25. Woolley & Wallis - Brochure

WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

SALE NEWS SUMMER 2010

Tel: +44 (0)1722 424500 Fax: +44 (0)1722 424508 enquiries@woolleyandwallis.co.uk www.woolleyandwallis.co.uk

SPECIALIST DEPARTMENTS Salisbury Salerooms Ltd.

Chairman & Managing Director House Contents Sale Paul Viney ASFAV Tel: +44 (0)1722 424502

Consultant Tim Woolley Tel: +44 (0)1722 424510 timwoolley@woolleyandwallis.co.uk

paulviney@woolleyandwallis.co.uk

European Ceramics & Glass Asian Art John Axford MRICS ASFAV Tel: +44 (0)1722 424506

European Ceramics & Glass Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk

johnaxford@woolleyandwallis.co.uk

20th Century Design

Asian Art

Michael Jeffery Tel: +44 (0)1722 424505

Orlanda Cooper Tel: +44 (0)1722 424506

michaeljeffery@woolleyandwallis.co.uk

orlandacooper@woolleyandwallis.co.uk

Paintings

Paintings

Victor Fauvelle Tel: +44 (0)1722 424503

Jo Butler Tel: +44 (0)1722 424503

victorfauvelle@woolleyandwallis.co.uk

jobutler@woolleyandwallis.co.uk

Furniture & Works of Art Clocks, Barometers & Scientific Instruments

Books & Manuscripts

Will Hobbs Tel: +44 (0)1722 339752

Liz Merry (Consultant) Tel: +44 (0)1722 424500 lizmerry@woolleyandwallis.co.uk

willhobbs@woolleyandwallis.co.uk

Furniture & Works of Art

Clocks and Watches

Mark Richards Tel: +44 (0)1722 411854

Richard Price (Consultant) Tel: +44 (0)1722 339752

markrichards@woolleyandwallis.co.uk

richardprice@woolleyandwallis.co.uk

Silver

Silver

Rupert Slingsby Tel: +44 (0)1722 424501

Lucy Grazier Tel: +44 (0)1722 424530

rupertslingsby@woolleyandwallis.co.uk

lucygrazier@woolleyandwallis.co.uk

Jewellery

Jewellery

Jonathan Edwards FGAA Tel: +44 (0)1722 424504

Marielle Whiting Tel: +44 (0)1722 424504

jonathanedwards@woolleyandwallis.co.uk

mariellewhiting@woolleyandwallis.co.uk

WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

SUMMER 2010 It is fitting that in this, the 100th edition of our Sale News, we are featuring one of the finest lots we have offered for sale in our 126 year history, namely the magnificent pair of jade elephants that are illustrated on the front cover.

Elsewhere in this issue Tim Woolley reflects on some of his favourite objects that have featured in Sale News past. Tim started working at Woolley and Wallis over half a century ago and in the course of a long and distinguished career has probably seen a greater variety of works of art than any other regional auctioneer in the land. This, combined with his undiminished enthusiasm, helps explain his remarkable breadth of knowledge in all areas of fine art.

One of the joys of our business is that you never know what (or indeed who) is going to walk through the door tomorrow. However I am confident that over the next 100 issues of the Sale News we shall continue to have the privilege of offering many fine, rare and beautiful works of art. The prospect is as enticing as ever.

Paul Viney Chairman

A Lalique plique a jour and diamond dog collar.

Est: £30,000-40,000 Sale date 29th April

A miniature silver-gilt and enamel travelling timepiece, Birmingham 1910.

Est: £1,000-1,500 Sale date 30th April

CONTENTS

Front cover: The Son of Heaven’s jade elephants.

Sale date - 19th & 20th May See page 13.

Back cover: A fine monumental thistle vase by Hans Coper.

Sale date - 14th April Issue no. 100 Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

2-3

English & European Ceramics & Glass

4-6

Silver

7-9

Arts & Crafts

10

Jewellery

11

Clocks, Barometers & Scientific Instruments

12-13

From the Archives

14-17

Asian Art

18

Paintings

19

Books & Manuscripts

20-22

Furniture & Works of Art

23

Saleroom News

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24-25

Partnership

26-27

Winter/Spring Sales Review

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Meet the Specialist

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Specialist John Axford 01722 424506 johnaxford@woolleyandwallis.co.uk

ENGLISH & EUROPEAN CERAMICS & GLASS Tuesday 13th April

An unusual Royal Worcester candlestick, of five gilt mice on a basket weave ball, c.1891, 16.8cm.

Est: £400-600

A pearlware jug of unusually massive size, 19th century, 48cm high.

Est: £2,000-3,000

Provenance: From the collection of Victor Needham

A pair of Vienna miniature enamelled ewers, ‘RA’ maker’s mark, 19th century, 11.6cm.

Est: £500-800 A rare and early Bow sweetmeat or pickle dish, formed as three shells around a dolphin, c.1750, 18.5cm. Est: £300-500

An Annaberg pewter-mounted stoneware tankard, moulded and brightly enamelled with a mother and child, c.1690, 25.5cm.

Est: £500-800

A rare pair of Derby models of parrots, c.1755, 14.2cm.

Est: £4,000-6,000

A near identical pair are in the Lady Ludlow collection at the Bowes Museum, Barnard Castle.

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Two Meissen models of pigeons, 19th century, 19cm.

Est: £600-800

A Chelsea figure of Winter, modelled by Joseph Willems, c.1753-55, 13.3cm.

Est: £1,000-2,000

A Bow model of a flowergirl, after Boucher, incised ‘AF’ repairer’s mark, c.1758, 15cm.

Est: £250-350

There is no known source for this figure, but it was copied by Longton Hall.

Our April sale includes a good range of English 18th century porcelain figures from three of the principle factories of production – Chelsea, Derby and Bow. The selection spans the twenty year period between 1750 and 1770 when production of porcelain figures was at its height, and demonstrates the changes from the early shift of the Meissen-inspired late Baroque to the more flamboyant French rococo, finishing with the elaborate flowering bocage of the mid 1760s which are a pure English invention.

A Chelsea chamberstick fable group, of The Vain Jackdaw, c.1763-5, 18.5cm.

