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

Arts & Crafts

Wednesday 18th June 2014


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ARTS & CRAFTS

Wednesday 18th June 2014 at 10.30am Viewing Times Saturday 14th June Monday 16th June Tuesday 17th June Wednesday 18th June

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

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CONDITION OF LOTS Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

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Front cover: Lots 148 & 186 Back cover: Lot 203 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility


INDEX 1-44 45-111 141-187 303-312 313-385 393-534 535-587

Glass Tiles Martin Brothers Works on Paper Furniture Metal Ware Liberty & Co.


GLASS 1. A pair of stained glass windows possibly William Ramsey the design attributed to John Moyr Smith, the shaped triangular windows set with circular painted panel of a seated piping figure, the other with a figure crouching and playing the cymbals unsigned 90cm. wide £100-200 Literature Annamarie Stapleton John Moyr Smith 1839-1912, Richard Dennis Publications, page 33 for a comparable roundel window. 2. A stained glass window designed by Frank Owen Salisbury, the leaded roundel painted with a winter landscape scene of a gated field, unsigned roundel 13cm. diam. £100-200 Provenance By repute the window came from Frank O Salisbury’s nephew’s house.

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3. A stained glass panel of a saint, the shaped panel, depicting a saint holding a wooden cross, 50cm. high £50-100 4. A James Couper & Sons Clutha glass vase designed by Dr Christopher Dresser, tapering cylindrical body, tall slender neck with everted, fluted rim, green glass internally decorated with air bubbles, white and aventurine streaks unsigned 40cm. high £300-500 Literature Michael Whiteway Christopher Dresser 1834-1904, Skira, page 198 plate 243 for a comparable, smaller pink glass vase of this form.

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5. A James Couper & Sons Clutha glass vase designed by George Walton, shouldered form, bubbled green glass with white glass striations, unsigned, 16cm. high £150-250 Literature Karen Moon George Walton Designer & Architect, White Cockade, page 109 plate 104 for a comparable vase illustrated far left side. 3

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4 design

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6. A collection of reference books on Arts and Crafts and 20th century design, including British Glass Between the Wars, Whitefriars Glass edited by Lesley Jackson, Ysart Glass, and Leerdam Unica 1923-1987 by Marc Hiermans, Charles Rennie Mackintosh by Thomas Howarth, The Dr Thomas Howarth Collection of Charles Rennie Mackintosh Christie’s King Street catalogue, Liberty Design by Barbara Morris £80-120

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7. A James Powell & Sons Whitefriars amber glass Woodchester vase, designed by Harry Powell, another similar and a footed Sea Green Woodchester vase unsigned 14cm. high £150-250

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Literature Lesley Jackson, Whitefriars Glass Richard Dennis Publications, page 113 for this range illustrated. 8. A James Powell & Sons Whitefriars old amber decanter and stopper, probably designed by Harry Powell, unsigned 25cm. high £200-300

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9. A James Powell & Co Whitefriars glass vase designed by Edward Spencer, swollen, cylindrical form, the pale green glass body with air bubble inclusions and applied ring, on applied foot unsigned 12.5cm. high £150-250

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Literature The Studio 1913, for a silver version of this vase designed by Edward Spencer. 10. A James Powell & Sons Whitefriars emerald glass vase designed by William Wilson, shouldered form with applied swags, and a flaring emerald glass bowl, unsigned 19cm. high £150-250 Literature Lesley Jackson, Whitefriars Glass, Richard Dennis Publications, page 125 plate 116 for a comparable vase in Sapphire blue. 10

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11. A soda glass vase in the manner of James Powell & Sons Whitefriars, medieval style with flaring cylindrical form with applied prunt and tear decoration, a John Walsh Walsh Leaf pattern vase designed by Clyne Farqharson and two other glass items, etched mark, 19.5cm. high £100-150 12. A fluted glass water jug and eleven glasses, probably Italian, the slender ewer with applied handle and foot 37cm. high £200-300 13. A James Powell & Sons Whitefriars green opaline glass vase, flaring, shouldered form with everted rim, on applied foot unsigned 29.5cm. high £350-450

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14. A Richardson Vitrified enamel colours wine glass, decorated with white water-lily flower stems, printed factory mark £400-600 Literature Truth Beauty and Design, Fischer Fine Art, page 26 catalogue number 35 for a comparable glass and carafe.

15. A large James Powell & Sons Whitefriars Munstead vase designed by Gerturde Jekyll, model 11, waisted cylindrical form, unsigned 39.5cm. high £200-300

14 16. A Charles Kempton & Sons blue vaseline glass floor vase, in the manner of James Powell & Sons, Whitefriars, flaring form with everted, pulled rim, on brass hexagonal foot unsigned 133cm. high £200-300

17. A glass decanter and stopper and water ewer, probably Stourbridge, clear glass with olive green threading bands and applied border to neck, unsigned 24.5cm. high £80-120

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18. A Webb Cameo Fleur glass vase, waisted form, pale pink over clear glass, decorated in low relief with tulip flowers cast Webb signature to side 17cm. high £200-300 Literature Roger Dodsworth (editor) British Glass Between The Wars, page 46 catalogue number 265 for a comparable vase.

