curator, Cardiff Castle.

Left: Lot 83 (detail)

6 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 7

1 ATTRIBUTED TO WILLIAM BUTTERFIELD (1814-1900) PAIR OF GOTHIC REVIVAL BRASS PRICKET CANDLESTICKS, CIRCA 1840 each with conical drip tray cast with flowering foliate frieze on overlapping leaf column with foliate knop on triform panel base with bracket feet (2) 57cm high Literature: The Ecclesiological Late Cambridge Camden Society (Edit.), ‘Instrumenta Ecclesiastica’, John van Voorst, London 1847, plate 57 “Candlesticks”.

Note: William Butterfield, the Gothic Revival architect, was involved with the Cambridge Camden Society, later The Ecclesiological Society from 1842. He contributed designs to the Society’s journal, The Ecclesiologist. His involvement influenced his architectural style.

The Cambridge Camden Society, later the Ecclesiological Society was founded in 1839 by undergraduate students at Cambridge University to promote “the study of Gothic Architecture, and of Ecclesiastical Antiques.”

Butterfield was a regular contributor to its monthly journal, ‘The Ecclesiologist’, which advised church builders on their blueprints, advocating a return to a medieval style of church architecture in England.

£1,200-1,800

2 ENGLISH SCHOOL MEDIEVALIST GILT METAL AND JEWELLED PAGE TURNER, CIRCA 1870 with foliate chased and engraved handle and blade, set with amethyst and onyx hardstones 27.5cm long

£300-500

3 JOHN HARDMAN & CO., BIRMINGHAM GOTHIC REVIVAL SILVER PLATE MANTEL CLOCK, CIRCA 1860 the circular enamelled dial with Roman numerals and twin train movement enclosed within plated case with flowering foliate filigree frame, centred with cartouche bearing owner’s cypher, raised on an oak stand with applied rosette frieze and plaque, bearing inscription MOMENTUM UNDE PENDET ETERNITAS (Eternity depends on the present moment) 49cm high

£3,000-4,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

8 Lyon & Turnbull

4 MANNER OF ALEXANDER ‘GREEK’ THOMSON LARGE TWIN -HANDLED CERAMIC AMPHORA VASE, CIRCA 1850 of tapering form, the central frieze moulded with classical figures and floral motifs on a teal ground, within stylised geometric and foliate bands with gilt highlights, raised on a circular plinth base (fine hairline crack to base) 75.5cm high

£500-800

5 MANNER OF ALEXANDER ‘GREEK’ THOMPSON AESTHETIC MOVEMENT GREEK REVIVAL MAHOGANY TOILET MIRROR, CIRCA 1865 the oval moulded frame with mirrored plate, supported by anthemion carved uprights with Greek key carved decoration, on a shaped base with lappet carved frieze on bracket feet 77cm wide, 94.5cm high, 38cm deep

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 9

6 W.H.B. & J. RICHARDSON, STOURBRIDGE RARE GLASS WATER JUG AND TWO MATCHING GOBLETS, CIRCA 1850 each decorated with a frieze of flowering water lilies, printed mark to base RICHARDSON VITRIFIED ENAMEL COLORS (3) jug 23.5cm high, goblet 16.5cm high Note: See Victoria & Albert Museum no. CIRC.167-1964 for a similar example. The makers were well aware of the importance placed by certain critics on ‘appropriate’ ornament as in the present lot where water-lilies decorate the water jug and glasses.

£1,500-2,000

7 AFTER JOHN BELL (1811-1895) BRONZE TABLE LAMP, CIRCA 1895 cast as the figure of a boy, crouching down and holding aloft the light fitting, raised on a stepped marble base, fitted with a frilled glass shade 28cm high to top of fitting, 36cm high with shade Note: This bronze lamp base is based on ‘The Bride’s Inkstand’, modelled by Bell and made by the Felix Summerly Art Manufactory around 1847. Felix Summerly was a pseudonym used

by Henry Cole (1802–82), who worked closely with Prince Albert on the organisation of the Great Exhibition, and later the South Kensington Museum. The workshop oversaw the production of a number of small-scale works of art designed by contemporary artists intended for the dissemination of good design.

£400-600

8 ALFRED STEVENS (1817-1875) FOR MINTON PAIR OF EARTHENWARE MAJOLICA VASES, CIRCA 1865 each of baluster form, the twin handles modelled as an entwining snake, each decorated with quarrelling putti within foliate friezes on a blue ground, raised on circular bases (2) 29cm high Literature: ‘Victorian and Edwardian Decorative Art: The Handley-Read Collection’, Royal Academy Exhibition Catalogue, (4th March-30th April 1972), p. 57, no. C74 where a similar example is illustrated.

£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

10 Lyon & Turnbull

PUGIN & THE GOTHIC REVIVAL

One of the most influential styles of the 19th century, Gothic Revival combined romantic visions of the medieval past with an intellectual approach to art and design. Born in 1812, Augustus Welby Northmore Pugin is regarded a key figure in reviving the traditional Gothic style.

From a young age he worked under his father, the Anglo-French architect Augustus Charles Pugin; an experience which heavily influenced his approach to design after developing a profound love of Medieval architecture from numerous tours abroad. Rejecting the idea of mass-production in an era of industrialisation, Pugin believed that traditional medieval practices and craftsmanship were the purest form of manufacture. He gained his first commissions working for the royal goldsmiths Rundell & Bridge, where he largely focussed on architectural and interior decorative schemes. Whilst collaborating with the firm John Hardman and Co., who produced glass for the Houses of Parliament, Pugin supplied the company with many important designs for precious metals, furniture and ceramics.

Throughout his career, Pugin was particularly fascinated by the atmospheric effects of light and this often informed his designs for interiors. His earlier drawings of candlesticks and sconces illustrate a primary interest in form as opposed to function. Pierced foliate motifs and the introduction of reflector plates allow for interesting light effects which emulate the authentic character of dimly lit medieval settings. His works show a clear preference for ornate detail; gothic scripts, fleur-de-lis and stylised foliate motifs, and elaborate tracery are all common features of Pugin’s designs which came to define the Gothic Revival style.

Though he is perhaps best recognised for his architectural commissions, including the Palace of Westminster, Pugin’s writings and designs for furniture, ceramics and metalwork left behind a legacy for many contemporaries which helped spread the vision of Gothic Revival around Britain.

Literature: Aldrich and Atterbury, ‘A.W.N. Pugin: Master of Gothic Revival’, New York 1995 Atterbury and Wainwright, ‘Pugin. A Gothic Passion’, Yale 1994

9 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) FOR JOHN HARDMAN & CO. GOTHIC REVIVAL SILVER PLATED AND GILDED BRASS WALL SCONCE, CIRCA 1860 the hexagonal reflector plate embossed with floral motifs and centred with a floret roundel, the pierced and chased backplate supporting three curved arms and candlesticks linked with a leafy frieze stretcher 81cm high, 39.5cm wide, 22.5cm deep Literature: Belcher, Margaret (ed.) ‘The Collected Letters of A. W. N. Pugin’ 1851-1852, p.291 Note: The drawing illustrated relates to a frieze and lobed drip pan designed by Pugin, in the collection of Birmingham Museum & Art Gallery and annotated ‘S. Jerningham’ to the reverse. This design is repeated in the present lot.

Henry Valentine Stafford-Jerningham, 9th Baron Stafford DL (1802-1884), known as Henry Jerningham until 1824 and styled The Honourable Henry Stafford-Jerningham between 1824 and 1851, was a British peer and politician and patron of Pugin. Pugin refers to the family in a letter to Hardman of 1851 instructing him to send a lamp to ‘Mrs. Jerningham’ (Lady Stafford).

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 11

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

12 Lyon & Turnbull

10 AUGUSTUS WELBY NORTHMORE PUGIN (18121852) PROBABLY FOR MINTON & CO. TWO GLAZED CERAMIC ALTAR VASES, CIRCA 1850 each of footed baluster form, decorated in gilt with gothic script borders and a central religious motif (largest with fine hairline to rim) (2) 22cm high and 18.5cm high Note: For a similar vase designed by Pugin for Derby Porcelain factory, see Aldrich and Atterbury, ‘A.W.N. Pugin: Master of Gothic Revival’, New York 1995, p. 313, no. 78

£200-300

11 GEORGE C. GOLDIE (1828-1887) FOR THOMAS COX & SONS GOTHIC REVIVAL SILVER GILT EWER AND MATCHING GOBLET, LONDON 1865 the ewer with an applied angel handle decorated with chased foliate bands and with applied lozenges bearing the inscription S. MATTHEW/ S. MARK/ S. LUKE/ S. JOHN on lobed spreading foot, 29cm high; the matching goblet 19cm high, each with hallmarks for London 1865 and maker’s mark (2) Literature: Art Journal: Illustrated Catalogue of The International Exhibition of 1871.

Note: This design was exhibited at the 1871 International Exhibition in London. The architect George Goldie, whose practice Goldie & Child was responsible for the design of many new Roman Catholic churches including the Church of the Assumption in Kensington Square, also designed many of the church furnishings for Cox & Son. The 1870 Cox & Son catalogue claimed to be able to supply 800 designs of furniture, Gothic metalwork, carpets and hangings by ‘eminent church designers’.

£2,000-3,000

12 MANNER OF AUGUSTUS WELBY NORTHMORE PUGIN OAK FRAMED DEVOTIONAL TRIPTYCH SCREEN, CIRCA 1860 the panelled frame set to the interior with carved roundels inset with panels painted in gilt and colours with the Mysteries of the Rosary, recalling events in the lives of Jesus and Mary. bears painted inscriptions MYSTERIA GAUDIOSA/ GLORIOSA/ DOLOROSA/ AVE MARIA/ GRATIA PLENA closed: 38cm wide, 46cm high, 5cm deep; open: 69cm wide

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 13

13 AFTER AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) PAIR OF GOTHIC REVIVAL BRASS ALTAR CANDLESTICKS, CIRCA 1850 each with fleur-de-lis pierced galleried drip tray above quilted column centred with a fleur-de-lis roundel and raised on spreading base, stamped maker’s mark to base J. WILMOTTE ET FILS, LIEGE (2) 65cm high Note: For a similar candlestick by J. Hardman & Co. see Chirk Castle, Wrexham, Denbighshire, Christie’s House Sale, 21 June 2004, lot 412.

£600-800

14 PALACE OF WESTMINSTER PHOTOGRAPH OF THE HOUSE OF COMMONS LIBRARY INTERIOR, CIRCA 1890 later framed within mount 29cm x 36cm

£200-300

15 A.W.N. PUGIN (1812-1852) OR E.W. PUGIN (1834-1875) FOR THE NEW PALACE OF WESTMINSTER, MAKER BENHAM & FROUD, LONDON RARE GOTHIC REVIVAL COPPER COAL AND BRASS MOUNTED SCUTTLE, CIRCA 1855 of rectangular section with two sloping hinged covers each chased with portcullis motif and set with heavy cast decorative hinges and ‘quilted’ swing handle, the whole raised on a plinth, inscribed to the sides VI/ H.C/S, bears maker’s plaque to base 61cm long, 37cm high (including handle), 33cm wide Provenance: Bearing the room number to one side of the scuttle this rare example was presumably supplied to the Houses of Parliament by Benham & Froud around 1855.

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

14 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 15

16 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) FOR JOHN HARDMAN & CO., BIRMINGHAM RARE PAIR OF GOTHIC REVIVAL BRASS ALTAR CANDLESTICKS, CIRCA 1848 each with galleried and lobed drip tray above quilted and knopped column on a trifom base with applied decoration of three cast angels (2) 65cm high Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d’Art de Catalunya ‘William Morris and the Arts & Crafts Movement in Great Britain’ October 2017-May 2018, No. 4.

Note: A shorter form of this candlesticks with single knop on the stem were supplied by Hardmans to St Barnabas, Pimlico circa 1850 where they can be seen on the high altar below the reredos

by George Frederick Bodley. St. Barnabas was designed by Thomas Cundy with assistance from Butterfield 1847-50.

A comparable drawing by Pugin of this design is illustrated in the Hardman & Co. catalogue, 1846, number 9.

£1,800-2,200

17 FRENCH SCHOOL PAIR OF GOTHIC REVIVAL GILT BRASS FIGURAL CHAMBER CANDLESTICKS, CIRCA 1880 cast as recumbent lions, with stylised floret drip trays and nozzles (2) 15cm long, 11cm high

£200-300

18 ENGLISH SCHOOL GOTHIC REVIVAL PITCH PINE CENTRE TABLE, CIRCA 1860 the chamfered circular top raised on crossed supports with pierced lancetarched tracery decoration and with flowerhead rosettes 92cm diameter, 76.5cm high

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

16 Lyon & Turnbull

19 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) PAIR OF GOTHIC REVIVAL PAINTED IRON AND BRASS MOUNTED CHANDELIERS, CIRCA 1850 each with quatrefoil pierced and scalloped hoops, with original polychrome painted decoration, supporting six candle sconces with scalloped drip trays suspended by three chains and with original filigree ceiling roses (2) 58cm diameter, 72cm high Note: For comparable light fittings designed by Pugin see Our Lady and St Wilfrid’s Church, Warwick Bridge, completed in 1841.

£3,000-5,000

20 ENGLISH SCHOOL, MANNER OF EDWARD WELBY PUGIN GOTHIC REVIVAL OAK SIDE CHAIR, CIRCA 1860 the spirally turned top rail above serpentine crossed supports carved with allover flowering foliage and centred with opposed shield, each painted in gilt and coloured enamels and bearing initials JSC and FC 28cm wide, 42.5cm high, 30cm deep

£700-900

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 17

21 WILLIAM WHITE, FSA (1825–1900) FOR BISHOPS COURT TWO GOTHIC REVIVAL OAK ARMCHAIRS, CIRCA 1860 comprising two armchairs, of slightly varying design, each with a shaped cresting and scrolls, the pierced upholstered back above padded arms terminating in large scrolls, raised on knopped legs with front castors, one with a rectangular seat, the other rounded, upholstered in deep red velvet (2) chair one, larger: 69cm wide, 108cm high, 52cm deep. chair two, smaller: 66cm wide, 111cm high, 50cm deep

£3,000-5,000 Provenance: The Bishops Court, Sowton, Devon Bearnes auctioneers, Exeter, ‘The Principal Contents of Bishop’s Court, auction Monday 26th September 1994, Lots 463 and 464 Note: Originally a palace of the medieval bishops of Exeter from the mid-13th century the whole building was remodelled, and the elevations reworked in 1860-4 by William White, for the Garrett family who had purchased it in 1833. The renovation of the house and furnishings in the Gothic Revival style is considered to be White’s most important domestic commission.

White designed the fittings and much of the furniture, with exceptional attention to detail, specifically for the house of which these chairs formed a part.

22 GOTHIC REVIVAL PAIR OF IMPRESSIVE WROUGHT STEEL FIRE DOGS, CIRCA 1880 each worked as fearsome grotesque beast, with scaled body raised on fourtoed feet (2) 31cm wide, 70cm high, 60cm deep

£1,800-2,200

18 Lyon & Turnbull

23 MANNER OF EUGÈNE EMMANUEL VIOLLET-LE-DUC PAIR OF FRENCH SCHOOL GOTHIC REVIVAL OAK LADDER BACK SIDE CHAIRS CIRCA 1875 each with ring turned uprights with leafcarved finials, above later leather upholstered seats, and corresponding ring-turned legs (2) 45cm wide, 122.5cm high, 41cm deep

£500-800

24 JOHN HARDMAN & CO. GOTHIC REVIVAL FLOOR STANDING CANDELABRA AND FLOWER DISPLAY STAND, CIRCA 1860 the lobed brass flower bowl raised on spiralling fluted uprights and supporting three curved candle branches with leafy drip trays, the whole raised on a scrolling tripod base with trefoil feet 43cm across, 121.5cm high Note: The original drawing for this candelabra is held in the archives of Birmingham Museum (see illustration). Marked ‘Atherstone’ this may indicate that the candelabra design was originally a commission for St. Scholastica’s Priory, Atherstone, for which Hardman’s supplied various church furnishings.

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 19

25 OWEN JONES (1809-1874) EARTHENWARE SERVING PLATE, CIRCA 1870 of shaped oval form, decorated with a transfer-printed border of stylised flowers, with printed factory mark JAMES GREEN & NEPHEW/ QUEEN VICTORIA ST.ST. PAUL’S/ OWEN JONES DEL, indistinctly impressed lozenge mark 50cm across

£150-250

26 ENGLISH SCHOOL GOTHIC REVIVAL GILT OVERPAINTED CAST IRON HALL STAND, CIRCA 1873 of lancet fretwork design with three window form panels, fitted with seven coat hooks above a stick stand and deep tray, with Victorian lozenge marks for 1873 76cm wide, 178cm high, 27cm deep

£800-1,200

27 MANNER OF AUGUSTUS WELBY NORTHMORE PUGIN GOTHIC REVIVAL OAK TALL CHAIR, CIRCA 1860 the carved and pierced cresting above two linen-fold panels, with solid moulded seat above chamfered legs with corresponding stretchers 55cm wide, 148cm high, 42cm deep

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

20 Lyon & Turnbull

28 ATTRIBUTED TO JOHN POLLARD SEDDON (1827-1906) FINE GOTHIC REVIVAL INLAID SATINWOOD DRAWING ROOM CABINET, CIRCA 1870 profusely marquetry inlaid with stylised plant forms, the moulded top with canted angles above two glazed doors, enclosing adjustable shelves and flanked by panelled doors and canted angles raised on a plinth base, fitted with brass decorative handles and hinges 170cm wide, 102cm high, 47cm deep Provenance: By repute formerly the property of Lord Derby at Knowsley Hall.

Note: Knowsley Hall, Lancashire, is the seat of the Stanley family, Earls of Derby. The house was remodelled in the Gothic style circa 1820 by the architect John Foster Jr. of Liverpool.

Literature: Cooper, Jeremy ‘Victorian & Edwardian Furniture & Interiors’, Thames & Hudson 1987

£4,000-6,000

Paul Reeves: An Eye for Design 21

29 HART, SON, PEARD AND CO., LONDON AND BIRMINGHAM PAIR OF GOTHIC REVIVAL BRASS AND JEWELLED WALL LIGHTS, CIRCA 1870 the curved bracket and pierced backplate worked with leaf and dentil decoration, applied fruiting foliage set with red cabochon stones, supporting turned and a pair of blocked brackets, with frosted and period opalescent bell-shaped shades, each converted to electricity (2) 31.5cm wide, 31cm high, 31cm deep; 42cm wide with shades

£1,500-2,000

30 MANNER OF BRUCE TALBERT FOR HART, SON, PEARD AND CO., LONDON AND BIRMINGHAM GOTHIC REVIVAL PITCH PINE & BRASS MOUNTED JEWELLED CENTRE TABLE, CIRCA 1870 the rectangular top with dentil mouldings raised above two ebonised ring-turned columns with inlaid brackets on blocked legs with chamfered brackets, linked by an incised brass stretcher set with agate and clear cabochon stones, raised on sled bases 107cm wide, 74cm high, 54.5cm deep

£2,500-3,000

Note: Cooper, Jeremy ‘Victorian & Edwardian Furniture & Interiors’, Thanes & Hudson, 1998, p. 110, fig. 250 where the profile of a table by Talbert with similar features is illustrated.

Talbert produced designs for the firm in the 1870’s.

31 ATTRIBUTED TO CHARLES BEVAN GOTHIC REVIVAL OAK ADJUSTABLE FOLDING ARMCHAIR, CIRCA 1870 upholstered in figured velvet material, the upholstered back and seat with hinged frame having chamfered uprights with lobed terminals and decorative brass fittings, the whole raised on corresponding crossed leg supports, terminating to the front with inset brass castors 56cm wide, approx. 95cm high, approx. 54cm deep

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

22 Lyon & Turnbull

32 MANNER OF JOHN HENRY CHAMBERLAIN AESTHETIC MOVEMENT CARVED MAHOGANY CORNER WALL BRACKET, CIRCA 1870 with single open shelf, surmounted by marquetry inlaid panels with leaf carved frame and carved eagle finial above further carved bracket supports profusely carved with flowers and foliage 60cm wide, 127cm high, 43cm deep

£1,200-1,800

33 FRENCH SCHOOL LARGE GOTHIC REVIVAL UPHOLSTERED MAHOGANY ARMCHAIR, CIRCA 1870 with curved back and padded arms, the frame deeply carved with scrolling foliage to the sides, flanking the mythical beast arm terminals terminating in fish-form tails, raised on front castors, with period olive green velvet upholstery 84cm wide, 120cm high, 65cm deep

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 23

34 ENGLISH SCHOOL, IN THE MANNER OF HART, SON, PEARD AND CO., LONDON AND BIRMINGHAM PAIR OF GOTHIC REVIVAL BRASS AND WROUGHT IRON STANDING CANDELABRA, CIRCA 1865 each with four curved branches and fifth central branch, raised above a spirally-reeded column, on a base with three shaped bracket supports linked by a ring stretcher (2) 203cm high, 48cm diameter

£800-1,200

35 GOTHIC REVIVAL GILTWOOD WALL MIRROR, CIRCA 1870 the rectangular mirrored plate enclosed by carved and gilded frame surmounted by owl and eagle finials, the top rail with foliate cresting centred by a roundel, carved in relief with a griffin fighting a serpent 172cm x 117cm

£800-1,200

36 ENGLISH SCHOOL GOTHIC REVIVAL STEEL AND BRASS FENDER, CIRCA 1870 with a pierced gallery supported writhen and fluted uprights and surmounted by twisted serpent brackets 126cm wide, 22cm high, 25cm deep

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

24 Lyon & Turnbull

37 GOTHIC REVIVAL WITH MOUNTS ATTRIBUTED TO FRANCIS ALFRED SKIDMORE (1817-1896) LARGE PITCH PINE CABINET, CIRCA 1870 the superstructure with an arrangement of open shelves and central arch set with painted and gilded wrought iron insert, the whole decorated with enamelled copper roundels, depicting floral and foliate motifs, the base with two cupboards and central open shelves above three base drawers on a plinth 211cm wide, 252cm high, 55cm deep

ÂŁ2,500-3,500

Note: Francis Skidmore is best-known as an exceptional metalworker and the maker of the Albert Memorial (1863-1876) and the Hereford Screen (which was exhibited in London at the International Exhibition of 1862 and now held at the Victoria & Albert Museum), both designed by Sir George Gilbert Scott (18111878). Based in Coventry Skidmore also produced church plate, light fittings and furniture.

Paul Reeves: An Eye for Design 25

38 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS CANDLESTICKS, CIRCA 1890 each with lobed and dished drip tray above knopped faceted column with applied leafy brackets on a spreading lobed base (2) 30.5cm high

£400-600

39 MANNER OF WILLIAM BURGES MAHOGANY AND ROSEWOOD TABLE CABINET, CIRCA 1880 of rectangular section, the arched pediment with applied turned and painted roundels, above a single door with applied hoop panelling opening to reveal three oak drawers stained and varnished and with corresponding applied hoop decoration, the sides with blind fretwork panelling, the whole raised on a plinth 31cm wide, 38.5cm high, 22cm deep

£500-800

40 ENGLISH SCHOOL GOTHIC REVIVAL PAINTED OAK OVERMANTEL MIRROR, CIRCA 1865 the pedimented hooded top flanked by architectural finials and enclosing an oval bevelled plate with gilded slip, painted with stylised pomegranates, above a chamfered open shelf with bracket supports 112cm wide, 151.5cm high, 21cm deep

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

26 Lyon & Turnbull

41 MANNER OF CRACE & SON GOTHIC REVIVAL THRONE CHAIR, CIRCA 1870 the chamfered frame, stencilled with stylised foliate motifs, highlighted in gilt, the associated but original 19th century back arms and seat raised on a cross-framed support 69cm wide, 105cm high, 52cm deep

£1,200-1,800

42 MANNER OF WILLIAM BURGES, ATTRIBUTED TO HEATON, BUTLER AND BAYNE PAIR OF GOTHIC REVIVAL PEDESTALS, CIRCA 1880 each of square section, the projecting tops above panelled sides, each painted and gilded with entwined foliage and beasts, raised on plinth bases (2) 41cm square, 110.5cm high

£1,500-2,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 27

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

28 Lyon & Turnbull

43 BRUCE JAMES TALBERT (1838-1881) FOR GILLOW & CO., LANCASTER GOTHIC REVIVAL OAK BUFFET, CIRCA 1870 oak, the foliate carved superstructure above open shelves flanked and divided by uprights carved with pyramid devices, the sides pierced with quatrefoils 66cm wide, 168cm high, 66cm deep Literature: Talbert, Bruce ‘Gothic Forms’, London, 1867, no.2; where a similar buffet is illustrated.

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 29

44 GEORGE EDMUND STREET (1824-1881) FOR GILLOW & CO. PAIR OF OAK ‘KLISMOS’ SIDE CHAIRS, CIRCA 1870 each with horizontal carved seat back rail above a linen-fold splat with curved brackets, surmounting a leather covered seat, the upholstery covering the original and intact caned seat, raised on outswept legs (2) 46cm wide, 90cm high, 45cm deep Literature: Whiteway, Michael and Gere, Charlotte ‘Nineteenth Century Design: From Pugin to Mackintosh’, Weidenfeld & Nicolson, 1993, p.145, pl.176 where a side chair in this design is illustrated.

Note: Street designed these ‘Klismos’ chairs for the Law Courts (now the Royal Courts of Justice) which he also designed and which were opened by Queen Victoria in 1882. A competition for the Law Courts was held in 1864, from which no clear winner emerged. Street was appointed, with George Gilbert Scott, who soon resigned leaving him as the sole architect.

£1,500-2,000

45 JOHN POLLARD SEDDON (1827-1906) GOTHIC REVIVAL INLAID OAK WASHSTAND, CIRCA 1870 inlaid with stylised and foliate dot motifs, marble and glazed earthenware, the ear arched gallery inset with original Maw & Co. tiles moulded with stylised floral devices 121cm wide, 108cm high, 61.5cm deep Note: Seddon’s watercolour sketch for a similar washstand is in the collection of the Victoria & Albert Museum’s Prints and Drawings department, drawing number D.1770 - 1896

£1,000-1,500

30 Lyon & Turnbull

46 ATTRIBUTED TO JOHN MOYR SMITH (1839-1912) PAIR OF GOTHIC REVIVAL OAK AND EBONISED LOW CHAIRS, CIRCA 1870 each with chamfered carved finials on incised ebonised uprights and side rails, above the lobed open seat back and chamfered seat, all raised on incised ebonised turned and knopped legs on squat bun feet (2) 53cm wide, 85cm high, 48cm deep

£700-900

47 MANNER OF WILLIAM BURGES SET OF THREE GOTHIC REVIVAL FIRE IRONS, CIRCA 1880 comprising a pair of coal tongs, 100cm long; an ash shovel, 101cm long; and a poker, 98cm long, each with polychrome and gilt zig-zag and dot decoration and with beast handle terminal; and associated cast iron stand with dished quatrefoil base, 45cm wide, 83.5cm high (4) £600-800

48 AFTER WILLIAM BUTTERFIELD FOR GILLOW & CO. GOTHIC REVIVAL WALNUT CENTRE TABLE, CIRCA 1880 the octagonal moulded top with line and dot inlay, above chamfered frieze with decorative carved brackets, the inlaid base with boldly turned column supported by architectural brackets on quadruped base with brass castors, with stamped maker’s marks GILLOW & CO. 1834 129cm across, 74.5cm high

£1,500-2,000

Paul Reeves: An Eye for Design 31

49 ENGLISH SCHOOL PAIR OF GOTHIC REVIVAL BRASS STANDING CANDELABRA, CIRCA 1880 each with six curved branches and a seventh central branch, above a turned column with jewelled knop on a painted steel base with six leafy bracket supports linked by a scalloped rim stretcher (2) 195cm high, 63cm wide

£800-1,200

50 R. W. WINFIELD & CO., BIRMINGHAM GOTHIC REVIVAL BRASS DOUBLE BED, CIRCA 1870 with red and gold damask panelled headboard and corresponding footboard, each with pierced gilt brass bands with stylised foliate decoration, bears maker’s label 150.5cm wide, 133cm high, bed irons 183.5cm long Note: R. W. Winfield & Co. were well known during the 19th century for their production of metal bedsteads, gas lights and fittings although today they are best known for their unusual steel rocking chair. They exhibited at both the Great Exhibition of 1851, and again at the International Exhibition of 1862. At the former, they were one of 170 exhibitors awarded the council or first class medal for “superior excellence in general brass foundry, metallic bedsteads, and gas fittings.”

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

£1,200-1,800

32 Lyon & Turnbull

51 CHARLES EAMER KEMPE (1837-1907) PAIR OF GOTHIC REVIVAL STAINED GLASS PANELS, CIRCA 1905 each comprised of two windows, the upper depicting an angel, with characteristic peacock feather wings and rich attire, reserved on a foliate ground, the lower panels with architectural tracery, each bearing an inscription AND THE WINE HIS BLOOD HE MAKETH/ YET NO FAITHFUL HEART IT SHAKETH and WHAT THOUGH SENSE NO CHANGE CAN SEE/ FAITH CAN TEACH THE MYSTERY, framed (2) taller panels 80.5cm x 33cm, smaller panels 42.5cm x 33cm Provenance: The Second Chapel of The Holy Order, Haywards Heath, 1905.

Note: These windows were removed from the church in 1999 when the church was converted into a domestic residence. Kempe set up his own studio in London in 1866, supplying and creating stained glass and furnishings and vestments, and by 1899 he had over fifty employees. Kempe’s home county of Sussex has 116 examples of his work including the present example.

Rosalie Glynn Grylls, Lady Mander, whose home Wightwick Manor, near Wolverhampton, contains many pieces of Kempe’s stained glass, wrote in 1973: “Kempe’s work has a unique charm; its colours shine out from jewels that cluster on the mitres or the crowns his figures wear and from their peacocks’ feathers, while angels playing their instruments are drawn with tender delicacy and scattered above the main windows informally but making a pattern of precision.

Above all, the prevailing yellow wash is literally translucent, for it lets through the rays of the full or the setting sun...”

£1,800-2,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 33

52 GOTHIC REVIVAL, OF ALFRED WATERHOUSE INTEREST SIX-LIGHT WROUGHT AND PAINTED STEEL CHANDELIER, CIRCA 1880 the corona suspending metal chain sections and pierced spheres, above a foliate banded ring formed with a series of turrets, candle arms and coats of arms, electrified, the chains stamped SG, possibly for the metalworkers J. Starkie Gardner Ltd 87cm diam, 130cm high approx Provenance: Lingholm House, Cumbria Note: Alfred Waterhouse (18301905), best-known for his design for Manchester Town Hall and the Natural History Museum in London, designed Lingholm, on the banks of Derwentwater, in 1871-1875 for the brewer Colonel Greenall. It was one of two houses that were rented

by Beatrix Potter and her family between 1885 and 1907, and where the young Beatrix Potter gained inspiration for some of her stories including ‘The Tales of Peter Rabbit’ and ‘The Tale of Squirrel Nutkin.’

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

34 Lyon & Turnbull

53 ATTRIBUTED TO JOHN GREGORY CRACE (1809-1889) FINE PAIR OF GOTHIC REVIVAL SYCAMORE SIDE CHAIRS, CIRCA 1860 each with open backs, threaded with silk rope and spacer uprights, enclosed by overlapping leaf columns with orb finials above stuffover seats, later upholstered with original 19th century French silk fabric, on chamfered cross supports stretcher, enhanced with rope twist carving and with applied metal bosses (2) 43cm wide, 87cm high, 45cm deep

£1,500-2,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 35

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

36 Lyon & Turnbull

54 THOMAS JECKYLL (1827-1881) AESTHETIC MOVEMENT WALNUT OVERMANTEL, CIRCA 1875 the bevelled mirrors flanked by columns and carved stained panels in the Japanese style, the side sections with small protruding shelves 79cm high, 180.5cm wide Provenance: Alexander Constantine Ionides, 1 Holland Park, London Thence by descent to Mrs P. Hotchkiss Thomas Stainton Charles and Lavinia Handley-Read Private Collection

£5,000-8,000

55 THOMAS JECKYLL (1827–1881) FOR BARNARD, BISHOP & BARNARD AESTHETIC MOVEMENT FIRE SURROUND, CIRCA 1880 the cast iron surround with Japanese motifs, enclosed by associated fireplace in stained hardwood set with tiles by William Godwin of Lugwardine 149cm wide, 92.5cm high, interior measurement 76cm wide, 92.5cm high

£1,000-1,500

Literature: The Studio Magazine of Decorative Art, 1898, volume 12, pp.

102-112 Note: This overmantel formed part of Jeckyll’s Holland Park commission and other pieces from this interior can now be found in the Victoria and Albert Museum in London. Another of Jeckyll’s major commissions was the dining room at Frederick Leyland’s house in Prince’s Gate, made famous by James McNeil Whistler’s ‘Peacock’ panelled decoration.

Paul Reeves: An Eye for Design 37

56 ATTRIBUTED TO SHRIGLEY & HUNT, LANCASTER AESTHETIC MOVEMENT TILED PANEL, CIRCA 1880 the arched panel painted with an urn issuing lilies within a rosette border and enclosed within mahogany frame, bears collection label BEAULAH COLL. CAT. NO. 1313 panel 161cm x 46cm, with frame 174cm x 59cm Provenance: The G.K. Beaulah Collection of Tiles, sold Bonhams, Knightsbridge, January 25th 1995, lot 251.

£800-1,200

57 THOMAS ELSLEY & CO. PAIR OF AESTHETIC MOVEMENT CAST IRON FIRE SURROUNDS, CIRCA 1890 each with cast with Japanese mon, and a central panel of opposed birds, peacock feathers and sunflowers, cast maker’s marks verso T. ELSLEY (2) 122cm x 63cm and 122cm x 63cm Note: Thomas Elsley & Co. were manufacturers of predominantly cast-iron, architectural and decorative pieces whose noteworthy artists included Richard Norman Shaw and C. F. A. Voysey.

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

38 Lyon & Turnbull

58 EDWARD WILLIAM GODWIN (1833-1886) OR GEORGE FREETH ROPER (1843-92) AESTHETIC MOVEMENT WALNUT SIDE CABINET, CIRCA 1880 with two glazed and leaded panel doors with brass fixtures below an open shelf with pierced side brackets, the rectangular top and mirrored back above two drawers on shaped styled supports linked by a stretcher 83.5cm wide, 224.5cm high, 40cm deep Literature: Soros, Susan Weber ‘Aesthetic Movement Architect and Designer’ Yale University Press, 1999, p.