Est: £300-500

Aesop’s fables were a popular subject matter The inspiration for the earliest English figures was taken primarily from two sources – firstly for this factory in particular. The bright from antique sculptural figures in bronze and marble, secondly from existing porcelain figures enamels, flowering bocage and tall rococo made by Meissen in Germany in the previous few decades. While some copies of antique base date this group to the mid 1760s. sculpture were successful in the porcelain medium, the dimensions of scale and the thickness of the glaze required for the new soft-paste porcelain meant some of the fine detail was often lost. Likewise, the strong movement of J.J. Kändler’s Baroque Meissen figures was difficult to emulate in the softer English paste. Perhaps the best examples of this loss of definition are the so-called ‘Snowman’ figures produced by Longton Hall, where the heavy glaze all but obliterates the model’s finer features.

The way around this problem is seen in the shift from the early white-glazed figures to the later coloured examples; the ‘pale face’ Derby period demonstrating the transitional stage of using colour merely to highlight modelling detail before the trend of strong colour and bold gilding became the fashion some ten years later.

Like the Continental factories, English modellers soon began to take their inspiration from folios of engravings, using their skills to create three dimensional copies of figures brought to life on paper. One of the most used was Edme Bouchardon’s Études prises dans le bas peuple ou les Cris de Paris, which was the source for a variety of romantic peasant type figures, including gardeners, shepherds and vintners.

Records of the major English porcelain factories are scant and much of what ceramics historians know has been pieced together through census records and other secondary sources. For this reason it is impossible to pin down a source for many of the known figures and some that are believed to have sprung from the modeller’s imagination may well have had their origins in now unknown engravings or lost Meissen models.

A Derby figure of Winter, c.1757, 12cm.

Est: £300-500 A Derby theatrical figure of James Quinn in the role of Falstaff, c.1770, 25cm.

This model was adapted from an earlier Derby group called the Four Rustic Seasons, which in turn was influenced by the work of David Teniers, the elder.

Est: £300-400 Derby produced many portrait figures of contemporary actors in various roles. This model of Quinn from Henry IV was adapted from a mezzotint by James McArdell after Francis Hayman.

A large pair of Derby models of Mars and Athena, c.1765, 30.5cm. Est: £1,000-2,000 This pair of figures, reissued many times by Derby, were taken from originals by J.J. Kändler at Meissen.

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Specialist Rupert Slingsby 01722 424501 rupertslingsby@woolleyandwallis.co.uk

SILVER

Wednesday 28th April This presentation silver salver bears a dated inscription and dedication to Lady Beatrice Ormsby-Gore, wife of George Ormsby-Gore the Under-Secretary of State for the Colonies and later 3rd Baron Harlech. The salver was presented to Lady Beatrice on 15th November 1926 by Mrs T H Gladstone on behalf of the Directorate of the North Sea Aerial and General Transport Co. Ltd. It commemorates her launching and naming of the 'Pelican' - a seaplane that was used on the first commercial airline between Khartoum and Kisuma.

The route was used weekly to transport goods and mail, and followed the White Nile from Khartoum to Malakal via Mongalla, Jinja to Kisumu - a total distance of 1,400 miles which it could travel in 23 hours. The salver is engraved with a pelican and a map of Africa showing the route along the White Nile. The inaugural flight was recorded in Flight magazine of 1926 along with a photograph of the seaplane and its launch, and the article mentions the presentation of the salver.

Est: £400-500

Two late Victorian novelty silver retractable tooth picks, one dated July 6th 1840.

Est: £100-150 A fine silver-mounted hardstone cigarette box for the Scottish market, J. Cook & Sons, Birmingham, 1928, 17.8cm.

Est: £1,000-1,500 A set of four George IV silver entrée dishes and covers, Philip Rundell, London, 1822.

Engraved with a coat of arms and the presentation inscription 'A.D. 1821, Presented to Henry Russell Esq. Late Resident at the Court of Hyderabad by the British Officers serving with the Berar Division of the Nizams Army in token of their Respect, Regard and Esteem'.

Est: £10,000-15,000

A set of four Edwardian silver novelty menu card holders, H. Emmanuel, Birmingham, 1905. In a fitted case.

Est: £400-600

A Continental silver gilt mounted and enamel aide memoire, 8.8cm.

Est: £600-800 6

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A matched set of four George II Irish silver candlesticks, circa 1750.

Est: £12,000-18,000 Provenance: Formerly in the collection of His Grace the Duke of Leinster.

A pair of George II candlesticks, probably James Warren, Dublin, circa 1755.

Est: £6,000-8,000

A silver statue of an Irish Guard’s drummer, Carrington & Co., London, 1913.

Est: £3,500-4,000

A fine set of four George III silver two-handled sauce tureens and covers,

by Paul Storr, London 1816, height 16.5cm, approx. weight 256oz.

Provenance: Sir Henry Russell, (1751-1836) 1st Baronet, and thence by descent to the current owner.

Sir Henry Russell was born in Dover, third son of Michael Russell (1711-1793), controller of the Naval Victualling Yard there. He was educated at Charterhouse and Queen’s College Cambridge and then was appointed a Commissioner of Bankruptcy in 1775. In 1782, two years after his first wife died in childbirth, he married Anne Whitworth with whom he went on to have five sons and four daughters.

He was appointed a Judge in the Indian Courts in 1797 and Chief Justice of Bengal in 1806. He was created a Baronet in 1812 and retired from the Indian service in 1813. He died at 62 Wimpole Street, London in 1836.

These four tureens were originally part of a set of eight, which are mentioned in an accompanying ‘Estimate of plate on approbation for Sir Henry Russell Bart. P. Rundell Bridge and Rundell, December 20th 1815’ at a cost of £415 10s.

Est: £20,000-30,000

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Specialist Rupert Slingsby 01722 424501 rupertslingsby@woolleyandwallis.co.uk

SILVER

Wednesday 28th April

A fine George IV silver-gilt presentation vase and stand, by Philip Rundell, London 1823, also stamped ‘RUNDELL BRIDGE ET RUNDELL AURIFIES REGIS LONDINI’, applied with two armorials and two presentation plaques, ‘ A TRIBUTE OF GRATEFUL REMEMBRANCE FROM THE OFFICERS OF THE HYDERABAD DIVISION OF H.H. THE NIZAM’S REGULAR TROOPS TO HENRY RUSSELL ESQUIRE’, total height 71.5cm, approx. weight 546oz, (17kg).

Est: £20,000-30,000

Provenance: Sir Henry Russell, (1783-1852) 2nd Baronet, and thence by descent to the current owner.