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21 19. An Art Nouveau enamelled decanter and six glasses, possibly Lobmeyer, enamelled with simple flower stems in pink and green, highlighted in gilt unsigned 27.5cm. high £200-300 20. A Moser amethyst glass goblet vase, decorated in gilt with a band of classical figures fighting etched Moser Karlsbad mark 15cm. high £150-200 21. A Wiener Werkstatte enamelled wine glass designed by Josef Hoffman, flaring conical bowl on flaring stem and stepped foot, enamelled with stylised flower stems and hatched bands in coral red, blue, white and gilt etched WW mark 12.5cm. high £400-600

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22. A modern set of four Tief glass shades, flaring cylindrical orange glass with pulled blue rim, and five clear glass shades acid-etched Tief 16cm. high £100-200 Provenance Albert E Wade collection 23

25 23. An Austrian iridescent glass vase, probably Kralik, flaring form with fluted rim, golden iridescence with green striations, and another iridescent glass bowl unsigned 18cm. high £100-200 24. A pair of Austrian vases probably Palme Koenig, compressed foot with tall tapering neck and everted rim, mottled green glass with amber swirl decoration unsigned 37cm. high £80-120 25. An Austrian Iridescent glass vase, possibly Loetz, green iridescent glass applied with prunts, an iridescent glass bowl, a vase applied with berried band, and three other glass items unsigned 13.5cm. high £100-200

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26. An iridescent glass vase possibly Loetz, the footed vase with applied elephant mask handles, enamelled with flowers in orange and green, highlighted in gilt, on an iridescent, lustre ground unsigned, chip to one tusk, one tusk missing 14cm. high £50-100

26 27. An Art Nouveau pewter mounted iridescent glass vase, the glass probably Loetz, slender, shouldered form with splashed iridescent surface, with cast twinhandled mount and foot unsigned 43cm. high £300-500

28. A Czechoslovakian Tango glass vase, in the manner of Michael Powolny for Loetz, ovoid form with flaring rim, applied with a blue rim and three angled blue glass handles etched Czechoslovakian 11cm. high £100-150

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29. A Loetz Phanomen glass vase, waisted cylindrical body with swollen neck and everted rim, green and golden iridescent design on a ruby ground, 21cm. high £700-900

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30. An Austrian green glass vase the design attributed to Marie Kirschner for Loetz, the slightly tapering square section body supported on four loop stems and one central slender column, on square base unsigned 15.5cm. high £100-200

31. A footed, covered 21.5cm.

Loetz Phanomen glass vase, swollen form with everted rim, in a peacock lustre finish unsigned high £200-300

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32. A Loetz glass vase, flaring cylindrical form splashed golden iridescence with trailed surface decoration unsigned 24cm. high £100-200

33. A Loetz Papillon glass vase, flaring cylindrical form on applied foot, splashed blue graduating to golden iridescence unsigned 21cm. high £500-700 32

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34. A Loetz glass vase, modelled as a cornucopia, on applied foot, covered in a splashed iridescent glaze unsigned, small nicks to foot rim, 14cm. high £150-250

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35. A Loetz glass vase, swollen cylindrical form with pinched and dimpled rim, golden iridescence and amber splashes unsigned 28cm. high £500-800

36. A Loetz glass vase, ovoid with swollen cylindrical neck, covered in a splashed iridescent glaze unsigned, Venice paper label, 21.5cm. high £100-200

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37. A Tiffany Favrile solifleur glass vase, compressed form with cylindrical neck and everted rim, surface decorated with waterlily leaves on sinuous stems, on a golden iridescent ground etched 4071J L C Tiffany Favrile 15cm. high £1,200-1,500

38. An Art Nouveau Tiffany Favrile vase, footed, flaring slender form with everted, fluted rim, covered in a green and blue iridescent finish, etched marks to base 23cm. high £2,000-3,000

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40 front and back 39 39. A Mado enamelled glass vase, painted with autumn crocus flowers in purple and green on a mottled orange ground acid etched Mado Nancy signature to foot 31cm. high £100-200 Provenance Albert E Wade collection. 40. A Daum Nancy enamelled glass vase with silver cover, compressed square section, acid etched with berried foliage fronds, enamelled in colours, the circular cover stamped with radiating design, enamelled Daum Nancy France mark, stamped marks to cover 10.5cm. wide £500-1,000 41. An Art Nouveau Emile Galle cameo glass vase, tapering cylindrical form with everted rim, amber glass with purple overlay decorated with pendulous flower stems cameo Galle signature 16cm. high £1,200-1,800

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42. An Art Nouveau Galle cameo glass vase designed by Emile Galle, slender bottle form with everted rim, decorated with convolvulus flowers in purple over an amber ground cameo Galle signature 22cm. high £400-600 43. A small Galle Art Nouveau cameo glass vase, compressed form, red overlay glass decorated with berried foliage bough, over orange and opaque glass body cameo signature Galle 5.5cm. high £150-250

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44. An Art Nouveau Galle cameo glass vase designed by Emile Galle, tapering bottle form with knopped neck, pale pink body overlaid with green and white honesty stems, and another Galle cameo glass vase cameo signature to both, second vase reduced neck,18.5cm. high £300-500 44

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TILES

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45. A pair of tiles after designs by Randolph Caldecott, printed and painted in colours with Victorian scenes, 15cm. square £80-120 46. Seven W B Simpson & Sons Medieval Industry tiles, printed and painted in colours impressed marks, 15cm. square £300-500