209, no. 333; p. 226-7, plates 369 and 369.1; p. 199 pl.

319; p. 188 pl. 309.II. Note: George Freeth Roper was, for a brief period, assistant to E.W. Godwin and was strongly influenced by him, so the designer of this piece has details used by both. Freeth Roper worked for Collinson & Lock, Gillow & Co. & Kendal Milne & Co after he had left Godwin’s employ and produced Anglo-Japanese designs for these firms. Bookcases and cabinets by Freeth Roper can be found in ‘The British Architect’ vols 10 (1878) and 15 (1881), and in ‘Building News’ in 1873 and 1878.

What is clear in the present example are several compelling Godwin characteristics including the curved and extending tapered uprights on the upper section, the ring handles with square backplates and the brass strap hinges and moulded timber elements.

The pierced circular openings on the tapered uprights also can be seen in a sketch by Godwin for a drawing room cabinet of circa 1874 (V&A PD E. 235-1963, fol.

32), and are not noted in any of Freeth Roper’s designs.

This is one of only two examples of this cabinet known, the other is held in a private collection in the UK. Significantly, the other cabinet is ebonised, again a characteristic finish often used by Godwin but not known in any designs recorded by Freeth Roper.

£8,000-12,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 39

59 AESTHETIC MOVEMENT PAIR OF EBONISED SIDE CHAIRS, CIRCA 1880 each with a reeded back enclosing a carved and pierced fruitwood panel, one depicting sunflowers, the other pansies, above an upholstered seat, on turned and reeded legs united by stretchers (2) 44cm wide, 85cm high, 43cm deep

£600-800

60 COLLINSON & LOCK, LONDON PAIR OF AESTHETIC MOVEMENT EBONISED SIDE CHAIRS, CIRCA 1880 each with turned reeded uprights enclosing a spindle splat above a turned roundel, with circular seats re-upholstered in Japanese gold and purple flowerhead fabric, raised on corresponding turned reeded legs and stretchers, stamped/impressed 5233 (2) 41cm wide, 84cm high, 42cm deep Note: After working under the guidance of cabinet-makers Jackson and Graham, F. G. Collinson and G. J. Lock established their own firm in the 1860's and were renowned for producing Aesthetic and Art Nouveau furniture.

From the outset, the pair hired some of the best designers and craftsmen in the country, including J. Moyr-Smith, A. H. Mackmurdo, E. W. Godwin, H. W. Batley and Stephen Webb. The quality of the furniture produced distinguished them from rival competitors and the firm is perhaps best known for their use of fine quality materials, intricate inlays and marquetry work. In 1897, the company was eventually taken over by Gillows.

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

40 Lyon & Turnbull

61 AESTHETIC MOVEMENT RARE GROUP OF PAINTED DOORS & PANELS, CIRCA 1880 comprising THREE PANELLED DOORS, two with purple ground and one green, each with panels painted in gilt and colours with flowering plants and opposed beasts, 223cm x 99cm; also THREE PAIRS OF SHUTTERS, one purple, two green, each 266cm x 20.5cm (closed), 266cm x 60cm (open), each with corresponding decoration; and a QUANTITY OF MOULDED ARCHITRAVES Provenance: A private residence, Cheltenham, England Literature: Gere, Charlotte ‘Artistic Circles: Design and Decoration in the Aesthetic Movement’, V&A 2010, p. 85

£1,500-2,000

Note: These doors and accompanying shutters and architraves represent a rare surviving example of an ‘Aesthetic’ or ‘House Beautiful’ interior. The Aesthetic Movement of the late nineteenth century advocated the use of foreign or ‘exotic’ influences in the decoration of the home. Long-running articles in influential publications such as the ‘Magazine of Art’ and the ‘Art Journal’ encouraged the idea that it was ‘important to be up-todate with artistic activities. Mrs Haweis, the popular authoress found a lucrative new direction

for her journalism in this area and commented that “most people are now alive to the importance of beauty as a refining influence. The appetite for artistic instruction is even ravenous.” As a cartoonist for Punch and a regular lampooner of the craze for decoration, Edward Linley Sambourne, whose London house is still preserved today, was not immune and the doors and architraves of his house at 18 Stafford Terrace are painted in a very similar fashion to the present lot.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 41

62 THOMAS JECKYLL (1827-1881) PAIR OF AESTHETIC MOVEMENT BRASS DOOR PLATES, CIRCA 1880 each cast with circular panels of flowering foliage on a geometric ground (2) 20cm x 7.5cm

£400-600

63 ENGLISH SCHOOL AESTHETIC MOVEMENT EBONISED SIDE CABINET, CIRCA 1880 the rectangular top with pierced boxwood fretwork frieze, above a lower tier and single door inset with embroidered panel in the manner of Lewis F. Day for the Royal School of Needlework, above a further tier raised on square section reeded legs 49.5 cm wide, 97cm high, 35.5cm deep Note: For similar embroidery designs by Lewis Foreman Day, see Hansen, Joan Maria, ‘Lewis Foreman Day (1845-1910): Unity in Design and Industry’, China, 2007, p. 48, pl. 2.7a, 2.7b and 2.7c

£500-700

64 AMERICAN SCHOOL AESTHETIC MOVEMENT EBONISED SIDE CHAIR, CIRCA 1880 the squared panelled back with lion mask finials, carved with a vase of flowers enclosed by low relief carved borders of flowers, above a black and gold silk upholstered seat depicting chrysanthemums, raised on square section legs with corresponding decoration terminating in paw feet 56.5cm wide, 110cm high, 50cm deep

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

42 Lyon & Turnbull

65 WILLIAM STEPHEN COLEMAN (1829–1904) PREPARING TO BATHE watercolour and bodycolour, signed with inscription to slip W.S. COLEMAN, within Aesthetic Movement ebonised and gilt-incised frame in the manner of Christopher Dresser, bears auctioneer’s catalogue title page and entry verso image 44.5cm diameter, with frame 72cm square Literature: Bergensen, V. ‘The Encyclopaedia of Art Pottery’, Barrie & Jenkins 1991 which shows a charger by Coleman within a similar frame to the current lot.

Provenance: Collection of A. J. Shwabe, sold Christies Manson & Woods, 2nd December 1905, Lot 95 Note: W. S. Coleman joined Minton’s in 1869 and was Art Director of the Minton’s Art Pottery Studio from 1871 to 1873.

The painting on offer here is characteristic of the work he produced for the firm, its circular format indicating that it was possibly a design for a charger.

£2,500-3,500

66 ATTRIBUTED TO THOMAS JECKYLL (1827-1881) FOR ROBBINS & CO. AESTHETIC MOVEMENT BRASS DOORSTOP, CIRCA 1880 the semi-conical weighted base with reeded and stylised foliate roundel decoration 46cm high

£400-600

67 AFTER EDWARD WILLIAM GODWIN AESTHETIC MOVEMENT EBONISED OCCASIONAL TABLE, CIRCA 1880 the triangular top with canted angles, above fretwork apron, on ring-turned legs linked by lower tier with corresponding fretwork gallery 43cm across, 71cm high Literature: Soros, Susan Weber ‘Aesthetic Movement Architect and Designer’ Yale University Press, 1999, p. 160, pl. 226 for a table by Godwin with similar stylistic characteristics.

£300-500

Paul Reeves: An Eye for Design 43

68 CHRISTOPHER DRESSER (1834-1904) FOR BROWNFIELD AND SONS SET OF THREE GRADUATED PARIAN ‘YEDDO’ CRANE JUGS, CIRCA 1876 each decorated with cranes in gilt, with bamboo moulded handles, all with moulded maker’s marks BROWNFIELD & SON/ YEDDO 30 and registration lozenge marks (3) largest 20cm high; 17cm high and 15.5cm high Literature: Lyons, Harry ‘Christopher Dresser: The People’s Designer 1834-1904’ ACC 2005, p.

86, pl. 110 where a similar jug is illustrated.

£300-500

69 ART FURNITURE PAIR OF ANGLO-GREEK UPHOLSTERED SIDE CHAIRS, CIRCA 1880 each with an ebonised frame with incised gilt scrolls and leaf carvings, with a sloped curved back and upholstered seat in gold floral fabric with closenails, terminating in scroll feet and front castors (2) 47.5cm wide, 86cm high, 40cm deep

£500-800

70 ATTRIBUTED TO THE BOMBAY ART FURNITURE CO., IN THE MANNER OF EDWARD WILLIAM GODWIN AESTHETIC MOVEMENT EBONISED CHEVAL MIRROR, CIRCA 1880 the rectangular frame enclosing a mirror plate, on square-set easel supports fitted with twin jewellery drawers 110cm wide, 186.5cm high, 55.5cm deep

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

44 Lyon & Turnbull

E. W. GODWIN Initially training as an architect, it was Godwin’s innovative furniture designs, grounded in principles of functionality and simplicity that defined his career. Over a period of 25 years he is thought to have produced around 400 eclectic designs, many executed in the AngloJapanese style which he is credited for popularising.

During the mid-nineteenth century, British taste was dominated by ornately decorated furniture which filled dark and heavy Victorian interiors. Looking to Japanese arts and crafts for inspiration, Godwin began to produce furniture which celebrated rectilinear forms devoid of ornament. Since he never had the opportunity to visit Japan himself, Godwin relied on imported goods such as Japanese prints, ceramics and furniture, of which he was an avid collector. His preference for elegant lines and undecorated surfaces resulted in lighter, sculptural forms, which looked forward to modern furniture design. Ebonised surfaces defined his Anglo-Japanese style, and Godwin regularly incorporated various floral and abstract motifs into furniture panels; a reference to Owen Jones’ Assyrian patterns from the Grammar of Ornament (Lot 83). Reducing decoration to series of turned spindles and ribbed grooves, a preference for light construction and utility dominates his work, adhering to principles of the Aesthetic Movement.

This is illustrated by the addition of mirror inserts - a device used by Godwin lighten the appearance of his ebonised furniture (Lots 71, 82).

Though he is largely recognised for his Anglo-Japanese furniture, Godwin never tied himself to one particular style. As a result, many of his designs demonstrate an interest in Ancient Egypt and Greece, Gothic, Queen Anne and Jacobean furniture. His Anglo-Greece and Anglo-Egyptian Furniture designs are characterised by inlaid and geometric-turned decoration, angled supports and splayed legs, whilst retaining an elegant and functional aesthetic. Another distinguishing feature of his work is the use of solid, structured lines, akin to those seen in Japanese woodblock prints. However, many neglect the designer’s interest in Chinese decorative arts: his grid-like forms and interplay of solid and void spaces draw on the latticework is likely inspired by Chinese hardwood furniture of the Ming and Qing dynasties in particular. (Lots 75, 76) A testament to his success as a designer, firms across the world replicated his work, including Cottier and Co. and the Bombay Art Furniture Company (Lot 70). Drawing from an extensive range of sources, Godwin successfully interpreted these to form his own distinctive styles, all of which are rooted in the desire to produce functional furniture for modern living.

Literature: Soros, Susan, ‘The Secular Furniture of E. W. Godwin’, New York, 1999 Soros, Susan (ed.), ‘E. W. Godwin: Aesthetic Movement, Architect and Designer’, New Haven and London, 1999

71 EDWARD WILLIAM GODWIN (1833–1886) FOR WILLIAM WATT AESTHETIC MOVEMENT EBONISED DRAWING ROOM CABINET, CIRCA 1880 the stepped mirrored superstructure with spindle gallery crestings, decorated with painted ‘leather’ paper panels above an arrangement of open shelves, the base with moulded top and single drawer bearing characteristic brass ring handles, above further arrangement of mirrored open shelves enclosing a glazed cupboard 155.5cm wide, 206.5cm high, 54cm deep Literature: Reeves, Paul ‘The Anglo-Japanese Buffet by E. W. Godwin, Variations on and Developments of a Design’ Decorative Art Society, Journal 18, 1994, p. 39 Note: This fine cabinet includes several of the design features which can be used to identify the work of E. W. Godwin. The sparseness of the design, to which his followers and imitators seldom managed to restrict themselves, is evident here and the interplay between horizontal and vertical planes echo his earlier designs in the Anglo-Japanese idiom.Japanese or Japonesque ‘leather paper’ is frequently used on his furniture, although its use is not exclusive to him. His preference for circular mirrors is again evident on this cabinet, as is the design for the finials and, of course, the trademark ring handles and backplates with keyhole piercings, taken from the antique. In ‘‘The Anglo-Japanese Buffet by E. W. Godwin, Variations on and Developments of a Design’ Decorative Art Society, Journal 18, 1994, Paul Reeves comments that he has only ever seen handles such as these on Godwin/ Watt pieces and dates this particular cabinet to the latter part of his career, circa 1880, following the publication of William Watt’s seminal ‘Art Furniture’ catalogue published by BT Batsford in 1877.

£4,000-6,000

Paul Reeves: An Eye for Design 45

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

46 Lyon & Turnbull

72 OWEN JONES (1809-1874) FOR TEMPLETON’S, GLASGOW AXMINSTER CARPET, 1871 OR 1887 the repeat-patterned field with bands of stylised flowerheads within further bands of Greek key design and with central eight-pointed star-shaped medallion, the whole within floral, foliate and Greek key borders, bears label verso 407cm x 279cm

£4,000-6,000

Note: This carpet comes from the archive of Templeton’s material in the collection of Stoddard International, which absorbed Templeton’s some thirty years ago. The design originates from 1871, when a similar example was exhibited by the cabinet-makers Jackson & Graham at the London International Exhibition.

Jackson & Graham collaborated with Jones on the interiors at Alfred Morrison’s house, 16 Carlton House Terrace, in 1867. Widely recognised as one of the country’s leading cabinet-makers, it is unsurprising that they would have had their carpets made by Templeton’s, at that time one of the country’s leading manufacturers.

The Art Journal Catalogue of the International Exhibition of 1871 illustrated the design and notes; ‘we engrave on this page a carpet, exhibited by Messrs.

Jackson & Graham - the renowned Upholsterers and Decorators. It is a work of rare excellence, produced from a design specially prepared by Owen Jones. It is of the kind called “patent Axminster”, and is, we believe, the finest specimen of that fabric ever manufactured. Some idea of the delicacy of its texture may be arrived at when we state that there are two hundred and fifty-six points (or separate tufts of wool) in every square inch of surface. The drawing of the carpet, which is in the Persian style, is very elaborate; it has been exceedingly well rendered in the manufacture, and the colouring is in the highest degree harmonious. As, this year, one of the specialities of the Exhibition consists of ‘woollen goods’, it is exceedingly satisfactory to know that England has produces a work that may defy competition.” (p.5)

Templeton’s also developed a unique ‘chenille’ weaving technique, building specially designed looms for the process, and this is presumably the ‘patent Axminster’ weave mentioned above.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Unusually, the label which accompanies this particular carpet suggests the carpet was made sixteen years after the original was exhibited. It may be the archivist who wrote the label made a mistake in the dating and that this carpet could actually be the example exhibited in 1871.

The label mentioned above (see illustration) bears the inscription “Chenille Axminster carpet/ this carpet was made in 1887 for the library of 2 Park Circus for John Stewart Templeton. It has since been in the use of his daughter, Mrs D.H.L. Young and later his great-granddaughter Mrs W.E.H. Grayburn. It was passed to the firm in 1950 after 63 years of use. It is noted for its 16-shot fine worsted pile.”

Paul Reeves: An Eye for Design 47

48 Lyon & Turnbull

73 EDWARD WILLIAM GODWIN (1833-1886) ARCHITECTURAL DRAWINGS: PROPOSED ASSIZE COURTS, BRISTOL a collection of 9 drawings in ink, pencil and coloured wash, each on unbleached tracing paper and neatly laid-down onto 7 leaves of card, comprising:

Proposed Assize Courts, Bristol, 350 x 395mm Drawings showing Proposed New Roof to Guildhall Court..., 240 x 380mm; [laid onto the same sheet as] Proposed New Assize Courts Bristol, 335 x 220mm ...Assize Courts Bristol, 480 x 290mm; [laid onto the same sheet as] Proposed Assize Courts Bristol [Guildhall Roof], 420 x 300mm Proposed Assize Courts Bristol [Floor Plan], 710 x 460mm Proposed Assize Courts Bristol [First and Second Floor Plans], 720 x 425mm; Proposed Assize Courts Bristol [Floor plan], 710 x 465mm Proposed Assize Courts Bristol, elevation towards Small Street, 390 x 460mm

Note: Winning the competition to build the new Northampton Town Hall at the age of twenty-nine established Godwin’s reputation as a leading civic architect. He followed this with another winning town hall design for Congleton, a small town near Manchester. These successes prompted his move to London in 1865, and in 1866 Godwin, with his partner Henry Crisp, entered the competition for the building of the new Bristol Assize Courts under the nom de plume ‘1066’ or ‘Ten Hundred and Sixty-Six’. Their designs won first, second and third prizes. Despite this, and amid protestations, a second competition was order by the town council, which Godwin again entered, this time only gaining second place to an entry from Popes & Binden, which was the one finally built.

The collection on offer comprises a number of drawings from the first competition, including the original drawing

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 49

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

50 Lyon & Turnbull

74 ATTRIBUTED TO EDWARD WILLIAM GODWIN (1833-1886) FOR JAMES PEDDLE, HIGH WYCOMBE AESTHETIC MOVEMENT EBONISED ARMCHAIR, CIRCA 1881 the curved top rail carved with sunflower heads and a reeded panel, above fretwork panel and spindle gallery, the laterupholstered seat on ring-turned and tapering legs, bears registration stamp under seat rail for February 1st 1881 56.5cm wide, 79cm high, 48cm deep Literature: Soros, Susan ‘The Secular Furniture of E.W. Godwin’, Yale University Press, 1999, p. 132, no. 179 illus.

Note: Godwin designed a number of chairs for Peddle in December 1880 for which, according to his diaries, he was paid £16.16s.0d.

£1,200-1,800

75 ATTRIBUTED TO EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT ANGLO-JAPANESE EBONISED OCCASIONAL TABLE, CIRCA 1875 inlaid with satinwood panels, the square moulded top above two drawers and a lower tier with fretwork brackets and two further drawers, the sides with corresponding inlaid panels, the whole raised on incised and ring-turned tapered legs 53.5cm squared, 73cm high Literature: Soros, Susan Weber ‘The Secular Furniture of E. W. Godwin’ Yale University Press, 1999, p.203, pl.

325 where this table is illustrated.

Provenance: Phillips, Edinburgh Sale of the Contents of The Fine Art Society, Edinburgh, 26th May 1992, lot 392 Note: The tapered legs, latticed middle supports and U-shaped handles all conform to Godwin’s work of the mid-1870’s as do the drawer arrangements, a characteristic feature. Soros also asserts that the high elevation of the lower drawer is ‘in keeping with Godwin’s desire to keep the floor accessible for cleaning.

£2,000-3,000

Paul Reeves: An Eye for Design 51

76 EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT RARE PAIR OF AESTHETIC MOVEMENT EBONISED SIDE CHAIRS, CIRCA 1880 the ebonised mahogany frame with upholstered seat covered with 19th century Japanese silk fabric on square fluted legs linked by stretchers (2) 44cm wide, 85cm high, 47cm deep Literature: Watt, William ‘Art Furniture from Designs by E.W. Godwin’ F.S.A., London 1877, pl. 6 Soros, Susan ‘The Secular Furniture of E.W. Godwin, Yale University Press 1999, p. 113 no. 137 and p. 122, no. 158 For a similar chair see Sotheby’s London ‘Paul Reeves The Best of British: Design from the 19th and 20th Centuries’ 20th March 2008, lot 34 Note: This chair appears in an illustration in William Watt’s ‘Art Furniture’ brochure under ‘Dining Room Furniture’. It is a variation of his lattice-back chair (Soros no. 137) however in this example Godwin has curved the back uprights and corresponding seat upholstery. The asymmetrical lattice back is derived from Japanese architectural details which Godwin used frequently in his designs.

Only one other of these chairs is known with the configuration seen in the Watt catalogue (see Sotheby's London, 'Paul Reeves: Best of British The Auction', 20 March 2008, Lot 34).

£8,000-12,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

52 Lyon & Turnbull

77 EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT EBONISED SIDE CHAIR, CIRCA 1880 with turned uprights above a rectangular close-nailed Japanese silk panel and cane woven seat, on turned legs linked by stretchers 44cm wide, 100cm high, 44cm deep Literature: Soros, Susan ‘The Secular Furniture of E.W. Godwin’, Yale University Press, 1999, p. 94 no. 114; p.104 no. 125 Provenance: Collection of Roderick Gradidge. Roderick Gradidge AA Dipl. ARIBA was a prominent British architect and writer on architecture, former Master of the Art Workers Guild and campaigner for a traditional architecture.

Note: This chair is one of the many variants produced by William Watt after the original dining chair designed for Dromore Castle, Ireland in 1869.

They were made in oak or with an ebonised finish as with this example. The model was still in production in 1877 when it appeared in Watt’s catalogue as a chair suitable for the library and prices at £4.4s.0d.

£1,000-1,500

78 ENGLISH SCHOOL, IN THE MANNER OF EDWARD WILLIAM GODWIN AESTHETIC MOVEMENT STAINED LEADED AND PAINTED GLASS PANEL, CIRCA 1880 the central image of a maiden in classical robes writing an inscription SMOOTHLY GLIDE THOU STREAM OF LIFE/ FREE FROM ENVY FREE FROM STRIFE within a panelled border of fruiting and flowering foliage, later oak frame 60cm x 65cm Literature: Soros, Susan Weber (ed.)

‘Aesthetic Movement Architect and Designer’ Yale University Press, 1999, p.

308, fig. 11-18 Note: The central panel bears similarities to tile designs attributed to Godwin for Minton & Co.

£1,000-1,500

Paul Reeves: An Eye for Design 53

79 AMERICAN SCHOOL, MANNER OF HENRY HOBSON RICHARDSON AESTHETIC MOVEMENT MAHOGANY LOW CHAIR, CIRCA 1880 the close-nailed leather back and seat, with moulded spoked brackets rained on moulded and ring-turned legs linked by stretchers 47cm wide, 67cm high, 48cm deep (seat depth) Literature: Aslin, Elizabeth ‘E.W. Godwin Furniture and Interior Design Decoration’ J. Murray, 1986, p.65 where a chair with similarities to the present lot is illustrated (see also lot 103).

£600-800

80 BENHAM & FROUD, LONDON AESTHETIC MOVEMENT GILT METAL DESK CANDELABRA, CIRCA 1880 the square column with ebonised handle supporting two adjustable candle arms with cast shell shaped drip trays, the whole raised on a domed base embossed with fruiting foliage, stamped maker’s marks 30cm wide, 46.5cm high

£400-600

81 ATTRIBUTED TO EDWARD WILLIAM GODWIN (1833-1886) PROBABLY FOR WILLIAM WATT AESTHETIC MOVEMENT ROSEWOOD CENTRE TABLE, CIRCA 1875 the circular top with moulded edge, raised on ring-turned and blocked legs linked by two ring stretchers and linked by radiating spoke stretchers supporting a central urn stand, the whole raised on square tapering feet 104cm diameter, 77cm high Literature: See Sotheby’s, London ‘Paul Reeves, The Best of British: Design from the 19th and 20th centuries’, 14th-20th March 2008, p. 51, no. PR 31, where a similar table with ebonised finish is illustrated.

£2,500-3,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

54 Lyon & Turnbull

82 EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT AESTHETIC MOVEMENT WALNUT-FRAMED CHIMNEY SHELVES, CIRCA 1877 the lower tier of three bevelled mirror plates below an open shelf with four ebonised sunflower roundels and circular convex mirror, with carved and reeded and blocked frame within further stepped open shelves and with lattice-work surround 127cm wide, 119cm high, 18cm deep Literature: Soros, Susan ‘The Secular Furniture of E.W. Godwin’, Yale 1999, pp. 248-9, nos. 414; 418 and 420 illus.

William Watt’s ‘Art Furniture’, 1877, pl.14 Note: Godwin designed a number of overmantels or chimney shelves for William Watt of which this is a variant. William Watt's 'Art Furniture' shows a similar mirror with this configuration of reeded and blocked ebonised convex mirror surrounded by carved sunflower bosses.

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 55

83 EDWARD WILLIAM GODWIN (1833-1886) FOR WILLIAM WATT AESTHETIC MOVEMENT WALNUT WARDROBE, CIRCA 1875 the reeded cornice above a bevelled mirror plate cupboard door flanked by a panelled carved with stylised foliate motifs above three drawers and a lower apron drawer, with panelled side, the right side with one lateral drop flap with pierced brackets, all raised on turned legs 122cm wide, 217cm high, 61cm deep Literature: Soros, Susan ‘The Secular Furniture of E.W. Godwin’, Yale 1999, p. 225, no. 366 illus.

Note: A similar wardrobe in deal is illustrated in William Watt, Art Furniture from ‘Designs by E.W. Godwin’, F. S. A., London, 1877, pl. 16. Priced at £18.18s0d., the wardrobe had minimal decoration and was described in the brochure as “usually enough (space) for a gentleman whose means were limited.”

Presumably this is a more expensive version in walnut with single folding shelf and carved details, however the layout of the panelling, drawers and cupboards are identical to the example in the brochure.

£5,000-8,000

56 Lyon & Turnbull

84 AESTHETIC MOVEMENT EXHIBITION POSTER, 1973 Camden Arts Centre, London, August 15-October 7, organised by the Arkwright Arts Trust with the support of the London Borough of Camden, framed and glazed poster 75cm x 49cm; frame 82.5cm x 57cm

£200-300

85 ATTRIBUTED TO CHARLES EDWARD HORTON FOR JAMES LAMB, MANCHESTER EBONISED AND SATINWOOD OCCASIONAL TABLE, CIRCA 1880 the canted rectangular top with boxwood lines and central satinwood panels raised on incised and gilded square legs linked by fretted boxwood panels 46cm square, 66.5cm high Note: A table of comparable design by Horton for James Lamb exists in the Victoria and Albert Museum in London, number W.9-1986

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 57

86 ENGLISH SCHOOL, IN THE MANNER OF CHRISTOPHER DRESSER SET OF FOUR AESTHETIC MOVEMENT BRASS WALL LIGHTS, CIRCA 1875 each with elaborate backplates and hinged arms, cast and pierces with sunflowers and stylised foliage and supporting a glass reservoir, brass fittings and clear and original frosted globe shades, converted to electricity (4) back plates 30cm tall, total height with shades XXXcm, 42cm deep Literature: Lyons, Harry ‘Christopher Dresser: The People’s Designer 1834-1904’ ACC 2005, pp. 155-157, where lights of comparable style manufactured by Ratcliff & Tyler are illustrated.

£1,500-2,000

87 MANNER OF CHRISTOPHER DRESSER FOR GEORGE JONES AESTHETIC MOVEMENT POLYCHROME COFFEE SET, CIRCA 1876 with gilt decoration, each cup of conical form with angular handles with matching saucers, printed registration marks for 1876 (12) cups 6cm high, saucers 12.5cm diameter

£400-600

88 WATCOMBE POTTERY, TORQUAY AESTHETIC MOVEMENT FROG JARDINIÈRE, CIRCA 1880 covered in a yellow glaze, modelled as a frog pulling a seashell, impressed maker’s marks WATCOMBE/ TORQUAY 21cm long

£200-300

58 Lyon & Turnbull

89 JAMES LAMB, MANCHESTER AESTHETIC MOVEMENT EBONISED AND COROMANDEL INLAID MUSIC CABINET, CIRCA 1880 the superstructure with spindle and mirrored back with reeded fretwork supports and carved fan shaped brackets, above two panelled doors, each with foliate carved panel, enclosing a fitted interior with adjustable sliding shelves above velvet-lined dividers, the whole raised on reeded square feet 53cm wide, 134cm high, 36.5cm deep

£1,500-2,000

90 ENGLISH SCHOOL, IN THE MANNER OF EDWARD WILLIAM GODWIN AESTHETIC MOVEMENT ROSEWOOD CENTRE TABLE, CIRCA 1880 the circular top with a reeded edge on six ring-turned supports linked by pierced stretchers and a circular undertier, the whole raised on flared tapering legs 101cm diameter, 76cm high

£1,200-1,800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 59

91 HOWARD & SONS AESTHETIC MOVEMENT OAK SIDE CABINET, CIRCA 1880 with spindle gallery and top shelf above a further open shelf, mirrored backs and central fitted blue and white Japanese charger, Kangxi period, with turned and reeded column supports, above a central drawer and two doors, flanked by glazed doors, opening to a shelved interior, variously inlaid with flower heads and stylised foliage, the whole raised on bun feet, the drawer stamped with maker’s marks HOWARD & SONS/ BERNER ST., with paper label to verso 168cm wide, 199.5cm high, 51cm deep

£2,000-3,000

60 Lyon & Turnbull

92 F. & C. OSLER AESTHETIC MOVEMENT BRASS AND CUT GLASS HALL LANTERN, CIRCA 1880 of square section, the angles with turned and strawberry cut columns enclosing cut glass and engraved panels depicting cranes, birds and butterflies amongst flowering foliage, with smoke hood, converted to electricity 32cm square, 53cm high (excluding hood)

£1,800-2,200

93 CHRISTOPHER DRESSER (1834-1904) FOR LINTHORPE ART POTTERY, MIDDLESBROUGH LARGE BALUSTER VASE, CIRCA 1880 with trumpet neck and wavy rim, cast in low relief with moth roundels within stylised foliate borders, covered in a turquoise glaze, impressed factory marks LINTHORPE 2279 64cm high Literature: ‘The John Scott Collection: A Christmas Spectacular’, The Fine Art Society, London 3rd-19th December 2014, No. 49, where a similar example is illustrated.

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 61

94 ENGLISH SCHOOL, MANNER OF JOHN MOYR SMITH AESTHETIC MOVEMENT GLAZED DOOR, CIRCA 1880 with acid-etched glass panel depicting a figure pouring water within foliate borders and set in a later painted panelled door with fittings Glazed panel 105.5cm x 60.5cm, door 218cm x 90cm Note: See frontispiece detail

£700-900

95 MINTON & CO. AESTHETIC MOVEMENT FRAMED TILE PANEL, CIRCA 1880 painted as a lady in classical dress with a basket of fruit, bearing inscription LA REINE POMONE, impressed mark MINTON panel 80.5cm x 20cm; frame 89cm x 28cm

£400-600

62 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 63

96 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH SILVER PLATE TUREEN, COVER AND LADLE, CIRCA 1880 the TUREEN with deep bowl set on three tapering feet, with two cylindrical ebonised wood handles, the cover with turned ebonised wood finial, bears maker’s marks to base H&H/ 2123 with registration mark for July 1880, 31cm across the handles, 21cm high; the LADLE with deep bowl and cylindrical, slightly tapering ebonised wood handle, 33cm long (2) Literature: Lyons, Harry, ‘Christopher Dresser: The People’s Designer 1834-1904’, England, 2005, p. 202, pl. 388 Whiteway, Michael ‘Christopher Dresser 1834-1904’, Skira Editore S.p.A., 2001, pl. 79 Whiteway, Michael (ed.) ‘Christopher Dresser: A Design Revolution’, V&A 2004, pl. 186

£6,000-8,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

64 Lyon & Turnbull

97 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ’CLUTHA’ GLASS VASE, CIRCA 1890 of freeform circular section with trailed and pulled banded decoration 14.2cm high

£600-800

98 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH, LONDON ELECTROPLATED SPOON WARMER, CIRCA 1880 with ebonised wood handle and four prong feet, bears initials CS, stamped maker’s marks to base 2693 16.5cm across Literature: Halen, Widar ‘Christopher Dresser: A Pioneer of Modern Design’, Phaidon 1993, plate 182

£400-600

99 CHRISTOPHER DRESSER (1834-1904) FOR WALKER & HALL SHEFFIELD ELECTROPLATED SUGAR BOWL AND SCOOP CIRCA 1880 stamped maker’s marks 19985A to base of bowl (2) bowl 16cm across, scoop 11cm long Note: A silver example is illustrated in ‘Christopher Dresser, Ein Viktorianischer Designer 1834-1904’ , Kunstgewerbemuseum, Cologne, 1981, Cat. No. K16.

£300-500

100 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ’CLUTHA’ GLASS VASE, CIRCA 1890 of freeform circular section with trailed and pulled banded decoration 14.5cm high Literature: Widar, Halen ‘Christopher Dresser: A Pioneer of Modern Design’, Phaidon 1993, p.

173, pl. 195 Lyons, Harry ‘Christopher Dresser: The People’s Designer 1834-1904’ ACC 2005, p.162, pl.311 where a vase with similar decoration are illustrated.

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 65

101 CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTONS ELECTROPLATE LADLE FOR SCOTT’S RESTAURANT, LONDON, CIRCA 1880 with circular bowl and angular stem bearing inscription SCOTT’S, stamped maker’s marks 36cm long

£1,000-1,500 Note: Scott’s, the renowned London restaurant, currently situated at 20 Mount Street, originated as ‘Scott’s Oyster Rooms in Haymarket in the 1850’s or earlier. After changing hand several times in the 1870’s it became ‘Scott’s Oyster and Supper Rooms’ on Coventry Street in 1891. It is amongst the five oldest restaurants in London and has established itself as one of the most fashionable and glamorous restaurants in town, welcoming film stars, politicians and writers through the years. Ian Fleming, the creator of James Bond, was often seen at Scott’s in the 1950’s and 60’s and it was reportedly here that he discovered the dry martini ‘shaken not stirred’. The restaurant moved to Mount Street in 1967.