Extract from ‘Swallowfield and Its Owners’, by Constance, Lady Russell, Longmans, Green, Meo, 1901 in respect to the vase, she wrote: “There is at Swallowfield a very handsome large gilt vase on a pedestal which was presented to Henry Russell by his subordinates and friends in India. Chantrey (Sir Henry Chantrey, Sculptor) was consulted for the design and chose a plate from Piranesi for the form of the vase. He then proposed that two different groups, capable of telling the story of what had led to the presentation of the vase, should be placed on two sides of it and that for the designs of those groups Stothard, (Thomas Stothard,R. A,1755-1834) should be consulted.

Henry Russell sailed with his father in 1797 to India, where his father took up his appointment as a judge. He was employed in the translator’s office, and soon became fluent in Indian languages. Four years later he became assistant secretary to the Resident at Hyderabad, James Achilles Kirkpatrick, and in 1804 he became chief secretary.

He went on to become The British Resident at Hyderabad from 1810-20, and it was during this period that he organised what was called the ‘Russell Brigade’ - four thousand of the Nizam’s irregular cavalry under British Officers.

It was in gratitude for this that the vase and dinner service were presented to him.

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He suggested that a tiger should be placed on the centre of the lid (now missing), and elephant’s heads at the four angles of the pedestals, and that instead of the imaginary serpent given in Piranesi on each handle, a real serpent should be modelled from life.

When Stothart’s designs and a drawing of the whole vase by Burney (a well known artist of the day), were submitted to Chantrey he approve entirely. He said that the pedestal might sometimes be used without the vase to hold a basket of flowers for the middle of the table, and to show what he meant he made a hasty sketch with a pen. The tiger, elephant’s heads and the serpent were modelled from life by Bailey R.A. the cost of the vase was £1100 in 1822”.

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Specialist Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

ARTS & CRAFTS

INCLUDING THE COLLECTION OF THE LATE BARBARA MORRIS

Wednesday 23rd June

Closing date for entries 23rd April

Two important stained glass panels by William Burges The illustrated stained glass panels were designed by William Burges as part of a series of twenty lights to decorate the dormer chapel at Castell Coch – the country residence of Lord Bute.

Lord Bute, in 1872, requested Burges to submit his thoughts for the 13th century ruined castle; his two suggestions were to leave the ruin or restore it to a new splendour – as an ‘occasional country residence for summer’. Lord Bute’s resulting request for Burges to renovate the ruin would firmly cement the relationship between patron and artist. Included in the commission was the dormer chapel – a chapel believed not to have been constructed until a photograph surfaced illustrating it. Included in the chapel was a twenty light window based around Christ in majesty.

The Panel of St Michael depicts the standing figure in white robes holding sword and scales, flanked by St Uriel in red with a yellow halo, and St. Chamuel with an orange halo. The panels were manufactured to Burges’ designs by Saunders & Co who Burges chose for their ability to produce ‘medieval’ stained glass. He was disappointed with the larger commercial manufacturers – such as James Powell of Whitefriars whose glass was too clean, too well made and expensive. He liked the glass to be streaky with imperfections included in it.

The other panel shows the Archangel Gabriel holding a white lily and the winged figure of St. Joseph holding a Flamberge sword, wearing purple and yellow vestment. Burges’ estimates book for 1878 lists the cost of the twenty lights for the chapel at Castle Coch at £62.0s.0d.

The remaining eighteen panels are held at Castell Coch and Cardiff Castle.

Estimate: refer department

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Specialist Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

ARTS & CRAFTS

INCLUDING THE COLLECTION OF THE LATE BARBARA MORRIS

Wednesday 23rd June

Closing date for entries 23rd April Barbara Morris was a connoisseur of art and objects, and an educator who through her position at the Victoria and Albert Museum was able to elevate Victorian art and design to a level of serious academic interest Born in northwest London in 1918, to an engineering family, she showed early practical interest in art that led to her studying at the Slade School of Art in 1937. Here she drew Quentin Crisp in life classes, drawings that were recently on display at the National Portrait Gallery. In 1947 she married Max Morris, a teacher and member of the Communist Party.

In 1947 she began her long and distinguished career at the V&A museum when she was employed into the circulation department. Here she worked with a like-minded group of scholarly curators including Peter Floud (the head of Circ), Shirley Bury and Elizabeth Aslin.

Their interests in the art and also design of the post 1850 period, and in particular William Morris and the Arts and Crafts movement, led directly to the ground breaking exhibition Victorian and Edwardian Decorative Arts in 1952.

Fig. 1

Fig. 2 Equally important was her work on the Liberty department store, publishing Liberty Design in 1991, and also Victorian embroidery, ceramics and glass. When the circulation department was closed in 1976 she moved to the department of ceramics, rising to deputy keeper before retiring in 1978.

She remained heavily active in the field and was a significant contributor to the Decorative Arts Society, The Glass Circle, The Art Workers Guild and the William Morris Society.

Barbara’s collection displays her eclectic Fig 4 interests across the fine and decorative arts but has a specific point of interest to the works of William Morris and Morris & Co. Her archive, included in the sale, includes rare catalogues produced by Morris & Co listing and illustrating their latest designs. It also includes pencil designs for Morris & Co tiles, illuminated letters and letters from Henry Marillier.

Fig. 3

Fig.1 A photograph of William Morris. Est: £200-300 Fig 2 Barbara Morris, aged 6 Fig 3 A Morris & Co sideboard designed by Philip Webb.

Est: £8,000-12,000 Fig 4 Original illustration for the sideboard, priced £2500 from the Morris & Co Decoration catalogue Fig 5 Alcestis Regina a Morris & Co two tile panel, designed by Edward Burne-Jones.

Est: £8,000-12,000 Fig 6 Dido a Morris & Co two tile panel, designed by Edward Burne-Jones.

Est: £4,000-6,000 Fig 7 A cloisonné enamelled heart shaped pendant locket by George Hunt.

Est: £200-300

Fig. 5

Fig. 6

Fig 8 Two Morris & Co Daisy tiles.