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47. A pair of Carter’s Tiles, Poole Pottery architectural tiles, probably modelled by William Unwin, each modelled as a classical dolphin either side of an urn, glazed ochre, chips, 31cm. wide £100-200 48. Thirteen Minton tiles designed by William Wise, printed in sepia with young ladies in working and leisure pursuits, impressed marks, signed in the print 15cm. square. £150-250 Literature Fired Earth 1000 Years of Tiles, TACS/Richard Dennis Publications, page 101 plate 175 for comparable tiles

49 part 49. Four W Godwin encaustic tiles, designed by John Pollard Seddon, each decorated with a radial, geometric flower design in ochre on a black ground impressed marks to reverse 15cm. wide £100-150 50. Eight Art Nouveau tiles, each printed and enamelled with three flower stems, in yellow and red on a green ground, and two others on a blue ground minor rim nicks, 15.5cm. square £100-150

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51 part

51. A pair of Medmenham Pottery tiles, each cast in low relief with a bird picking berries from flowers, in shades of blue, red and brown on a white ground, a Medmenham fish tile similar, six tree tiles and a collection of Medmenham border tiles and spacer tiles, impressed marks, damages bird tiles 15.5 x 7.5cm. £200-300 52. A set of four Aesthetic Movement tiles, each decorated with three flowers on a stem in shades of blue on a cream ground, another decorated with stylised flower panel and four others similar impressed XXX to back, losses to corner of one, 15cm. square £150-200 53. A Minton’s Pottery tile by William Mussil (1828-1906), painted with an orchid spray in colours on a terracotta ground impressed marks, painted signature to front 20.5cm. square £100-200 Literature Joan Jones Minton Swan Hill Press, page 230 for a plaque decorated by William Mussil.

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54. A large architectural tile, attributed to the Leeds Fireclay Company, cast in low relief with scrolling formal flowers and foliage design in sand on a sky blue ground unsigned 39cm. square £80-120 55. A pair of Pilkington’s tiles, resist decorated with a mermaid and merman swimming with fish, in shades of green and brown, another decorated with a scaly fish, and two other Pilkington tiles decorated in low relief with bell flowers impressed marks, 15.5cm. square £200-300 56. An Art Nouveau advertising tile by Eleanor Fortescue Brickdale, decorated with a maiden in low relief smelling a flower’s scent, glazed blue-green, framed, inscribed The Art Pavements & Decorations Ltd 15cm. square £300-400 Literature Fired Earth - 1000 Years of Tiles in Europe, TACS/ Richard Dennis Publications, page 129 figure 410 for an identical tile glazed green. Daryll Bennett Shapland & Petter Ltd page plate 5.30 for this tile included in a smokers cabinet. 57. ‘Seven Ages of Man’ six Minton’s tiles designed by Alfred Masson, painted in black and yellow on a white ground, comprising; Ye Schoolboye, Ye Second Childhood, Ye Lovers, Ye Justice, Ye Pantaloone, and Ye Soldyer impressed marks, damages 15.5cm square £300-500 Literature Annette Carruthers & Mary Greensted (editors) Simplicity or Splendour, Cheltenham Art Gallery & Museums, page 72 figure 100 for a set illustrated, catalogue number 181 exhibited at Howell & James Art Pottery Exhibition 1876.

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58. A J.C. Edwards tile stand designed by Charles Francis Annesley Voysey, modelled in low relief with a devil creature glazed blue impressed marks, professionally restored 16cm. square £150-200 59. A J.C. Edwards tile stand designed by Charles Francis Annesley Voysey, modelled in low relief with a devil creature glazed pale blue impressed marks, professionally restored, 16cm. square £200-300 58

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A PRIVATE COLLECTION OF TILES 60. A Minton’s tile the design attributed to A.W.N Pugin, printed with a stylised flower roundel in shades of green, red, pink, blue and white, impressed grid back 20.5cm. square £100-200 Literature A.W.N. Pugin Floriated Ornament page 6 figure 4 for the comparable Viola Martia Purpurea design illustrated. Provenance Private collection. 61. A William De Morgan Chelsea Period Bedford Park Anemone tile, painted in shades of blue and green on a white ground, and two J E Edwards ruby lustre tiles designed by Lewis F Day impressed marks, 15.5cm. square £150-250 Literature Jon Catleugh William De Morgan Tiles, Trefoil, this design illustrated page 54 plate 34. Provenance Private collection. 62. A fine large Craven Dunnill Jackfield Persian tile, painted with a peacock before scrolling foliage in shades of green, blue and brown on a cream ground, and a Minton’s tile printed with a Persian design and a Minton’s tile printed with a Godwit impressed marks 21cm. square £100-200 60

Provenance Private collection. 63. Two William De Morgan Merton Abbey Flying Leaf tiles, painted in green on a white ground, and three various William De Morgan foliate tiles impressed marks, 15cm. square £150-250 Provenance Private collection. 64. A William De Morgan Sand’s End Pottery three tile repeat, decorated with carnation and scrolling foliage in green, blue and aubergine on a white ground impressed marks, chips to edges, 15.5cm. square £100-200 62

Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 123 plate 168 this design illustrated. Provenance Private collection. 65. A William De Morgan Merton Abbey Single Rose tile, painted in shades of pink and green on an off white ground, and a William De Morgan KL Rose tile on Poole Architectural blank impressed marks 15.5cm. square £100-200

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Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 68 catalogue number 58 for this design. Provenance Private collection.