102 CHRISTOPHER DRESSER (1834-1904) FOR MINTON & CO. THREE TEAPOTS, CIRCA 1880 each of baluster ovoid form with applied handle, one decorated in blue on white with storks, printed makers mark MINTON/ STORK, 19.5cm high; the other printed and painted in gilt and coloured enamels with a frieze of cornflowers, impressed maker’s mark MINTON, 18.5cm high; and a PLATED TEAPOT, attributed to Hukin & Heath, of corresponding shape, chased with an allover foliate design, unmarked, 18cm high (3) Literature: Lyons, Harry ‘Christopher Dresser: The People’s Designer 1834-1904’ ACC 2005, p. 87, pl. 112 where a similarly decorated stork teaset is illustrated

£800-1,200

66 Lyon & Turnbull

103 MANNER OF HENRY HOBSON RICHARDSON SET OF FOUR AESTHETIC MOVEMENT UPHOLSTERED OAK DINING CHAIRS, CIRCA 1890 each with scrolled terminals incised with flower sprigs above a carved splat with three rosettes and 19th century striped upholstered back panels and seats, on curved legs linked by a turned stretcher, with castors (4) Note: H. H. Richardson (1838-1886) was a prominent American architect who built extensively across the United States and whose work in turn influenced Louis Sullivan, Frank Lloyd Wright, and many other architects. The chairs in the current lot, although probably English, display many of the characteristics of Richardson’s designs for furniture. Richardson’s only European project was ‘Lululaund’, a Romanesque revival style house developed from a sketch for German-born British artist Hubert von Herkomer, in exchange for a portrait. (see also lot 79).

45cm wide, 93.5cm high, 48cm deep Literature: Aslin, Elizabeth ‘E.W. Godwin Furniture And Interior Design Decoration’ J. Murray, 1986, p.65 where a chair with similarities to the present lot is illustrated.

£1,500-2,000

104 CHRISTOPHER DRESSER (1834-1904) AESTHETIC MOVEMENT OAK TWO-DOOR WARDROBE, CIRCA 1880 the castellated cornice above twin doors each with chevron tongue and groove panels, and four further panels carved in relief with stylised foliage, enclosed to the angles with turned and incised uprights, and enclosing a hanging space 141cm wide, 213cm high, 59cm deep Literature: Furniture Gazette, 1880 Agius, Pauline ‘British Furniture 1880-1915’, Antique Collector’s Club, 1978, p. 32, plate 20.

Note: Although much of Dresser’s furniture could be described as ‘Anglo-Japanese’ his work also reflected influences from Early English furniture and from Egyptian, Islamic and Greek sources as well as honesty of construction, angularity and simplicity. Dresser was editor of the Furniture Gazette from 1880-81 when the design of the present lot appeared within its pages.

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 67

68 Lyon & Turnbull

105 ROYAL WORCESTER RARE SET OF ‘FOUR SEASONS’ ALLEGORICAL PARIAN WALL BRACKETS, CIRCA 1865 each modelled as a female figure allegorical of the four seasons, covered in an iridescent pearlised glaze, one with impressed maker’s mark (4) 18cm wide, 26cm high, 10cm deep Literature: Sandon, Henry ‘Royal Worcester Porcelain: from 1862 to the Present Day’ Barrie & Jenkins 1973, pl. 24 where two of these brackets are illustrated.

Note: The present lot is the only known complete set outside the Museum of Royal Worcester.

£1,500-2,000

106 ENGLISH SCHOOL LARGE AESTHETIC MOVEMENT GLAZED DOOR, CIRCA 1880 with central acid-etched panel, decorated with decoration of opposed birds and palm fronds, within patinated panelled door Glazed panel 135cm x 89cm, door 241cm x 113.5cm

£500-800

Paul Reeves: An Eye for Design 69

107 ENGLISH SCHOOL AESTHETIC MOVEMENT EBONISED OVERMANTEL, CIRCA 1880 with gilt incised decoration, the walnut spindle filled gallery above bevelled mirrored plate flanked by painted panels after Albert Moore, above an arrangement of open shelves with mirrored back 180.5cm wide, 162cm high, 23cm deep

108

£800-1,200

HENRY STACY MARKS (1829-1898) FOR MINTON & CO. GROUP OF EIGHT MEDIEVALIST PLATES, CIRCA 1875 transfer-printed with scenes of feasting at a banquet within a floral border, impressed maker’s marks (8) 26cm diameter Note: Henry Stacy Marks (1829-1898) was one of a number of freelance designers associated with Minton’s and was interested in Medieval themes and iconography, and a regular collaborator with architects and designers including William Burges and Alfred Waterhouse.

He supplied designs for use at their Art Pottery Studio in London, established by Colin Minton Campbell in 1871. Wares produced in Stoke-on-Trent were brought to London, decorated and fired in a specially constructed kiln.

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

70 Lyon & Turnbull

109 ATTRIBUTED TO HENRY WILLIAM BATLEY (1846-1932) GOTHIC REVIVAL MAHOGANY CORNER CABINET, CIRCA 1880 with pointed pediment top enclosing a mirrored and gilded interior above two panelled doors painted with neo-classical figures, above further open shelves and mirrors with spindle galleries 62cm wide, 171cm high, 39cm deep approx.

Literature: Soros, Susan Weber ‘Rediscovering H.W. Batley (1846-1932), British Aesthetic Movement Artist and Designer’, Studies in the Decorative Arts, VI, no.

2 (Spring-Summer 1999), p.9, fig. 9 where a related corner cabinet is illustrated.

£1,000-1,500

110 ATTRIBUTED TO ALFRED WATERHOUSE (1830-1905), HENRY CAPEL, LONDON (ATTRIBUTED MAKER) AESTHETIC MOVEMENT WALNUT CORNER CABINET, CIRCA 1880 the top with three levels of open shelves, above the base with painted panel doors depicting SUMMER and AUTUMN foliage, the carved canted corners with gilt details, on a moulded base 79cm wide, 212cm high, 49cm deep approx.

Note: The Art Furniture maker Henry Capel worked particularly closely with the architect Alfred Waterhouse (see illustration of period adverisement of 'Henry Capel's Art Furniture').

£1,800-2,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 71

111 JOHN MOYR SMITH (1839-1912) FOR W.B. SIMPSON & SONS FIVE ‘NURSERY RHYME’ SERIES FRAMED TILES, CIRCA 1875 four bearing inscriptions MISTRESS MARY/ QUITE CONTRARY; GOOSEY GANDER; LYTTELE JACKE HORNER; HEY DIDDLE DIDDLE; and one without inscription, later framed (5) each tile 15.5cm square Literature: Stapleton, Annamarie ‘John Moyr Smith 1839-1914: A Victorian Designer’, Richard Dennis 2002, pp. 44-45, fig. 75 illus.

Note: Moyr Smith was employed by W. B. Simpson & Sons in the 1870's, possibly under the auspices of Cox & Son or the Society of Decorative Arts. His first interior for the firm was at 86 Marlborough Street, Boston Massachusetts, built by Sturgis & Brigham in 1872 for Mr Charles H. Joy. It is not clear whether Sturgis & Brigham approached Moyr Smith directly or through Simpsons however he produced a great deal of designs for the house including a set of 12 Nursery Rhyme tiles for a mantelpiece, also produced for the British market.

£600-800

112 JOHN MOYR SMITH (1839-1912) AESTHETIC MOVEMENT GREEK REVIVAL OAK CHAIR, CIRCA 1880 the original embossed silk velvet upholstery with pressed line and serrated design, enclosed by a frame, with carved and incised serrated line decoration, above gothic arched apron and bracket legs terminating in hipped feet with castors 46.5cm wide, 87.5cm high, 59.5cm deep

£2,000-3,000

Provenance: Supplied as part of a suite to the Earl of Iveagh Literature: Stapleton, Annamarie ‘John Moyr Smith 1839-1912: A Victorian Designer’, Richard Dennis 2006, pp.28-9, fig. 36 where this example is illustrated.

Note: A prolific tile designer of the Victorian era, John Moyr Smith produced at least 18 pictorial tile series for the Minton companies as well as designs for Burmantofts and W.B. Simpson. He was also well known for his work as an illustrator, interior decorator and designer of furniture. This very rare chair was designed by Moyr Smith in the late 1860’s. Tantalisingly, the front leg appears in an illustration for piano by Moyr Smith which was published in Building News of 1869. The design in the Greek Revival style shows the influences of Bruce Talbert and Christopher Dresser.

Indeed, it is thought that Moyr Smith designed this chair whilst working in Dresser’s studio and follows the form of furniture that Dresser illustrated in the Furniture Gazette (see lot 104). It is likely that this chair was made by either Cox & Son or Collinson & Lock. Bears label under seat rail MILLAR & BEATTY LTD/ HOME FURNISHERS/ GRAFTON STREET/ DUBLIN. Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

72 Lyon & Turnbull

113 MANNER OF ALFRED WATERHOUSE AESTHETIC MOVEMENT PAINTED AND GILDED ARMCHAIR, CIRCA 1880 the turned fretwork back above open arms and upholstered seat, raised above a chequer frieze on turned and blocked legs linked by stretchers, original painted and gilded surface decoration 53.5cm wide, 90cm high, 53cm deep Literature: See V&A museum no. W.42-1975 for a chair with similar characteristics by Waterhouse and made by Henry Capel.

£800-1,200

114 MANNER OF ALBERT MOORE AESTHETIC MOVEMENT PAINTED GLASS PANEL, CIRCA 1880 depicting a classical figure holding a backgammon board, framed panel 55.5cm x 19.5cm; frame 63.5cm x 27cm

£300-500

115 THOMAS JECKYLL (1827-1881) FOR BARNARD, BISHOP & BARNARD AESTHETIC MOVEMENT BRASS FENDER, CIRCA 1880 of rectilinear outline, the galley pierces and cast with Japanese geometric motifs, supported to the angles with fluted uprights, surmounted by urn finials 173.5cm wide, 27cm high, 34cm deep

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 73

116 ATTRIBUTED TO HENRY WILLIAM BATLEY (1846-1932) AND GILLOW & CO. AESTHETIC MOVEMENT ASH WARDROBE, CIRCA 1870 with arched architectural pediment the breakfront comprising three sections, with four en grisaille painted panels depicting recumbent classical maidens and cavorting cherubs, enclosed by stencilled borders of diaper work, foliage and flowerheads and line inlay, the central section with a mirror, flanked by two cupboard doors, opening to fitted drawers, sliding shelves and linen-lined hanging spaces, decorated to the sides, the whole raised on squat bun feet, with keys 211cm wide, 239cm high, 79cm deep Note: For an ash commode and bedside cabinet of a matching design, both stamped GILLOWS, see Lyon & Turnbull 'The Contents of Kirkton House', 10th October 2018, Lot 449.

ÂŁ1,200-1,800

74 Lyon & Turnbull

117 MAW & CO., BROSELEY, SHROPSHIRE SIX AESTHETIC MOVEMENT FRAMED WALL TILES, CIRCA 1880 glazed in green and ochre glazes and depicting impressed birds and shepherdess designs (6) each tile 15.5cm square

£400-600

118 AFTER WILLIAM BURGES FOR THE BUILDING NEWS TWO DESIGNS FOR STAINED GLASS AT CARDIFF CASTLE, DATED MARCH 3RD AND MAY 12TH 1882 each printed with the stained glass windows for Cardiff Castle drawn by H. Walter Lonsdale after the original designs by William Burges, each inscribed THE CANTERBURY TALES. CARDIFF CASTLE. STAINED GLASS WINDOWS/ DESIGNED BY H. WALTER LONSDALE/ THE LATE WM. BURGES A.R.A. ARCHT., framed and glazed (2) each 30cm x 39cm

£300-500

119 ART FURNITURE AESTHETIC MOVEMENT EBONISED CHAISE LONGUE, CIRCA 1880 the spindle-filled back with pierced flowerhead panels above a loose squab cushion and bolster and raised on turned and blocked legs linked by a corresponding spindle galleried apron and terminating in brass caps and castors, re-upholstered in 19th century textile by Templeton’s, Glasgow 183cm long, 92cm high, 61cm deep

£2,000-3,000

Paul Reeves: An Eye for Design 75

120 MANNER OF RICHARD NORMAN SHAW EBONISED CABINET ON STAND, CIRCA 1880 the moulded and projecting cornice above panelled doors and sides, each backed by patinated and gilded ‘leather’ paper, raised on square supports linked by a lower tier, with tiered spindle galleried sides on bracket feet 90cm wide, 174cm high, 64cm deep

£1,500-2,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

76 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 77

121 BRUCE JAMES TALBERT (1838-1881) FOR HOLLAND & SON RARE GOTHIC REVIVAL OAK WALL CABINET, CIRCA 1867 the galleried top with carved frieze decorated with flowering foliage above two cupboard doors, each carved with panels of birds and flanked by ebonised turned pilasters, the whole above a lower shelf with tongue and groove back board 75cm wide, 107cm high, 27cm deep Literature: The Building News, May 1868 illus. (see illustration left) Note: Bruce Talbert originally trained as a carver before working as an architectural draughtsman in Glasgow. He subsequently became a prolific commercial designer of furniture, metalwork, stained glass, wallpapers, textiles and carpets and produced several influential publications including ‘Gothic Forms applied to Furniture Metalwork’ and ‘Decoration for Domestic Purposes’ which had a big impact on the way in which the revived Gothic style was used in domestic design.

Talbert designed several pieces for Holland and Sons’ stand at the Paris International Exhibition of 1867, including a cabinet of the present lot’s design and an inlaid cabinet now held at the Victoria & Albert Museum in London (museum no. CIRC.286:1, 2-1955).

£8,000-12,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

78 Lyon & Turnbull

122 HENRY WILLIAM BATLEY (1846-1932) FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT ROSEWOOD SIDE CHAIR, CIRCA 1876 the ring-turned spindle back with upholstered panel, enclosed by corresponding tapered uprights, on original velvet upholstered seat and tapering legs, linked by a galleried stretcher 40cm wide, 91cm high, 43cm deep Literature: Soros, Susan Weber ‘Rediscovering H.W. Batley (1846-1932), British Aesthetic Movement Artist and Designer, Studies in the Decorative Arts, VI, no. 2 (Spring-Summer 1999), p. 14, fig. 15 Whiteway, Michael and Gere, Charlotte ‘Nineteenth Century Design: From Pugin to Mackintosh’, Weidenfeld & Nicolson, 1993, p.164, pl.203 where a side chair in this design is illustrated.

Note: This chair featured in the Collinson & Lock stand at the 1876 Philadelphia Exhibition (see illustration), where it appeared with a large cabinet by Bruce Talbert and an Anglo-Japanese cabinet by E.W. Godwin. The American decorated Harrison used an illustration of the chair in the frontispiece of her book ‘Woman’s Handiwork in Modern Homes (New York 1881) and Herter Brothers used the design in their 1872-3 decoration of Thurlow Lodge, Menlo Park, California.

£2,500-3,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 79

123 BRUCE JAMES TALBERT (1838-1881) PROBABLY RETAILED BY PRATT & PRINCE, BRADFORD FINE PAIR OF AESTHETIC MOVEMENT INLAID SIDE CHAIRS, CIRCA 1880 each with original plush velvet upholstery, the backs with upholstered pad and turned and gilt-incised spindle galley above stuffover seat and apron with rosette inlaid frieze, on inlaid and incised turned legs with brass caps and castors, each bears retailer’s label under seat rail PRATT & PRINCE/ BRADFORD (2) 44cm wide, 84cm high, 43cm deep

ÂŁ2,500-3,000 Note: Bruce Talbert was a prominent member of the first wave of Glaswegian architects and designers, including Alexander 'Greek' Thompson, Daniel Cottier and Christopher Dresser, although this group has only quite recently and retrospectively been recognised as such. Through his various publications he influenced the international design community and he was particularly celebrated in The United States and could be said to be responsible for the design vocabulary of designers and firms such as the Herter Brothers, Kimbel and Cabus, Frank Furness and Daniel Pabst.

The chairs in the current lot represent the very best of his work, in terms of design and quality of execution, and are unusual in retaining the original velvet upholstery. The accompanying illustration shows the chairs in a room setting, with minor variants as is common with design suggestions. This illustration was published in 'Gothic Forms' (Applied to Furniture, Metalwork and Decoration for Domestic Purposes by B.J. Talbert, Archt., London.) and published by S. Birbeck in 1867.

80 Lyon & Turnbull

124 ALFRED WATERHOUSE (1830-1905) PAIR OF AESTHETIC MOVEMENT OAK CLUB ARMCHAIRS, CIRCA 1880 with leather upholstery, the curved padded arms on baluster turned supports, above close-nail seat and turned, reeded and blocked front legs, united by curved stretchers (2) 61cm wide, 77cm high, 64cm deep Note: Similar chairs supplied to the National Liberal Club, Whitehall Court, London, designed by Alfred Waterhouse, and completed in 1887 (see illustration).

£1,200-1,800

Paul Reeves: An Eye for Design 81

125 BRUCE JAMES TALBERT (1838-1881) FOR COX & SONS GILT BRASS NEF, CIRCA 1870 in the form of a boat, mounted on four wheels, the bow surmounted by a dragon, the ribbed sides with a lunette-cast frieze, with later engraving HENRY HARRIS J. P. TO DAN ROLF ESQ IN APPRECIATION & TO COMMEMORATE THE LAUNCH OF THE HENRY HARRIS 16TH OCTOBER 1919, the stem engraved DANIEL ROLF 19.5cm long Note: This design appears in Cox & Sons catalogues of 1873 and 1876. Talbert drew similar nefs on furniture in his publications.

£1,500-2,000

Illustration from a Cox & Sons catalogue of 1873

126 MAW & CO., BROSELEY, SHROPSHIRE SIX AESTHETIC MOVEMENT FRAMED WALL TILES, CIRCA 1880 glazed in green and ochre glazes and depicting impressed birds and shepherdess designs (6) each tile 15.5cm square

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

82 Lyon & Turnbull

127 FRENCH SCHOOL PAIR OF BRASS TABLE LAMPS CIRCA 1900 converted to electricity from candlesticks, the nozzles with applied goat’s head and ivy motifs on fluted column and triform base cast as three crouching leopards (2) to fitting 29.5cm, with later shade 44cm high

£500-800

128 ENGLISH SCHOOL THREE FOLD MAHOGANY FRAMED DRAUGHT SCREEN, CIRCA 1890 each fold with two opposed fabric panels, fitted to one side with a 19th century woven fabric in the manner of Christopher Dresser and to the reverse with a 19th century silk damask each fold 167.5cm x 61cm

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 83

129 ATTRIBUTED TO JAMES LAMB, MANCHESTER PAIR OF AESTHETIC MOVEMENT OAK SIDE TABLES, CIRCA 1870 each with a rectangular top and moulded edge, above single moulded drawer with pierced brass handles on morocco leather backings, on six-turned, blocked and reeded supports, linked to the sides with a single gallery, and with moulded stretcher (2) 137.5cm wide, 77.5cm high, 69cm deep

£1,500-2,000

130 ENGLISH SCHOOL AESTHETIC MOVEMENT BRASS FENDER , CIRCA 1875 each end with knopped uprights and open brackets above pierced stylised flowerheads and diamond motifs flanking a central circular panel 142cm wide, 48cm high, 33cm deep

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

84 Lyon & Turnbull

131 DANIEL COTTIER (1838–1891) AESTHETIC MOVEMENT STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1870 depicting a maiden with hair tied back, wearing a decorated cloak and reserved on a foliate ground within multiple borders 39cm x 33.5cm Literature: Auction catalogue: 'The Artistic Property of the Well-Known House of Cottier and Company, New York. (New York: American Art Galleries, November 19-26, 1913, page 854) Note: Two of the lots of stained glass lots by Daniel Cottier in this sale (the present lot and lot 135) are remarkably similar to and may be the two lots sold at the auction of the contents of Cottier & Co. in New York in 1913. A larger version of 'Caritas' (lot 133) was also sold in the 1913 auction.

With thanks to Max Donnelly, Curator of Nineteenth-Century Furniture in the Department of Furniture at the V&A, for his assistance in cataloguing this lot.

£2,000-3,000

DANIEL COTTIER Considered a pioneering figure in the development of the Aesthetic Movement in Britain, America and Australia, Glasgow-born artist Daniel Cottier is celebrated for his vibrant stained glass designs.

At the age of 14, he began working as an apprentice for David Kier, master glazier for Glasgow Cathedral, and later Cairney & Co., one of Scotland’s leading stained glass firms at the time. Upon moving to London he was introduced to the Pre-Raphaelite circle and became heavily influenced by the views of John Ruskin and William Morris.

As well as stained glass, Cottier’s firm also produced furniture, ceramics and decorated interior schemes for wealthy clientele, including the Vanderbilt family. Many of his designs feature inlays of exotic motifs and Assyrian influences, similar to those found in Owen Jones’ Grammar of Ornament. Taking further inspiration from leading designers like Bruce Talbert and E. W. Godwin, Cottier developed his own distinctive furniture designs which are typically heavier in construction and more elaborately decorated than his avant-garde contemporaries.

By the 1870s, Cottier had formed his own company in Edinburgh and London, with additional branches in New York and Sydney. In line with ideals of the Aesthetic Movement, Cottier firmly believed that art should ultimately be fit for purpose, whilst also retaining a sense of beauty. Departing from the rigid and slightly fanciful style of the Gothic Revival, Cottier’s compositions look to nature as a source of inspiration, featuring various plant forms and naturalistic classical figures with flowing robes. Additionally, his religious glass panels employ a harmonic use of colour in an attempt to reflect the purpose of the interior space.

Pale greens and yellows juxtaposed with deep reds and blues create an explosion of colour intended to encourage religious practices of celebration and reflection.

Although his designs for stained glass are synonymous with his name, Cottier’s contribution to furniture design during the late nineteenth century should not be forgotten. His role in disseminating the ideals of the Aesthetic Movement internationally was pivotal and his legacy as a result was broad, with many internationally renowned designers like Louis Comfort Tiffany taking inspiration from his work.

Literature: Kinchin, Juliet (et. al), ‘Cottier’s in Context: Daniel Cottier, William Leiper and Dowanhill Church, Glasgow’, Historic Scotland Edinburgh, 2011

Paul Reeves: An Eye for Design 85

132 DANIEL COTTIER (1838–1891) GREEK REVIVAL DRAWING ROOM CABINET, CIRCA 1870 the painted decoration with pediment cornice above an open shelf supported by turned pillars, the rectangular top above panelled sides and two panelled doors enclosing a fitted shelf, the whole raised on bracket feet 113cm wide, 161cm high, 49cm deep Note: The design of this Greek Revival cabinet with its characteristic painted decoration is likely to have been the result of Cottier's exposure to the work of Alexander 'Greek' Thompson in the 1850's and 60's in Glasgow. Cottier collaborated with Thompson in the late 1860's, including supplying the decoration at Holmwood House circa 1858 (see lot 134). The simple lines and painted decoration of this cabinet are consistent with other cabinet furniture produced by Cottier around this time.

With thanks to Max Donnelly, Curator of Nineteenth-Century Furniture in the Department of Furniture at the V&A, for his assistance in cataloguing this lot.

£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

86 Lyon & Turnbull

133 DANIEL COTTIER (1838–1891) AESTHETIC MOVEMENT STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1870 depicting a mother and child, reserved on a foliate ground within multiple borders, bears inscription CARITAS (Virtue) 39cm x 33.5cm Literature: Auction catalogue: 'The Artistic Property of the Well-Known House of Cottier and Company, New York. (New York: American Art Galleries, November 19-26, 1913, lot 889) Note: See lot 131 for note.

With thanks to Max Donnelly, Curator of Nineteenth-Century Furniture in the Department of Furniture at the V&A, for his assistance in cataloguing this lot.

£2,000-3,000

134 ATTRIBUTED TO DANIEL COTTIER (1838–1891) PAIR OF AESTHETIC MOVEMENT EBONISED DRAWING ROOM LOW CHAIRS, CIRCA 1880 the close-nailed upholstered backs with ring-turned uprights above corresponding upholstered seats with moulded aprons and boldly turned legs terminating in brass castors and linked by stretchers (2) 49cm wide, 83cm high, 51cm deep

£1,000-1,500

Exhibited: Glasgow, National Trust for Scotland, Holmwood House ‘Daniel Cottier, Holmwood’s Forgotten Genius’ exhibition 2016 Note: For another pair of chairs to the same design see collection National Trust for Scotland, Holmwood House, Glasgow.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 87

135 DANIEL COTTIER (1838–1891) AESTHETIC MOVEMENT STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1870 depicting a maiden, her head covered with a shawl, reserved on a foliate ground within multiple borders 39cm x 33.5cm Literature: Auction catalogue: 'The Artistic Property of the Well-Known House of Cottier and Company, New York. (New York: American Art Galleries, November 19-26, 1913. p. 854) Note: See lot 131 for note.

With thanks to Max Donnelly, Curator of Nineteenth-Century Furniture in the Department of Furniture at the V&A, for his assistance in cataloguing this lot.

£2,000-3,000

136 ATTRIBUTED TO DANIEL COTTIER (1838–1891) AESTHETIC MOVEMENT BURR WALNUT AND EBONISED CENTRE TABLE, CIRCA 1880 the circular quarter-veneered top with ebonised and line inlay, above turned, blocked and inlaid legs with wheel-spoke stretchers centred by an urn stand 121.5cm diameter, 72cm high

£2,000-3,000

88 Lyon & Turnbull

137 ATTRIBUTED TO DANIEL COTTIER (1838–1891) AESTHETIC MOVEMENT EBONISED BEECH AND INLAID CENTRE TABLE, CIRCA 1880 the octagonal top with moulded edge, profusely inlaid with a marquetry panel depicting opposed masks and stylised foliage, raised on turned and blocked legs, linked by stretchers and curved brackets, terminating in scroll feet 75cm diameter, 63cm high

£1,500-2,000

Paul Reeves: An Eye for Design 89

138 FRENCH EGYPTIAN REVIVAL SLATE MANTEL CLOCK, CIRCA 1880 the circular dial with gilt chapters enclosing a twin-train movement, bearing retailer’s inscription I. ADAMS/ WOLVERHAMPTON, within tapered rectangular case, surmounted by a bronze figure of the Sphynx, the case incised and gilded with stylised foliate motifs and with walnut mouldings, the whole raised on tapered square section feet 35cm wide, 38cm high, 15.5cm deep

£400-600

139 ENGLISH SCHOOL, IN THE MANNER OF OWEN JONES AESTHETIC MOVEMENT INLAID ORIENTALIST VASE STAND, CIRCA 1880 inlaid with mother-of-pearl, the square top with stylised foliate decoration above a frieze with corresponding decoration raised on square legs linked by an inlaid tier 41cm square, 94cm high

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

90 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 91

140 WILLIAM JAMES AUDSLEY(1833–1907) AND GEORGE ASHDOWN AUDSLEY (1838-1945) FOR W. M. H. AND G. H. DREAPER VICTORIAN EGYPTIAN REVIVAL PIANO, CIRCA 1880 ebonised wood with parcel gilt decoration Egyptian revival style, the hinged top enclosing a folding music stand above pierced fabric-backed panels depicting stylised foliage within Greek key borders, the hinged fall board with inlaid panel, the keyboard flanked by a pair of stated sphinxes above reeded tapering columns with foliate cappings, interior of fall board inscribed WM. H. & G. H. DREAPER, 96 BOLD STREET LIVERPOOL, inlaid medallion inscribed EXPOSITION UNIVERSELLE INTERNATIONALE DE 1878 PARIS and stamped to the framed DREAPER PATENT L’POOL 4195/ 2780 153.5cm wide, 135cm high, 63cm deep Note: For a similar example by Audsley see National Museums Liverpool collection. A piano of this design was exhibited at the 1878 Paris Exposition Universelle where it was awarded a bronze medal

£2,000-3,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

92 Lyon & Turnbull

141 ELKINGTON & CO., BIRMINGHAM BLACK SLATE AND BRONZE MOUNTED MANTEL CLOCK, CIRCA 1880 the circular dial with Roman numerals inscribed ELKINGTON LIVERPOOL, with twin train movement, within arched rectangular section case, mounted with a bronze lion skin and set to the angles with crouching figures, the whole raised on moulded bracket feet 56.5cm wide, 27cm high, 16.5cm deep

£400-600

142 ENGLISH SCHOOL AESTHETIC MOVEMENT MAHOGANY OCCASIONAL TABLE, CIRCA 1890 the square moulded top above shaped apron raised on stylised slender cabriole legs ending in pad feet 45.5cm squared, 72cm high

£200-300

143 GAETANO DESCALZI (1767-1855), CHIAVARI, ITALY ’CAMPANINO’ FRUITWOOD AND CANED SIDE CHAIR, CIRCA 1860 the curved back above woven rush seat raised on slender tapering turned legs with corresponding stretchers 41cm wide, 85.5cm high, 37cm deep Note: A forerunner of Gio Ponti’s ‘Superleggera’ chair, the ‘Campanino’ chair was designed by Descalzi in 1807, when he was challenged to design a new, modern chair based on a chair that one of his patrons, Marquis Stefano Rivarola, had brought from Paris.

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 93

144 LEONARD MOREL-LADEUIL (1820-1888) FOR ELKINGTON & CO., BIRMINGHAM ’A POMPEIAN LADY AT HER TOILETTE’, ELECTROTYPE CHARGER, DATED 1876 signed ELKINGTON AND CO./ MORELLADEUIL/ INV & FECIT/ 1876, with inscription to the reverse and registration mark 51cm diameter Note: This charger was first produced in 1876 for the Philadelphia Exposition.

£500-800

145 FERDINAND BARBEDIENNE (1810-1892) ORIENTALIST GILT BRONZE AND CLOISONNÉ ENAMEL TRUMPET VASE, CIRCA 1880 decorated in coloured enamels on a turquoise ground, the handles modelled as griffins, raised on four paw feet, stamped, F. BARBEDIENNE 23.5cm high

£600-800

146 ATTRIBUTED TO A. & H. LEJAMBRE, PHILADELPHIA AESTHETIC MOVEMENT MAHOGANY FRAMED STOOL, CIRCA 1880 the close-nailed top later upholstered in 19th century block-printed linen, above square section tapering legs with brass sabot, enclosing arched aprons and linked with reeded stretchers with pierced and anthemion design 58.5cm wide, 53.5cm high, 38cm deep Note: A. and H. Lejambre produced high-quality furniture in Philadelphia, particularly in the Japanese taste, and the influence of the British reform designer E. W. Godwin is evident in their work. This mahogany stool with its Greek anthemion decoration and brass sabots reflects Godwin’s interest, not only in Japanese style but also Greek, Egyptian and Islamic sources.

£500-700

94 Lyon & Turnbull

147 FRENCH SCHOOL JAPONAISE CAST IRON FLOOR LAMP, CIRCA 1880 the mottled green and aventurine glass reservoir converted to electricity, on faux bounded bamboo stem painted frame, with applied painted lily pad shelves, the whole raised on a tripod base 169cm high (excluding shade), 56cm across

£800-1,200

148 FRENCH SCHOOL ORIENTALIST ASH, MAHOGANY AND LACQUERED CENTRE TABLE, CIRCA 1880 the circular top inlaid with a parquetry panel, above a lower tier with twin glazed cupboard doors and inlaid to each side with corresponding circular Japanese lacquer panels, the whole raised on square legs linked by cross stretchers on carved paw feet 72cm diameter, 75cm high

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 95

149 JAPANESE SCHOOL LARGE REPOUSSÉ COPPER WALL CHARGER, MEIJI PERIOD, CIRCA 1880 of circular form with lobed rim, the central panel worked in high relief with swimming carp 76cm diameter

£1,500-2,000

150 MANNER OF EDWARD WILLIAM GODWIN FOR COLLINSON & LOCK, LONDON AESTHETIC MOVEMENT LACQUERED CANTERBURY ÉTAGÈRE, CIRCA 1875 with three graduated urn stands above a single tier and further undertier, with paper rack flanked by a single lacquered door and drawer, over fretwork frieze and castors, with a key 54cm wide, 97cm high, 38cm deep

£1,200-1,800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

96 Lyon & Turnbull

151 GROUP OF FRAMED JAPANESE PRINTS 1920'S AND EARLIER the arched and divided frame filled with fragments from 19th century Japanese prints 79cm x 43cm

£200-300

152 ENGLISH SCHOOL AESTHETIC MOVEMENT ROSEWOOD FIRE SCREEN, CIRCA 1880 with curved uprights enclosing a pierced frieze above a rectangular glazed panel of embroidered Meiji period silk fabric depicting cranes in a landscape, surmounting a further pierced geometric frieze on domed curved legs 73cm wide, 124.5cm high, 23.5cm deep

£300-500

153 MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT EBONISED SIDE CHAIR, CIRCA 1880 with incised gilt decoration, the upholstered back and buttoned upholstered seat with later velvet fabric, supported by a turned and blocked frame 54.5cm wide, 77cm high, 60cm deep

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 97

154 POSSIBLY WILLIAM SMEE & SONS AESTHETIC MOVEMENT WALNUT HALLSTAND, CIRCA 1880 the central bevelled plate enclosed by a fretwork surround, set with Japanese lacquered panels and applied brass hat pegs, the rectangular top above a single drawer flanked by two stick stands 133cm wide, 233cm high, 39.5cm deep

£800-1,200

155 ENGLISH SCHOOL AESTHETIC MOVEMENT BAMBOO ARMCHAIR, CIRCA 1880 the fretwork back above open arms and original oil cloth upholstered seat 62.5cm wide, 91cm high, 54cm deep

£300-500

98 Lyon & Turnbull

156 HOLLAND & SONS AESTHETIC MOVEMENT OAK AND ELM HALLSTAND, CIRCA 1880 the rectangular panelled back mounted with hat pegs, with asymmetrical mirrored plate surrounded by Japanese panels, the whole fitted with a glove box and single drawer stamped HOLLAND & SONS, above two pull-down panelled doors surmounted by a leather upholstered seat 123cm wide, 183cm high, 46cm deep

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 99

157 ENGLISH SCHOOL, POSSIBLY BY JACKSON & GRAHAM ANGLO-MORESQUE MAHOGANY AND BOXWOOD DRAWING ROOM SUITE, CIRCA 1880 comprising an OVERMANTEL MIRROR, with arcaded open shelves and mirrored backs above a central bevelled mirror enclosed by a turned fretwork frame, 157.5cm wide, 121.5cm high, 23.5cm deep; a REVERSE BREAKFRONT SIDE CABINET, with turned fretwork decoration, with two central panelled doors above a mirrored back and a single door below, flanked by open shelves and two further doors, 176cm wide, 160cm high, 42cm deep; a GENTLEMAN’S AND A LADIES’ ARMCHAIR, each with later striped water silk upholstery, fretwork panels; gentleman’s chair: 57cm wide, 89cm high, 64cm deep; ladies’ chair: 57.5cm wide, 90cm high, 66cm deep; and a PAIR OF MATCHING LOW CHAIRS, 48.5cm wide, 76.5cm high, 52cm deep (6) £2,000-3,000

100 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 101

158 GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS SATINWOOD AND EBONY INLAID MAHOGANY SIDE CABINET, CIRCA 1898 the top with six open shelves divided by inlaid chamfered chevron columns, above three astragal glazed doors enclosing a shelved interior, profusely decorated inlaid bands and borders depicting scrolls and stylised foliage, the side panels also inlaid, raised on waisted chamfered feet, with a key 178.5cm wide, 152cm high, 60cm deep Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d’Art de Catalunya ‘William Morris and the Arts & Crafts Movement in Great Britain’ October 2017-May 2018

£12,000-18,000

Note: George Jack trained as an architect but, like many of his contemporaries, he also designed furniture and furnishings and made a range of plaster reliefs and wood-carvings. He worked for Philip Webb, a friend of the designer William Morris, and architect of Morris’s own home, Red House. This connection led to Jack receiving commissions to design pieces for Morris & Company, alongside his architectural work.