Est: £300-500

Fig. 7

Fig. 8 10

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The Great Exhibition of 1851 was viewed as the catalyst for many artists to reject the mass-production of the Victorian industrial age in favour of hand design and production based on the natural world. The exhibition was seen by many as a celebration of the engineering prowess of an advanced society, epitomised by the monumental cast-iron and glass pavilion that housed the display. To a growing band of architects and designers, this pavilion and the poor quality die-cast wares displayed inside were seen as the antithesis of this great age, and confirmation that the common worker had become little more than a soulless machine. A.W.N. Pugin, who exhibited at the Medieval Court at the exhibition, had already called for the reunification of the artist craftsman, whilst John Ruskin called for a return to nature. Pugin and Ruskin were the pre-cursors to a design movement that was based around a spirituality of hand production. William Morris, born in 1834 to a middle class family, developed aspects of Pugin’s and Ruskin’s ideas and together with his romanticised dreams of medieval Britain spoke of a Utopia where once again the artist was respected in society. Morris was educated at Oxford from 1853 and here met a close group of friends including Edward Burne-Jones and Dante Gabriel Rossetti.

Morris and Burne-Jones also met John Ruskin, whose text on The Nature of Gothic, published in The Stones of Venice (1853) extolled the theory of good artistic design that would be central to the Arts and Crafts movement. William Morris was frustrated by his inability to find good quality crafted furniture for his new home Red House in 1859 and he formed the company Morris, Marshall and Faulkner in 1861 to address this problem. Morris’ Fine Art Workmen were employed to produce furniture, textiles and metalwork for both secular and ecclesiastical commissions starting with Red House. The template of Morris’ company (reorganised as Morris & Co in 1875) and also the inspirational texts published at his Kelmscott Press (founded in 1890) encouraged other workers to form collectives specifically to produce high quality hand-made objects.

Fig 1

Fig 2

Artists were quick to move out of the major cities of London and Birmingham, back to the countryside and the rural community. The copper working industry flourished both near its source in Cornwall and also in regions not typically associated with it, such as Cumbria. The Keswick School of Industrial Art was founded in 1884, initially as an evening institute, by Canon and Mrs Rawnsley with daytime classes added by 1898. The unreliable traditional fishing industry found in Newlyn, Cornwall was supplemented with metalwork and embroidery based around the Newlyn Industrial Classes set up in 1890 by the painter John Mackenzie. The copper ware produced at Newlyn differs from that produced in Cumbria, with its inspiration coming directly from the sea – often decorated with scaly fish or sea creatures.

Throughout the late nineteenth century artists referred to medieval England and to the Italian Renaissance for inspiration, forming collectives and guilds. Perhaps the most successful of these guilds was founded by Charles Robert Ashbee on June 23rd 1888 – the Guild of Handicraft – a true working co-operative whose members attended lectures, learnt revived crafts and produced ware that was then offered for sale with the proceeds shared out. Ashbee, unlike Morris, chose to employ young talented spirits who he could develop in his artist community into master craftsmen. He designed for all aspects of interior and exterior needs from silver and glass decanters to wallpaper, textiles and furniture. Other Guilds were set including the Birmingham Guild of Handicraft and as far afield as Ireland’s Dun Emer Guild.

Fig 3

Fig 4

At the turn of the century the movement turned full circle under the inspired salesmanship of Arthur Lasenby Liberty, who first imported Oriental copper, brass and textiles for retail at his London department store. Liberty then infused the work of English designers, including John Pearson, who were influenced by the Orient into the store. In 1899, with the introduction of the Cymric silver range, quickly followed by the Tudric pewter, Liberty employed Archibald Knox to produce a range of luxurious clocks, domestic ware and jewellery that were to be the flowering of English Art Nouveau.

Knox’s complex designs vary from the `Celtic revival’ firmly linked to his Isle of Man roots to a stark, modern style in keeping with the Austrian Secession.

Fig. 1 Fig. 2 Fig. 3 Fig. 4 Fig. 5 Fig. 6 Fig. 7 Fig. 8 Fig. 9

Fig 9

A Liberty Tudric Pewter mantel clock designed by Archibald Knox. Est: £5,000-8,000 A Liberty Tudric Pewter mantel clock. Est: £6,000-8,000 An Art Nouveau Loetz glass flower vase. Est: £1,000-1,500 A rare Powell, Whitefriars glass vase. Est: £1,000-1,500 A Newlyn Industrial Class wall sconce by J D Mackenzie. Est: £800-1,200 A Newlyn copper wall sconce. Est: £300-500 A Wiener Werkstatte silver napkin ring. Est: £300-500 A rare copper and brass kettle designed by Dr Christopher Dresser. Est: £500-800 Three William De Morgan ruby lustre galleon tiles. Est: £1,500-2,000 From the collection of Jon Catleugh.

Fig 5

Fig 7

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Fig 6

Fig 8 11

Specialist Jonathan Edwards 01722 424504 jonathanedwards@woolleyandwallis.co.uk

JEWELLERY

Thursday 29th April

A Liberty & Co Arts and Crafts pendant depicting an impressionistic enamel portrait of a young girl.

Knox and Varley.

Est: £4,000-5,000

A Fabergé silver gilt cigarette case with blue enamel decoration.

Workmaster Hollming.

Est: £8,000-12,000

A Ramsden & Carr Arts and Crafts pendant. With enamel portrait of a saint with lilies.

Est: £3,000-4,000

A Fabergé gold handle with chalcedony and diamond cluster terminal.

Workmaster Perchin.

Later adapted from a parasol handle to a magnifying glass.

Est: £5,000-10,000

A 19th Century coral bandeau.

Est: £500-700 A Tiffany & Co. gemset gold and enamel walrus brooch

by Donald Claflin.

Est: £4,000-6,000

A diamond bracelet circa 1950 set in platinum with approximately 20cts of diamonds.

Est: £12,000-15,000

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A late Victorian reverse carved crystal brooch painted with a dog.

Est: £300-500 Part of a collection of twenty five lots to be sold without reserve.

Specialist Will Hobbs 01722 339752 willhobbs@woolleyandwallis.co.uk

CLOCKS, BAROMETERS & SCIENTIFIC INSTRUMENTS Friday 30th April

This sale covers a wide date range in both watches and clocks, with good and unusual examples spanning three centuries. One of the earliest pieces is a rare Charles I silver and brass cased verge watch (fig. 1), signed on the back plate ‘William Browne at Lewes’, (fig. 2) with a finely engraved dial depicting a gentleman and two swans by a river with houses behind, circa 1635.

From the 18th century we have a verge watch movement (fig. 3) by two of the greatest makers of the period; Thomas Tompion and George Graham. It is numbered 4519, circa 1712-13. Sadly the dial and dial plate are missing, but with its Egyptian pillars it has become an affordable example of the great men’s work.