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66. A William De Morgan Sands End Pottery Galleon tile, painted in green on a white ground, with a ship at full sail, two dolphin swimming before impressed mark, 15cm. square £500-600 Literature Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway Ltd page 58 catalogue number 214 for this design in blue Provenance Private collection. 67. A William De Morgan Sand’s End Pottery BBB tile, painted in shades of blue, green and aubergine on a white ground, and a William De Morgan Single Rose tile, raised in low relief impressed marks, 15.5cm. square £150-200 Literature Martin Greenwood (editor) The Designs of William De Morgan Richard Dennis Publications, page 135 plate 682 for the BBB original design illustrated. Provenance Private collection. 68. Seven Dutch tin-glazed tiles in the manner of William Morris, decorated with carnation flowers in purple and green on an off white ground unsigned, glaze frits 15cm. square £100-200 Provenance Private collection.

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69. Five Dutch tin-glazed tiles after a design by William Morris, painted with quartered trellis design of daisy flowerheads and flower sprays in blue on a white ground, eight tin-glazed tiles decorated with berried foliage spray and another tin-glazed tile similar unmarked, chips, 13.5cm. square £100-200 Literature Hans Van Lemmen Decorative Tiles Throughout the Ages, Bracken Books, plate 27 for the trellis and berried tiles illustrated Provenance Private collection. 67

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70. Two Minton’s tiles designed by William Wise, dated 1879, one printed with horses resting beside a cart, the other with two cows in a barn, printed in black on a cream ground, four Minton’s tiles designed by William Wise printed in pink with animals, two yacht tiles similar, two printed with sheep, a Jackfield tile printed with a cow, and four Wedgwood tiles impressed factory marks, facsimile signature to main tiles 15.5cm. square £100-200 Literature Maureen Batkin Wedgwood Ceramics Richard Dennis Publications, page 112 plate 246 these designs illustrated under the Fresco Birds of Game Subjects titles. 72

Provenance Private collection. 71. Nine Minton’s Rustic Scenes tiles designed by William Wise, printed in blue on a white ground with rural everyday scenes, and two sepia tone tiles depicting medieval figures impressed marks, most with printed signature 15cm. square £100-150 Provenance Private collection.

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72. Eight Minton’s large tiles designed by John Moyr-Smith, each printed in sepia on a cream ground, comprising; The Mason, The Barber, The Smith, The Dyer, The Tanner, The Potter, The Painter, and The Dyer (duplicate), impressed marks, facsimile signature 20.5cm. square £150-250 Literature Annamarie Stapleton John Moyr Smith 1839-1912 page 66 for the set illustrated. Provenance Private collection. 73. Three Minton’s Arts and Sciences tiles designed by John Moyr Smith, printed in sepia with Geology, Astronomy and Mechanics, impressed marks, 15cm. square £100-200 Literature Annamarie Stapleton John Moyr Smith 1839-1912 Richard Dennis Publications, page 58 original designs illustrated. Terrence A Lockett Victorian Tiles, ACC books, page 294 figure 292 (plate 52) for this range illustrated. Provenance Private collection. 74. Three Maw & Co Times of the Day and Months tiles designed by Walter Crane, each printed with a Classical maiden in sepia on a white ground, titled Aurora, Autumnus, and Meridies, a large Minton’s tile designed by John Moyr Smith and a collection of tiles including a three and a half tile panel of a medieval royal banquet impressed marks, 20.5cm. square £100-200

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Literature Hans Van Lemmen Decorative Tiles Throughout the Ages, Bracken Books, plate 21 for a reproduction of these tiles in a Maw catalogue. An example of the Meridies tile is held in the Ironbridge museum collection. Provenance Private collection.

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75. A Minton Hollins & Co four tile panel, in the manner of William S Coleman, painted with classical putti riding dolphins, inside hatched border impressed marks, minor rim chips, 15cm. square £100-200 Provenance Private collection.


76 76. A pair of Minton’s tiles designed by Dr Christopher Dresser, each printed and painted in colours with blue tits perched beside a daffodil stem above geometric foliage, another Minton’s tile of cranes flying attributed to Dr Christopher Dresser and a collection of tiles relating to Dresser, impressed marks, wear 20cm. square £300-500 Literature Michael Whiteway Christopher Dresser, 1834-1904, Skira, page 56 plate 11 this design illustrated. . Page 56 plate 10 for the three tile run of blue stylised carnations. Provenance Private collection. 77. A Minton Three tile panel the design attributed to Dr Christopher Dresser, moulded in low relief with stylised flowers and foliage, in colours, and a collection of tiles including a Minton snowdrop tile designed Dr Christopher Dresser impressed marks, 20cm. square £100-150 Provenance Private collection.

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78. A Pilkington’s tile cast in low relief with a portrait of a Robert Baden Powell, in military dress, inside foliate border, glazed blue, another Two Pilkington’s tiles decorated with military leaders Lord Roberts and probably Ferdinand Foch, in blue and two glazed brown, cast P mark 15cm. square £100-200 Provenance Private collection. 79. ‘Queen Victoria’ a Godwin tile stand, cast in low relief with a portrait inside laurel border, inscription outside border, in colours, three Godwin Queen Victoria tiles in red, blue and pink, and two other Queen Victoria tiles impressed marks, 15.5cm. square £100-200

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80. ‘Abraham Lincoln’ a rare Sherwin & Cotton photographic tile by George Cartlidge, celebrating the centenary of his birth in 1909, and another Sherwin & Cotton tile portrait of Queen Victoria commemorating the Diamond Jubilee of the Reign of Queen Victoria, 1897 impressed inscriptions to reverse, minor glaze frits to base of Victoria 23 x 15cm. £100-200 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, private press, page 78 plates 205 and 206 for the original metal moulds for the Lincoln tile. Page 52 and for 53 for both tiles illustrated. Provenance Private collection.