The companion cabinet to the current lot, also with exceptional inlaid decoration, is held at the Victoria & Albert Museum in London (museum number W.42:1 to 8-1929) which was one of several pieces of furniture made specially as stage props for the first run of ‘The Crusaders’ by Henry Arthur Jones at the Avenue Theatre in London in 1891. Morris & Company were credited in the programme, which also requested ‘the indulgence of the audience’ between acts as ‘the stage is small and the scenery rather elaborate’. It seems likely that someone attending the play may have commissioned the present lot as the play acted as a promotion for the firm.

Amongst George Jack’s most powerful furniture designs for Morris & Company, only six of these richly inlaid cabinets are known. Created between 1893 and 1906, they number among the most expensive pieces ever advertised by the firm. One example is in the Victoria and Albert Museum, one (probably from Jack’s own collection) is now at the Philadelphia Museum of Art and a third is in the collection of the Virginia Museum of Fine Arts.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

102 Lyon & Turnbull

159 WALTER CRANE (1845-1915) A MEDIEVAL PROCESSION, DATED 1908 coloured lithograph, published by Franz Hanfstaengl and bearing inscriptions WALTER CRANE DEL. ‘08, with cypher, COPYRIGHT FRANZ HANFSTAENGL 1908 48cm x 66cm

£200-300

160 WALTER CRANE (1845-1915) ’MUSIC’, A PAIR OF HAND-BLOCKED WALLPAPER PANELS, CIRCA 1870 each depicting an angel holding a viola within a foliate band highlighted with gilt, framed and glazed (2) 93.5cm x 26cm Literature: The Studio Magazine, volume 4, 1894, ‘Walter Crane’s PaperHangings’, an interview with Aymer Vallance, illustrated.

Note: These panels are from Crane’s ‘Trio’ pilaster papers, which also included ‘Painting’ and ‘Poesy’.

£400-600

161 GEORGE WASHINGTON JACK (1855-1931) FOR MORRIS & CO. ARTS & CRAFTS MAHOGANY-FRAMED ‘SAVILLE’ ARMCHAIR, CIRCA 1890 the later upholstered back and seat enclosed by spindle-filled arms on square baluster front legs 67cm wide, 94cm high, 70cm deep Literature: Anscombe, Isabelle & Gere, Charlotte ‘Arts and Crafts in Britain & America’, Academy Editions 1978, p. 39, pl. 37 Note: A similar ‘Saville’ armchair with turned legs can be found in the entrance hall of Standen, Sussex.

£1,200-1,800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 103

162 AFTER GEORGE WASHINGTON JACK (1855-1931) PAIR OF ARTS & CRAFTS CARVED OAK BANISTER PANELS, CIRCA 1890 each of canted rectangular outline, carved and pierced to each side, one with a huntsman, the other with a wild boar amongst foliage (2) 105cm wide, 42cm high, 9.5cm deep

£600-800

163 AFTER WALTER CRANE (1845-1915) ’PRINCESS BELLE-ETOILE’ AESTHETIC MOVEMENT CERAMIC WALL PLATE, CIRCA 1880 painted with an interior figural scene, impressed maker’s marks to reverse 4/76 6 24cm diameter Note: The painted illustration is after the original illustration by Crane for his version of ‘Princess Belle-Etoile’, under the title ‘The Frog Prince and other stories’ and first published by George Routledge 1874.

£200-300

164 MANNER OF MORRIS & CO. LARGE ARTS & CRAFTS FRUITWOOD LIBRARY TABLE, CIRCA 1895 the chamfered rectangular top above a central drawer, raised on turned and blocked legs linked by a lobed and curved undertier, on bun feet 199cm long, 75.5cm high, 75cm deep

£1,200-1,800

104 Lyon & Turnbull

165 MORRIS & CO. PATTERN STUDY, CIRCA 1910 pencil and watercolour on rice paper, laid on card, the design depicting a bird resting on a chrysanthemum stem surrounded by flowering foliage, inscribed lower left NO OUTLINE TO SHOW ROUND EDGE, framed drawing 64cm x 33.5cm; frame 73cm x 42cm Note: Presumably a design for embroidery, this study formed part of a collection of studies and drawings owned by a former employee at Morris & Co.

£400-600

166 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. ARTS & CRAFTS OAK CENTRE TABLE, 1880 the circular quarter-sawn top on six ring-turned legs and central turned column, all linked with corresponding ring-turned stretchers 122cm diameter, 72.5cm high Literature: Whiteway, Michael and Gere, Charlotte ‘Nineteenth Century Design: From Pugin to Mackintosh’, Weidenfeld & Nicolson, 1993, p.100, pl. 108 Parry, Linda, ‘William Morris’, London, 1996, p.175 Lyon & Turnbull, Decorative Arts, April 2004, lot 328 for a similar example in mahogany

£7,000-9,000

Note: In 1861 Philip Webb began collaborating with William Morris at Morris, Marshall, Faulkner & Co. (later Morris & Co.). After designing a similar table for Sir Edward Burne-Jones in the 1850’s, the firm later produced several related examples for high-profile commissions. These included Old Swan House, Chelsea, designed by Sir Richard Norman Shaw for the connoisseur Wickham Flower, and Great Tangley Manor in Sussex, where Webb carried out extensions in 1885. A walnut version of this table is in the collection at Standen, the Arts and Crafts house Webb designed in 1891, now in the care of the National Trust.

Paul Reeves: An Eye for Design 105

167 MAY MORRIS (1862-1938) AND JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. ARTS & CRAFTS THREE FOLD EMBROIDERED AND MAHOGANY FRAMED DRAUGHT SCREEN, CIRCA 1900 the panels of varying heights, each with pierced fretwork frieze above a glazed embroidered panel depicting flowers, and a rectangular moulded base, the smaller panels with glazed panels surmounting the embroidery Total width 178.5cm wide, 184cm high Literature: Parry, Linda ‘William Morris Textiles’ V&A 3013, p.34, pl. 20 Exhibited: Chipping Campden, Court Barn ‘Women in the Arts & Crafts Movement’, July 27th - October 28th 2018

Note: The two flanking panels of this screen are a version of an ‘Embroidered Panel for Screen’, signed ‘MM’, and designed for Morris & Co. The pattern was printed alongside May Morris’s article ‘Chain-stitch embroidery’, published in The Century Guild Hobby Horse, vol. 3 (1888), p. 24. A printed proof on paper (prepared for the magazine) can be found in the William Morris Gallery collection (K736). Another version of the design was incorporated into a three-panel screen sold at Christie’s in 1999 (present whereabouts unknown), illustrated in Anna Mason et al, ‘May Morris: Arts and Crafts Designer’, London: Thames & Hudson in association with the Victoria and Albert Museum, 2017, no. 68, pp. 82-83. The central panel of the screen forms part of a three-panel screen illustrated in the Morris & Co. catalogue ‘Embroidery Work’, c. 1910-1912 (the first of the screens for mounting embroideries). The V&A attributes this horned poppy design to John Henry Dearle (V&A CIRC.848-1956) with a broad date of 1885-1910. Linda Parry includes the V&A screen in her exhibition catalogue ‘William Morris’, London: Philip Wilson Publishers Ltd, 1996, p. 248, cat. entry M.31.

With thanks to Dr. Lynn Hulse for her assistance in cataloguing this lot.

£4,000-6,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

106 Lyon & Turnbull

168 PHILIP SPEAKMAN WEBB (1831-1915) FOR MORRIS & CO. ARTS & CRAFTS WALNUT DRAWING ROOM CABINET, CIRCA 1870 the moulded cornice above single plate shelf with bracket support, the rectangular moulded top above three panelled drawers and three corresponding panelled doors below, the whole raised on block feet united by ogee aprons 157cm wide, 152.5cm high, 44cm deep Literature: Cooper, Jeremy ‘Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau’, Abbeville Press, 1987, p. 167, pl. 418 where the line drawing for this cabinet is illustrated.

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 107

169 PHILIP WEBB (1831-1915) FOR MORRIS & CO. RARE ARTS & CRAFTS EBONISED MAHOGANY SOFA, CIRCA 1875 the frame with inset with bobbin decoration, with outward curving back, button-upholstered and with uprights terminating in acorn finials, the upholstered seat raised on six legs joined by H stretchers, each with corresponding bobbin decoration, brass capped castors 144cm wide, 86cm high, 65cm deep Literature: Cooper, Jeremy ‘Victorian and Edwardian Furniture and Interiors: From the Gothic Revival to Art Nouveau’, Abbeville Press, 1987, p. 177, pl. 467 where a similar settee is illustrated.

Note: Webb designed this model in 1866, adapted from an 18th century original.

£5,000-8,000

108 Lyon & Turnbull

170 PHILIP SPEAKMAN WEBB (1831-1915) FOR JAMES POWELL & SONS SET OF SIX GREEN WINE GLASSES, CIRCA 1870 each of swollen trumpet form, with rope twist stem and spreading domed circular foot (6) 12cm high Literature: Rudoe, Judy and Coutts, Howard ‘The Table Glass Designs of Phillip Webb and T.G. Jackson for James Powell & Sons, Whitefriars Glassworks’

£300-500

171 CANTIGALLI, FLORENCE RUBY LUSTRE JUG, LATE 19TH CENTURY of ovoid form and applied angular handle, decorated with two stylised birds amongst fruiting foliage, with painted cockerel cypher and marks L8 18cm high

£200-300

172 ATTRIBUTED TO JOHN ALDAM HEATON (1830-1897) PAIR OF PAINTED LADDERBACK ARMCHAIRS, CIRCA 1890 each with gilt stencilled decoration to the ebonised frame, with serpentine arched back splats above out-curved arms and original rush seat, on turned legs linked by stretchers (2) 60cm wide, 118cm high, 46cm deep

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 109

173 ENGLISH SCHOOL GEORGE III UPHOLSTERED MAHOGANY WINDOW SEAT, CIRCA 1800 with scrolled arms to each end enclosing a long rectangular squab cushion, with later early 20th century verdure needlework covering, all raised on square section legs linked by a stretcher 204cm wide, 84cm high, 70cm deep

£2,500-3,500

110 Lyon & Turnbull

174 FRENCH SCHOOL GOTHIC REVIVAL STAINED, PAINTED AND LEADED GLASS PANEL, CIRCA 1870 depicting a girl at her spinning wheel in an ecclesiastical setting with landscape beyond, bears fleur-de-lys cartouche with belted inscription SANS PEUR/ SANS REPROCHE 231cm x 73cm

£1,200-1,800

175 W* R* GOTHIC REVIVAL POTTERY ROUNDEL, CIRCA 1880 modelled in relief as a portrait of a young man, covered in a brown and blue glaze, within an ebonised frame, with incised artist’s initials W R/ T27 roundel 16cm diameter; frame 23cm diameter

£300-500

Paul Reeves: An Eye for Design 111

176 ALEXANDER MUNRO (1825-1871) TERRACOTTA PORTRAIT ROUNDEL moulded in relief as a portrait of a man with bat wings, bears artist’s monogram AM 36cm diameter Note: Alexander Munro was a sculptor of the PreRaphaelite movement whose early talents were supported by financial assistance from his father’s employer, the Duchess of Sutherland. From 1842 he assisted and trained in the Edinburgh studio of the sculptor Alexander Handyside Ritchie. He came to London in 1848 to study sculpture under Charles Barry. At this time he also worked as a mason on the new Palace of Westminster. He exhibited at the Royal Academy from 1849 to 1870, and at the Great Exhibition of 1851 where his Rossetti-influenced figure-group ‘Paolo and Francesca’ was first exhibited.

£800-1,200

177 ALFRED WATERHOUSE (DESIGNER, 1830-1905), HENRY CAPEL, LONDON (MAKER) AESTHETIC MOVEMENT EBONISED SIDE CHAIR, CIRCA 1870 the back with ring-turned radial spindle gallery below above upholstered seat and corresponding turned legs linked by stretchers 42cm wide, 89.5cm high, 49cm deep Literature: Cooper, Jeremy, 'Victorian and Edwardian Furniture', pub. London 1998, p.106, fig. 229 Provenance: Blackmoor House, Hampshire Note: Blackmoor House, Selborne, was designed in 1869 by Alfred Waterhouse for Roundell Palmer, 1st Earl of Selborne., with extensions added in 1882.

£1,200-1,800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

112 Lyon & Turnbull

178 ATTRIBUTED TO LEWIS FOREMAN DAY (1845-1910) STAINED LEADED AND PAINTED GLASS PANEL, CIRCA 1880 the two central panels depicting winged griffins a monkey musician and angel within flowering foliage within corresponding figurative panels, later oak frame panel only 53cm square

£600-800

179 WILLIAM ARTHUR SMITH BENSON (1854-1924) FOR MORRIS & CO. ARTS & CRAFTS GREEN STAINED PINE CENTRE TABLE, CIRCA 1890 ’joiner made’, the rectangular top above a shaped apron and turned splayed legs joined by a horizontal stretcher 139cm wide, 73.5cm high, 59cm deep Literature: Ian Hamerton, W. A. S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, Suffolk, 2005, pp. 169-170, where a similar table attributed to Benson is illustrated.

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 113

180 WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER EXTENDING FLOOR LAMP, CIRCA 1900 with three curved arms supporting frilled opaline glass shades and supported by curved brackets, the central adjustable reeded column with leafy finial, the whole raised on four curved legs terminating in paw feet 71cm across, 194cm high (extended), 148cm (closed) Literature: Hamerton, Ian (ed.) ‘W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design’, China, 2005, Appendix 1B, p. 259, pl. 20 where the design for this lamp is illustrated (no. 1223/s)

£3,000-5,000

181 WILLIAM ARTHUR SMITH BENSON (1854-1924) FOR MORRIS & CO. AESTHETIC MOVEMENT EXTENDING ASH DINING TABLE, CIRCA 1895 the moulded top with D-ends and one additional leaf, raised on ring-turned and blocked legs, on T shaped stretcher bases with castors 166cm long (with leaf), 72.5cm high, 122cm deep. 120cm diameter when closed Literature: Ian Hamerton, W. A. S. Benson, Arts and Crafts Luminary and Pioneer of Modern Design, Woodbridge, Suffolk, 2005, p.170, where a similar table attributed to Benson is illustrated (plate taken from the Morris & Co. catalogue of circa 1911).

Note: The Morris & Co. catalogue stated that “...the early designs of W.A.S. Benson... have always been deservedly popular. Specimens of this work are to be found in many of the most artistic houses in the country.

£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

114 Lyon & Turnbull

182 WILLIAM ARTHUR SMITH BENSON (1854-1924) ORIGINAL CATALOGUE, LONDON, 1899-1900 including Price List Of Fittings for Oil, Gas, Candle, Table Ware,v &C., 4to, colour plates displaying a collection of fittings, modern card covers, in case Provenance: Bernard Quaritch Note: This is a rare item - another copy of this catalogue is held at the National Art Library, Victoria & Albert Museum, London.

£1,500-2,000

William Arthur Smith Benson was a central figure in the Arts & Crafts movement, an architect, manufacturer of lighting and metalwork designer.

He was born in West London, but spent much of his childhood in Winchester, before going to New College Oxford at the age of 19 where he read Classics and Philosophy. He initially trained as an architect working with Basil Champneys, before setting up his own workshop in 1880 where he started to make furniture. In 1881 he took on John Lovegrove and C.S. Scott, both skilled metalworkers, and so began a focus on the designing and manufacturing of lighting.

His workshops and showrooms were based in London, which grew to include premises in Chiswick Mall, Campden Hill Road, and New Bond Street. He exhibited with the Arts & Crafts Society in the capital, and by the 1890's his work was much admired and sought after on the continent. Pieces were exhibited in Paris, Berlin and Turin, and in 1896 the Nordenfjeldske Kunstindustrimuseum, Trondheim purchased nine items. Similarly Benson’s works featured regularly in journals and art periodicals of the time, including The Studio.

In his designs, form and functionality were of paramount importance, and he abandoned overt ornament, yet achieved stylish and aesthetically pleasing wares. His work was particularly unusual, in celebrating the method of construction: he did not hide soldered joints or brass screws, and he chose copper, brass or best electroplate as his materials, with repousse or hammered detail allowing subtle reflective surfaces. He was regarded, even in his day, as a true pioneer of modernism.

He was astute in business and ensured his wares kept up with the developing technology of the 19th century, producing gas and oil lighting as well as electrical fittings. The catalogue of wares was notable and he produced everything from candlesticks and table lamps, to standard lights and a large variety of ceiling lamps. The success of his business was also due to his ability to turn his hand from domestic wares to pieces for public buildings and churches.

The success of Benson’s career may in part have been due to his circle of friends too, which included strong relationships with William Morris, Heywood Sumner (his sister’s husband) and Edward Burne-Jones. Morris in particular had supported Benson since the early days of his career. Following a discussion of ideas between the two companions in 1883, Benson started to be included in contracts undertaken by Morris for decorative work. When Morris died Benson took the helm of Morris & Co. Decorators Ltd. Benson’s long career came to an end in 1920 when he retired. The factory was used to make munitions during the early stages of World War One, and never returned to the production of light fittings. He died after a short illness in 1924 at his home in Manorbier, leaving a legacy of art and design still much sought after today.

Sources: Rudoe, Judy, ‘Decorative Arts 1850-1950: A Catalogue of the British Museum Collection’, British Museum Press, London, 1991, pp. 19-21.

Hamerton, Ian ‘W.A.S. Benson: Arts and Crafts Luminary Pioneer of Modern Design’, Antique Collectors’ Club, Woodbridge, 2005

Paul Reeves: An Eye for Design 115

183 WILLIAM ARTHUR SMITH BENSON (1854-1924) RARE ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1890 with flared reflector raised on curved brackets above a conical shade and domed reservoir, the whole raised on tapered column support with moulded domed base on a square plinth 61cm high (to top of reflector shade) Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d’Art de Catalunya ‘William Morris and the Arts & Crafts Movement in Great Britain’ October 2017-May 2018, No. 184.

Note: W.A.S. Benson was admired in the arena of the Avant Garde in Europe and his work was sold through the influential Maison de L’Art Nouveau in Paris. The magazines The Studio, Art et Decoration and Dekorative Kunst all regularly featured his work.

The Studio Magazine observed that WAS Benson’s lamps “may ultimately influence the taste of a greater number than the superb Morris-Burne Jones tapestries” whilst The Magazine of Art referred to his lamps as “palpitatingly modern”.

Walter Crane in “The Bases of Design” marked W.A.S. Benson’s lamp with a finned copper shade as a good example of modern design. The Studio Yearbook of 1906 praised his experiments with reflectors, as in this example. Hermann Muthesius in his influential book “ Das Englische Haus” stated that WAS Benson was “the first to illuminate dining room tables with light reflected from a shiny metal surface, while keeping the actual source of illumination hidden”.

£2,500-3,500

184 WILLIAM ARTHUR SMITH BENSON (1854-1924) ARTS & CRAFTS BRASS AND COPPER TABLE LAMP, CIRCA 1900 the original brass framed shade with pleated cream silk above an ovoid reservoir on central turned support with four curved brackets raised on cast quadruped base 67cm high Literature: Hamerton, Ian (ed.) ‘W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design’, China, 2005, Appendix 1A, p.

249, pl. 9 where the design for this lamp is illustrated (no. 224A)

£1,500-2,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

116 Lyon & Turnbull

185 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’FRITILLARY’ FRAMED WALLPAPER PANEL, 1885 green colourway, manufactured and printed by Jeffrey & Co., bears maker’s marks MORRIS & CO., framed and glazed 54cm x 108cm

£300-500

186 ATTRIBUTED TO HENRY WILLIAM BATLEY (1846-1932) FOR COLLINSON AND LOCK OR JAS. SHOOLBRED AND CO. AESTHETIC MOVEMENT MAHOGANY ARMCHAIR, CIRCA 1880 the spindle filled back within moulded uprights and scrolling open arms, enclosing a caned seat on ring-turned and tapering legs linked by stretchers 58cm wide, 119.5cm high, 54cm deep Note: For a similar chair see Christie’s Interiors - Style & Spirit, South Kensington, 12th June 2013, lot 605

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 117

187 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’SUNFLOWER’ FRAMED WALLPAPER PANEL, 1879 red colourway, manufactured and printed by Jeffrey & Co., bears maker’s marks MORRIS & CO., framed and glazed 55cm x 108cm

£300-500

188 J. S. HENRY, LONDON ART NOUVEAU MAHOGANY ARMCHAIR, CIRCA 1895 the tall slatted back carved with stylised plant forms and having oval spacers, with curved open arms, the uprights with leaf and berry carving enclosing a close-nailed upholstered seat on square tapered legs 64cm wide, 121cm high, 57cm deep Note: This celebrated chair shows distinct characteristics of the designs of the Century Guild with its linear Art Nouveau lines and swollen square section uprights.

J.S. Henry were wholesale manufacturers of Art Furniture based in Old Street, London and were established circa 1880. Most of their furniture output was Art Nouveau in mahogany and satinwood with decorative inlay. At the Arts & Crafts Exhibition Society in 1903 the company showed designs by George Walton and W.A.S. Benson. G.M. Ellwood was their most prolific designer, and although they used designs by C.F.A. Voysey, E.G. Punnett and W.J. Neatby, few designers were named. Examples of this chair are held at the Kelvingrove Museum and Art Gallery in Glasgow and MAK Applied Arts Museum, Vienna.

£800-1,200

118 Lyon & Turnbull

189 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT ARTS & CRAFTS GILDED AND EMBOSSED LEATHER PANEL, 1892 the rectangular panel worked as a stylised seeding plant form with sphere decoration, later moulded oak frame 90cm x 50.5cm Provenance: Bryngwyn Manor, Wormelow Tump, Herefordshire Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d’Art de Catalunya ‘William Morris and the Arts & Crafts Movement in Great Britain’ October 2017-May 2018, no. 231.

Literature: Wainwright, Clive ‘Architect Designers. Pugin To Mackintosh’, The Fine Art Society, London, 1981, p.50 illus.

The Wilson Cheltenham Art Gallery & Museum, object no. 1982.1216 Note: This panel formed part of a frieze, originally consisting of 20 panels, and made for the sitting room of Bryngywn, the Herefordshire house of James Rankin MP. The other designs were a pink and the ‘Craft of the Guild’ galleon under sail; all were favourite emblems of the Guild of Handicraft.

£12,000-18,000

Paul Reeves: An Eye for Design 119

190 MANNER OF C.F.A. VOYSEY ARTS & CRAFTS BRASS MOUNTED HANGING LIGHT, CIRCA 1900 flattened ovoid cut glass shade, supported by a leaf cast cresting and three linked arm supports with flattened disc spacers surmounted by a corona ceiling rose 26cm diameter, 56cm high Note: For a similar hanging light see V&A CIRC.148-1956, a brass and moulded glass hanging light designed by Voysey for the offices of the Essex and Suffolk Equitable Insurance Society’s in 1906.

£400-600

191 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT RARE ARTS & CRAFTS OAK ARMCHAIR, CIRCA 1900 the back with a curved triple splat , spreading arms, dropin seat, on square tapering legs 77cm wide, 109cm high, 66cm deep Exhibited: Compton Verney ‘The Arts & Crafts House: Then and Now’, 27 June - 13 September 2015 Chipping Campden, Court Barn ‘Women in the Arts & Crafts Movement’, July 27th - October 28th 2018 Literature: The Studio Yearbook of Decorative Art, 1907, p. 47 Der Moderne Stil, 1905, vol. 7, pl. 8, fig. 6 Crawford, Alan, ‘C.R. Ashbee: Architect, Designer & Romantic Socialist’, Yale 1985, p. 287 Note: Ashbee started designing his own chairs around 1900.

His new designs were a version of early 18th century English dining chairs. The form is solid and square but softened with a curved splat on the back and curved moulding to the feet. The success of this development of a style from simple elements was something Ashbee had employed in his buildings and would employ again later in his career.

£4,000-6,000

120 Lyon & Turnbull

192 MACKAY HUGH BAILLIE SCOTT (1865-1945) MEISTER DER INNEN-KUNST : HAUS EINES KUNSTFREUNDES (Master of Interior Decoration: House of an Art Lover.) Darmstadt: Alexander Koch, 1902. First edition, folio, part I, original portfolio case with green paper boards and paper label to upper cover, with decorative title and coloured and plain plates by Mackay Hugh Baillie Scott, published

by Alexander Koch (1860-1939), introduction by Hermann Muthesius (1861-1927) 53cm x 40cm Note: One of a series of three designs by three different architects (Baillie Scott, Charles Rennie Mackintosh and Leopold Bauer) which were submitted for the 8th exhibition of the Wiener Secession. Baillie Scott was awarded the 2nd prize although his design was never realised, as was the case with Charles Rennie Mackintosh until an interpretation of his design was built in a site at Bellahouston Park in Glasgow in 1989.

ÂŁ3,000-5,000

Paul Reeves: An Eye for Design 121

193 MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR BLACKWELL HOUSE, CUMBRIA CARVED FRUITWOOD MASTER MOULD, CIRCA 1898 carved with interlocking rowan branches 63cm x 58cm Provenance: Blackwell House, Windermere Literature: Wainwright, Clive ‘Architect - Designers. Pugin To Mackintosh’, The Fine Art Society, London, 1981, p.56-7 V&A Museum number: W.15:1, 2-1976

£8,000-12,000

Note: This ceiling mould was made for the decorative plasterwork of the white drawing room, at ‘Blackwell’, Cumbria designed by Baillie Scott and built between 1898–1900. Five of these moulds are known, one at LACMA (museum no. M.2009.53); one in the collection of Blackwell House, Cumbria; and two in private collections. The design of stylised rowans is a favourite decorative motif of Baillie Scott’s and can also be found inlaid in furniture, for example the marquetry inlay on the doors of a Manxman piano, held by the Victoria and Albert Museum in London. This design, carved with interlocking rowan branches features on the plasterwork ceiling in a grid comprising four different designs, of which this is one. Plaster moulds would be cast from the fruitwood master mould and the actual ceiling panels created from the plaster versions.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

122 Lyon & Turnbull

194 MANNER OF C.F.A. VOYSEY ARTS & CRAFTS BRASS FIVE-LIGHT CHANDELIER, CIRCA 1900 the shaped ceiling rose with repoussé heart-shaped motifs suspending a chain and globed spacer and five radiating chains holding a shaped dish and further suspending five globe lights 50cm diameter, 128cm high

£1,000-1,500

195 ARTHUR W. SIMPSON OF KENDAL (1857-1922) LARGE ARTS & CRAFTS OAK CENTRE TABLE, CIRCA 1895 the rectangular quarter-sawn top raised on spiralling fluted turned and blocked legs on trestle ends linked by a stretcher 152.5cm long, 72cm high, 106cm deep Literature: Wright, Hugh ‘The Beautiful Furniture of The Simpsons of Kendal’, Bookcase 2011, p.32 where a table of similar design appears in an advertising illustration.

£1,800-2,200 Note: This table is of a similar design to a table ordered from Simpson by W.G. Collingwood (1854-1932) in 1891.

Collingwood was an English author, artist, antiquary and professor of Fine Arts at University College, Reading. He met John Ruskin when he was studying at University College, Oxford in 1872 and visited Ruskin at Brantwood, Coniston the following year. Two years later Collingwood was working at Brantwood with Ruskin and his associates which cemented his ties to the area where he eventually settled. Collingwood edited a number of Ruskin’s texts and published a biography of Ruskin in 1893.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 123

196 GOTHIC REVIVAL PAIR OF PAINTED WROUGHT IRON AND BRASS-MOUNTED ELECTROLIERS, CIRCA 1890 each with central column, with radiating spokes supporting a circular corona with scrolled brackets and circular ring with floret studded decoration and with six curved branches, associated frilled shades (2) 140cm high, 75cm diameter Provenance: Mount Zion Church, Quarriers Village, Renfrewshire, Scotland.

Note: Quarriers Village was founded as the ‘Orphan Homes of Scotland’ in 1876 by Glasgow shoe-maker and philanthropist William Quarrier.

Quarrier had a vision of a community allowing the young people in his care to thrive, set in a countryside environment and housed in a number of grand residences under a house-mother and father. This vision was realised by a number of donations from Quarrier and his friends, who had a free hand in choosing the style that their cottage was built in. As a result the village is an unusual mix of Gothic, French, Old English, Scottish Baronial and Italian. Despite this virtually all of the buildings were the responsibility of one architect, Robert Bryden of Clarke & Bell in Glasgow, who worked free of charge on Quarrier’s projects over a course of some twenty-eight years A charity under the name of Quarriers continues the work of the former homes and is based within the village, although over time the homes and associated buildings have been converted into private housing, and some expansion has taken place with new residential development. Quarriers is a registered charity and still functions to help disadvantaged young people, carers and adults with disabilities in the United Kingdom and beyond.

£1,200-1,800

197 ARTHUR W. SIMPSON OF KENDAL (1857-1922) ARTS & CRAFTS OAK OCCASIONAL TABLE, CIRCA 1895 the rectangular top raised above four writhen twist column supports on curved crossed supports 107cm wide, 73cm high, 74cm deep Literature: Wright, Hugh ‘The Beautiful Furniture of The Simpsons of Kendal’, Bookcase 2011, p.32 where a table of similar design appears in an advertising illustration for 1894.

£1,000-1,500

124 Lyon & Turnbull

198 AFTER SIR JOHN TENNIEL FOR SPITAL & CLARK, BIRMINGHAM SET OF FIVE BRASS ‘ALICE IN WONDERLAND’ CHARGERS, CIRCA 1910 each circular charger repoussé-decorated with a character from Alice and Wonderland, to include THE DUCHESS; TWEEDLEDUM AND TWEEDLEDEE; THE MAD HATTER; THE WALRUS AND THE CARPENTER; and THE FROG each bears maker’s mark stamped SPITAL & CLARK (5) 38.5cm diameter

£800-1,200

199 ENGLISH SCHOOL CARVED WOOD PANEL, LATE 19TH CENTURY depicting David Livingstone being attacked by a lion, framed and glazed 54cm x 55cm Note: This carving is based on the famous image of the great Victorian explorer David Livingstone (1813-1873) being attacked by a lion in 1843 which was widely reproduced and which vcaptured the public’s imagination.

Livingstone, who beat an uncharted path across southern Africa during the reign of Queen Victoria, was horrified by this artist’s impression of him being attacked however it continued to be reproduced both during his lifetime and long afterwards.

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 125

200 BENJAMIN CRESWICK (1853–1946) FOR COALBROOKDALE PATINATED CAST IRON TRIPTYCH PANEL, CIRCA 1880 depicting ‘The Farrier’, ‘The Blacksmith’ and ‘The Choir’, enclosed in an oak frame with reeded columns and a projecting cornice, the central panel with incised marks to the reverse COALBROOKDALE/ NO. 556/ R. NO. 92999 each panel 23cm x 38cm, the frame 137.5cm wide, 43cm high Note: Panels of the same design in an A.H. Mackmurdo bronze fireplace of 1880. The contemporary oak frame based on this design

£800-1,200

201 ATTRIBUTED TO THE HOME ARTS AND INDUSTRIES ASSOCIATION ARTS AND CRAFTS OAK FOUR-FOLD SCREEN, CIRCA 1890 each fold carved with alternate panels of poppies and roses in relief each fold 169.5cm x 43cm Note: Founded in 1884 by Eglantyne Louisa Jebb, the Home and Arts Industries Association helped revive a number of traditional crafts in the rural homes of Britain. By 1889, the association had approximately 450 classes, 1,000 teachers and 5,000 students, and sought to improve the economic sustainability and well-being for rural communities. The work produced by members was celebrated in the association’s inaugural exhibition at Carlton House Terrace in 1885. By 1888 these exhibitions were large enough to take place at the Royal Albert Hall and the association continued to hold these annually until 1913.

£800-1,200

126 Lyon & Turnbull

202 SIR ROBERT STODART LORIMER (1864–1929) ARTS & CRAFTS CHANDELIER, CIRCA 1920 polished and cast brass alloy, with four arms cast with vines suspending floret light fittings with turned and knopped central column suspending a flying bird 41cm diameter, 63cm high Literature: Savage, Peter ‘Lorimer and the Edinburgh Craft Designers’, pub. London 1980, p. 72 Note: For cast light fittings Lorimer would normally use Henshaws of Edinburgh, however he also used the Bromsgrove Guild of Craftsmen for cast lead tanks, garden figures and some light fittings.

£1,500-2,000

203 GEORGE WASHINGTON JACK (1855-1931) ARTS & CRAFTS PLASTER ROUNDEL, CIRCA 1890 modelled as a seated owl amongst foliage 52cm diameter Provenance: Sir James Morton, and by family decent.

Literature: Morton, J, ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, page 177 Note: This plaster roundel by George Jack was one of several executed for the Morton family.

£800-1,200

204 ATTRIBUTED TO THE ARTIFICERS’ GUILD PAIR OF COTSWOLD SCHOOL FIRE DOGS, CIRCA 1900 each with curved uprights with foliate fretwork and two pierced and chased floral and foliate roundels (2) 57.5cm high, 29.5cm wide, 35cm deep Note: For a similar pair designed by Ernest Gimson, see Kaplan and Cumming, ‘The Arts and Crafts Movement’, London, 1991, p. 66, pl. 49 Lyon & Turnbull, ‘Decorative Arts’, March 2011, Lot 219.