Other clocks from later in the century include an interesting marquetry longcase clock; the hood and trunk door have monogrammed initials and the dial is signed William Speakman, London. There is also a good example of a classic George III bracket clock (fig. 4), with a silvered dial, engraved backplate and in a good mahogany veneered case. (fig. 1)

(fig. 2)

Moving into the 19th century we have a brass marquetry and mahogany mantel clock (fig. 5) with a twin fusee repeating striking movement, signed ‘Read, London’. There is a good selection of French carriage clocks including a Grand Sonnerie with alarm striking and repeating in two gongs, in a caryatid case. A most unusual item is a novelty timepiece by The Automatic Car – Watch Company that fits between the hub and rim of a steering wheel.

(fig. 3)

A marquetry longcase clock by William Speakman.

Est: £8,000-12,000

(fig. 4)

A Grande Sonnerie carriage clock in a caryatid case.

Est: £1,500-2,000

A very unusual automatic car timepiece.

Est: £1,200-1,500

(fig. 5)

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FROM THE ARCHIVES

by Tim Woolley

This being Sale News no. 100, our Chairman has suggested I meander through earlier issues and pick out a few items that produced the ‘tingle factor’. Doing so has brought back happy memories not just of the objects but also of their owners, all of whom were friends as well as being clients. All come from the first 50 or so issues, which began as a modest four pages, sent to some 1,500 clients. The print run is now 5,000.

In October 1990 this fine quality silver snuff box sold for £20,000. Made by the Scottish emigrant goldsmith, Alexander Dick, it was inscribed to Capt. John Adams of The Falcon from the passengers, in admiration of his seamanship on the passage to Port Sydney, and dated 21st May 1829. Bought in Abderdeen in 1963 for £130, it is hard to realise that this was a brave purchase at the time.

Unusually, this Regency rosewood secretaire chiffonier came from a house in Salisbury. It was bought by a New York dealer in January 1991 for the very considerable sum of £40,000 – which could be why he took several months to pay for it.

This tactile Norwegian birchwood marriage tankard, dated 1693, remains one of my all-time favourites. The maker was not only a master of his craft, he somehow managed to find room for humour, fitting in a dog chasing a cat up a tree.

It sold to an American collector for the then record price of £50,000.

When I saw this magnificent library table, which had been bought at the Hartwell House sale in 1938, I suggested it might be sold in London. ‘No’, said the owners. ‘We want you to sell it’. So of course I remember it, and them, with affection. It too went to New York, for £110,000.

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The Tredegar Salt, hallmarked in London in 1598, had once been in the collection of Octavius Morgan, a descendant of the infamous pirate, Henry Morgan. In 1996 we sold it for £140,000 and it is now the outstanding exhibit in its old home, Tredegar House.

Following the death of Diana, Duchess of Newcastle, this fine and large pair of Chinese export hawks were sent for sale in 1998.

Both had old repairs, having been broken into three and two pieces respectively, but vitally the heads were undamaged and with the guidance of our long-time consultant, Tim Wright, we sold them to go to Portugal for £250,000.

I had to find room for Charles Napier Hemy’s chef-d’oeuvre, ‘Life’. At £110,000 we have sold more expensive paintings but this one lifted the spirits of all who saw it.

If Bertie Wooster had had a Great Aunt Nostalgia she would have told him never to look backwards, ‘because, you chump, you are bound to walk into a lamp post’. Better, in military parlance, to face the front and keep moving forward, albeit for me nowadays from the comfort of a back seat.

Tim Woolley

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Specialist John Axford 01722 424506 johnaxford@woolleyandwallis.co.uk

ASIAN ART

Wednesday 19th & Thursday 20th May

Exceptional Chinese Art from Crichel House, Dorset The following works of art were among those collected by Lord Alington, and his daughter the Hon. Mrs Mary Anna Marten OBE. Mrs Marten was a trustee of the British Museum from 1985-98 and a great patron of the arts.

Crichel House is located near the village of Moor Crichel in Dorset, England. It is surrounded by 400 acres of parkland, which includes a crescent-shaped lake covering 50 acres. The original Tudor house, owned by the Napier family, was largely destroyed in a fire in 1742, and the house was subsequently rebuilt. Humphrey Sturt inherited the estate in 1765.

Mary Anna Sibell Elizabeth Sturt was born in 1929, the only child of the 3rd Baron Alington and Lady Mary Sibell Ashley-Cooper.

She inherited the Crichel Estate in 1940 and later married Lieutenant-Commander George Gosselin Marten.

A fine and rare Chinese lapis lazuli brushwasher, 18th century, 36cm.

Est: ÂŁ30,000-50,000 Provenance: The Hon. Mrs Mary Anna Marten OBE, the Saloon, Crichel House, Dorset.

Purchased from John Sparks Ltd., 7th June 1961 for ÂŁ500.

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London view on Monday 10th and Tuesday 11th May Hazlitt Gooden and Fox, 38 Bury Street, St. James’s have kindly allowed us gallery space where we will be exhibiting the works of art featured here.

Inscription to the Gui reads

bo zuo bao zun yi (Marquise made this precious sacrificial vessel).

A fine and rare Chinese archaic bronze inscribed Gui, Western Zhou Dynasty, c.1100-771 BC, 26cm wide, 13.6cm high.

Est: £30,000-50,000 Provenance: The Hon. Mrs Mary Anna Marten OBE, the Library, Crichel House, Dorset.

Purchased from John Sparks Ltd, 128 Mount Street, 8th June 1960 for £2,000.

An exceptional and extremely rare Chinese Imperial white jade Ghanta, Qing Dynasty, the stem inscribed with a four character Qianlong reign mark, and of the period 1736-95. 18.2cm high 10.2cm diameter.

Estimate: refer department Provenance: The Hon. Mrs Mary Anna Marten OBE, the Saloon, Crichel House, Dorset.

Purchased prior to 1953.

The bell or ghanta, represents the female aspect of wisdom and supreme knowledge and combined with the thunderbolt or vajra, they form the most important symbols in Tibetan Buddhism. Together they represent the perfect union of wisdom and compassion, the two principles necessary for attaining enlightenment. Other ritual objects include the dagger or phurba, skull-cup, and thigh-bone trumpet.

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Specialist John Axford 01722 424506 johnaxford@woolleyandwallis.co.uk

ASIAN ART

Wednesday 19th & Thursday 20th May

A fine and rare Chinese Imperial lapis lazuli vase, Qing dynasty, Qianlong period, 1736-95, with a later gilt bronze stand,19.2cm (23.5cm including the stand).