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81. A Sherwin & Cotton Matene Te Nga Maori portrait tile designed by George Cartlidge, sepia toned, and another Sherwin & Cotton portrait tile of Bella impressed marks, 23 x 15.5cm. £100-200 Literature Tony Johnson The Morris Ware, Tiles and Art of George Cartlidge, private press, page 54 plate 118 for Matene and plate 121 for Bella. Provenance Private collection. 82. A Minton’s Secessionist tile designed by Leon Solon and John Wadsworth, slip decorated with a stylised tulip flower in yellow and aubergine on a green ground, a J C Edwards tile painted with a poppy flower, a tile decorated with a Lion in a shield probably Pilkingtons, and a collection of Art Nouveau tiles including six Meakin tiles impressed marks, chips 15.5 x 7.5cm. £100-150 Provenance Private collection.

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83. A Carter’s Poole Pottery tile designed by Cecil Aldin, model DG6, printed and painted in colours on a cream ground, a tile decorated with a comic cat and stilted bird design, and five other tiles impressed marks, painted Aldin monogram 15cm. square £100-150 Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 171 for three other Cecil Aldin tiles from the Dog series Provenance Private collection. 83 84. A large Packard and Ord six tile panel by Rosalind Ord, painted with a fox hunting scene in colours on a cream ground, framed, an unusual Packard and Ord four tile panel painted with two deer, a Packard and Ord two tile panel, and four other Packard and Ord three tile trays depicting deer hunting, farming and horse riding scenes, and five individual tiles painted RO monogram, crack to one tile, 48 x 32.5cm. £100-200 Provenance Private collection. 84

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85. Two Craven Dunnill two tile panels of rare breed pigs, painted in a farm landscape, in colours impressed marks to reverse, chip to one 15.5cm. square tiles ÂŁ100-150 Provenance Private collection.

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86. Two Craven Dunnill two tile panels of rare breed pigs, painted in a farm landscape, in colours impressed marks to reverse 15.5cm. square tiles ÂŁ100-200 Provenance Private collection.

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87. Two Craven Dunnill two tile panels of rare breed pigs, painted in a farm landscape, in colours impressed marks to reverse, one tile cracked in half and re-stuck 15.5cm. square tiles ÂŁ100-200 Provenance Private collection.

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WILLIAM DE MORGAN TILES 88. Two William De Morgan Sands End Pottery Single Rose tiles the design attributed to Halsey Ricardo, each cast in low relief and painted in green on a blue ground, impressed marks, minor chips, 15cm. square £200-400

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Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 98 colour plate X for a comparable example.

89. Five William De Morgan Late Fulham Period Raised Lion tiles, the design attributed to Halsey Ricardo, glazed in red lustre impressed marks, minor chips, surface wear, 15cm. square £200-400

90. Four William De Morgan Late Fulham Period Raised Lion tiles, the design attributed to Halsey Ricardo, glazed in shades of blue, sand and red lustre impressed marks, minor chips 15cm. square £300-500

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91. Four William De Morgan Late Fulham Period BBB tiles, painted in shades of blue, green and aubergine on a white ground, impressed marks, 15.5cm. square £200-400 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 80 plate 87 for a line drawing of this design.

92. A William De Morgan Late Fulham Period BBB tile , painted in shades of blue, green and aubergine on a white ground, and a large William De Morgan blue glazed tile impressed marks, chipped corners, 15.5cm. square £100-150

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93. Four William De Morgan Sands End Pottery Wightwick tiles, each painted in green and blue on a white ground impressed marks, chips 15.5cm. square £200-300

94. Two William De Morgan Sands End Pottery Marlborough tiles, painted in shades of blue, brown and green on a deep blue ground, impressed marks, 20.5cm. square £150-200

95. A William De Morgan Sands End Pottery Marlborough two tile panel, painted in shades of blue brown and green impressed marks, each tile 20cm. square £500-1,000 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 76 plate 80 for this design illustrated. 96

96. Two William De Morgan Sands End Pottery Marlborough tiles, painted in shades of blue, brown and green on a deep blue ground, impressed marks, 20.5cm. square £300-400

97. Two William De Morgan Sands End Pottery Marlborough tiles, painted in shades of blue, brown and green on a deep blue ground, impressed marks, 20.5cm. square £300-400

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99 98. A William De Morgan Iznik Carnation tile, on Craven Dunnill blank, painted in shades of blue, turquoise, green and aubergine, and eight tiles with printed red foliate design impressed marks, 20cm. square £150-200 99. Five William De Morgan Sand’s End Pottery tiles, each painted with flowers and foliage in shades of blue, aubergine, green and turquoise on a white ground impressed marks, minor chips, 15.5cm. square £200-300 100. Three William De Morgan Carnation tiles, painted in shades of blue and green on a white ground, two with Sand’s End marks one Late Fulham mark, minor frits 15cm. square £150-200 101. Four William De Morgan Sands End Pottery Islamic Seven Segmented Leaf tiles, painted in shades of blue and aubergine outlining, impressed marks, chips, 15cm. square £200-300 102. A William De Morgan Sands End Pottery Iznik Floral two tile panel, painted in shades of blue, turquoise and green on a white ground impressed marks, chips 23cm. square £400-500