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 127

205 ARTHUR ROMNEY GREEN (1872-1945) COTSWOLDS SCHOOL ARTS & CRAFTS OAK BOOKCASE CABINET, CIRCA 1910 with four open shelves above a base with four panelled doors raised on canted feet 138cm wide, 154cm high, 51.5cm deep Provenance: The Bathurst family Note: The Bathurst family were major patrons of Gimson, the Barnsleys and other Cotswold makers during the early 20th century.

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

128 Lyon & Turnbull

206 JAMES POWELL & SONS AESTHETIC MOVEMENT CUT GLASS DECANTER AND SIX GLASSES, CIRCA 1885 comprising a carafe, with fluted neck and applied star-cut foot, the body cut with frieze of peacock feathers, 20cm high; the set of six matching glasses, 12cm high (7) £400-600

207 COMPTON POTTERS’ ART GUILD POTTERY FIGURE OF ST. CECILIA, CIRCA 1920 painted in tempera 25.5cm high Note: The Compton Potters’ Arts Guild was a pottery, founded by the Scottish artist, Mary Watt (née Tytler), in 1899 at her home in Compton, Surrey. The group produced innovative terracotta garden ornaments, recommended by the garden designer Gertrude Jekyll. The pottery’s output was extensive, from large terracotta garden pottery to smaller household figures, jugs, plaques and pendants. After World War I, pairs of bookends and other ornaments were made, including Archers, Galleons, Fruit and Flowers.

The majority of the pottery was made from a soft white body and decorated with tempera, an egg-based paint. The designs and products of the Guild were sold in several London shops, including Liberty & Co.

£300-500

208 WILLIAM ARTHUR SMITH BENSON (1854-1924) AND GEORGE HEYWOOD MAUNOIR SUMNER (1853–1940) BRASS AND COPPER TABLE LAMP, CIRCA 1890 converted to electricity from an oil lamp, with hemispherical reservoir pierces and repousse-decorated with flower sprigs above turned and knopped column on a corresponding repousse-decorated domed base, later pleated red silk shade 38cm high (to fitting), 64cm high (with shade) Literature: Hamerton, Ian (ed.) ‘W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design’, China, 2005, Appendix 1A, p. 248, pl. 3 where a similar design for this lamp is illustrated (no. 72)

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 129

209 WEDGWOOD FOR JAMES POWELL & SONS, WHITEFRIARS BASALT VASE, CIRCA 1900 of shouldered form with flared rim, the body decorated with incised serrated bands, impressed marks to base POWELL/ WHITEFRIARS/ WEDGWOOD 19.8cm high Literature: Whiteway, Michael ‘Christopher Dresser: A Design Revolution’ V&A 2004, p.90, Pl. 108 and 109 Note: Christopher Dresser designed a similar vase for Linthorpe, based on a Bronze Age beaker in the V&A.

£300-500

210 WILLIAM ARTHUR SMITH BENSON (1854-1924) COPPER AND WROUGHT IRON EXTENDING STANDARD LAMP, CIRCA 1900 with a copper reservoir flanked by copper leaves, and raised on a wrought iron column with scrolled brackets, on domed feet centred by corresponding copper leaves and terminating in scrolls, later shade 131cm high (closed, to fitting), 210cm high (extended including shade), width across base 62cm Literature: Hamerton, Ian (ed.) ‘W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design’, China, 2005, Appendix 1A, p. 249, pl. 8 where the design for this lamp is illustrated (no. 452)

£1,000-1,500

211 WILLIAM ARTHUR SMITH BENSON (1854-1924) BRASS AND COPPER TABLE LAMP, CIRCA 1890 converted to electricity from an oil lamp, with hemispherical reservoir above reeded column on a domed base 34cm high (excluding fittings), 63cm high (with shade) Literature: Hamerton, Ian (ed.) ‘W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design’, China, 2005, Appendix 1A, p. 248, pl. 3 where the design for this lamp is illustrated (no. 72)

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

130 Lyon & Turnbull

212 CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT INLAID OAK BUREAU BOOKCASE, CIRCA 1895 the short top with two glazed doors enclosing a shelved interior, above the sloped fall inlaid with small twin panels of crocus flowers and enclosing the original blue-stained and fitted interior, surmounting three long drawers, the whole on bun feet, with two keys, with embossed patinated metal fittings/handles 89cm wide, 162.5cm high, 48cm deep Literature: Greensted, Mary ‘Good Citizen’s Furniture’, Cheltenham Museum & Art Gallery, p 71.

Exhibited: Compton Verney ‘The Arts & Crafts House: Then and Now’, 27 June - 13 September 2015 Chipping Campden, Court Barn Note: Ashbee’s photograph albums (National Art Library) contain two photographs of a writing desk of identical form to the current piece. The desk here is set with slightly different metalwork and has the additional feature of the small inlaid panels to the drop-front.

Cheltenham Museum and Art Gallery hold a small collection of stencils, designs and trials for the inlaid patterns that Ashbee used on some of his furniture. This includes a panel with a very similar inlaid design of a lily.

£15,000-20,000

Paul Reeves: An Eye for Design 131

213 THE GUILD OF HANDICRAFT HAND-COLOURED PRINTED ‘DANTE’ MAP, DATED 1892 bears inscription DANTE MAP BY MARY HENSMAN/ PRINTED BY THE GUILD OF HANDICRAFT/ ESSEX HOUSE/ ...FROM THE DRAWING OF JOHN WILLIAMS AND PUBLISHED BY DAVID NUT/ 270 STRAND LONDON 1892 53.5cm x 86cm Literature: Crawford, Allan, ‘C. R. Ashbee: Architect, Designer and Romantic Socialist’, New Haven and London, 1985, p. 457 Note: Published in 1892, Mary Hensman’s Dante Map originally consisted of a supplementary preface and gazetteer printed by letterpress.

The map is thought to have been originally printed from woodblocks and features elaborate designs of Guild emblems by John Williams, a founding member of the Guild of Handicraft.

£300-500

214 ATTRIBUTED TO THE ARTIFICERS' GUILD PAIR OF ARTS & CRAFTS BRASS CANDLESTICKS, CIRCA 1900 each with rope twist decoration, the broad dished drip trays above square knopped column and spreading base (2) 34cm high

£300-500

215 ATTRIBUTED TO THE ARTIFICERS' GUILD PAIR OF ARTS & CRAFTS STEEL AND WROUGHT IRON FIRE DOGS, CIRCA 1900 each with circular boss, wrought with scrolling foliage within a moulded band, on moulded column and bracket supports (2) 27cm wide, 67.5cm high, 52cm deep

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page Other4fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

132 Lyon & Turnbull

216 GEORGE HEYWOOD MAUNOIR SUMNER (1853-1940) ’THE NEW FOREST’, A SET OF SIX FRAMED ETCHINGS, CIRCA 1893 NR. HENLEY; 11cm x 18cm; CHRIST CHURCH, 11cm x 18cm; BEAULIEU, 11cm x 18cm; BOLDRE FORD, 11cm x 18cm; MONK ASH, 12.5cm x 17cm; and ALUM GREEN, 17cm 12cm, each signed in pencil (6) Note: Among Sumner’s earlier works is a volume of etchings, showing views in the Itchen Valley, and a further volume of 1893 ‘The New Forest : its history and its scenery’ by John R. Wise for which he contributed twelve etchings, of which six are included in this lot.

£400-600

217 MANNER OF M.H. BAILLIE SCOTT SET OF TEN ARTS & CRAFTS OAK DINING CHAIRS, CIRCA 1900 including two carvers, and eight side chairs, the high backs with large brass bosses and tan leather upholstery above three oak splats and corresponding tan leather upholstered seats, on square set legs united

by H-form stretchers, the carvers with curved arms (10) carvers: 67.5cm wide, 136.5cm high, 53cm deep. side chairs: 45.5cm wide, 136.5cm high, 48cm deep

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 133

218 ENGLISH SCHOOL, IN THE MANNER OF MACKAY HUGH BAILLIE SCOTT ARTS & CRAFTS STAINED OAK TUB ARMCHAIR, CIRCA 1900 of panelled structure, with pierced and lobed backs and legs, terminating in horizontal uprights and enclosing a plain seat 58.5cm wide, 82cm high, 47.5cm deep

£400-600

219 MANNER OF MACKAY HUGH BAILLIE SCOTT, CIRCA 1900 ARTS & CRAFTS FIREPLACE AND GRATE, CIRCA 1895 the copper canopy above a moulded fire back with stylised leaf decoration, the wrought iron grate with corresponding decoration, flanked by tall upright andirons on scrolled feet 101cm high, 85cm wide Literature: The Studio Magazine Yearbook, 1896, p. 106 where a fireplace with similar characteristics is illustrated.

£800-1,200

220 MANNER OF THE CENTURY GUILD ARTS & CRAFTS COPPER FENDER, CIRCA 1890 of rectilinear form, repoussedecorated with a pierced frieze depicting four figures in a garden landscape, allegorical of the Four Seasons, and reserved on a steel frame, stamped metalworker’s signature to the front T. BAILEY 144.5cm wide, 29cm high, 34cm deep

£700-900 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

134 Lyon & Turnbull

221 MANNER OF WILLIAM JAMES NEATBY ARTS & CRAFTS REPOUSSÉ CIRCULAR WALL PLAQUE, CIRCA 1900 depicting two opposing peacocks on a hammered ground 60cm diameter Literature: The Studio Magazine, July 1903, p.115 for a similar design of opposed peacocks by W. J. Neatby in unglazed terracotta.

Note: The architect and designer W.J. Neatby was chief designer for Doulton & Co., and is perhaps best known for his designs for Harrods Food Halls in London and the Royal Arcade in Norwich.

Opposed decoration was characteristic of Neatby’s designs and the peacock was a favourite motif.

£600-800

222 WILLIAM JAMES NEATBY (1860-1910) PAINTED OIL ON CANVAS PANEL, 1904 depicting a page in medieval dress bearing a tray with goblets, with artist’s monogram I.I. WJN panel: 95cm x 50.5cm; with frame:106cm x 61cm Literature: Scott Anderson, Alastair ‘William James Neatby: Designs for Furniture, Metalwork and Interiors’, an article published in the Decorative Arts Society Journal, no.26 (2002), fig. 22 Note: This panel formed part of a frieze which Neatby designed and painted for the new Norwich Union Headquarters Building in Norwich circa 1904 (see illustration below). He was commissioned by the architect George Skipper who had previously used Neatby’s designs to dramatic effect in his Royal Arcade of 1898-99.

W. J. Neatby originally trained as an architect but then worked at Burmantofts for the Leeds Fireclay Co., as designer & painter and in 1899 he took charge of Doulton’s architectural department for the design and production of mural ceramics. He set up his own practice in London with E. Hollyer Hayes under the trade name of Neatby, Evans & Co., designers & manufacturers of furniture, metalwork and stained glass.

£1,200-1,800

Paul Reeves: An Eye for Design 135

223 JOHN HASSALL (1868-1948) PROBABLY RETAILED BY LIBERTY & CO, LONDON ARTS & CRAFTS STAINED OAK SIDE CHAIR, CIRCA 1910 the shaped back with circular piercing above a solid seat and planked support linked by a stretcher, branded facsimile signature to front J. HASSALL 45cm wide, 91cm high, 50cm deep

£600-800

Note: John Hassall was an illustrator and designer who became one of the early 20th century’s most influential poster artists. Hassall was also a regular contributor to publications including the Illustrated London News and The Sketch. He was best known for the poster ‘Skegness is so Bracing’ (1908), which was imitated by generations of poster designers and became one of the most iconic posters in British history.

These interesting chairs are rare and other no other examples have come to light. Similar chairs appear in his illustrations for NORMANS AND SAXONS AND SUCH, by Marriott Edgar and published by Francis, Day & Hunter Ltd., London in 1949 (see illustration).

224 JOHN HASSALL (1868-1948) PROBABLY RETAILED BY LIBERTY & CO, LONDON ARTS & CRAFTS STAINED OAK SIDE CHAIR the arched plank back with demi-lune piercing above a solid seat on crossed supports, linked by a stretcher, branded facsimile signature to front J. HASSALL 35.5cm wide, 81cm high, 50cm deep

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

136 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 137

225 MANNER OF SIR NINIAN COMPER FOUR POLYCHROME CARVED WOOD FIGURES, EARLY 20TH CENTURY each depicting a saint carved in relief and painted in gilt, silver and colours (4) 47cm high Note: For figures carved in a similar manner see the reredos by Sir Ninian Comper for Wymondham Abbey, The Parish Church of St Mary and St Thomas of Canterbury, Norfolk.

£1,200-1,800

226 MANNER OF EDGAR WOOD LARGE PAIR OF ARTS & CRAFTS BRASS WALL APPLIQUÉ WALL LIGHTS, CIRCA 1900 each with three scrolling branches cast with bark texturing and applied with cast flowering rose briars, fitted with frosted flame-shaped glass shades (2) 65cm wide, 53cm high, 67cm deep

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

138 Lyon & Turnbull

227 ENGLISH SCHOOL ART NOUVEAU INLAID PICTURE FRAME, CIRCA 1900 the rectangular stained beech frame with oval aperture, inlaid with motherof pearl and stained woods and set with a Ruskin cabochon 35cm x 27cm

£300-500

228 BATH CABINET MAKERS ART NOUVEAU INLAID MAHOGANY SECRETAIRE CABINET, CIRCA 1900 the projecting cornice above two astragal glazed doors, two inlaid drawers, and a sloping fall, profusely inlaid with marquetry in copper and specimen woods, opening to reveal a birch-lined interior fitted with drawers, letter rack and leather writing surface, the whole raised on square tapered legs linked by an undertier 164.5cm wide, 198cm high, 51cm deep Literature: Art Journal Magazine, Paris 1900 edition, page 134 illus.

Note: This cabinet relates to a suite of furniture from the firm which won the gold medal at the Paris Exhibition in 1900

£3,000-5,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 139

229 ALFRED BRISCOE DRURY (1856–1944) THE LITTLE DUCHESS, DATED 1899 modelled in high relief, signed A. DRURY/ 99, within the original Arts & Crafts oak frame panel 33cm x 26cm; frame 64cm x 41.5cm Note: This plaque is a portrait of Gracie Doncaster.

Gracie was the youngest of three daughters of the Doncaster family, who were great family friends of the sculptor. All three of the daughters would later become the subjects of Drury’s ‘ideal sculpture’ which aimed to convey the purity and charm of youth. The marble version of this work was exhibited at the Royal Academy in 1900.

£1,500-2,000

230 SHAPLAND & PETTER, BARNSTAPLE ART NOUVEAU INLAID MAHOGANY DISPLAY CABINET, CIRCA 1900 the projecting arched cornice above mother-of-pearl inlaid motif and three leaded glass doors, the central door inset with stained glass panel depicting stylised flowering rose trees, the base with two inlaid drawers, above an arched apron with corresponding mother-of-pearl inlay raised on moulded legs linked by a stretcher with spindle back 135cm wide, 178cm high, 45cm deep Literature: The Furniture Record and The Furnisher, Nov 28th 1902, p.548 Bennett, Daryl ‘Shapland & Petter of Barnstaple’, Museum of Barnstaple and North Devon, 2005, p. 38-9, fig. 3.27 Note: It is unclear where the stained glass for Shapland & Petter furniture was made however a report on the Budapest Exhibition of 1902, featuring Shapland & Petter furniture, in The Furniture Record and The Furnisher magazine of November in the same year shows a stained glass panel design of the same design as the current lot. The magazine credits the manufacture to Messrs.

George F. Gascoigne & Son, Nottingham.

£2,000-3,000

140 Lyon & Turnbull

231 HENRY WILSON (1864-1934) TWO FRAMED ZODIAC PANELS, CIRCA 1920 one a SET OF TWELVE WATERCOLOUR STUDIES, watercolour on paper, within single gilt mount and oak frame, each study 21cm x 19cm, oak frame, 66cm x 148.5cm; the other a SET OF TWELVE CARVED OAK PANELS, each in low relief, carved by W.E. Micklewright, each 21.5cm x 19cm, within a moulded oak frame 64cm x 156.5cm (2) Note: These panels were made by W. E. Micklewright for Henry Wilson, who used carvings of a similar design in the construction of a coffer, illustrated in The Studio, vol. 86. 1923 (see illustration left). Sold

by Paul Reeves several years ago, the coffer now forms part of the John Getty collection.

£2,500-3,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 141

232 MANNER OF WILLIAM ARTHUR SMITH BENSON SET OF FOUR ARTS & CRAFTS PAINTED STEEL AND COPPER PENDANT LIGHT FITTINGS, CIRCA 1900 the domed ceiling rose above three scrolling supports, with leafy fittings, wired for electricity (4) 29cm high (excluding rose) Literature: Hamerton, Ian (ed.) ‘W. A. S. Benson: Arts and Crafts Luminary and Pioneer of Modern Design’, China, 2005, Appendix 1B, p. 258, pl. 14 where a similar design for the lamp fittings are illustrated (no. 994/s)

£600-800

233 W. STIRLING (IRISH SCHOOL) CHURCH OF ST LUKE: DECORATION OF INTERIOR ink and watercolour, signed lower right, W. STIRLING, bears artist’s inscription verso, framed 91cm x 42cm

£500-800

234 ATTRIBUTED TO HENRY WILSON (1864-1934) CAST IRON FIREPLACE, CIRCA 1900 the mantel shelf above a panel cast with the nativity and bearing cast inscription TU REGIS ALTI JANUA ET PORTA LUCIS FULGIDA...etc., the grate enclosed by panels cast with vines 133cm high, 62cm wide

£1,000-1,500

142 Lyon & Turnbull

Paul Reeves: An Eye for Design 143

235 MANNER OF C.F.A. VOYSEY FOR THOMAS ELSLEY & CO. ARTS & CRAFTS BRASS TABLE LAMP, CIRCA 1905 the filled opaline shade with moulded and carved leaf decoration and etched registration number 458344, bearing a rare etched glass shade by John Walsh Walsh, supported on a baluster turned column with dished base 39cm high (including shade) Note: The original drawing for this shade is held at the Public Records Office. The registration is for John Walsh Walsh, dated 8th June 1905 and bears inscription ‘458344/ Design for ornamenting glass shades in moulding and etching combined’ (see illustration).

£400-600

236 ENGLISH SCHOOL PAIR OF ART NOUVEAU WALNUT SIDE CHAIRS, CIRCA 1890 in a stylised Hepplewhite manner, each with an inlaid high open back, the frame forming a stylised heart with scroll cresting and flowerhead roundel, above upholstered seat and slender legs united by stretchers (2) 44.5cm wide, 120cm high, 40cm deep

£600-800

237 FRENCH SCHOOL FINE PAIR OF ART NOUVEAU WALNUT SIDE CHAIRS, CIRCA 1890 each with a slightly splayed back with a deep carved panel of poppies surmounted by an open poppy head, above close-nailed gold silk upholstered seats, with poppy-carved tapered front legs (2) 48cm wide, 93cm high, 43cm deep

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

144 Lyon & Turnbull

238 WILLIAM NICHOLSON (1872-1949) FOR WILLIAM HEINEMANN SET OF TEN LITHOGRAPHIC PRINTS, CIRCA 1899 reproduction from the original handcoloured woodcut, each mounted within the original moulded oak frame and comprising; SARAH BERNHARDT, 23.5cm x 22.5cm; QUEEN VICTORIA, 24cm x 23cm; JAMES MCNEILL WHISTLER, 24.5cm x 22.5cm; SIR HENRY HAWKINS, 25.5cm x 23cm; LORD ROBERTS, 24.5cm x 23cm; RUDYARD KIPLING, 28.5cm x 22cm; PRINCE BISMARCK, 24.5cm x 23cm; W.E. GLADSTONE, 25.5cm x 23cm; CECIL RHODES, 24.5cm x 23cm; and SIR HENRY IRVING, 25.5cm x 23.5 (10) 25cm x 23cm Note: These prints are from a set of 12 loose colour lithograph portraits by William Nicholson, originally contained in a portfolio and published under the title ‘Twelve Portraits

by William Nicholson’ by William Heinemann in 1899. The sitters include Queen Victoria, the Prince of Wales (afterwards Edward VII), W.E. Gladstone, Cecil Rhodes, Rudyard Kipling and Sarah Bernhardt.

£1,000-1,500

Paul Reeves: An Eye for Design 145

239 CONTINENTAL SCHOOL AFTER MACKAY HUGH BAILLIE SCOTT SECESSIONIST INLAID WALNUT ARMCHAIR, CIRCA 1900 with vertical rectangular back splat with mother of pearl and ebony inlay to the front and back, issuing two outswept curved arms raised on pierced supports with open oval panels, linked by corresponding stretchers 59cm wide, 90cm high, 53cm deep

£400-600

240 LIBERTY & CO., LONDON STAINED BEECH ‘THEBES’ STOOL, CIRCA 1900 the circular dished top on square outswept legs, linked by a triangular stretcher and terminating in pad feet 33cm diameter, 37cm high Literature: Fiell, Charlotte and Peter ‘1000 Chairs’, Taschen 2000, p. 62 illus.

Bennett, Daryl ‘Liberty’s Furniture 1875-1915: The Birth of Modern Interior Design’ China, 2012, p. 26, pl. 1.24 where a similar version of the Thebes stool in mahogany is illustrated.

241

£400-600

ELLEN TERRY INTEREST JEKYLL, GERTRUDE WOOD AND GARDEN London: Longmans, Green, and Co., 1899. Fourth impression, 8vo, with the ownership signature of Ellen Terry to front freeendpaper, original blue cloth gilt £150-250

242 LEONARD F. WYBURD (1865-1958) FOR LIBERTY & CO., LONDON ART NOUVEAU MAHOGANY GAMES TABLE, CIRCA 1900 the rectangular hinged top opening to reveal a baize-lined interior with dished Guinea wells to the angles, above a single drawer, above square tapered legs united by stretchers, bears ivorine maker’s label to the interior LIBERTY & CO. LTD./ LONDON 76cm wide, 76.5cm high, 38cm deep (closed) Exhibited: Madrid, Fundación Juan March and Barcelona, Museu Nacional d’Art de Catalunya ‘William Morris and the Arts & Crafts Movement in Great Britain’ October 2017-May 2018, No 180.

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

146 Lyon & Turnbull

243 NORWEGIAN SCHOOL ARTS & CRAFTS VIKING REVIVAL STAINED PINE BENCH, CIRCA 1900 with original close-nail plush seat, flanked by tapered ends elaborately carved with panels of entwined foliage and surmounted by beast finials 109cm long, 83cm high, 51cm deep

£1,000-1,500

244 AUSTRO-HUNGARIAN SCHOOL ARTS & CRAFTS OAK AND BRASS INLAID CENTRE TABLE, CIRCA 1900 the twelve-sided top enclosing a circular embossed and incised brass panel depicting flowers and insects, raised on profusely carved side supports with corresponding decoration divided by chamfered columns and linked by curved stretchers, all terminating on circular feet carved with bands of triangles 97.5cm across, 65cm high

£1,200-1,800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 147

245 CHRISTOFLE CIE., PARIS CONTINENTAL GILDED STRAWBERRY SET, CIRCA 1890 comprising a strawberry scoop, a sugar dredger, twelve spoons and twelve forks, each with cast handle decorated with strawberry plants, stamped maker’s marks and engraved initials CH to the bowls within fitted box with ruched interior, stamped maker’s marks to box CHRISOFLE CIE O/ORFEVRES A PARIS. Strawberry scoop 16.5cm long

£800-1,200

246 J. & L. LOBMEYR, VIENNA PAIR OF ENAMELLED IRIDESCENT GLASS VASES, CIRCA 1880 each of baluster form, with applied band to the neck and decorated with friezes of flowering foliage in gilt and white enamel (2) 37cm high Literature: Neuwirth, W and Schöner als Bergkristall, ‘Ludwig Lobmeyr’ Vienna 1999, p 367, ill. 760, 761 for similarly decorated glasswares by Lobemyr

£300-500

247 J. & L. LOBMEYR, VIENNA ENAMELLED IRIDESCENT GLASS VASE AND FRAME, CIRCA 1880 of tapered bulbous form with twin handles, decorated with a foliate frieze to rim in gilt and white enamel, within a scrolling wrought iron frame vase 40cm high; with frame 55cm high

£200-300

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

148 Lyon & Turnbull

248 AUSTRIAN SCHOOL, MANNER OF JOSEF MARIA OLBRICH SECESSIONIST UPHOLSTERED BENTWOOD ARMCHAIR AND STOOL, CIRCA 1900 the armchair with curved slatted back above the seat, re-upholstered in fabric originally designed by Josef Hoffmann for the Wiener Werkstatte, on tapered legs with brass caps to the front; the stool, en suite, with slatted side supports above the close-nail upholstered seat, on tapered legs with brass caps (2) chair: 52.5cm wide, 86cm high, 48cm deep. stool: 62cm wide, 74cm high, 42cm deep

£600-800

249 AUSTRIAN SCHOOL, MANNER OF PORTOIS & FIX SECESSIONIST INLAID OAK KNEEHOLE TWIN PEDESTAL DESK, CIRCA 1900 the rectangular crossbanded top above three drawers and two panelled doors, one enclosing three drawers and the other a single shelf, the opposing side with inlaid panels, with brass handles and sabots, with one key 150cm wide, 82cm high, 75cm deep

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 149

250 CONTINENTAL SCHOOL JUGENDSTIL BRASS AND TORTOISESHELL DESK LIGHT, CIRCA 1920 the adjustable cowled tortoiseshell shade with brass openwork frame on a marble plinth 15cm wide, 48cm high, 23cm deep

£400-600

251 AUSTRIAN SCHOOL SECESSIONIST MIXED METAL STRUT MIRROR, CIRCA 1900 the rectangular bevelled plate within a frame with applied triangular and rectangular motifs set with red stones and with punched decoration 37cm x 24cm

£400-600

252 JOSEPH MARIA OLBRICH (1867-1908) SECESSIONIST INLAID MONOGRAMMED MANTEL CLOCK, CIRCA 1900 the circular steel dial with stylised chapter’s and artist’s cypher, within tapering square section mahogany case with projecting cornice and domed top, the whole inlaid with brass lines and raised on flattened bun feet 35cm high

£1,000-1,500

253 AUSTRIAN SCHOOL, MANNER OF JOSEF MARIA OLBRICH PAIR OF JUGENDSTIL EBONISED OAK SIDE CHAIRS, CIRCA 1900 each with close-nailed upholstered back and seat on oval section tapered front legs, each linked by three side stretchers 48cm wide, 109cm high, 50cm deep

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

150 Lyon & Turnbull

254 HENRI PRIVAT-LIVEMONT (1861–1936) ’THE PAINTER’ ART NOUVEAU LITHOGRAPHIC FRAMED POSTER, DATED 1901 within original Art Nouveau oak frame, printed signature and date lower left, pen and ink inscription lower right dated 1914 49.5cm x 32cm Note: Henri Privat-Livemont (1861–1936) was Belgian artist best known for his Art Nouveau posters in the style of Alphonse Mucha. From 1883 to 1889, he worked and studied in the studios of Lemaire, Lavastre & Duvignaud and, with Lemaire, created the decor of the Theatre Francais and the Hôtel de Ville, Paris.

£800-1,200

255 GUSTAVE SERRURIERBOVY (1858–1910) ART NOUVEAU GILT METAL MOUNTED MAHOGANY DISPLAY CABINET, CIRCA 1900 with twin urn stands above galleried tops and two glazed doors with applied stylised whiplash brackets, enclosing lined interior with single glazed shelf, raised on square legs with reeded feet 71.5cm wide, 171cm high, 37cm deep

£2,000-3,000

Note: Gustave Serrurier-Bovy, the Belgian architect and furniture designer was involved in the development of European Art Nouveau movement along with Symbolist painters and other designers such as Henry van de Velde, Victor Horta, and Paul Hankar. His designs have a simple, almost rustic-style with elegant vertical line and often an emphasis on asymmetrical extensions and forms. Surrurier-Bovy travelled to London in 1888 and subsequently became interested in the work of the Arts and Crafts movement which led to him moving away from expensive cabinetmaking to focus on simplicity in decoration and a more industrial aesthetic. This cabinet of about 1900 is a variant of an example shown in an advertisement of the period (see illustration).

256 GUSTAVE SERRURIER-BOVY (1858-1910) ART NOUVEAU INLAID OAK CENTRE TABLE, CIRCA 1900 with moulded rectangular top above an open slatted apron with a small inlaid panel to each opposing side, all raised on tapered rectangular section legs 95cm wide, 76cm high, 65.5cm deep

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 151

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

152 Lyon & Turnbull

257 GEORGE HENRY WALTON (1867–1933) FOR MISS CRANSTON’S BUCHANAN STREET TEAROOMS, GLASGOW RARE EBONISED AND PAINTED BEECH DINING CHAIR, CIRCA 1896 the tall curved back with central caned panel, supported by spaced spheres in a frame painted in colours with tulips, roses and lily of the valley, the caned seat with rounded angles raised on ring turned and tapering legs with outswept feet 49cm wide,115cm high, 48cm deep Provenance: T. & R. Annan & Sons Ltd., Glasgow Literature: Billcliffe, Roger; Charles Rennie Mackintosh, The Complete Furniture etc. pub.

The Lutterworth Press, 1978, illus. 1896G. Moon, Karen ‘George Walton’, White Cockade 1993, p.53, pl. 63 Note: This chair was made for Miss Cranston’s new tearoom in Buchanan Street in Glasgow in 1896. This scarce chair, with its tall curved back echoing the stencilled wall decoration and the hand-painted floral sprigs following the colour scheme of the walls. The tall vertical form of the chair continues the ‘Glasgow Style’ aesthetic whilst the Regency inspiration which the design subverts is still evident, particularly on the matching armchairs with their lower backs. Other versions of this chair were used by Walton in schemes throughout his career but the Buchanan Street chairs are marked out by their painted decoration.

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 153

258 GLASGOW SCHOOL, MANNER OF GEORGE WALTON ARTS & CRAFTS COPPER AND WROUGHT IRON CHANDELIER, CIRCA 1900 now fitted with shades by James Powell & Sons, the central beaten orb enclosed by riveted straps extending to leafy brackets, applied with three branches suspending green glass shades above a further pendant shade 82cm diameter, 95cm high Note: This chandelier demonstrates design characteristics that interested George Walton including the use of mixed metals and hand-beaten and riveted copper elements.

£2,000-3,000

259 GEORGE HENRY WALTON (1867-1933) WALNUT ‘PHILLIPPINES’ SIDE CHAIR, CIRCA 1902 with gilt details, the arched and pierced crest rails above a caned panel back and seat on turned and tapering front legs with out-turned feet 52.5cm wide, 124cm high, 48cm deep Provenance: The Phillippines, Brasted Chart, Kent Literature: Moon, Karen ‘George Walton; Designer and Architect’, White Cockade 1993, page 120, plate 157.

Note: Walton decorated the drawing room at The Phillippines from 1902 and the scheme marked a change of direction for his work to a more formal, classical style.

£2,500-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

154 Lyon & Turnbull

260 GEORGE HENRY WALTON (1867–1933) OAK HALL SETTLE, CIRCA 1900 the panelled back enclosing broad solid arms with curved and pierced bracket supports above a solid seat on square tapering front legs linked by stretchers 129.5cm wide, 145cm high, 67cm deep Literature: Moon, Karen ‘George Walton’, White Cockade 1993, p.82, pl. 106 where built-in settle of similar design is shown.

£3,000-4,000

GEORGE HENRY WALTON Having grown up within the vibrant artistic community of Glasgow, at a time when the radical style of the Glasgow Boys was emerging, it is no surprise that George Walton found himself drawn to art and design.

After taking evening classes at Glasgow School of Art, he was prompted to leave his job as a bank clerk and pursue a career as a decorator at the age of 22.

a further commission from her in 1896, this time for her Buchannan Street tearoom which warranted a more modern aesthetic. The chairs produced for this were used by Walton’s firm for many decorative schemes, however the Buchannan Street versions can be distinguished primarily by their delicate painted decoration, which echoed the walls of the tearoom.

Walton’s first major commission came from Miss Catherine Cranston, a patron of Charles Rennie Mackintosh and Margaret Macdonald.

He was tasked with decorating a smoking room in the arts and crafts style, located at one of her tearooms on Argyle Street. On the basis of this commission, Walton formed his company, George Walton & Co, Ecclesiastical and House Decorators which became known for its incredibly diverse designs for furniture, glass and woodwork. The collaboration between Walton and Rennie Mackintosh led to much stylistic experimentation, largely involving stencilling techniques and simplified designs featuring stylised plant forms, now synonymous with the Glasgow Style. His initial work for Miss Cranston landed him

Walton left Glasgow for London in 1898 and gained great commercial acclaim. His later work marks a change in direction: moving away from Glasgow arts and crafts towards a slightly more classical and formal style. Though he clearly departs from decorated surfaces and floral patterns, Walton’s designs for furniture retain the stylised linear forms reminiscent of Mackintosh, but now with a renewed sense of elegance and simplicity. Walton’s continued success as a designer led to many more important commissions throughout his career, some of which included designing furniture for Liberty & Co, as well as decorating several showrooms for Kodak, giving him significant international recognition.

Paul Reeves: An Eye for Design 155

261 GEORGE HENRY WALTON (1867-1933) ARTS & CRAFTS OAK DINING TABLE, CIRCA 1900 the rectangular top above hexagonal section splayed legs on trestle ends, linked by stretchers 114.5cm long/wide, 74.5cm high, 112cm deep Literature: Moon, Karen ‘George Walton: Designer and Architect’, White Cockade 1993, pp. 67; 91; 119, plates 80; 118; 156 Note: Walton used this versatile table in a number of his schemes including Elm Bank, York, The Leys Elstree and Finnart House, Weybridge. The table was versatile being used singly or joined together in pairs as space or numbers allowed.

£2,500-3,500

262 ATTRIBUTED TO GEORGE HENRY WALTON (1867-1933) PAIR OF OAK ARTS & CRAFTS UPHOLSTERED ARMCHAIRS, CIRCA 1900 each with shaped arch upholstered backs above open splayed arms with inlaid chequer board panels, with curved apron raised on tapered turned legs united by stretchers, in geometric gold and black fabric (2) 71cm wide, 118cm high, 51cm deep Literature: Moon, Karen ‘George Walton: Designer and Architect’, White Cockade 1993, p. 119, plate 156 Note: A contemporary photograph dining room at Finnart House, which Walton decorated and furnished for the sugar refiner John Lyle circa 1900, shows an oak dining table and matching chairs. The chairs have Walton’s characteristic semi-arched tops to the upholstered backs, and match the table with its sled base. The present lot also displays these characteristics but may have been used in a drawing room as easy chairs with their chequer inlay and larger proportions.