Est: £50,000-80,000 Exhibited: The International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935/6 catalogue no. 2906.

Provenance: Prince Henry, the 1st Duke of Gloucester.

The collection of Miss H. E. Ionides, London.

The Hon. Mrs Mary Anna Marten OBE, the Saloon, Crichel House, Dorset. Purchased prior to 1953.

A magnificent large Chinese Imperial lapis lazuli boulder carving, incised with a poem, Qing Dynasty, 18th century, with a later gilt bronze stand, 23cm (26cm including the stand).

Est: £80,000-120,000 Provenance: The Hon. Mrs Mary Anna Marten OBE, the Saloon, Crichel House, Dorset. Purchased prior to 1953.

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The poem can be translated as:

‘Imperial inscription in praise of the Luohan, The ten thousand things are complete in me; all comers are like the family, In my hand I hold a squirrel; I rejoice that it is good-natured.

Being good-natured, it is not disturbed; being joyful it has no regrets, And together with all sentient beings, we wander in the land of Buddha.’

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THE SON OF HEAVEN’S JADE ELEPHANTS

Image reproduced from the 1953 album of works of art at Crichel House.

An exceptional and highly important pair of Chinese Imperial jade elephants from a throne-room group of the Emperor Qianlong. Each with a Qianlong four character reign mark and of the period 1736–95, each 19cm long, 17cm high (total weight 12kg approx.)

Estimate: refer department An almost identical pair of Qianlong jade elephants from the Forbidden City, but with cloisonné saddle fittings and carrying vases, were exhibited at the Art Gallery of New South Wales, Sydney, Australia in 2007 and are illustrated by Liu Yang in the exhibition catalogue Translucent World, no.109.

In China, the elephant is a symbol of strength, astuteness and happiness. They existed in China during the Bronze Age, but like the rhinoceros, soon were hunted to extinction. In the Ming dynasty, there were stables in the Forbidden City for the elephants that were given as gifts to the Ming emperors from the rulers of Burma. During the Qing Dynasty elephants carrying vases on their backs appeared in processions to celebrate the Emperor Qianlong’s birthday, and so these massive quadrupeds continued to be a popular subject for portrayal in the decorative arts. The Qing rulers commissioned jade elephants in formal standing poses, which were paired and placed flanking the Imperial thrones.

Stanley Charles Nott, in his Chinese Jade Throughout the Ages, notes: ‘an exceptional pair of such carvings are in the private collection of Her Majesty Queen Mary.’ and comments: ‘These specimens are obviously the work of the Imperial workshops of the Ch’ien Lung period’.

Image reproduced by kind permission of the editor, from the November / December 2007 issue of Arts of Asia.

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Specialist Victor Fauvelle 01722 424503 victorfauvelle@woolleyandwallis.co.uk

OIL PAINTINGS, WATERCOLOURS, PRINTS AND MINIATURES Wednesday 16th June

Entries are currently being accepted for this sale

Fig. 2 Fig. 1 Walter Richard Sickert (1860-1942) Romeo and Juliet Signed, Oil on canvas 117 x 69.5cm.

Est: £20,000-30,000 Fig. 2 Circle of Jan Miel (Flemish 1599-1663) Travellers resting outside a city wall Oil on canvas 57 x 82.5cm.

Est: £8,000-12,000

Fig. 1

Fig. 3 Circle of Benjamin Marshall (1767-1835) A bay hunter in a landscape Oil on canvas in a carved wood frame 76 x 91.5cm.

Est: £3,000-5,000

Fig. 3

Fig. 4

Fig. 4 Henry Moore (1898-1986) Standing figures Signed and dated 50, Lithograph 29 x 22cm.

Est: £4,000-6,000 Provenance:The Redfern Gallery Fig. 5 Gustave Louis Jaulmes (Swiss 1873-1959) Fruit trees in blossom in a continental landscape Signed, Oil on canvas 61 x 74cm.

Est: £800-1,200

Fig. 6 Fig. 5 20

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Fig. 6 David Shepherd (b. 1931) A family of pandas Signed, Pencil 25.5 x 38cm.

Provenance:The Tryon Galleries Est: £1,500-2,500 (Droit de Suite may apply)

Specialist Liz Merry 01722 424500 lizmerry@woolleyandwallis.co.uk

BOOKS & MANUSCRIPTS Wednesday 16th June

Entries are currently being accepted for this sale

Egypt - [Junghaendel (R.M.)]. 27 heliogravures on card after original views, loose within the original portfolio, Berlin, [1893].

Est: £400-600

Shakespeare (William): Comedies, Histories and Tragedies, fourth folio, lacks portrait, London 1685.

Est: £10,000-15,000

Egypt - [Norden (Friderik Ludwig) Travels in Egypt and Nubia], engraved frontispiece portrait and 154 of 159 engraved plates and maps.

Est: £600-900

Potter (Beatrix). The Tale of Timmy Tiptoes, First Edition, original brown boards, 1911. This copy is in excellent condition and is part of a small private collection of Beatrix Potter first editions.

Est: £200-300

Greene (Graham).

The Power and the Glory, inscribed by the author, with a seven-line inscription dated Sep. 1. 1952 and signed 'with love from Graham' on the front free endpaper.

Est: £400-600 Graham Greene was a very close friend of the owner's parents, Maritschy and Oliver.

The book is inscribed to Maritschy, during one of Greene's frequent summer stays with them in the small Austrian town of Tauplitz, where they apparently enjoyed a beer or three and games of liar dice.

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Dirom (Alexander).

A Narrative of the Campaign in India, which terminated the War with Tipoo Sultan in 1792, 9 engraved maps and plans, 1794.

Est: £100-200

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Specialist Will Hobbs 01722 339752 willhobbs@woolleyandwallis.co.uk

FURNITURE & WORKS OF ART Tuesday 6th July

Entries are currently being accepted for this sale Rather unusually in our next sale, we are offering a collection of over 90 truncheons.

Coming in all different shapes and sizes, truncheons have been carried by Watchmen, Parish Constables and latterly Police Officers since the middle ages.

Not only were they used in defence, and presumably sometimes for control, they could also be produced on arrest to identify the owner as an upholder of the law.