100

103. A William De Morgan Sands End Pottery Iznik Floral two tile panel, painted in shades of blue, turquoise and green on a white ground impressed marks, chips 23cm. square £400-500 104. A William De Morgan Sands End Pottery Iznik Floral two tile panel, painted in shades of blue, turquoise and green on a white ground impressed marks, chips 23cm. square £400-500

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105

106

105. A rare pair of William De Morgan Sand’s End Pottery tiles, each impressed, hand carved and slip decorated with a seated lioness, covered in a green glaze impressed factory mark, minor glaze chips 15.5cm. square £800-1,200 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 237 for a comparable tile decorated with a seated bear like creature. 106. A rare set of four William De Morgan Sand’s End Pottery tiles, each impressed, hand carved and slip decorated with a seated lioness, covered in a green glaze impressed factory mark, minor glaze loss and chips 15.5cm. square £1,500-2,000 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 237 for a comparable tile decorated with a seated bear like creature. 107. A William De Morgan Sand’s End Pottery three tile panel, painted with an exotic peacock, perched in a berried bough, painted in colours on a white ground impressed factory mark, minor glaze chips. £1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 247 plate 323 for a comparable panel. 108. A rare William Dr Morgan Sand’s End Pottery tile, painted with a serpent in black on a blue ground impressed factory mark, tiny glaze chips, 15.5cm. square. £1,500-2,000 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 238 for a comparable tile in green and white. William De Morgan Blackwell House exhibition catalogue, page 28 catalogue number 53 for a ruby lustre tile in this design

108

107

23


109

110

111 112

WILLIAM DE MORGAN & RELATED LUSTRE WARE 112 monogram

109. Forty-one William De Morgan border tiles, rectangular, painted with a scrolling foliate design in green on a white ground, and eight square corners, each painted with similar foliate roundel in green unsigned 7.5 x 2.5cm (border tiles) £100-200 110. A William De Morgan tile, decorated in ruby lustre with a sunflower design, on white ground unsigned, chipped down one side 15.5cm. square £80-120 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 133 plate 797 for the tile design.

113

111. A William De Morgan tile, painted with a bird flying past stylised flower stems, in ruby lustre on a white ground unmarked blank tile 15.5cm. square £300-500 Literature Jon Catleugh William De Morgan Tiles Richard Dennis, page 133 plate 202 for the original design illustrated. 112. A Hispano-Moresque lustre charger by Noble, painted with radiating panels of flowers and foliage, between bands of text in red lustre on a white ground painted Noble and 08 for possible date 1908 to reverse 40cm. diam. £100-200 113. A Hispano-Moresque style plate, painted with a radiating band of foliage and ears of corn, the raised well with fleur de lys design, in red lustre painted monogram, possibly dated 1909, 22cm. diam. £100-150 114. A William De Morgan Pottery charger, painted with a wild creature with clawed feet and long ears, on clumps of grass ground in red lustre on a cream ground, the reverse with bands of radiating dashes, professionally restored 37cm. wide £500-800

114

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115. A William De Morgan twin-handled vase, ovoid with knopped neck, painted with the Comic bird pattern in blue and aubergine on a white ground impressed Merton Abbey mark, JB monogram dated 1890, minor professional restoration to one handle, 20cm. high £1,500-2,000 Provenance The Harrimann-Judd Collection Sotheby’s New York, 6th October 2001 lot 458.

115 front and back 116. A large William De Morgan twinhandled vase, shouldered form with knopped neck, painted with a frieze of flower stem in blue and green on a silvergrey ground impressed tulip mark to base, restored, 44cm. high £400-600

117. A William De Morgan vase, shouldered form with collar rim, painted with scrolling foliate repeat in red on a white ground unsigned 15cm. high £100-200 116

118. A William De Morgan twin-handled vase, shouldered form, painted with panels of stylised flowers and foliage in ruby lustre on a white ground unsigned 23.5cm. high £500-800 117

118

119. A William De Morgan charger, painted to the well with a mermaid admiring her reflection in a hand mirror, before a rising sun, the sea with leaping scaly fish, in ruby and copper lustre, the rim with simple foliate and heart-shaped leaf borders, the reverse with painted star motif and leaf border to rim unsigned, tiny professional restoration to rim, 36cm. diam. £1,000-1,500

119

25


122

121

120

125 123

126

124

DOULTON 120. A Doulton stoneware vase probably designed by Harry Barnard, cylindrical form, cast in low relief with animal medallions, including owl, cat, dog and lion, glazed pink, brown and blue on a buff ground unmarked 16cm. high £100-200 121. A Doulton Lambeth stoneware four-piece window box, dated 1877 each piece square section, cast in low relief with foliate roundels, applied panels, in shades of blue ochre and green impressed marks, damages each 18cm. square £200-300 122. A pair of Royal Doulton jardinieres, swollen form, applied with Art Nouveau foliate roundels, in shades of green, brown and purple on a mottled green ground impressed marks, chip to base rim of one,, 18cm. high £100-200 123. A Royal Doulton stoneware gourd vase, shouldered form, tubeline decorated in green, blue and purple, another with running green glaze and a Royal Doulton stoneware fern pot impressed marks, 20cm. high £50-100 124. A Doulton Lambeth stoneware jug by Hannah Barlow, dated 1874, the ovoid body incised with donkies resting, glazed ochre and brown, the handle brown and blue impressed and incised marks, restored top rim 26cm. high £100-200 125. A pair of Royal Doulton stoneware baby’s bowls, with silver rims, one printed For Baby the other printed The halesome parritch chief o’Scotia’s food, glazed blue impressed marks, 11.5cm. diam. £50-100 126. A Royal Doulton stoneware paperweight designed by Mark V Marshall, modelled as a grotesque bird creature, glazed green, another glazed brown, a model of a brown bear seated next to a whicker basket and a Royal Doulton leather drinking mug impressed marks, 8.5cm. wide £300-400 127. A stoneware corner stickstand probably Doulton Lambeth, incised and painted with stylised foliage, in shades of blue, green, brown and white, on a buff ground apparently unmarked, 68cm. high £200-300 127