£1,000-1,500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

156 Lyon & Turnbull

263 GLASGOW SCHOOL, ATTRIBUTED TO JOHN NISBET (1868-1951) ART NOUVEAU OAK DOOR, CIRCA 1900 with later central clear glass panel enclosed by carved stylised leaf apertures with coloured glass inserts above plain panels and fitted with opposed and embossed copper door plates 226cm x 96cm Literature: The Studio Yearbook, 1906, page 136 where similar doors are illustrated

£800-1,200

Note: The present oak door and the following lot demonstrate similarities to doors designed by the architect John Nisbet for ‘Kelmscott’, built for Sir John McTaggart, a Glasgow property developer and builder, in 1900. The house is now a Grade B listed building and retains many of its original features, including an impressive installation of stained glass by Oscar Paterson who also designed stained glass for the doors. Nisbet, a long-time collaborator with Mactaggart, had been a student and classmate of Charles Rennie Mackintosh at Glasgow School of Art. For this commission he incorporated Scots Baronial and English Queen Anne elements in his design, and the house was decorated and furnished with pieces from the leading Arts & Crafts designers and artists of the day, including Frank Brangwyn, from whom Mactaggart is said to have commissioned two paintings. Nisbet was McTaggart’s principal architect and together they were instrumental in the residential development of Glasgow’s West End, where no less than 300 tenements were built by his company at the end of the 19th and the first half of the 20th century.

264 GLASGOW SCHOOL, ATTRIBUTED TO JOHN NISBET (1868-1951) ART NOUVEAU OAK DOOR, CIRCA 1900 with later central clear glass panel enclosed by carved stylised plant forms, above plain panels and fitted with opposed and decorative embossed copper door plates, one with inscription PAX INTRANTIBUS 222cm x 97cm

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 157

265 PETER WYLIE DAVIDSON (1870-1963) AND FRANCES MCNAIR (1873-1921) HIGH SCHOOL OF GLASGOW DUX MEDAL FOR ART, 1911 copper alloy, inscribed THE HIGH SCHOOL OF GLASGOW/ DUX:IN:ART:/ SESSION: 1910: 11/ FRA H. NEWBERY/ DONOR 6.5cm x 6.5cm Literature: Peter Wylie Davidson, ‘Educational Metalcraft’, London 1913, illus. page 2 Pamela Robertson (ed.), ‘Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair’, 2008, page 117, M32 Note: This collaborative medal is one of only four known examples.

£600-800

266 JAMES HERBERT MCNAIR (1868-1955) BOOKPLATE FOR JOHN TURNBULL KNOX, 1896 etching, signed and dated in the plate J. HERBERT MCNAIR INV. DEL./ 1896 and inscribed NOURISHED BY MIDDLE EARTH/ BREATHED ON BY HEAVENLY/ DEW,/ FLOURISHED A TREE OF WORTH/ FLOURISHED AND/ GREW/ THE TREE OF KNOWLEDGE 9.5cm x 6cm Literature: The Studio, vol.11, pages 230, illus. page 237 Robertson, Pamela (ed.), ‘Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair’, 2008, page 101, G21 Note: This bookplate is one of only four known examples

£300-500

267 ATTRIBUTED TO J. HERBERT MCNAIR (1868-1955) THREE-FOLD ‘OWL’ DRAUGHT SCREEN, CIRCA 1895 stained wood, with bullseye glass panels each fold 167.5cm x 51cm Literature: The Studio Volume II, No. 54 September 1897 p.225 Robertson, Pamela ‘Doves and Dreams: The Art of Francis Macdonald and James Herbert McNair’, Lund Humphries 2006, pp. 68-70, plates 4.1 and 4.2.

Note: This screen is a variant of the ‘Owl’ screen illustrated in The Studio magazine in September 1897, now untraced. The ‘Owl’ screen formed part of a group of furniture and decorative arts made by McNair around this time, some of which had been exhibited at the Queen’s Rooms in Glasgow in 1895.

McNair had been attending classes in the applied arts at the Technical Art Studios since its inception in 1893. The Technical Art Studios were set up

by Fra Newbery, the inspirational director of the Glasgow School of Art, to extend the facilities of the School and to broaden the experience of the students.

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

158 Lyon & Turnbull

268 GLASGOW SCHOOL, MANNER OF JOHN EDNIE ART NOUVEAU CARVED OAK PLANTER, CIRCA 1910 of square section, the sides carved in relief with stylised roses and foliage, raised on square section legs 33cm squared, 73cm high

£300-500

269 ATTRIBUTED TO HENRY T. WYSE (1870-1951) FOR THE SCOTTISH GUILD OF HANDICRAFTS ARTS & CRAFTS MAHOGANY SIDE CHAIR, CIRCA 1900 the tapered back with inset panel painted in oils with a tree in a landscape, the drop-in seat re-upholstered in Silver Studios woven fabric and raised on square tapering legs linked by stretchers 39.5cm wide, 105cm high, 39cm deep Literature: Cumming, Elizabeth and Jack, Heather ‘Henry Taylor Wyse: Artist Teacher Craftsman’, Aberbrothock 2016, pp.45-54 Note: Between 1897 and 1899 Henry Taylor Wyse was entering competitions in The Studio magazine, including designs for furniture.

Whilst living in Arbroath on the east coast, he began exhibiting some of his new furniture at the Dundee Graphic Art Society, produced in collaboration with the cabinetmaker William Middleton. By 1902 he was combining the fine and applied arts by contributing painted panels which were incorporated into Middleton’s furniture, which he had designed. This form of decorated furniture reflected sophisticated middle-class taste of the time, initiated by firms like Morris & Co. and promoted at the turn of the century by figures such as C.R. Ashbee and M.H. Baillie Scott. Between 1900 and 1902 Wyse published catalogues of their designs under the title ‘Simple Furniture’. The furniture was promoted through the Scottish Guild of Handicraft, inspired by Ashbee’s Guild of Handicraft, and set up with his friend Robert Maclaurin in 1898. Essentially a co-operative of independent like-minded craftsmen, the Guild promoted its members works at its gallery in Glasgow before moving to premises in Stirling in 1906.

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 159

270 AFTER CHARLES RENNIE MACKINTOSH PAINTED WALL CLOCK, CIRCA 1910 the square dial with chequer banding and characteristic chapters, decorated with roses to the spandrels, with pendulum and weights, each with corresponding painted decoration dial 38cm square Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs’, Moffatt 2009, pp 259; 261-2, illustrations 1910.11 and 1910.20 Note: A clockwork version of the electric clocks which Mackintosh designed for the Glasgow School of Art in 1910 is known to have been in the collection of William Douglas in the same year. Billcliffe states that Douglas is known to have made variants of Mackintosh’s furniture and this may have been one of those variants.

£1,200-1,800

271 MANNER OF CHARLES RENNIE MACKINTOSH FOR GUTHRIE & WELLS, GLASGOW STAINED CYPRESS ART NOUVEAU WALL CABINET, CIRCA 1890 with a projecting cornice with turned column supports and disc capitals, above a single leaded and stained glass panel door flanked by adjustable shelves, with open shelves below 138.5cm wide, 98.5cm high, 34.5cm deep

£2,000-3,000

Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, p.

50, ref. D1898A where a cabinet with similar leaded glass panel configuration is illustrated.

160 Lyon & Turnbull

Paul Reeves: An Eye for Design 161

272 C. RUPERT MOORE (1904-1982) FOR JAMES POWELL & SONS ’GLASSMAKING’ LEADED AND STAINED GLASS PANEL, CIRCA 1934 the whole showing the processes of glassmaking with inscriptions SHEARING/ BLOWING/ CHARGING/ MARVERING/ and GATHERING, titled within the panel WHITEFRIARS GLASS/ EST 1860, within foliate border inset to each angle with the figure of an eponymous white friar, framed 112cm high, 73cm wide Provenance: Whitefriars Glassworks, Wealdstone Literature: Evans, Wendy, Ross, Catherine and Werner, Alex ‘Whitefriars Glass, James Powell and Sons of London’, London, 1995, frontispiece, where the original design is illustrated Note: C. Rupert Moore ARCA FMGP (1904-1982) worked as a designer and glass painter for James Powell and Sons from about 1932 to 1970.

This window was made for the Whitefriars factory, and the original design, dated 1934, is in the collection of the Museum of London.

273 COTSWOLDS SCHOOL ARTS & CRAFTS OAK OCCASIONAL TABLE, CIRCA 1920 the square top on corresponding square column with quadruped tapered feet 44.5cm squared x 61cm high

£200-300

£1,200-1,800

274 COTSWOLD SCHOOL ARTS & CRAFTS SOLID YEW WOOD DRESSER, CIRCA 1930 with staged back above the moulded top surface and two bevelled drawers, raised on shaped and turned legs 99cm wide, 118cm high, 44.5cm deep

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

162 Lyon & Turnbull

275 COTSWOLD SCHOOL ARTS & CRAFTS ELM AND OAK OCCASIONAL TABLE, CIRCA 1920 the plain circular top raised on chamfered legs united by an X-form stretcher 69cm diameter, 61cm high

£400-600

276 GORDON RUSSELL (1892-1980) FOR STEVENS & WILLIAMS, STOURBRIDGE SUITE OF LYGON ‘WRYTHEN’ GLASSWARE, CIRCA 1925 comprising SIX RED WINE GLASSES, 16cm high; and SIX WHITE WINE GLASSES, 13cm high (12) Literature: Hajdamach, Charles R. ‘20th Century British Glass’, Antiques Collector’s Club 2009, p. 152 where examples are illustrated.

Carruthers, Annette & Greensted, Mary ‘Simplicity or Splendour’, Cheltenham Museum & Art Gallery 2003, p. 156 catalogue no. 205 for illustration of similar examples.

£700-900

277 SIDNEY BARNSLEY (1865-1926) AND EDWARD BARNSLEY (1900-1987) COTSWOLDS SCHOOL OAK WRITING DESK, FROXFIELD WORKSHOP, CIRCA 1926 the rectangular top above two banks of two panelled drawers, each with faceted cup handles, raised on square chamfered legs linked by H stretchers 140.5cm wide, 72cm high, 71cm deep Literature: Comino, Mary (Ed.) ‘Gimson and the Barnsleys: Wonderful Furniture of a Commonplace Kind’, Evans Brothers Ltd 1980 where a similar desk is illustrated.

Exhibited: Compton Verney ‘The Arts & Crafts House: Then and Now’, 27 June - 13 September 2015

£2,000-3,000

Paul Reeves: An Eye for Design 163

278 ALBERT EDWARD JONES (1878-1954) ARCHIVE OF DESIGNS, CIRCA 1920 a collection of thirty-nine designs, mostly autograph in pencil, coloured wash and gilt on paper, for silverware and furniture, unframed between 350 x 170mm and 735 x 500mm Note: A. E. Jones is a silver maker known for his style and quality of craftsmanship which was firmly rooted in the Arts and Crafts movement.

His work is highly collectable, and is very distinctive due to his unwavering and unique style of silverware. His formal training took place at the Birmingham School of Art, and it was here that he came to meet and work with fellow followers of the Arts and Crafts Movement such as Arthur Dixon, Bernard Cuzner and Arthur Gaskin. Jones was also for a time a member of the Guildsman of the Birmingham Guild of Handicraft.

He founded A. E. Jones & Co. in Birmingham in 1902, and the company produced items of silverware, as well as pieces in copper, brass and bronze and these mixed metal items differentiated him from many other makers.

Large quantities of these pieces were unmarked, save for a sporadic pattern number, and are distinguished by their unusual style and design.

His apprenticeship with ecclesiastical makers such as Woodward’s of Paradise Street and John Hardman Powell, enabled him to excel in the supply of items for religious and ceremonial purposes. This small archive of designs demonstrates this ability.

£600-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

164 Lyon & Turnbull

279 ATTRIBUTED TO HEAL & SON LTD., LONDON WALNUT, EBONY AND MOTHER-OF-PEARL INLAID TOILET MIRROR, CIRCA 1915 the bevelled plate within double-arched frame, with chequered inlay, and with tapered uprights, linked by a stretcher, the whole raised on a flared base, with ivorine disc feet 64.5cm wide, 83cm high, 19cm deep

£1,500-2,000

280 SCANDINAVIAN SCHOOL ARTS & CRAFTS WALNUT BUREAU CABINET, CIRCA 1910 the projecting cornice with arched cresting carved with flowers and trees above a singular astragal door enclosing a fitted shelf, raised above the sloping fall enclosing a painted fitted interior, the base with single drawer on baluster turned legs linked by crossed stretchers 66cm wide, 164.5cm high (excluding cornice), 54.5cm deep

£800-1,200

281 COTSWOLDS SCHOOL ARTS & CRAFTS INLAID OVERMANTEL MIRROR, CIRCA 1925 the three arched bevelled mirror plates flanked by mother-of-pearl inlay of alternate squares and dots, within an ebonised frame 143cm wide, 61.5cm high

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 165

282 J. T. BARLOW SET OF FOUR FOLK ART CARVED WOOD LAMP BASES, CIRCA 1964 variously decorated in carved polychrome relief comprising Jack and Jill, 41cm high; Adam and Eve, 40cm high; Chinoiserie landscape scene 40cm high; and The Man in the Moon, 41cm high, each with incised inscription to base J.T. BARLOW / BIDDULPH, two dated 1964; one 1965; one unmarked(4) £600-800

283 MANNER OF OMEGA WORKSHOPS NURSERY DRAUGHT SCREEN, CIRCA 1915 each fold with wooden frame and stretched canvas, painted with oils on canvas, to one side with the animals entering the ark two by two, to the reverse with a horseman in a landscape each fold 157cm x 47.5cm

£500-700

166 Lyon & Turnbull

284 ENGLISH SCHOOL PAINTED GLASS PANEL OF ‘UNCLE MAC’, 1950’S astragal glazed, with one green stained glass panel, within later ebonised frame 40cm x 49.5cm Note: Derek McCulloch was a BBC Radio producer and presenter. He became known as “Uncle Mac” on Children’s Hour and Children’s Favourites and his being the voice of “Larry the Lamb” in Toytown.

In 1939 the audience for Children’s Hour reached four million. His sign-off line, “Goodnight children, everywhere,” became more poignant after the evacuation of many children from their homes at the start of the Second World War. This window was one of a series made for his holiday home.

£300-500

285 MODERNIST SCHOOL PATINATED METAL DESK LAMP, CIRCA 1930 painted metal, the curved horizontal shade on square support and stepped base 35cm wide, 26cm high, 11cm deep

£300-500

286 HEAL & SON LTD., LONDON ART DECO SATINWOOD SIDE TABLE, CIRCA 1930 the rectangular top above three drawers on stepped supports linked by stretchers, bears makers ivorine maker’s label to drawer HEAL & SON LTD./ LONDON W. 92cm wide, 75cm high, 50.5cm deep

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 167

287 JOHN BRIGHT SURREALIST SCENE, DATED 1953 oil on board, signed and dated verso JOHN BRIGHT/ 1953 90cm x 59.5cm

£400-600

288 AFTER GIORGIO DE CHIRICO SURREALIST NEEDLEWORK PANEL, CIRCA 1930 worked as a Classical bust with villa and olive branch in a sunny landscape, framed and glazed 21.5cm x 27cm

£400-600

289 ENGLISH SCHOOL MAHOGANY FRAMED MODERNIST SOFA, CIRCA 1930 with loose back, seat and arm cushions covered in a geometric fabric, in a rectangular block frame with foldout chromed table shelves to each arm, all above two hinged flaps to the base 187cm wide flaps up, 153cm wide flaps down, 71.5cm high, 69cm wide (frame)

£1,500-2,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

168 Lyon & Turnbull

290 [§] JON WEALLEANS [B. 1946] ’MR. FREEDOM’ & ‘MR FEED ‘EM’ SHOP AND RESTAURANT DESIGNS comprising a folio of 44 black and white pencil and ink drawings including design working drawings on tracing paper, and an additional 3 coloured pencil drawings, each 415 x 300mm, each numbered and signed by the architect; and an accompanying letter, signed by T. Roberts and John Paul, dated 28th October 1970, referring to the commission Note: Commissioned by the designer and fashion entrepreneur, Tommy Roberts, and John Paul, these sketches comprise the working drawings for Mr Freedom: a label which has been called “the radical origins of streetwear” [Veronica Horwell, Guardian, 18th December 2012].

They are joined by Wealleans’s designs for the Kensington Church Street Shop’s accompanying restaurant, Mr. Feed ‘Em.

£1,200-1,800

Paul Reeves: An Eye for Design 169

291 TONI ZUCCHERI (B. 1936) FOR VENINI TALL ‘SCOLPITO’ GLASS VASE, CIRCA 1965 of shaped cylindrical form with waved rim, and opposed vertical slit decoration, etched mark VENINI/ ITALIA 50cm high Note: For similarly decorated glass vases for Venini, see Ricke. R, and Schmitt, E. ‘Italian Glass Murano, Milan 1930-1970, The Collection of the Steinbery Foundation’, Prestel-Verlag, Munich, 1997, pl. 165 & 168.

£2,000-3,000

292 VENINI, ITALY ITALIAN SCHOOL BEECH AND MURANO GLASS DESK, CIRCA 1980 the pivoting open shelf above a curved rectangular glass section top enclosing an open shelf, raised on tapering legs linked by block supports, etched maker’s marks to the top VENINI/ MURANO/ ITALIA 102cm wide, 82cm high, 80.5cm deep

£4,000-6,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

170 Lyon & Turnbull

293 JOHN HUTTON (1906-1978) FOR WHITEFRIARS GLASS RARE ‘COVENTRY CATHEDRAL’ ETCHED GLASS VASE, CIRCA 1962 engraved with angels playing trumpets, signed to the body JOHN HUTTON, engraved to base No. 13-79-81 43cm high Note: This vase formed part of a very limited series engraved by John Hutton and is engraved with a unique arrangement of the angels and figures he had designed and engraved for the Great West Screen of the new Coventry Cathedral. The vases were engraved at the Cathedral shop for 100 guineas, a sum which reflected both the supreme quality of the glass used in the manufacture of the vessel and the hard work of Hutton It was hoped that the sale of the vases would help with the financial deficit on its completion. One of the vases and some of Hutton’s designs for the Great West Screen are in the collection of the Sarjeant Art Gallery in Wanganui, New Zealand, where Hutton spent much of his youth and another in the collection of Princess Margaret.

Hutton wrote to Captain N.T. Thurston of the Coventry Cathedral Reconstruction Committee in 1960 about the making and marketing of the vases and commented “The vases only have angels engraved on them. Under the present scheme I am to engrave all the flying angels of the screen in groups of two to each vase. Each grouping will be different so that although say Angel A appears many times on different vases it is never with the same angel. There are some 326 possible different groupings on this principle so I don’t suppose I shall work through them all before I leave this world.

It means that each buyer has an exclusive object. The glass is the finest British crystal specially blown by the Whitefriars Company. It represents in size about the limit of possibility in blowing for vases.”

£6,000-8,000

END OF PART I PART II IMMEDIATELY FOLLOWS Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 171

DESIGN

SINCE 1860

For a valuation or to discuss selling works in this auction, please contact John Mackie on 0131 557 8844 or email john.mackie@lyonandturnbull.com

AUCTION 04 APRIL IN EDINBURGH DECORATIVE ARTS: DESIGN SINCE 1860

OPEN FOR CONSIGNMENTS

2 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

II Thursday, 14th February, 2019 immediately follows Part I Sale Number LT548 Lots 300-419

Location Lyon & Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR

Viewing Sunday, 10th February 12 noon - 4pm Monday, 11th February 10am - 5pm Tuesday, 12th February 10am - 5pm Wednesday, 13th February 10am - 5pm Morning of sale from 9am

Enquiries Tel. 0131 557 8844 Email. info@lyonandturnbull.com www.lyonandturnbull.com

Catalogue: ÂŁ20 (Parts I & II) Paul Reeves would like to thank Hannah Whyman for her help in preparing for this sale

Front Cover Lot 354 (detail)

Left: Lot 314 (detail)

Inside Back Cover Lot 386 (detail)

4 Lyon & Turnbull

Paul Reeves: An Eye for Design 5

Introduction I had not expected to hold another sale from my textile collection, but following the overwhelmingly positive response to ‘Textiles as Art’, in February 2017, the temptation has proved too great.

It was gratifying that the pieces I had amassed over many years were acquired by others who appreciated them, a thank you to you all!

When I first discussed with Lyon & Turnbull the possibility of holding another auction, but of furniture and objects from my collection, we initially envisaged including only a few textiles, however in our selection process it became apparent that the few were multiplying, hence the decision to hold ‘Textiles as Art II’.

I hope you will enjoy this collection; there are famous names in there but also intriguing anonymous works - I just can’t resist their allure. I particularly like The Sun King Ra embroidery, Walter Crane’s MUSICA and the Michael O’Connells, but it’s really hard to choose favourites as my strict rule (to myself) is only to buy what I love.

Paul Reeves January 2019

6 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 7

300 ENGLISH SCHOOL GREAT EXHIBITION PRINTED COTTON SOUVENIR PANEL, CIRCA 1851 printed black on white cotton and bearing inscription EXHIBITION OF THE WORKS OF ALL NATIONS, 1851, framed 54.5cm x 73cm

£300-400

301 INDIAN MUTINY CAWNPORE MEMORIAL WELL EMBROIDERY, DATED 1857 raised silkwork bearing printed and embroidered inscriptions, framed and glazed 50.5cm x 39cm Note: Worked in silk and woven with silver, gold, grey and black threads, this poignant embroidery commemorates the victims of the Bibighar massacre after the Siege of Cawnpore in India 1857.

After hearing of an approaching rescue attempt from the East India Company, around 200 women and children were brutally murdered by rebel Sepoy forces, their bodies thrown into a well in an attempt to cover up the evidence. The inscription at the base of the embroidery reads: ‘Sacred to the perpetual memory of a great company of Christian people - chiefly women and children - who, near this spot, were cruelly massacred by the followers of the rebel Nana Dhoondoput of Bhitoor, and cast, the dying with the dead into the well on the XVth day of July 1857’.

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

8 Lyon & Turnbull

302 ENGLISH SCHOOL BERLIN WOOLWORK PANEL, CIRCA 1850 the design depicting the saint St Clair of Assisi, holding a stem of lilies, within original maple frame, glazed 63cm x 53.5cm Note: Berlin wool work patterns were first published in Berlin, Germany, early in the 19th century and were issued mostly as single sheets which made them affordable. Soon they were exported to Britain and the United States, where ‘Berlin work’ became popular. In Britain, it received a further boost through the Great Exhibition of 1851, and by the advent of ladies’ magazines such as ‘The Englishwoman’s Domestic Magazine’. Subjects to be embroidered were influenced by Victorian Romanticism and included floral designs, Victorian paintings, biblical or allegorical motifs. By the late 1880’s demand for this sort of work waned as the publishers failed to adapt, opening the way for less pictorial styles as advocated by William Morris and others.

£300-500

303 ARTS & CRAFTS EMBROIDERED AND PAINTED SILKWORK PANEL, DATED 1930 depicting the Archangel Gabriel, painted and embroidered on silk, within period frame, bears inscription verso PORTION OF THE ANNUNCIATION BY LIPPI/ SEWN BY LUCY FENWICK 1930, framed and glazed 17cm x 23.5cm

£300-500

304 ENGLISH SCHOOL PAINTED AND EMBROIDERED SILKWORK PANEL, CIRCA 1830 worked in coloured silk and painted silk with a depiction of an aristocratic family at leisure, within original gilded frame 51.5cm x 65cm

£400-600

Paul Reeves: An Eye for Design 9

305 PORTUGUESE SCHOOL RENAISSANCE REVIVAL SILKWORK PANEL, 18TH CENTURY depicting an architectural garden scene with flowering plants, trees and birds, reserved on a satin ground, framed and glazed 36.5cm x 137.5cm

£400-600

306 AFTER WALTER CRANE AND POSSIBLY BY THE ROYAL SCHOOL OF NEEDLEWORK SILKWORK EMBROIDERED PANEL, CIRCA 1880 depicting a trellis of fruits and flowering plants within border of masks, flowers and birds, framed and glazed 114cm x 37.5cm

£600-800 With thanks to Dr Lynn Hulse for her assistance in cataloguing this lot.

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

10 Lyon & Turnbull

307 AESTHETIC MOVEMENT UNUSUAL PAINTED FABRIC HANGING, CIRCA 1880 with central still life panel, enclosed by panels of birds and stylised flowering foliage in the manner of Lewis F. Day, lined 127cm x 135cm

£500-800

308 AESTHETIC MOVEMENT, POSSIBLY G.P. & J. BAKER, SWAISLAND BLOCK-PRINTED COTTON WALL HANGING, CIRCA 1880 printed with a central peacock with flowering foliage, within floral band, lined 190cm x 127cm

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 11

309 MANNER OF WALTER CRANE EMBROIDERED WOOLWORK PANEL, DATED 1910 worked in coloured wools with the figure of St Elizabeth befriending a pilgrim, reserved on a linen ground, bears embroidered inscription ST ELIZABETH BEHERBERGT DIE FREMDEN, signed with embroidered initials and dated lower left A.C.C./ 1910, framed and glazed 34cm x 30cm

£300-400

310 WALTER CRANE (1845-1915) FOR THE ROYAL SCHOOL OF NEEDLEWORK ’MUSICA’, A RARE AESTHETIC MOVEMENT EMBROIDERED AND APPLIQUÉ SILK PANEL, CIRCA 1876 worked in coloured silks and appliqué work with the Grecian Classical figure with musical instrument and bearing inscription MUSICA, framed and glazed 57cm x 38cm Note: This design was shown at The Philadelphia International Centennial Exhibition of 1876 as part of Walter Crane’s ‘Complete Design for Decorating a Room with Hangings’ which formed the centrepiece the Royal School of Needlework’s display.

£1,500-2,000 With thanks to Dr Lynn Hulse for her assistance in cataloguing this lot.

12 Lyon & Turnbull

311 FRENCH SCHOOL, AFTER EUGÈNE VIOLLET-LE-DUC MEDIEVALIST WOVEN SILK TEXTILE BORDER PANEL, CIRCA 1880 with entrelac panel design, each centred with alternate birds and beasts, framed and glazed 18cm x 61cm

£200-300

312 FRENCH SCHOOL PAIR OF GOTHIC REVIVAL WOVEN SILK AND WOOL CURTAINS, CIRCA 1880 the design alternate bands of stylised foliate motifs in red and gold, braided edge, lined and inter-lined (2) 292cm x 210cm

£700-900

313 MANNER OF CHRISTOPHER DRESSER GOTHIC REVIVAL WOVEN SILK FABRIC HANGING, CIRCA 1880 the design a repeating pattern of strapwork containing panels of fleurs-delys and foliage, lined 221cm x 155cm

£1,200-1,800

Paul Reeves: An Eye for Design 13

314 AUGUSTUS WELBY NORTHMORE PUGIN (1812-1852) OR EDWARD WELBY PUGIN (1834-1875) NEEDLEWORK WOOL RUG, CIRCA 1850 the panel a section of a larger carpet, worked with panels of fleurde-lys on a red ground and with panels bearing the cypher M with coronet, reserved on a blue ground and bearing inscription to one end DEUS ABSCONTIUI ET VES* and to the other VERE TU ES DELECTABIS, lined and converted to a hanging 209cm x 117cm Provenance: St. Leonards - Mayfield Chapel, Mayfield, Sussex, England.

Note: The remains of a medieval palace belonging to the Archbishops of Canterbury was converted into a school, Mayfield School of the Holy Child, by Edward Welby Pugin in 1863-6. This needlework rug originally ran the entire length of the Chapel. Due to the sheer scale of the work, the rug was constructed in small panelled sections and later stitched together to form the carpet. Hand-stitched by the sisters of Mayfield Chapel, the carpet was produced for Mother Cornelia Connelly, founder of the Society of the Holy Child Jesus. The border speaks of the hidden God and delighting in him day and night and in this section the inscription loosely translates from Latin to: ‘you are joyful’. As in other projects E.W. Pugin continued to use the decorative designs of his father of which this may be one.

£2,500-3,500

315 FRENCH SCHOOL FOUR GOTHIC REVIVAL PRINTED SILK AND LINEN BED HANGINGS, CIRCA 1880 lined, with associated fitted bedspread (5) each curtain 299cm x 170cm, bedspread central panel, 218cm x 106cm

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

14 Lyon & Turnbull

316 OWEN JONES (1809-1874) FOR WARNER. SILLETT & RAMM, SPITALFIELDS, LONDON ’SULTAN’ A RARE JACQUARD-WOVEN SILK CURTAIN, CIRCA 1870 the design a repeating pattern of stylised foliage reserved on a geometric patterned ground, lined and with braided edge 283cm x 157cm Literature: ‘Arts & Crafts Textiles in Britain’, Exhibition Catalogue The Fine Art Society, London in Association with Francesca Galloway, no. 10.

A Choice of Design, 1850 to 1980: Fabrics by Warner & Sons Limited, London 1983, ill. no.45, p.79 V&A museum number: T.163-1972 for an example in this colourway ’The John Scott Collection’, Volume Two, The Fine Art Society, London 11 June - 3 July 2014, no. 60 where an identical hanging was offered.

Note: Owen Jones trained as an architect and travelled to the Middle East where he made a study of decorative art. In 1856 he published the Grammar of Ornament, analysing patterns and colours from many periods and cultures and the book became an invaluable source for many designers.

Jones believed that reproducing flowers and similar objects in a naturalistic way was in bad taste. He preferred to create stylised motifs and designed a range of high quality silks using this type of pattern for leading manufacturers like Warner, Sillett & Ramm. The first recorded weaving of this design was September 20, 1870. Owen Jones used this design in the same year as a wall covering in his scheme for James Gurney’s Billiard’s Room and the Drawing Room, Regent’s Park, London.

£2,000-3,000

317 OWEN JONES (1809-1874) FOR WARNER AND SONS, SPITALFIELDS ’NIZAM’ WOVEN SILK FABRIC PANEL, CIRCA 1877 the design of scrolling foliage, chrysanthemums and leaves, framed and glazed 44.5cm x 120cm Note: For a panel of the same design see V&A museum no. T.94D-1930. ‘Nizam’ was rewoven in coarser material for two rooms in the Wallace Collection, London and, by repute, at Clarence House, London.

£1,800-2,200

318 CHRISTOPHER DRESSER (1834-1904) FOR J.W. & C. WARD, HALIFAX AESTHETIC MOVEMENT SILK AND WOOL FABRIC PANEL, CIRCA 1873 woven as a repeat pattern of floral and foliate bands, framed and glazed 87cm x 55cm Literature: Whiteway, Michael (ed.) ‘Christopher Dresser: A Design Revolution’, V&A 2004, p. 75, no. 84

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 15

319 CHRISTOPHER DRESSER (1834-1904) FOR WILLIAM FRY OF DUBLIN RARE ‘HERA’ WOVEN COTTON PANEL, CIRCA 1876 depicting peacock feathers, period oak frame 54cm x 23.5cm Literature: ‘The Aesthetic Movement’ The Decorative Arts Society, 2010, p.124, fig. 11 Lyons, Harry ‘Christopher Dresser: The People’s Designer 1834-1904’, Woodbridge 2005, pp. 242-3.

Note: Dresser first produced ‘Hera’ as a woven silk fabric for William Fry of Dublin circa 1876. Previously credited to Arthur Silver, Dresser’s design was more likely to have been ‘recycled’ and later produced as a printed cotton, sold through Liberty & Co., London.

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

16 Lyon & Turnbull

320 JAPANESE SCHOOL MEIJI PERIOD WOVEN SILK PANEL, CIRCA 1900 machine-woven with repeat pattern of fish swimming through seaweed, framed and glazed 36cm x 27cm

£150-250

321 AESTHETIC MOVEMENT PAIR OF WOVEN WALL HANGINGS OR CURTAINS, CIRCA 1880 the design comprised of bands of flowering foliage and urns issuing flowering plants, within a later cream linen border and lining (2) 320cm x 98cm including border

£800-1,200

322 ATTRIBUTED TO CHRISTOPHER DRESSER FOR J. C. & W. WARD, HALIFAX AESTHETIC MOVEMENT WOVEN FABRIC PANEL, CIRCA 1870 with repeat pattern of Egyptianesque floral motifs, framed and glazed 89cm x 58cm

£600-800

Paul Reeves: An Eye for Design 17

323 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘PEACOCK & DRAGON WOVEN WOOL AND MOHAIR DOUBLE CLOTH CUSHIONS hand-loom jacquard woven (2) each 63cm x 30cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.224, no.36

£300-500

324 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘PEACOCK & DRAGON’ WOVEN WOOL DOUBLE CLOTH CUSHIONS, CIRCA 1880 hand-loom jacquard woven (2) each 50cm x 50cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.224, no.36

£300-500

325 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’PEACOCK & DRAGON’ WOVEN WOOL DOUBLE CLOTH HANGING, CIRCA 1878 hand-loom jacquard woven 193cm x 128cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.224, no.36 Note: This woven furnishing textile was made for use as heavyweight curtains or a wall covering. William Morris’s increasing interest in historical woven textiles can be detected in his woven designs of the late 1870’s and 1880’s.

This textile was clearly influenced by a visit to Vincent Robinson’s shop in London in the same year it was designed.

He described the room he saw there as ‘from Damascus ... all vermilion and gold and ultramarine very beautiful and is just like going into the Arabian Nights’. However, the massive scale of the repeat (109cm by 90cm) and dense texture is far closer to northern European sources. By producing it as a thick woollen structure, Morris intended to recreate the effect of medieval tapestries.

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

18 Lyon & Turnbull

Paul Reeves: An Eye for Design 19

326 ATTRIBUTED TO THE LEEK SCHOOL OF EMBROIDERY EMBROIDERED SILKWORK PANEL, CIRCA 1890 worked in coloured silks with a repeating pattern of stylised cowslips and reserved on an unbleached linen ground, mounted and unframed 69cm x 72cm

£300-500

327 MANNER OF CHRISTOPHER DRESSER AESTHETIC MOVEMENT WOVEN SILK AND WOOL TABLE RUNNER, CIRCA 1880 the design a repeating pattern of buttercups, within later chenille border 47cm x 122cm

£150-250

328 CHRISTOPHER DRESSER (1834-1904) FOR J.W. & C. WARD, HALIFAX AESTHETIC MOVEMENT SILK AND WOOL FABRIC PANEL, CIRCA 1872 woven as a repeat pattern of floral and foliate bands, lined 47cm x 122cm Literature: Whiteway, Michael (ed.)