The majority of examples produced from the late Georgian era onwards have the Royal Coat of Arms painted on them with the monarch’s initials. Stringent budgetary measures, which today’s Constabulary may well empathise with, meant that many of the William IV (WRIV) truncheons were altered when Victoria came to the throne in 1837; half of the W for William being erased to make way for Victoria’s initials (VR). The collection we are selling in July covers many parts of Britain, including Edinburgh, Selkirkshire, London (Bermondsey, St. Pancras, St. Martins), Brighton, Stratford, Brantham Suffolk (dated 1779), and Wescott Barton (dated 1814).

The John Burton collection of corkscrews and champagne taps covers such a wide range that there are close on 2000 pieces in the sale. Included is a rare nickel axe-head champagne tap with a swivel point; a rare Rotten patent champagne corkscrew with a rosewood handle and brass tap; a gold and steel peg and worm; champagne bottle knives; cellarmen; bows; a late 18th century silver pocket corkscrew; a roundlet with a whistle end; champagne bottle stands; cork presses; treen and metal taps; measuring sticks and wire cutters.

While the above list may sound comprehensive, it in fact only skims the surface. Mr Burton’s collection has been built up over a long period of time, with individual items bought from shops and markets all over Europe, brought back and placed with other similar pieces. The cataloguing process has started and as daunting as it may have seemed at first, progress is being made.

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A pair of 19th century French ormolu seven light candelabra.

Est: £1,500-2,000

A Regency rosewood and banded breakfront bookcase in the manner of Gillows.

Est: £4,000-6,000

A pair of George III mahogany hall chairs, each painted with a crest.

Est: £1,000-1,500

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Specialist Will Hobbs 01722 339752 willhobbs@woolleyandwallis.co.uk

FURNITURE & WORKS OF ART Tuesday 6th July

Entries are currently being accepted for this sale

A selection of 19th century American and English quilts, from the collection of fashion designer Sally Tuffin.

Estimates ranging between ÂŁ100-1,000

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S

aleroom

N

ews

Since our formation as a limited company in 1995, the salerooms have enjoyed the benefit of having a non-executive Director on the Board representing the Woolley and Wallis partnership. For the past three years this position had been admirably filled by Richard Sharland whose enthusiasm and wise counsel have been much appreciated by the Directors. Richard is now standing down and his place will be taken by Willi Verdon-Smith. Willi will be known to many of you, indeed if you live locally he may well have surveyed you house at some point in the last twenty years. We very much look forward to him joining the Board.

Richard Sharland

Willi Verdon-Smith

Congratulations to Marielle Whiting (Jewellery Department) who achieved an A grade for the foundation section of her gemmology exams. This allows her to go on to take the diploma to become a Fellow of the Gemmology Association (FGA), the professional qualification held by all major jewellery specialists.

Lecture Series

Website

In conjunction with our next Clocks and Watches sale on 30th Marielle Whiting April, our consultant and Antiques Roadshow specialist, Richard Price, will be giving a short talk on Carriage Clocks – Their Makers and Origins on the evening of Tuesday 27th.

The evening will start at 6.30pm with a private view of the Clocks sale, and also the Silver and Jewellery sales which take place on the following days. Tickets cost £10 and all proceeds from the event will go to local charity, INSPIRE, which helps the recovery of patients with spinal injuries. For more information please contact Christine Johnson on 01722 424510.

Our website (www.woolleyandwallis.co.uk) is currently undergoing a redesign and will be launched soon. Much of the functionality of the site will remain the same and we will try to keep it as user-friendly as possible and make improvements rather than changes. Catalogues will be viewed online in much the same way but some lots will now have multiple images so they can be looked at in more detail. You will also be able to download a PDF file of all catalogues and therefore print off any relevant pages to bring to the auction with you.

Another key change is the creation of a “members-only” area, which will allow you to record your interests, keep track of key lots and record any commission bids left online.

As part of our foray into all things technological, Woolley and Wallis are now using Twitter. Twitter started life as a social micro-blogging website but, with the help of celebrities such as Stephen Fry, has escalated into a major networking tool and is now a valuable business aid. Through our updates (or ‘tweets’) we can keep our followers informed when catalogues or sale results are updated to the website, or when new lots of interest come in. After only a few months of being part of the Twitter community we have already increased the traffic to our website and have followers from across the UK as well as the US and Australia. If you are already a Twitter user, our ID is WoolleyWallis.

If not, you can find a link on our website Home page – come and learn alongside us. www.woolleyandwallis.co.uk

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WSalesReview inter/Spring

The heavy snows of January fortunately did little to deter buyers and bidders at the Furniture and Works of Art sale early in the year. The room was surprisingly full, considering the sludge and ice that remained on local roads, but the bank of telephones at the back of the room bore tribute to those bidders who were unable to make it.

Eleven of those ‘phone bidders were registered to bid on the lot that proved the highlight of the sale; an elaborate 18th century wood and cut paper maritime diorama (fig. 1), signed and dated to 1763. The precision and detail of the 2ft wide model proved attractive to collectors and it sold for £7,500.

fig.1 £7,500

Items from the collection of the late Ernest Ohly of Berkeley Galleries presented collectors with the opportunity to buy unusual market-fresh pieces with good provenance. This 18th century ivory panel of a lady in an interior (fig. 2) sold for £4,400, indicative of the current interest in unusual and decorative works of art.

The highlight of January’s Silver sale was a pair of early 19th century silver-gilt waiters (fig. 3).

Whilst good quality items in themselves, it was their connection to the eccentric collector William Beckford of Fonthill Abbey which pushed them well beyond their £15,000 – 20,000 estimate to sell for £36,000. The waiters had come from the collection of the late Niel Rimington of Fonthill Old Abbey Estate, which also included this Guild of Handicrafts beaker by Charles Ashbee, set with garnet cabouchons (fig 4). The strong private provenance again assisted a quality piece by a good maker to a hammer price of £12,500.

fig.3 £36,000

fig.2 £4,400

Collectors of older, more traditional silver were attracted by this good Queen Anne Britannia Standard tobacco box by William Fleming, London 1707 (fig. 5). In good condition and carved with an armorial it sold for £6,400. Rather more eclectic was a modern silver chess set and board (fig. 6) made in London in the early 1970s. It sold for £3,400.