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128. A Doulton Lambeth Art Union of London stoneware vase and cover by Elisa Simmance, twin-handled form, painted with pate sur pate panels of prunus blossom between incised stiff leaf foliage borders, in shades of blue, green and brown on a buff ground impressed and incised marks, restored handle and cover 30cm. high £150-200 Literature Victoria Bergesen Encyclopedia of British Art Pottery, Barrie & Jenkins, page 92 plate 45 this vase and cover illustrated.

129. A Royal Doulton stoneware vase by Frank Butler, swollen cylindrical form with everted rim, cast in low relief and incised with Art Nouveau foliage panels in green and brown on a mottled green ground impressed marks and incised monogram, restored top rim 33.5cm. high £100-200

128

129

130

131

130. A Doulton Lambeth stoneware baluster vase by Elisa Simmance, slender form, tubeline decorated with peacock feather cartouche, in shades of green, blue and brown on a mottled green ground, impressed and incised marks, 39cm. high £300-500

131. A large Royal Doulton stoneware vase by Elisa Simmance, baluster form, tubeline decorated with floral swags in shades of blue, green and brown on a mottled green ground impressed and incised marks, 47cm. high £500-800

132. A Royal Doulton stoneware vase by Elisa Simmance, slender baluster form with everted, fluted rim, impressed and tubelined with Art Nouveau flower stems in green and brown, highlighted in white on a mottled ground, impressed mark, incised monogram 32.5cm. high £100-200

133. A Royal Doulton Art Nouveau stoneware vase by Elisa Simmance, shouldered form, painted with stylised flower stem frieze in shades of purple, green and ochre on a buff ground impressed and incised marks, damages 39cm. high £100-200 132

133

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135 136

134

134. A Doulton Lambeth stoneware figure of Sairey Gamp, covered in a white glaze impressed Lambeth mark, restored 19.5cm. high £100-200 Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 216 for similar white glazed Dickensian figures 135. An unusual Royal Doulton Chang bowl, covered in a thick, running mushroom glaze over sky blue and white printed factory mark, 9.5cm. diam. £200-400

138

137

136. A Doulton Burslem Aesthetic Movement tray, printed with a design of large chrysanthemum flowers and birds perched on a bamboo cane, painted in colours, highlighted in gilt on a white ground, a pair of Doulton Burslem egg cups, two Doulton Burslem twin-handled bowl and saucers, three Spode demi-tasse cups and saucers, a Spode bowl in electroplated stand with servers and a small collection of ceramics printed mark, 42 x 31cm.£100-200 137. A Royal Doulton Flambe vase, probably designed by Charles Noke, tapering, ribbed form with swollen neck, covered in a speckled flambe glaze, two others similar and a large collection of Royal Doulton Flambe printed factory marks, 25cm. high £200-400 138. A Royal Doulton Sung vase by Charles Noke, painted with a wooded landscape in shades of purple and yellow on a flambe red ground printed and painted marks 15cm. high £500-800 139. A set of six Royal Doulton Botanical plates painted by Fred Hancock, with pierced borders, each painted with a flower scene in colours, the puce rim with gilt highlights printed and painted marks, signed in the design 24cm. diam. £200-300

139

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THE MARTIN BROTHERS POTTERS

29


140 141

143

142

140. A C J C Bailey Fulham stoneware trefoil dish by Edgar Kettle, dated 1875, incised with a stork with a snake in its beak, before three frogs, on scrolling foliage ground, in blue and brown on a buff ground incised C J C Bailey, Fulham 1875 no.216 and EK monogram 21.5cm. wide £150-250 141. ‘The Collection of Martinware Formed by Mr Frederick John Nettlefold’ by Charles Beard, published privately by Waterlow & Sons Limited, 1936, library copy 38 x 29.5cm. £200-300 142. ‘Boobies, Boojums and Snarks’ a folio book on the Martin Brothers Potters, published by Jordan Volpe Gallery, New York, 1984, limited to 500 copies £100-200 143. A Martin Brothers stoneware trough by Robert Wallace Martin, dated 1892, deeply incised with a band of scrolling flowering and fluting vine, in shades of blue and brown on a buff ground incised 4-1892, R W Martin & Brothers London & Southall, chip to top and base rim, 32cm. wide £300-400

144

30

144. A pair of Martin Brothers stoneware vases by Robert Wallace Martin, dated 1884, baluster form with angled handles, cast and incised with classical foliage to the handles and neck, the vase incised with cherub playing amongst honeysuckle stems, in brown, blue and green, highlighted in white on a buff ground, incised 4.12.84 RWMartin & Bros London & Southall, 24cm. high £2,000-3,000 Provenance From the family of John Cathles Hill.