‘Christopher Dresser: A Design Revolution’, V&A 2004, p. 75, no. 84

£1,000-1,500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

20 Lyon & Turnbull

329 AFTER SIR JOHN TENNIEL A PAIR OF ‘ALICE IN WONDERLAND’ HAND-COLOURED SILK PANELS, 19TH CENTURY comprising 10 printed silk panels, mounted, framed and glazed (2) each 10cm square

£500-800

330 ARTS & CRAFTS SILKWORK EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks with a design of flowering foliage, centred with embroidered initials S.S.A. 42cm x 41.5cm

£150-250

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 21

331 MANNER OF WALTER CRANE ARTS & CRAFTS EMBROIDERED HANGING, CIRCA 1900 the design a galleon at sea in full sail, within a banded border reserved on a cotton sateen ground and bearing inscription FAR SO FAST/ WARMED

BY THE SUN/ YOUTH SAILS BEFORE THE WIND, original lining 125cm x 127cm

£500-800

332 WILLIAM MORRIS (1834-1896) ’HONEYSUCKLE’ ARTS & CRAFTS SILKWORK EMBROIDERED PANEL, CIRCA 1900 worked as flowering Honeysuckle amongst foliage on an unbleached linen ground, framed and glazed 46cm x 98cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.217, no.27

£1,200-1,800

333 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ARTS AND CRAFTS SILK DAMASK AND WOVEN SILK AND LINEN ALTAR FRONT, CIRCA 1881 with ‘Golden Bough’ silk and linen ground and divided with silk ‘Oak’ pattern bands and applied gilt braiding, within later silk border and lining 112cm x 176cm including border Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p. 226, no. 43 and p. 246-7, no. 69 Note: ‘Golden Bough’ was exhibited at the first Arts & Crafts exhibition in 1888 and was popular for use in church furnishings, as in this case.

£400-600

22 Lyon & Turnbull

334 ENGLISH SCHOOL, IN THE MANNER OF MAY MORRIS PAIR OF ARTS & CRAFTS EMBROIDERED PANELS, CIRCA 1900 each worked in coloured silks on a satin ground with a frieze of poppies, framed and glazed (2) 43.5cm x 42.5cm

£500-800

335 ENGLISH SCHOOL GOTHIC REVIVAL TRIPTYCH EMBROIDERED PANELS, CIRCA 1870 each worked in coloured silks with lilies and crown imperials (fritillaria), each panel bears embroidered inscription from the Vulgate, QUAM PULCHRI SUPER MONTES PEDES/ ANNUNTIANTIS ET PRAEDICANTIS PACEM/ DICENTIS SION REGNABIT DEUS TUUS, within a gilt mount, framed and glazed each panel 55cm x 25cm

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 23

336 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’BIRD’ PATTERN WOVEN WOOLLEN DOUBLE CLOTH HANGING, CIRCA 1880 hand-loom jacquard woven, with later linen border and lining 215cm x 140cm Literature: Parry, Linda, ‘William Morris Textiles’, V&A 2013, pp. 222-223, illus.

Note: This textile, designed by Morris in 1878, was the first hand-loom jacquard woven at Queen Square in London and later at Merton Abbey. In November 1879, Edward Burne-Jones ordered a set of bed hangings in this textile.

£1,200-1,800

337 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’MEDWAY’ PATTERN PRINTED COTTON PANEL, CIRCA 1885 indigo discharge printed, maker’s mark to selvedge REGD. MORRIS & COMPANY, unused condition 271cm x 100cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p. 243, no. 65

£800-1,200

24 Lyon & Turnbull

338 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. RARE PAIR OF ‘PEACOCK & DRAGON’ WOVEN WOOL AND MOHAIR DOUBLE CLOTH CURTAINS, CIRCA 1878 hand-loom jacquard woven (2) 247cm x 146cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.224, no.36 Note: Previously unrecorded this wool and mohair version, slightly reduced in scale, may have been produced as a special commission.

£1,500-2,000

339 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF ‘PEACOCK & DRAGON’ WOVEN DOUBLE CLOTH CURTAINS, CIRCA 1878 hand-loom jacquard woven (2) 255cm x 143cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p.224, no.36

£1,200-1,800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 25

340 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’STRAWBERRY THIEF’ PRINTED COTTON PANEL, CIRCA 1883 framed and glazed 44cm x 42cm Literature: Parry, Linda ‘William Morris Textiles’, p. 232, no. 52

£300-500

341 WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. ’HONEYSUCKLE’ PATTERN PRINTED LINEN PANEL, CIRCA 1876 printed with a repeating pattern in blue on white, maker’s marks to selvedge MORRIS & COMPANY REGD./ 2192 , sample, unused condition 180cm x 100cm Literature: Parry, Linda ‘William Morris Textiles’, V&A 2013, p. 217, no. 27

£700-900

342 CHRISTOPHER DRESSER (1834-1904) FOR LIBERTY & CO., LONDON ’MOOLTAN’ REVERSIBLE PRINTED COTTON PANEL, CIRCA 1880 printed with repeat pattern of cranes in blue on white, framed and glazed 23.5cm x 19cm Provenance: Archive of Turnbull & Stockdale, Rosebank Works, Ramsbottom (now in the collection of Paul Reeves) Literature: Lyons, Harry ‘Christopher Dresser: The People’s Designer 1834-1904’, ACC, 2005, p. 254, pl. 557, where a similar fabric in this range is illustrated.

£300-500

26 Lyon & Turnbull

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 27

343 ARTS & CRAFTS SILKWORK EMBROIDERED PANEL, CIRCA 1900 worked in coloured silks and gold thread with a pattern of flowering foliage, framed 57.5cm x 58cm

£200-300

344 WILLIAM MORRIS (1834-1896) LARGE ‘HONEYSUCKLE’ EMBROIDERED WOOLWORK PANEL, CIRCA 1890 worked in coloured wools with a repeating floral and foliate pattern and reserved on an unbleached linen ground, framed 133cm x 123cm Note: Designed by Morris in 1876 this design was sold through the Royal School of Art Needlework in London in the late 1870’s. A version worked

by May Morris and her mother Jane was exhibited at the first Arts & Crafts exhibition in 1888.

For this example see The William Morris Galley collection, catalogue no. F434.

£3,000-5,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

28 Lyon & Turnbull

345 MANNER OF MORRIS & CO. ARTS & CRAFTS EMBROIDERED WOOLWORK PANEL, CIRCA 1880 worked in coloured wools with clumps of flowers on a textured cream linen ground, framed and glazed 45cm square

£400-600

346 SIDNEY G. MAWSON (1876-1941) FOR LIBERTY & CO., LONDON ’STRAWBERRIES & BIRDS’ ARTS & CRAFTS PRINTED COTTON FABRIC PANEL, CIRCA 1909 printed by Turnbull & Stockdale, with repeat pattern of fruiting strawberries and briars with perched birds, framed and glazed 120.5cm x 34.5cm Note: This fabric by Mawson is often attributed to Morris & Co., demonstrating Morris's influence on other designers of the period.

£300-500

347 ARTS & CRAFTS EMBROIDERED SILKWORK PANEL, CIRCA 1890 worked in coloured silks on an unbleached linen ground with a repeating pattern of carnations, framed and glazed 50cm x 48cm

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 29

348 SIR ROBERT LORIMER (1864-1929) FOR EARLSHALL, FIFE ARTS & CRAFTS CREWELWORK PANEL, CIRCA 1893 originally forming part of a set of bed hangings and depicting floral sprigs within a meandering border, russet silk embroidery on a natural linen ground, framed and glazed 87cm x 93cm Provenance: Earlshall Castle, Fife, Scotland

£2,000-3,000

Note: In 1890 Sir Robert Lorimer was commissioned by R.W.R. Mackenzie to restore and enhance his sixteenth century tower house, Earlshall, near Leuchars in Fife, Scotland. Lorimer designed several pieces of furniture for the house, including the settle now in LACMA and the buffet which Walter Shaw Sparrow illustrated in his The British Home of To-Day (1904).

The work included embroideries to complete the decorative scheme.

Walter Shaw Sparrow illustrated the bedcover from this set (now with The National Museums of Scotland) in The Modern Home (published in 1908).

This embroidered panels formed part of a suite of hangings worked

by Mackenzie’s wife Jessie and her friends in 1893 and remained at Earlshall until the contents were sold in 1983. The larger hangings from this suite were sold in these rooms (see ‘Paul Reeves: Textiles as Art’, 23rd February 2017, lots 42 and 43).

Sir William Bruce built the castle in 1546. He had fought at, and unusually, survived the Battle of Flodden in 1513. Mary, Queen of Scots, visited in 1561. One of the family was killed at the Battle of Worcester in 1651, fighting for Charles II; and another Sir Andrew is known as “Bloody Bruce”. He and his men killed Richard Cameron, a noted Covenanter, at Airds Moss. Bruce then hacked off Cameron’s head and hands and took them back to Edinburgh.

The castle was abandoned and ruinous before being restored for R.W.R. Mackenzie by Sir Robert Lorimer in 1892. The gardens were re-laid and the formal garden replanted.

349 SIR ROBERT LORIMER (1864-1929) FOR EARLSHALL, FIFE ARTS & CRAFTS CREWELWORK PANEL, CIRCA 1893 originally forming part of a set of bed hangings, depicting floral sprigs within meandering borders, russet silk embroidery on a natural linen ground, framed 35cm x 93.5cm Provenance: Earlshall Castle, Fife, Scotland

£800-1,200 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

30 Lyon & Turnbull

350 AMERICAN SCHOOL GOTHIC REVIVAL WOVEN SILK AND GOLD THREAD CHASUBLE, EARLY 20TH CENTURY the lined silk material woven with a repeating decoration of angels on a foliate ground, with embroidered silkwork with applied woven decorative braiding and central embroidered panel with inscription IHS, bears maker’s label JOHN MCEVOY/ NEW YORK £400-600

351 ARTS & CRAFTS PAINTED POLYCHROME HESSIAN PANEL, CIRCA 1890 depicting a band of minstrels in a wooded landscape, framed 157cm x 43cm

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 31

352 EGYPTIAN REVIVAL EMBROIDERED AND APPLIQUÉ ROUNDEL, CIRCA 1920 worked in silk and metal threads with a representation of the sun god Ra, framed and glazed 49cm diameter

£400-600

353 FRENCH SCHOOL EGYPIANESQUE PRINTED VELVET PANEL, CIRCA 1920 depicting a musician within mask borders and with central Ibis motif, framed and glazed 145cm x 49cm

£600-800

354 ATTRIBUTED TO WIENER WERKSTÄTTE SECESSIONIST LACE PANEL, CIRCA 1905 depicting dancers and musicians, mounted on a fabric panel, framed and glazed 30cm x 43cm Note: Founded in 1903 by Josef Hoffmann and Koloman Moser, the Wiener Werkstätte brought together a progressive group of visual artists in Vienna who were pioneers in modern design, working in ceramics, fashion, silver, furniture and the graphic arts. 1909 and 1910 saw the introduction of the fashion and textile departments; hand-printed silks in particular became a speciality for the Werkstätte, who’s impressive output is thought to amount to 18,000 designs by over 80 artists - an indication of the department’s huge success. Dagobert Peche had a particular skill for producing laceworks: typically depicting visions of fantasy, these delicate pieces are admired as works of true beauty and craftsmanship.

£400-600

32 Lyon & Turnbull

355 ARTS & CRAFTS TWO PAIRS OF WOVEN COTTON CURTAINS, CIRCA 1900 each woven with an allover pattern of trees in a landscape, lined (4) 325cm x 112cm

£800-1,200

356 MANNER OF GEORGE WALTON ART NOUVEAU WOVEN COTTON PANEL, CIRCA 1900 designed as a repeating pattern of roses with whiplash foliage reserved on a midnight blue ground 136cm x 124cm

£400-600

357 ARTS & CRAFTS FINE EMBROIDERED BEDSPREAD, CIRCA 1900 comprised of fourteen embroidered panels within a lace ground and within linen border with further lace trim 242cm x 247cm

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 33

358 CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941) FOR ARTHUR H. LEE & SONS, BIRKENHEAD ART NOUVEAU WOVEN COTTON AND WOOL PANEL, CIRCA 1890 with repeating pattern of birds, perched in stylised trees, framed and glazed 66cm x 58cm

£600-800

34 Lyon & Turnbull

359 AUSTRIAN SCHOOL, MANNER OF JOSEF HOFFMANN SECESSIONIST PANEL, CIRCA 1900 machine-woven with oval panels of stylised flowering plants on a patterned dove grey latticed ground, probably for Johann Backhausen & Söhne, framed and glazed 30.5cm x 31.5cm

£200-300

360 SCANDINAVIAN SCHOOL JUGENDSTIL EMBROIDERED WOOL HANGING, CIRCA 1900 worked in coloured threads with panels of stylised flowers, leaves and geometric forms and reserved on a blue ground, lined 172cm x 142cm

£300-500

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 35

361 ANN MACBETH (1875-1948) EMBROIDERED LINEN TABLECLOTH, CIRCA 1900 worked in coloured silks to each corner with roundels of stylised flowering foliage and butterflies, reserved on pale blue linen grounds, and with openwork and embroidered borders 118cm square Literature: The Studio magazine Yearbook, 1902, p. 182 illus.

The Studio magazine Yearbook 1906, p.168 illus.

Note: MacBeth’s striking embroidery work was given regular coverage in The Studio where it was much praised. The current lot demonstrates several of MacBeth’s highly original designs seen in the Studio, including the characteristic stylised roundels and openwork banding.

MacBeth p ublished several books on her craft and in particular the textbook written with Margaret Swanson ‘Educational Needlecraft’ was influential internationally.

£1,000-1,500

362 GLASGOW SCHOOL, AFTER ANN MACBETH ARTS & CRAFTS EMBROIDERED APPLIQUÉ LINEN BEDSPREAD, DATED 1904 with central panel embroidered in coloured silks with inscription SLEEP SWEETLY IN THIS/ QUIET ROOM O’ THOU WHO/ O’ER THOU ART AND MAY NO/ MOURNFUL YESTERDAYS/ DISTURB THY PEACEFUL/ HEART/ SEWN BY MARY ROSE 1904/ AET 84 (Aged 84), within a band of roses and hearts 138cm x 142cm

£500-800

36 Lyon & Turnbull

363 GLASGOW SCHOOL ART NOUVEAU EMBROIDERED LINEN HANGING AND MATCHING TABLE RUNNER, CIRCA 1900 worked in coloured threads with stylised floral and foliate motifs on an unbleached linen ground, the hanging lined (2) hanging 62cm x 233cm, the runner 143cm x 32cm

£400-600

364 ARTS & CRAFTS FITTED AND EMBROIDERED LINEN BEDSPREAD, CIRCA 1910 worked in coloured silks with panels of stylised flowering roses within lace borders and further fitted linen border central panel 175cm x 202, total 258cm x 286cm

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 37

365 GLASGOW SCHOOL SILKWORK EMBROIDERED AND APPLIQUÉ CUSHION, CIRCA 1900 worked in coloured silks with a band of stylised roses reserved on a quilted ground, framed and glazed 24cm x 35cm

£200-300

366 ARTS & CRAFTS WOOLWORK EMBROIDERY, DATED 1912 worked as a swan and with embroidered silk banner bearing inscription EAST, WEST, HOME’S BEST, within period oak frame, bears inscription verso THIS WORK WAS DONE BY DOROTHY WALKER AT GROSVENOR ART SCHOOL IN 1912 52cm x 35cm

£400-600

367 HELEN ADELAIDE LAMB (1893-1981) GLASGOW SCHOOL EMBROIDERED SILKWORK PANEL, CIRCA 1910 worked in coloured silks and beading on an unbleached linen ground, and depicting a maiden in a garden, framed and glazed 57cm x 33.5cm Literature: ‘The Studio - An Illustrated Magazine of Fine and Applied Art’, Volume Forty Six, 1909, where the design is illustrated in colour.

Note: Helen Lamb was born in Dunblane and admitted to the Glasgow School of Art at the unusually young age of 15. later went on to teach art at St Columba’s School, Kilmacolm between 1918-1949. She was commissioned to produce the Church of Scotland’s Loyal Addresses to King Edward VIII, King George VI and Queen Elizabeth, all of which are conserved in Windsor Castle.

She died in Dunblane in 1981 and in the cathedral there is an octagonal room on the ground floor named in recognition of her outstanding artistic contribution to the cathedral.

£1,800-2,200

38 Lyon & Turnbull

368 ATTRIBUTED TO SILVER STUDIOS ART NOUVEAU WOVEN SILK HANGING, CIRCA 1900 the design a repeating pattern of stylised leafy plants, within a later green silk border and lining 100cm x 164cm

£300-500

369 ATTRIBUTED TO SILVER STUDIOS ARTS & CRAFTS JACQUARD-WOVEN SILK PANEL, CIRCA 1900 the design a repeating latticed pattern of flowering plants, lined 114cm x 186cm

£400-600

370 ATTRIBUTED TO ARCHIBALD KNOX (18641933) FOR THE SILVER STUDIOS LARGE COTTON VELVET PANEL, CIRCA 1900 comprising conjoined panels, the design a repeating pattern of stylised whiplash foliage with flowering roses and honesty, reserved on a crimson ground 232cm x 199cm

£1,000-1,500

Paul Reeves: An Eye for Design 39

371 ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT (1865-1945) EMBROIDERED SILKWORK PANEL, CIRCA 1910 possibly embroidered by Florence Baillie Scott, worked in coloured silks with a band of alternating stylised flowers and foliage on an unbleached linen ground, framed and glazed 36cm x 144cm Literature: For a panel with stylistic similarities to the present lot see 'The Studio Magazine' Volume 28, 1903, p. 283 (illustrated right).

£2,000-3,000

372 GEORGE FAULKNER ARMITAGE (1849-1937) FOR ARTHUR H. LEE & SONS, BIRKENHEAD ARTS & CRAFTS MERCERISED COTTON FABRIC PANEL, CIRCA 1900 with repeating pattern of lilies in shades of blue, reserved on a midnight blue ground 150cm x 130cm

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

40 Lyon & Turnbull

373 ARTS & CRAFTS EXCEPTIONAL AND LARGE EMBROIDERED WOOLWORK BEDSPREAD, CIRCA 1890 worked in coloured wools with a lattice of flowering summer flowers and fruiting pomegranates, each cell enclosing a bound posy, the whole reserved on a cream wool ground and bordered to three sides with fringing and passementerie tassels, lined 227cm x 250cm

£2,000-3,000

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 41

374 ARTS & CRAFTS vvPANEL, CIRCA 1910 worked in coloured silks with five ascending angels, playing musical instruments with floral motifs below and inscription TEDEUM LAUDAMUS, framed and glazed 41cm x 19cm

£1,800-2,200

375 ARTS & CRAFTS EMBROIDERED SILKWORK PANEL, CIRCA 1900 depicting an idyllic garden scene framed with a rose briar and reserved on a satin ground, signed with initials MFW, framed and glazed 90cm x 59cm Note: The subject matter was popular amongst gifted Edwardian needlewomen and examples are illustrated in ‘Needlecraft Monthly Magazine’ (1907-1913).

With thanks to Dr Lynn Hulse for her assistance in cataloguing this lot

£800-1,200

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

42 Lyon & Turnbull

376 ENGLISH SCHOOL ’THE RABBITS BRIDE’ EMBROIDERED PANEL, CIRCA 1900 embroidered in coloured threads on an unbleached linen ground and bearing inscription THE RABBIT’S BRIDE/ “NOW IN YOUR FIELD I MAY NOT HIDE/ SO COME WITH ME AND BE MY BRIDE”, framed and glazed 22.5cm x 19.5cm Note: ‘The Rabbit’s Bride’ is a scarcely-known Grimm’s fairy story, first published in the early 19th century.

£150-250

377 ENGLISH SCHOOL SILKWORK EMBROIDERED PANEL, CIRCA 1910 worked as a winged putto, with rose garland on a chequer ground, oval, framed and glazed 46cm x 38cm

£250-350

378 GLASGOW SCHOOL ARTS & CRAFTS SILKWORK EMBROIDERED PANEL, CIRCA 1900 worked as a repeating pattern of flowering roses and reserved on a linen ground, framed and glazed 59.5cm x 56cm

£250-350

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 43

379 ARTHUR GASKIN (1862-1928) ’THE PRINCE AND THE ROSE BUSH’, EMBROIDERED PANEL WITH PRINTED DESIGN, CIRCA 1900 the EMBROIDERED PANEL, possibly worked by Georgie Gaskin in coloured silks on an unbleached linen ground, the whole within a hessian covered frame, 57cm x 41cm; together with ASSOCIATED ORIGINAL PUBLISHED DESIGN, print, within a later mount, framed and glazed and bearing inscription HOME ART WORK/ VOL XV/ PART LXIV/ APRIL 1898/ COPYRIGHT/ THE PRINCE AND THE ROSE BUSH/ DESIGNED FOR NEEDLEWORK BY A.C. GASKIN/ DIRECTOR OF THE BIRMINGHAM MUNICIPAL SCHOOL OF ART/ JOHN HEYWOOD (PUBLISHER) LONDON E.C., 56.5cm x 41cm (2) £2,000-3,000

44 Lyon & Turnbull

380 ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT FOR ALEXANDER MORTON & CO. ARTS & CRAFTS WOVEN WOOL PANEL, CIRCA 1900 repeating bird and tulip motifs woven on a russet ground, period frame, glazed 69cm x 49cm Note: This panel parallels other works by Scott such as the stained glass windows at Blackwell Arts and Crafts House in the Lake District, depicting simplified and sinuous birds and tulips.

£300-500

381 ALEXANDER MORTON & CO., DARVEL ARTS & CRAFTS WOVEN WOOLLEN HANGING, CIRCA 1910 the design an arrangement of formalised tulips and foliage reserved on a green ground and with fringed edging 70cm x 112cm

£350-450

382 ARTS & CRAFTS PAIR OF EMBROIDERED VELVET HANGINGS, CIRCA 1910 each embroidered with bands of flowering foliage worked in coloured wools and reserved on a cream velvet ground, lined (2) 204cm x 154cm

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 45

383 ALEXANDER MORTON & CO., DARVEL PAIR OF ARTS & CRAFTS CHENILLE CURTAINS, CIRCA 1900 decorated with stylised bands of flowering peony roses reserved on an olive ground (2) 285cm x 117cm

£500-800

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

46 Lyon & Turnbull

384 ATTRIBUTED TO LINDSAY PHILLIP BUTTERFIELD FOR THOMAS WARDLE WOVEN COTTON PANEL, CIRCA 1890 depicting repeating flowering plant forms, period frame, glazed 46cm x 56.5cm Literature: ‘Stoffe um 1900’ published Das Textilmuseum, Krefeld, 1977, No. 10, where a similar fabric by Butterfield is illustrated.

£150-250

385 ATTRIBUTED TOP HARRY NAPPER (1860-1930) FOR SILVER STUDIOS PAIR OF ART NOUVEAU PRINTED COTTON HANGINGS, CIRCA 1900 designed as a repeating pattern of roses with whiplash foliage reserved on a formalised grid ground with further stylised plant forms, within later cream linen borders, lined (2) 135cm x 84cm including border

£500-800

386 ATTRIBUTED TO SILVER STUDIOS ARTS & CRAFTS JACQUARD-WOVEN COTTON PANEL, CIRCA 1900 the design a repeating pattern of stylised fruiting trees in shades of green 114cm x 186cm

£400-600 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 47

387 C.F.A. VOYSEY (1857-1941) FOR MORTON SUNDOUR, EDINBURGH ’COCKPEN’ PATTERN PRINTED COTTON HANGING, CIRCA 1918 depicting a repeating pattern of harebells, grapes and opposed birds, period frame, enclosed within a later linen border 70cm x 78cm including border Note: See V&A Museum Number T.174-1977 for similar example of this furnishing fabric

£400-600

388 ALEXANDER MORTON & CO., DARVEL TWO ART NOUVEAU WOVEN COTTON TABLECLOTHS, CIRCA 1900 the fields designed with a pattern of stylised plants enclosed by a corresponding leafy plant border with fringing (2) blue colourway, 181cm x 171cm, red colourway 153cm x 158cm including fringes

£400-600

48 Lyon & Turnbull

389 ROYAL SCHOOL OF NEEDLEWORK EMBROIDERED ‘HARDWICKE’ DESIGN SILKWORK PANEL, CIRCA 1920 worked in coloured silks in the 16th century style, with an allover flowering foliate and bird pattern, reserved on an unbleached linen ground, both framed and glazed Each 28cm x 33cm Literature: ‘Penelope’ in collaboration with The Royal School of Needlework ‘Traditional Embroidery’, Briggs & Co. Ltd., p.27 illus.

£300-500

390 ROYAL SCHOOL OF NEEDLEWORK EMBROIDERED SILKWORK PANEL, CIRCA 1925 worked in coloured silks with a landscape scene within border of flowers and country creatures and reserved on an unbleached linen ground, 26cm x 33cm; together with TRADITIONAL EMBROIDERY by ‘Penelope’, published in collaboration with the Royal School of Needlework (2) Literature: ‘Penelope’ in collaboration with The Royal School of Needlework ‘Traditional Embroidery’, Briggs & Co. Ltd., where this design is illustrated on the cover.

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 49

391 COTSWOLDS SCHOOL ARTS & CRAFTS EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1920 worked in coloured threads and fabrics and depicting a huntsman; a gun and a fisherman in a landscape and enclosed by a band of country animals on a linen ground, in original Rowley Gallery frame 31cm x 46cm Note: Appliqué panels held at Rodmarton Manor, Gloucestershire, designed by Hilda Sexton and worked by the Rodmarton Women’s Guild, demonstrate similar techniques and subject matter to the present lot.

£800-1,200

392 SCOTTISH SCHOOL LARGE NEEDLEWORK SAMPLER PANEL, CIRCA 1925 worked on coloured thread with a country house and garden with tennis, cricket and sailing being played in the grounds, within a border of birds and trees and bearing embroidered inscription LOCHHEAD ABERDEEN 93.5cm x 79cm

£300-500

50 Lyon & Turnbull

393 ENGLISH SCHOOL, AFTER EDMUND DULAC ’CIRCE, THE ENCHANTRESS’, PAINTED AND EMBROIDERED PANEL, CIRCA 1912 worked in coloured silks and painted in colours on a silk ground, framed and glazed, bears inscription verso WORKED BY G. BIRCHAM, framed and glazed 23.5cm x 18cm

£500-800

394 ARTHUR H. LEE & SONS, BIRKENHEAD RARE ARTS AND CRAFTS EMBROIDERED TEXTILE HANGING, CIRCA 1930 the jacquard-woven patterned green ground embroidered in coloured wools with meandering flowering tendrils, bears maker’s label CREWELCRAFT/ A.L.& S., sample, unused condition 270cm x 117cm

£400-600

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 51

395 MANCHESTER SCHOOL OF ART, (STUDENT OF) FAIRY PROCESSION, A LARGE EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1920 worked in coloured silks and fabrics with a procession of fairies in a landscape within a Celtic inspired border, framed and glazed in original oak frame 87cm x 127cm Note: Illustrated in the Manchester Guardian, circa 1922

£2,000-3,000

396 ARTS & CRAFTS, POSSIBLY BIRMINGHAM SCHOOL OF ART EMBROIDERED WOOLWORK PANEL, CIRCA 1920 worked in coloured wools with the figures of two deer in a garden setting, reserved on an unbleached linen ground, framed and glazed 50cm x 119cm

£600-800

52 Lyon & Turnbull

397 ARTS & CRAFTS EMBROIDERED SILKWORK PANEL, CIRCA 1930 worked as a flowering tree in a landscape with rabbits and birds, framed and glazed 28.5cm x 16cm

£150-250

398 JAPANESE SCHOOL WOVEN SILK BANNER, EARLY 20TH CENTURY the design a polychrome repeating pattern of birds perched on branches of flowering peony roses 313cm x 35cm

£300-500

399 EGYPTIAN REVIVAL EMBROIDERED LINEN TABLECLOTH, CIRCA 1925 worked in coloured threads with a band of masks and Egyptianesque motifs 98cm x 96cm

£150-250 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 53

400 MARIANO FORTUNY Y MADRAZO (1871-1949) RARE PRINTED SILK VELVET PANEL, CIRCA 1920 the design printed with golden metallics with a repeating pattern of flowering carnations, framed 117cm x 93.5cm Note: A panel of silk velvet by Fortuny in the same design is held in the collection of the Cooper Hewitt Smithsonian Design Museum, museum no. 1938-57-1226-b (bequest of Erskine Hewitt); and for a similar panel see V&A T.130-1977.

Fortuny’s production of printed textiles was strongly influenced by his family’s collection of Arabic and Oriental decorative arts and textiles and he was also influenced by the art of Venice where he lived and worked and where he studied Renaissance arts.

He developed and patented techniques for metal printing on velvet to simulate the textural effect of woven fabrics, using hand-cut wooden blocks. He then printed with metallic powders, using bronze or copper powders for a golden effect and aluminium for silver.

£2,500-3,500

54 Lyon & Turnbull

401 THE LADIES’ WORK SOCIETY FOUR DESIGNS FOR EMBROIDERIES, CIRCA 1950 watercolour, depicting griffin grotesques, framed and glazed (4) 22cm x 19cm; 22cm x 32cm; 22cm x 30cm; 12cm x 15cm Literature: Morris, Barbara J. ‘Victorian Embroidery: An Authoritative Guide’, Dover Publications, 2003, p. 206 Provenance: The Ladies’ Work Society Archive Note: These watercolours are based on original embroidered textiles at Hardwick Hall, Derbyshire.

£250-350

402 ENGLISH SCHOOL DESIGN FOR A HUNTING PANEL pen and ink, inscribed lower left DESIGN FOR PICTURES & PANELS/ ES, framed and glazed 127cm x 42cm Literature: Morris, Barbara J. ‘Victorian Embroidery: An Authoritative Guide’, Dover Publications, 2003, p. 206 Provenance: The Ladies’ Work Society Archive

£400-600

403 THE LADIES’ WORK SOCIETY THREE DESIGNS FOR EMBROIDERIES, CIRCA 1950 watercolour, depicting exotic bird grotesques, framed and glazed (3) 16cm square; 15cm x 31cm; 19cm x 17cm

£250-350 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 55

404 JESSIE BAYES (1876-1970) ’DESIGN FOR MOTHERS UNION BANNER, ST. MICHAELS BECKENHAM pencil and watercolour, signed and inscribed in pencil, framed and glazed 31cm x 19cm Literature: Morris, Barbara J. ‘Victorian Embroidery: An Authoritative Guide’, Dover Publications, 2003, p. 206 Provenance: The Ladies’ Work Society Archive Note: The Ladies’ Work Society was set up in Liverpool, Manchester and Southport ‘for the purpose of enabling ladies in reduced circumstances to dispose of their work quietly and advantageously’ for a subscription of 5s annually.

£300-500

405 ENGLISH SCHOOL FOUR DESIGNS FOR ALTAR FRONTALS watercolour, bodycolour and gold paint, each framed in one mount and bearing inscription DESIGNS FOR ALTAR FRONTALS, framed and glazed, each frontal 12.5cm x 23.5cm, mount 74cm x 37cm; also an additional loose DESIGN verso, pencil on tracing paper, 51cm x 15cm (2) Literature: Morris, Barbara J. ‘Victorian Embroidery: An Authoritative Guide’, Dover Publications, 2003, p. 206 Provenance: The Ladies’ Work Society Archive

£400-600

56 Lyon & Turnbull

406 PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD ROSEBANK FABRICS HAND-BLOCKED PRINTED LINEN PANEL, 1935 stripe and scroll design, blue colourway, framed 132cm x 64cm Provenance: Archive of Turnbull & Stockdale, Rosebank Works, Ramsbottom (now in the collection of Paul Reeves)

£800-1,200

407 BERNARD SLEIGH (1872-1954) FOR ROSEBANK FABRICS ’A MAP OF FAIRYLAND’, A RARE LINEN PANEL, CIRCA 1937 printed linen, bears maker’s inscription to selvedge A MAP OF FAIRYLAND BY BERNARD SLEIGH/ A ROSEBANK FABRIC 203cm x 128cm Note: This fabric is based on Sleighs ‘An Anciente Mappe of Fairyland Newly Discovered and Set Forth’ printed for nurseries from 1917. After Sleigh retired in 1937 it was produced as a fabric by Rosebank, who commissioned Sleigh to produce further works.

£600-800 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 57

408 PHYLLIS BARRON (1890-1964) FOR TURNBULL & STOCKDALE LTD - ROSEBANK FABRICS FOUR HAND-BLOCKED PRINTED LINEN SAMPLE PANELS, CIRCA 1935 stripe and scroll design, in four colourways, four samples mounted in one frame, glazed (4) each sample 18cm x 24cm Provenance: Archive of Turnbull & Stockdale, Rosebank Works, Ramsbottom (now in the collection of Paul Reeves) Note: Phyllis Barron, who had trained at the Slade, first became interested in printing fabrics on discovery of some printing blocks whilst on holiday in France. She researched dying at the British Museum and the V&A libraries. As a member of the London Group from 1916 until 1921 she would have been in contact with the leading artists of the day, and very quickly she came to the attention of Roger Fry who asked her to exhibit at the Omega Workshop. Dorothy Larcher meanwhile had been working in India and on her return met Barron through the embroideress Eve Simmonds. She joined Barron in 1923 and together they moved to a workshop in Hampstead. Through Detmar Blow they secured a commission to furnish the comingout dance of the Duke of Westminster, and another commission through the Duke led to a commission for cushions for Coco Chanel’s garden in Paris. They moved to the Cotswolds in 1930 where the local water was particularly suitable for madder dying and from where they secured commissions from Girton College, Cambridge, the furniture maker Eric Sharpe amongst many others. The impossibility of obtaining good quality fabrics during the Second World War forced them to give up their business.