The Jewellery sale of the following day contained two good pieces of Lalique jewellery which were featured in the last edition of the Sale News. This unusual gold and enamel brooch (fig. 7) sold for £12,000, while the dragonfly pendant (fig. 8),which epitomises Lalique’s skill with plique á jour techniques, fetched £42,000.

fig.5 £6,400

fig.4 £12,500 fig.6 £3,400

fig.8 £42,000 fig.7 £12,000

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fig.10 £7,000

fig.9 £950

fig.11 £6,500

For the shallower pocket, this unusual set of diamond and enamel cufflinks and dress studs made £950 (fig. 9).

fig.12 £6,000

fig.15 £6,000 fig.16 £3,200

fig.17 £2,300

February’s only sale was a sell-out success. The Contents of Stour House, Sandwich; the collection of the late Count Vladimir Caruana, was an eclectic mix that saw English furniture and traditional paintings mixed with more exotic objects of Italian, Asian and Flemish origin. The diversity of the collection is ably demonstrated in the difference between this traditional early 17th century portrait of a gentleman attributed to Michael Janzoon Van Mierevelt (fig. 10) sold for £7,000, and this 1973 Study of a Horse by Roger Hilton, which made £6,500 (fig. 11). A Brussels vedure tapestry fragment from the 18th century reached £6,000 despite some restoration (fig. 12), and this Spanish faience model of a seated dog sold for £2,800 (fig. 13). As is often the case with single-owner sales, the saleroom rapidly filled out to standing room only with bidding staff struggling to reach the telephones at the back of the room. Many of the private buyers had turned out for the furniture, much of which sold over estimate. One of the highlights was this pair of faux bamboo and lacquered chinoiserie cabinets (fig. 14) which fetched £6,000.

With March’s Clocks, Watches and Scientific Instruments sale postponed until the end of April, the only March offering prior to going to press was the second Furniture and Works of Art sale. This again demonstrated the strength of the market for fresh, quirky items with a good private provenance. This Indian carved rosewood and inlaid ivory elephant (fig. 15) was contested to £6,000 despite damage, and an Austrian cold-painted bronze model of a woodcock, by Bergman, reached £3,200 (fig. 16).

An Anton Seuffert marquetry glove box (fig. 17), similar to those featured in Issue 97 of the Sale News, sold for £2,300. On the more traditional furniture front, this set of twelve George IV rosewood dining chairs (fig.

18) made £8,500 despite being described as “in used condition”.

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fig.13 £2,800

fig.14 £6,000

fig.18 £8,500

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Meet the Specialist Michael Jeffery came to Woolley and Wallis in 2003 in order to set up the 20th Century Design department.

He had previously worked for ten years at Christie’s; first as a A Martin Brothers porter and then as a junior spoon warmer.

Sold for £26,000 specialist, expanding the area to become Head of British Decorative Arts. He is an associate director of Woolley and Wallis.

Michael Jeffery with our back cover lot, a monumental Hans Coper thistle vase from his sale in April.

How did you come to start the 20th Century Design department at Woolley and Wallis?

I approached the company’s directors in 2002 to see if they would be interested in specialist 20th Century Design sales; something that I thought would be successful, particularly given the development of the internet. The structure of the London sales was changing to the detriment of certain collectible fields such as Moorcroft, Clarice Cliff and studio pottery. Coincidentally, this was an area that Woolley and Wallis were looking to expand at the time and so I started in early 2003 to launch the department with a specialist Clarice Cliff and Art Deco sale, followed by an Arts and Crafts sale.

Do you collect anything?

Yes, Poole Pottery was the first auction I catalogued and with connections to the geographical area of Poole I began collecting the Delphis and Studio ranges of Poole Pottery produced in the late 1960s and early 1970s. As with most collectors the collection grew in various directions and is now representative of the Poole output from its early days of 1900 up to the present day. Developing new sale categories such as Arts and Crafts and contemporary ceramics has seen additions to the collection from other factories and artists. I have found it fascinating to speak and watch contemporary potters at work, something that develops your understanding of the production process.

Where do you see the future of the 20th Century Design department?

I think the department will continue to grow - 2009 was its strongest year so far with sales over £1,000,000. The sales over the last 18 months have grown larger and more encompassing. The area of particular growth is contemporary ceramics which will be concentrated in two sales this year, one in April and one in November. Our April sale includes probably the finest Hans Coper vase to come on the market in the last 10 years, with an estimate of £20,000-30,000.

Are there any areas that you would recommend people invest in or start to collect?

I would open with the caveat of buy what you like - a standard response but one that still holds true. If one collects an item of interest to them it is likely to lead to research into the object and the area of collecting joining a relevant collectors’ club and viewing specialist sales will enhance this knowledge. A little knowledge is a dangerous thing but a strong knowledge of the specific collectors’ field should lead to sound investment over time. My three top areas of collecting would be Clarice Cliff, Moorcroft and Wedgwood - they all have strong support from collectors’ clubs, reference works dedicated to them and are found in most good 20th century auctions.

How do you see the market for 20th Century Design at the moment?

With the closure of the 20th century, the period can now be studied as a finite entity - with a start and a finish.

For me there are two decades that stand out - the Art Deco thirties and the swinging sixties. Both will be viewed as areas of intense creativity with distinctive colours, forms and ideas that are immediately recognisable. Interestingly there are parallels between the two periods in the use of vivid colours the oranges and reds of Clarice Cliff's pottery compared to the plastic furniture of Verner Panton or the psychedelic posters of popular culture.

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A large slab vase by John Maltby.

Sold for £1,800 - a record price for the potter.

Auction Calendar EUROPEAN CERAMICS & GLASS 13th April John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Clare Durham 01722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 14th April (Clarice Cliff & Art Deco) 23rd June (Arts & Crafts) 13th October (20th Century Design) 1st December (British Art Pottery, including Studio Pottery) Michael Jeffery 01722 424505 • michaeljeffery@woolleyandwallis.co.uk SILVER 28th April Rupert Slingsby 01722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Grazier 01722 424530 • lucygrazier@woolleyandwallis.co.uk JEWELLERY 29th April Jonathan Edwards 01722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting 01722 424504 • mariellewhiting@woolleyandwallis.co.uk CLOCKS, POCKET WATCHES & BAROMETERS 30th April Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Richard Price 01722 339752 • richardprice@woolleyandwallis.co.uk ASIAN ART 19th & 20th May John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Orlanda Cooper 01722 424506 • orlandacooper@woolleyandwallis.co.uk PAINTINGS 16th June Victor Fauvelle 01722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler 01722 424503 • jobutler@woolleyandwallis.co.uk BOOKS & MANUSCRIPTS 16th June Liz Merry 01722 424500 • lizmerry@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 6th July Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk

• Entries can be accepted up to six weeks prior to auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

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