ÂŁ700-900

58 Lyon & Turnbull

409 ANDRÉ DERAIN (1880-1954) FOR ASCHER LTD., LONDON ’SYMBOLS’ ARTIST’S SQUARES PRINTED SILK CREPE SCARF, CIRCA 1947 pink colourway, with printed signature A. DERAIN, framed 90cm x 87.5cm Note: Zika Ascher (1910-1992) founded Ascher in 1942, with the idea to combine fine art and industry and thereby make art more accessible.

The concept was fitted with the social ideals of the post war European art community. The project would spread from artist to artist resulting in an interconnected collection of works that changed concepts of fine art and fashion. André Derain and Enda Ascher (Zika Ascher’s cousin) were lifelong friends. Enda Ascher was a painter and later a dealer in African art and it was through her friendship with Derain that Enda and subsequently Zika was introduced to such wide variety of personalities in the Parisian art world. Derain would create four different designs for Ascher Squares.

£800-1,200

410 FRENCH SCHOOL ’EXOTIC DANCER’ (PROBABLY MISTINGUETT) PRINTED COTTON QUILT, CIRCA 1920 with repeating pattern of a cabaret dancer on a cloud ground, later pink linen backing 198cm x 211cm

£400-600

Paul Reeves: An Eye for Design 59

411 ATTRIBUTED TO ASCHER LTD., LONDON RARE MODERNIST SCREEN PRINTED RAYON SATIN PANEL, CIRCA 1940 with repeat still-life pattern, reserved on a black ground, framed 90cm x 122.5cm

£500-800

412 ROYAL SCHOOL OF NEEDLEWORK EMBROIDERED AND APPLIQUÉ PANEL, DATED 1957 worked with coloured material and threads on a printed and patterned ground with a cornucopia issuing leaves, bears inscription verso ROYAL SCHOOL OF NEEDLEWORK/ THREE YEAR DIPLOMA 1957/ MEH, within original frame 44cm x 55cm

£300-500 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

60 Lyon & Turnbull

413 ALAN REYNOLDS (B. 1926) FOR EDINBURGH WEAVERS LENGTH OF ‘CRYSTALLINE IMAGE’ PATTERN FABRIC HANGING, CIRCA 1962 jacquard-woven rayon and linen 235cm x 117cm Note: Edinburgh Weavers was founded in 1928 by the textile manufacturer James Morton (1867-1943) as an experimental design and marketing unit of Morton Sundour Fabrics. Originally based in Edinburgh, the firm merged with Morton Sundour Fabrics’ weaving factory in Carlisle in 1931. They achieved success in the UK and US under the enlightened directorship of Alastair Morton (1910-63), who commissioned freelance designers and artists to produce work for interpretation as printed and woven fabrics. Following Alastair Morton’s death, Edinburgh Weavers was taken over by Courtaulds in 1963.

£600-800

414 [§] SUSAN BOSENCE (1913-1996) RARE HAND-BLOCKED LINEN PANEL, CIRCA 1950 depicting a serrated striped design, framed 143cm x 23cm Note: Susan Bosence was a talented block printer, dyer and teacher from Bedfordshire. She exhibited extensively from the 1960's until her death in 1996, and also opened a dye house and printing classroom for adults in Dartington around the same period. Bosence was extremely interested in ethnic textile techniques, and her works often display simplistic yet contrasting geometric techniques printed with lino-blocks, as is seen here.

£250-350

Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 61

415 MICHAEL O’CONNELL (1898-1976) ’LINEAR CAPRICE’, A BATIK PANEL, CIRCA 1960 paste-resist wool and rayon, with Italian scenes, signed MICHAEL O’CONNELL and inscribed LINEAR CAPRICE 182cm x 229cm

£1,800-2,200

Note: Michael O’Connell, was a British textile artist who worked in Australia in the 1920’s and 30’s and in Britain from the 1940’s until his death in 1976. O’Connell’s fabric designs were printed by the Edinburgh Weavers and London department stores, Heal & Sons and Harrods. He also made large fabric hangings, such as the backcloth for St Martin’s Church, Manchester, and textile panels for the Festival of Britain in 1951, which were widely exhibited. He developed a unique combination of batik and resist dyeing techniques.

Specially formulated resists and dyes were painted and piped onto mordanted fabric, and then the whole work, once dry, was dyed. Only after washing and scrubbing were the colours revealed.

416 MICHAEL O’CONNELL (1898-1976) BATIK PANEL, CIRCA 1960 paste-resist wool and rayon, with bands of stylised birds and plants, lined, signed MICHAEL O’CONNELL 170cm x 122cm

£1,500-2,000

62 Lyon & Turnbull

417 J. & J. CASH LTD. FOR COVENTRY CATHEDRAL TWO RARE JACQUARD-WOVEN SILK PANELS, CIRCA 1960 one inscribed SUTHERLAND TAPESTRY, the other BETHLEHEM FONT AND BAPTISTERY WINDOW, each with printed label verso, framed and glazed (2) each 13cm x 7cm

£250-350

418 ENGLISH SCHOOL EMBROIDERED AND APPLIQUÉ PANEL, CIRCA 1960 worked in coloured threads and fabrics and depicting the Virgin and Child, framed and glazed 56cm x 36cm

£250-350

419 MID CENTURY EMBROIDERED WOOLWORK PANEL, CIRCA 1970 worked as a stylised bird, perched on a fruiting tree, reserved on a cream ground, mounted and unframed 101cm x 56cm

£300-500

END OF SALE Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Paul Reeves: An Eye for Design 63

A NEW AUCTION OF MODERN ART, SCULPTURE, DESIGN & CERAMICS

2 7 M A RC H 2 0 1 9 I N LO N D O N For more information contact Philip Smith: 0207 930 9115 philip.smith@lyonandturnbull.com

PABLO PICASSO (SPANISH 1881-1973) FEMME DANS UN FAUTEUIL ET GUITARISTE (B. 917; BA. 1232) 25/50, signed and numbered, linocut 53cm x 63cm (22in x 24.8in)

£8,000-12,000 Other fees apply in addition to the hammer price, please see the ‘Buyer’s Guide’ section on page 4

Conditions of Sale 64 Lyon & Turnbull

CONDITIONS OF SALE FOR BUYERS (UK) The Auctioneer 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 of Sale (Buyers): “Auctioneer” means Lyon and Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Hammer price” means the level of bidding reached (at or above any reserve) when the Auctioneer brings down the hammer; “High Cumulative Value of Lot” means several lots with a total lower estimate value of £30,000 or above; “High Value Lot” means a lot with a lower estimate of £30,000 or above; “Lot” means each Item offered for sale

by Lyon and Turnbull; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax or other taxes chargeable and any additional charges payable by a defaulting Buyer under these Conditions; “You”, “Your” means the Buyer; “Us”, “Our”, “We” etc. refers to Lyon and Turnbull Ltd, The singular includes the plural and vice versa as appropriate.

2. AGENCY We act as agent solely for and in the interests of the Seller. We do not act for Buyers in this role and do not give advice to Buyers. When we make a statement about a lot it is doing so on behalf of the Seller of the lot.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

3. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security and credit references or arrangements before entering the auction room to view or bid. We reserve the right to ask buyers for identification to prevent fraud, underage purchases and/or any other legal or legitimate purpose. (b) High Value Lots and High Cumulative Value of Lots: If you wish to bid on any High Value Lot (a lot with a lower estimate of £30,000 or above) or if you are bidding on several lots with a total lower estimate value of £30,000 or above, you are invited to complete the High Value Lot pre-registration. After you have successfully registered as a bidder with us, you should complete the High

Value Lot pre-registration before the date of sale by contacting the Office Manager or on the date of sale at the registration area. Unless otherwise agreed by us, you will be permitted to bid for High Value Lots only if we have confirmed your payment of deposit and your completion of the High Value Lot pre-registration before the sale. The Deposit required will be 10% of the lower estimate.

Upon pre-registration, you should pay the deposit or such other sum as determined by us dependant on circumstances, by way of bank transfer or credit card(s) acceptable to us.

Please note that we do not accept payment from third parties and this also applies to agents.

If you are not successful in any bid and do not owe us any debt, the deposit will be refunded to you by way of wire transfer or such other methods as determined by us. Please make sure that you provide your bank details in the pre-registration form. The exchange rate provided to us by the bank on the date of exchange is final.

We will arrange to refund the deposit to you within seven days after the date of sale, however we do not guarantee when you will receive the payment due to the variance in time for banks to process fund transfers.

Upon successful pre-registration, you will be given a numbered High Value Lot paddle for identification purposes. The auctioneer will usually only accept bids made with the High Value Lot paddle or by its High Value Lot registered bidder. This applies to saleroom, telephone and absentee bids.

We have the right to change the High Value Lot pre-registration procedures and requirements from time to time without notice. (c) The maker of the highest bid accepted by the Auctioneer conducting the sale shall be the Buyer and any dispute shall be settled at the Auctioneer’s absolute discretion. (d) Our right to bid on behalf of Sellers is expressly reserved up to the amount of any reserve. (e) The right to refuse any bid is also reserved. (f) Commission Bids: While 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 shall, if so instructed, clearly and in writing execute bids on their behalf. Neither the Auctioneer nor our employees nor agents shall be responsible for any failure to do so. 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. (g) Telephone Bids: If a prospective Buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts

to contact them to enable them to participate in bidding by telephone.

We do not accept liability for failure to do so or for errors and omissions in connections. (h) Online Bidding: We will use reasonable efforts to carry out online bids and do not accept liability for equipment failure, inability to access the internet or software malfunctions related to execution of online bids/ live bidding.

4. INCREMENTS Bidding increments shall be at the Auctioneer’s sole discretion.

5. THE PURCHASE PRICE For each lot purchased a Buyer’s Premium of 25% of the hammer price of each lot up to and including £100,000, plus 20% from £100,001 thereafter. VAT at the appropriate rate is charged on the Buyer’s Premium.

No VAT is payable on the hammer price or premium for printed books or unframed maps bought at auction.

Live online bidding may be subject to an additional premium (level dependent on the live bidding service provider chosen). This additional premium is subject to VAT at the appropriate rate as above.

6. RESERVES Unless indicated by a insert symbol (∆ ), all lots in this catalogue are offered subject to a reserve. A reserve is the confidential hammer price established between us and the seller. The reserve is generally set at a percentage of the low estimate and will not exceed the low estimate for the lot.

7. VALUE ADDED TAX 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.

(1) Lots affixed with (†): Value Added Tax on the hammer price is imposed by law on all items affixed with a dagger (†). This imposition of VAT maybe because the Seller is registered for VAT within the European Union and is not operating under a Margin Scheme.

(2) Lots affixed with (*): A reduced rate of Value Added Tax on the hammer price of 5% is payable. This indicates that a lot has been imported from outwith the European Union. This reduced rate is applicable to Antique items.

(3) Lots affixed with [Ω]: Standard rate of Value Added Tax on the hammer price and premium is payable. This applies to items that have been imported from outwith the European Union and do not fall within the reduced rate category outlined above.

8. DROIT de SUITE This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on

1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the hammer price and in addition to the Buyer’s premium. It will not apply to works where the hammer price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale.

More information on Droit de Suite is available at www.dacs.org.uk.

9. PAYMENT (1) Within 7 days of a lot being sold you will: (a) Pay to us the total amount due in cash or by such other method as is agreed by us. We accept cash, bank transfer (details on request), debit cards and Visa or MasterCard credit cards. (b) Please note that we do not accept cash payments over £5,000.

(2) Any payments by you to us may be applied by us towards any sums owing by you to us howsoever incurred and without agreement by you or your agent, whether express or implied.

10. TITLE AND COLLECTION OF PURCHASES (1) 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.

(2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 7 working days following the day of the auction or upon the clearance of any cheque used for payment whichever is later. We can provide you with a list of shippers. However, we will not be responsible for the acts or omissions of carriers or packers whether or not recommended by us.

(3) No purchase can be claimed or removed until it has been paid for.

(4) It is the Buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main sale room and the potential storage charges for lots not collected by the appropriate time.

(5) Export of goods: Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character, e.g. items that may contain prohibited materials such as ivory or rhino horn. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the recession of any sale not any delay in

Paul Reeves: An Eye for Design 65

making full payment for the lot.

11. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (1) 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 Sellers and on their 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: (a) to proceed against you for damages for breach of contract; (b) to rescind the contract for sale of that lot and/or any other lots sold by us to you; (c) 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). (d) to remove, store and insure the lot in the case of storage, either at our premises or elsewhere and to recover from you all costs incurred in respect thereof; (e) to charge interest at a rate not exceeding 1.5% per month above the current base rate on all sums outstanding for more than 7 working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or which become due to you towards the settlement of the total amount due by you and to exercise a lien over any of your property in our possession for any purpose until the debt due is satisfied.

12. DESCRIPTIONS AND CONDITION (1) 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 only accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents accept liability for the correctness of such opinions and no warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are given. Please note that

photographs/images provided may not be fully representative of the condition of the lot and should not be relied upon as indicative of the overall condition of the lot.

(2) Condition reports: Condition reports are provided on our website or upon request. The absence of a report does not imply that a lot is without imperfections. Large numbers of such requests are received shortly before each sale and department specialists and administration will endeavour to respond to all requests although we offer no guarantee. Any statement in relation to the lot is merely an expression of opinion of the Seller or us and should not be relied upon as an inducement to bid on the lot. Lots are available for inspection prior to the sale and you are strongly advised to examine any lot in which you are interested prior to the sale. Our condition reports are not prepared by professional conservators, restorers or engineers. Our condition report does not form any contract between us and the Buyer. The condition reports do not affect the Buyer’s obligations in any way.

(3) Estimates: Estimates are placed on each lot to help Buyers gauge the sums involved for the purchase of a particular lot. Estimates do not include the Buyer’s Premium or VAT. Estimates are a matter of opinion and prepared in advance. Estimates may be subject to change and are for guidance only and should not be relied upon.

(4) Catalogue Alterations: Lot descriptions and estimates are prepared in advance of the sale and may be subject to change. Any alterations will be announced on the catalogue alteration sheet, made available prior to the sale. It is the responsibility of the Buyer to make themselves aware to any alterations which may have occurred.

(5) Electrical Goods: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first. Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given.

(6) Upholstered items: are sold as “works of art” only and if bought for use must be checked over for compliance with safety regulations (items manufactured prior to 1950 are exempt from any regulations). Use of such goods is entirely at the risk of the Buyer and no warranties as to safety of the goods are given. We provide no guarantee as to the originality of any wood/material contained within the item.

(7) Alcohol: may only be sold to persons aged of 18 years and over. By registering to bid, you affirm that you are at least that age. All collections must be signed for by a person over the age of 18. We reserve the right to ask for ID from the person collecting. Buyers of alcohol must

make appropriate allowances for natural variations of ullages, conditions of corks and wine. We can provide no guarantees as to how the alcohol may have been stored. There is always a risk of cork failure and allowance by the buyer must be made. Alcohol is sold “as is” and quality of the alcohol is entirely at the risk of the Buyer and no warranties are given.

(8) Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

These notices and terms will also form part of our terms and conditions of sales.

13. BOOKS, CLOCKS & WATCHES (1) Books-Collation: If on collation any named item in the sale catalogue proves defective, in text or illustration the Buyer may reject the lot provided he returns it within 21 days of the sale stating the defect in writing.

This, however, shall not apply in the case of unnamed items, periodicals, autographed letters, music M.M.S., maps, drawings nor in respect of damage to bindings, stains, foxing, marginal worm holes or other defects not affecting the completeness of the text nor in respect of Defects mentioned in the catalogue, or at the time of sale, nor in respect of lots sold for less than £300.

(2) Clocks & Watches: All lots are sold “as seen”, and the absence of any reference to the condition of a clock or watch does not imply the lot is in good condition and without defects, repairs or restorations. Most clocks and watches will have been repaired during their normal lifetime and may now incorporate additional/ newer parts. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, Buyers should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Buyers should also be aware that we cannot guarantee a watch will remain waterproof if the back is removed.

Buyers should be aware that the importing watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches cannot be shipped to the USA and only imported personally.

14. CITES Please be aware that all lots marked with the symbol Y may be subject to CITES regulations when exporting these items outside the EU. These regulations may be found at http:// www.defra.gov.uk/ahvla-en/importsexports/cites We accept no liability for any lots which may be subject to CITES but have not be identified as such.

15. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Buyers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

16. 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, safety and security arrangements. Accordingly, neither the Auctioneer nor our employees or agents shall incur liability for death or personal injury or similarly for the safety of the property of persons visiting prior to, during or after a sale.

17. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email if not available then first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to us should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue. (d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent. No act, omission or delay by us shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

18. AUTHENTICITY GUARANTEE We guarantee that the authorship, period, or origin (collectively, “Authorship”) of each lot in this catalogue is as stated in the BOLD or CAPITALISED type heading in the catalogue description of the lot, as amended by oral or written saleroom notes or announcements. We make no warranties whatsoever, whether express or implied, with respect to any material in the catalogue other than that appearing in the Bold or Capitalised heading and subject to the exclusions below.

In the event Lyon and Turnbull in its reasonable opinion deems that

66 Lyon & Turnbull

the conditions of the authenticity guarantee have been satisfied, it shall refund to the original purchaser of the lot the hammer price and applicable Buyer’s Premium paid for the lot by the original purchaser.

This Guarantee does not apply if: (i) the catalogue description was in accordance with the opinion(s) of generally accepted scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing that the Authorship was not as described in the Bold or Capitalised heading at the date of the sale would have been by means or processes not then generally available or accepted; unreasonably expensive or impractical to use; or likely (in our reasonable opinion) to have caused damage to the lot or likely to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description in the Bold or Capitalised type heading.

This Guarantee is provided for a period of one year from the date of the relevant auction, is solely for the benefit of the original purchaser of the lot at the auction and may not be transferred to any third party. To be able to claim under this Authenticity Guarantee, the original purchaser of the lot must: (i) notify us in writing within one month of receiving any information that causes the original purchaser of record to dispute the accuracy of the Bold or Capitalised type heading, specifying the lot number, date of the auction at which it was purchased and the reasons for such dispute; and (ii) return the Lot to our registered office in the same condition as at the date of sale to the original purchaser of record and be able to transfer good title to the Lot, free from any third party claims arising after the date of such sale.

We have discretion to waive any of the above requirements. We may require the original purchaser of the lot to obtain, at the original purchaser of lot’s cost, the reports of two independent and recognised experts in the field. The reports must be mutually acceptable to us and the original purchaser of the lot. We shall not be bound by any reports produced by the original purchaser of the lot, and reserves the right to seek additional expert advice at its own expense. It is specifically understood and agreed that the rescission of a sale and the refund of the original purchase price paid (the successful hammer price, plus the buyer’s premium) is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law. Lyon and Turnbull and the Seller shall not be liable for any incidental or consequential damages incurred or claimed, including without limitation,

loss of profits or interest.

19. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our services, or as required by law, we may ask the Buyer to provide personal information about themselves or obtain information about the Buyer from third parties (e.g. credit information). We will not give out personal information except as may be required by law.

If you would like further information on our policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844.

20. FORCE MAJEURE We shall be under no liability if they shall be unable to carry out any provision of the Contract of Sale for any reason beyond their control including (without limiting the foregoing) an act of God, legislation, war, fire, flood, drought, failure of power supply, lock-out, strike or other action taken by employees in contemplation or furtherance of a dispute or owing to any inability to procure materials required for the performance of the contract.

21. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Buyer agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

CONDITIONS OF SALE FOR SELLERS (UK) 1. DEFINITIONS In these Conditions of Sale (Sellers): “Auctioneer” means Lyon and Turnbull Ltd (Registered in Scotland No: 191166 | Registered address: 33 Broughton Place, Edinburgh, EH1 3RR) or its authorised auctioneer, as appropriate; “Buyer” is the person who makes the highest possible bid or offer accepted by the auctioneer, and/or such person’s principal where bidding as agent; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Sale Catalogue Guide to Prospective Buyers and an amount in respect of applicable VAT; “Hammer Price” is the highest bid accepted by the auctioneer by the fall of the hammer or in the case of a postauction sale, the agreed sale price; “Item” means each and every item consigned for sale following express written agreement between Lyon and Turnbull and the Seller;

“Lot” means each Item offered for sale

by Lyon and Turnbull; “Lower Estimate” means the low estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Lyon and Turnbull” means the company which has its registered office at 33 Broughton Place, Edinburgh, EHI 3RR registered in Scotland No. 191166 “Net Sale Proceeds” are the Hammer Price, less commissions and other charges, of the Lot sold, to the extent received by Lyon and Turnbull in cleared funds; “Proposed Sale” means the intended sale through which the items will be sold on; “Purchase Price” is the Hammer Price and applicable Buyer’s Premium; “Reserve” means the lowest price below which an item cannot be sold; “Terms of consignment” means the stipulated terms and rates of commission on which the Auctioneer accepts instructions from Sellers or their agents; “Upper Estimate” means the high estimate provided by Lyon and Turnbull to the Seller in relation to each Item, or in relation to any Item which Lyon and Turnbull holds on behalf of the Seller; “Without reserve” where there is no minimum price at which a lot may be sold (whether at auction or private treaty); “You”, “Your” means the seller. The Seller means you are the owner of the lot or, if you are not the owner of the lot (whether or not you have notified us that you are acting as an agent for a principal), you are duly authorised by the owner of the lot to sell it.

“Us”, “Our”, “We” etc refers to Lyon and Turnbull Ltd The singular includes the plural and vice versa as appropriate.

2. W ARRANTY OF TITLE AND AVAILABILITY The Seller warrants:(a) that you are the true owner of the property consigned or are properly authorised by the true owner to consign it for sale and are able to transfer good and marketable title to the property free from any third party claims. (b) that all requirements have been complied with, legal or otherwise, relating to any export or import of the property consigned, all duties and taxes in respect of the export or import of the lot have (unless agreed in writing with us) been paid and, so far as you and any principal for whom they are acting in relation to the lot are aware, all third parties have complied with such requirements in the past. (c) that you have provided us with any and all information concerning the item’s provenance or any concerns expressed by third parties concerning

its ownership, condition, authenticity, attribution, and export or import history; and (d) Unless the Seller advises us in writing to the contrary on delivery of the item to us, there are no restrictions on our rights to reproduce photographs or other images of the item in connection with the sale or any other marketing which will be done in accordance with good taste and decency.

If any of (a) (b) (c) and (d) above are incorrect, you will reimburse us and/or the Buyer in full for all claims, costs or expenses incurred by us or the Buyer as a result, whether arising in relation to the Lots or the sale proceeds.

3. PREPARATION FOR SALE (a) We shall decide the way in which a lot may be included in the sale, how any lot is described and illustrated in the catalogue or any report, and the marketing, promotion, date, place and conduct of the sale. (b) We will instruct, consult with, and rely on, any outside experts or restorers, agents or other third parties, and carry out such other due diligence, inquiries, research or tests in relation to the property or its provenance, either before the Proposed Sale as it may deem appropriate in its reasonable discretion. (c) Any oral or written estimate or evaluation or report provided by us is a genuinely held opinion only. It may not be relied on as a prediction of the selling price or value of the Item, and may in our absolute discretion be revised at any time. (d) The Seller acknowledges that attribution of Items is a matter of opinion and not of fact, and is dependent upon (amongst other things) information provided by the Seller, the condition of the property, the degree of research, examination or testing that is possible or practical in the circumstances, and the status of generally accepted expert opinion at the time of cataloguing.

4. TERMS OF SALE The Seller acknowledges that lots are sold subject to these Conditions and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

5. S TANDARD SELLER FEES AND CHARGES (Subject to VAT) (1) Commission: 15% is charged on the selling price of each lot, (subject to a minimum charge of £45). Loss and damage warranty: 1.5% on value of lots sold. Photography: min charge £30.

Online Listing: £10 per lot.

(2) Transport: 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. When organised on the Seller’s behalf the provision of transport will be contracted to third parties. Fees for transport will be deducted at settlement.

Paul Reeves: An Eye for Design 67

(3) Illustrations: The cost of any illustrations will be borne by the Seller , unless agreed otherwise prior.

The copyright in respect of such illustrations shall be the property of us, as is the text of the catalogue.

(4) Storage: Of the Lots after the sale, where applicable.

6. RESERVES (a) The lots will be sold subject to the Reserve. If the Reserve is not mutually agreed between us and confirmed by you in writing before the sale, the Reserve will be fixed by us in our sole discretion on the basis of our reasonable opinion as to the probable level of bids for the lot. (b) Firm reserves may be no greater than lower pre-sale estimate level. (c) A reserve once set cannot be changed except with our agreement. (d) You may not bid or instruct or permit any other person to bid on your behalf on your own property. If the Seller breaches this prohibition, We may treat the Seller as bound as Seller and as Buyer but without the benefit of our Authenticity Guarantee or the reserve, and/or pursue other remedies.

7. LOSS & DAMAGE WARRANTY (a) Subject to condition 7(c) below we will assume liability for loss or damage to an item, commencing at the time that item is taken into physical control and possession by us and ceasing on the earliest date of; (i) when risk passes to the Buyer of the lot following its sale; (ii) for unsold lots, when the lot is released to the Seller, or, within 3 months of the sale;or (iii) 6 months from the date of delivery to us for items still in the possession of us but not consigned for sale (unless part of a long-term storage agreement). (b) We shall charge a loss and damage warranty fee of 1.5% of the hammer price, plus VAT. (c) If any loss or damage should occur to the lot during the period identified in paragraphs (a) above, our liability to compensate the Seller in respect of that loss shall be restricted to a maximum of the upper estimate, or actual loss incurred, whichever is lower. This compensation will be subject to a deduction of a 1.5% loss & warranty fee (subject to VAT).

8. UNSOLD ITEMS (1) If any or all of the lots are unsold and are not re-consigned to us for sale, or are not included in a sale, or are withdrawn from sale for any reason, they must be collected from us within one month. After the date of the sale, or one month after we send you a notice requiring you to collect them (whichever occurs first). If any such lots remain uncollected at the end of such period we shall arrange storage at your expense, which may involve a third party. If such lots are not collected within 90 days after the date of the sale or the date of notice

they may be disposed of as we see fit, which may involve their sale by public auction on such terms as we consider appropriate, including those relating to estimates and reserved, we shall account to you for the proceeds of sale, deducting all amounts due to us.

(2) Aftersales: We reserve the right to accept an after-auction offer on a lot on behalf of the seller, at the agreed reserve price or above, for up to 48 hours after the original 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 Conditions apply.

9. LOT WITHDRAWAL If a Seller wishes to withdraw a lot organised for sale, a withdrawal fee will apply; (a) if withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (b) if withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancillary charges incurred (such as photography), all subject to VAT at the current rate. (c) We may withdraw a lot from the proposed sale without any liability if: (i) We reasonably believes that there is any doubt as to the lot’s authenticity, attribution, or provenance; or (ii) it reasonably doubts the accuracy of any of the Seller’s warranties; or (iii) the Seller breaches any provisions of the Conditions of Sale in any material respect; or (iv) the lot suffers from loss or damage so that it is not in the state in which it was when we took delivery of it. (d) if an item is withdrawn from sale under Condition 9(c) (i), or (iv), the Seller shall not be charged a withdrawal fee and the item shall be returned to the Seller or dealt with pursuant to Clause 8, as the Seller decides.

10. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST The Seller authorises us to deduct commission at the stated rate, and all expenses incurred for your account from the hammer price, and consents to our right to retain beneficially the premium paid by the Buyer in accordance with these Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

11. NON-PAYMENT BY THE BUYER (a) We will, where it considers appropriate, take reasonable steps to investigate the ability of bidders to pay for lots and will use reasonable endeavours, in consultation with the Seller, to enforce payment of the Hammer Price by any Buyer. (b) We, in consultation with the Seller, will decide whether to pursue any of

the remedies available to it, including those set out in Condition 10 of the Condition of Sale (Buyers) including the right to cancel the sale and return the property to the Seller. We will inform the Seller of any action which it contemplates taking against the Buyer. (c) lf the Seller elects to take action against any Buyer on its own behalf we will provide the Seller with such assistance as may be reasonably necessary to pursue that action. (d) The Seller hereby agrees to inform us of any action which it chooses to take against the Buyer to enforce payment of the amount due to the Seller. (e) In the event that a Buyer fails to pay for a lot in accordance with the Conditions of Sale for Buyers, that lot will be treated in the same way as an unsold or collected lot.

12. SETTLEMENT PAYMENTS Subject to full payment by the Buyer, payment of the net proceeds of sale due to you will be made over to you 28 working days following a sale.

Provided we have received cleared funds. Payment will be made by cheque or BACS (if requested).

13. SALE BY PRIVATE TREATY (a) The same Conditions of Sale (Sellers) shall apply to sales by private treaty. (b) Private treaty sales made under these Conditions are deemed to be sales by auction and subject to our agreed charges for Sellers and Buyers. (c) We undertake to inform the Seller of any offers it receives in relation to an item prior to any Proposed Sale, excluding the normal method of commission bids. (d) For the purposes of a private treaty sale, if a lot is sold in any other currency than Sterling, the exchange rate is to be taken on the date of sale.

14. 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 or similarly for the safety of the property of persons visiting prior to, during or after a sale.

15. GENERAL (a) We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. (b) Any notice to any Buyer, Seller, bidder or viewer may be given by email, or if not available then first class mail, in which case it shall be deemed to have been received by the addressee 48 hours after posting. (c) Notices to us should be in writing and addressed to the Managing Director at 33 Broughton Place, Edinburgh EH1 3RR, quoting the reference number specified at the beginning of the sale catalogue.

(d) Should any provision of these Conditions of Sale be held unenforceable for any reason, the remaining provisions shall remain in full force and effect. (e) These Conditions of Sale are not assignable by either party without the other’s prior written consent, but are binding on the seller’s successor and representatives. No act, omission or delay by us shall be deemed a waiver or release of any of its rights. (f) The contract between the parties may be varied by the parties by agreement and in writing.

16. RECISSION OF SALES We may rescind the sale where it reasonably believes that the lot falls within the terms as defined by our Authenticity Guarantee (see Buyer’s conditions), in this event we shall send the Seller notice of such rescission.

The Seller agrees to return to us the Net Sale Proceeds received from the sale of such lot with any additional expenses incurred by us. We will return the property to the Seller upon receipt of the Net Sale Proceeds and Expenses, unless prevented in doing so by reasons outwith our control.

The Buyer must satisfy us that the Buyer is entitled to exercise a remedy under the authenticity guarantee within five years of the date of the auction.

17. AGENCY Lyon and Turnbull acts as agent solely for and in the interests of the Seller.

We do not act for Buyers in this role and does not give advice to Buyers.

When we make a statement about a lot it is doing so on behalf of the Seller of the lot.

The Auctioneer normally acts as agent only and disclaims any responsibility for default by Sellers or Buyers.

18. DATA PROTECTION In connection with the management and operation of our business and the marketing and supply of our services, or as required by law, we may ask the Seller to provide personal information about themselves or obtain information about the Seller from third parties (e.g. credit information). We will not give out personal information except as may be required by law.

If you would like further information on Lyon and Turnbull policies on personal data, or to make corrections to your information, please contact us on 0131 557 8844.

19. LAW AND JURISDICTION (a) Governing Law: These Conditions of Sale and all aspects of all matters, transactions or disputes to which they relate or apply shall be governed by, and interpreted in accordance with, Scots law (b) Jurisdiction: The Seller agrees that the Courts of Scotland are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale relate or apply.

18.6

68 Lyon & Turnbull

Guide to Bidding & Payment REGISTRATION

HOW TO BID

PAYMENT

All potential buyers must register prior to placing a bid. Registration information may be submitted in person at our registration desk, by email, by fax or on our website.

Please note that all first time bidders at Lyon & Turnbull will be asked to supply the following documents in order to facilitate registration:

By phone

Payment is due within seven (7) days of the sale. Lots purchased will not be released until full payment has been received.

Payment may be made by the following methods:

1 – Government issued photo ID (Passport/Driving licence) 2 – Proof of address (utility bill/bank statement).

We may, at our option, also ask you to provide a bank reference and/or deposit.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted our Conditions of Sale.

BIDDING At the Sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. Please ensure that the auctioneer repeats your bidder number correctly when confirming the sale. If there is any doubt at this stage as to the hammer price or buyer it must be brought to the auctioneer’s attention immediately. All lots will be invoiced to the name and address given on your registration form, which is non-transferable.

A limited number of telephone lines are available for bidding by phone through a Lyon & Turnbull representative. Phone lines must be reserved in advance. All bid requests must be received an hour before the sale. All telephone bids must be confirmed in writing, listing the relevant lots and appropriate number to be called. We recommend that a covering bid is also left in the event that we are unable to make the call. We cannot guarantee that lines will be available, or that we will be able to call you on the day, but will endeavour to undertake such bids to the best of our abilities. This service is available entirely at our discretion and at the bidder’s risk.

In writing Bid forms are available at the sale and/or the back of the catalogue. These should be submitted in person, by post, or by fax as soon as possible prior to the sale and we will bid on your behalf up to the limit indicated.

In the event of receiving two identical bids the first one received will take precedence All bids must be received an hour before the sale. This service is provided entirely at the bidder’s risk.

On the internet A fully-illustrated catalogue is available on our website. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Live online bidding is also available: • L&T Live Access through our website or download the live bidding app L&T Live, service offered for no additional fee.

Bank Transfer Account details are included on any invoices we issue or upon request from our accounts department.

Credit or Debit Cards Payment can be made by Visa Debit, Maestro, Mastercard or Visa Credit cards.

Online Card Payments We no longer accept card payments by phone.

Please use our online payment service (provided by Cardstream/Credorax).

You will find a link to this service in any email invoice issued or you can visit the payments section of our website.

Cheque Cheques should be made payable to Lyon and Turnbull Ltd. We reserve the right to wait until cheques have been cleared by our bankers before releasing bought goods.

Cheques can be cleared prior to sale on request. Cheques drawn by third parties cannot be accepted. If paying by post please include the slip from your invoice.

Cash Cash payments can be made at the accounts desk during or after a sale. Cash payments are limited to £5,000.

• Invaluable Access through invaluable.com.

Invaluable charge an additional 5% for their service.

• The-Saleroom Access through The-Saleroom.com.

The-Saleroom charge an additional 4.95% for their service.

18.6

Paul Reeves: An Eye for Design 3

4 Lyon & Turnbull