144A

145

144A. A Martin Brothers stoneware vase, dated 1900, ovoid with slightly flaring neck, incised with scrolling flowers and foliage in brown and buff on a dark brown ground incised 3 1900 Martin Bros London & Southall 13cm. high £200-300

145. A large Martin Brothers stoneware jardiniere by Walter & Edwin Martin, dated 1899, incised with dragonflies, butterflies and insects flying above grasses and wild flowers, in shades of brown, white and green on pale brown ground incised 5-1899 Martin Bros London & Southall, 24cm. high £1,500-2,000

146

146. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1894, shouldered form with flaring neck, incised with squirrels eating and hunting cobnuts, in brown on a buff ground incised 1894 Martin Bros London & Southall, small firing crack to top rim, 24cm. high £1,000-2,000 Provenance From the family of John Cathles Hill.

147. A Martin Brothers stoneware vase, dated 1896, incised and with stylised flowers and foliage in ochre on a brown ground incised 11-1896, R W Martin & Bros, London & Southall, professional restoration to top rim, 25.5cm. high £1,500-2,000 147

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148. A fine and tall Martin Brothers stoneware bird jar and cover, by Robert Wallace Martin, dated 1898, modelled standing alert, broad flat beak, casting a knowing glance, with broad webbed claws, glazed in brown and green with blue plumage to the wings, on ebonised wood base incised Martin Bros, London & Southall, 9-1898, paper label to neck, 35cm. high ÂŁ20,000-30,000

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149. A fine and tall Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1899, modelled alert with slightly tilted head, broad beak and staring eyes, with broad claws, glazed in shades of green and brown highlighted with blue, on ebonised wood base, incised R W Martin & Bros, 2-1899, London & Southall, paper label to neck, 35cm. high ÂŁ20,000-30,000

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153

152

151 150

154

155

156

157

150. An unusual Martin Brothers stoneware perfume burner by Edwin & Walter Martin, dated 1893, the circular tray supporting reservoir on tripod supports, incised with scrolling berried foliage in brown on a deep ochre ground incised 3-1893, Martin Bros, London & Southall 12.5cm. diam. £500-1,000 151. A Martin Brothers Pottery stoneware mug, dated 1901, cylindrical form. incised with scrolling flowers and foliage, in ochre and brown on a pale blue ground incised 9-1901 Martin Bros London & Southall 10cm. high £300-500 152. A small Martin Brothers stoneware jug, compressed form, incised with simple forget-me-not flowers in blue and brown on a mottled brown ground, incised Martin London, 7cm high £300-500 153. A Martin Brothers stoneware oil-lamp reservoir, domed from incised with stylised flowers and foliage in brown and blue highlighted in white, unsigned, section out of top rim, 16cm. wide £100-200 Provenance From the family of John Cathles Hill. 154. A Martin Brothers stoneware miniature jug, ovoid, incised with flowers in shades of yellow and green on a mottled brown ground, and another Martin Brothers jug, decorated with white flowers incised Martin Bros London 6.5cm. high £300-400

158

155. A Martin Brothers stoneware jug, dated 1892, shouldered form, incised with scrolling foliage with impressed flowers, in shades of brown on a light brown ground incised 3-1892, Martin Bros London 9cm. high £400-600 156. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1881, shouldered form, incised with a band of scrolling foliage, in ochre and sand incised 29.9.81, Martin London 10cm. high £100-200 157. A large Martin Brothers stoneware vase, dated 1908, shouldered form, covered in a pitted brown glaze incised 5-1908 Martin Bros London & Southall, 30cm. high £200-400 158. A Martin Brothers stoneware lamp base, tapering cylindrical form, incised with spiral decoration in brown, highlighted with white, with ebonised wood dome top and base, incised R W Martin & Bros London & Southall 32.5cm. high £100-200 Provenance From the family of John Cathles Hill. 159. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1880, shouldered form, incised with stylised aquilegia flowers, in blue and brown on a mustard ground incised 31.12.80 R W Martin London & Southall 19cm. high £400-600

159

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160. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1903, incised and painted with slipper orchids, dragonflies and insects, in brown, highlighted in white 3-1903 Martin Bros London & Southall, professional restoration to inside of top rim, 24cm. high ÂŁ1,000-1,500

160 front and back

161. A Martin Brothers stoneware vase and cover, dated 1896, incised with dragonfly, snail and bee amongst poppy stems, in brown on deep brown ground, the flat cover with radiating poppy seedhead stems incised 10-1896 Martin Bros London & Southall, to base and underside of cover, factory chip and bruise to top rim, 21cm. high ÂŁ500-1,000

161 front and back

162. An unusual Martin Brothers stoneware flask by Robert Wallace Martin, twin-handled form with flattened back, incised with a panel of a hummingbird and butterfly before grasses, the back with a bird perched amongst berried bough, in shades of brown and ochre on a buff ground incised R W Martin & Bros London & Southall, firing hairlines to body 18.5cm. high ÂŁ500-800 162 front and back

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163. A Martin Brothers Marred miniature gourd vase, dated 1899, flaring cylindrical form with twisted, compressed neck, incised with veins, in shades of brown and green incised 1-99 Martin Bros London & Southall, 6cm. high £150-200

164

164. A Martin Brothers stoneware jug, dated 1906, shouldered, square section covered in a dark blue/green glaze incised 8-1906 Martin Bros London & Southall, 16cm. high £100-200 Provenance From the family of John Cathles Hill.

163

165. A Martin Brothers stoneware miniature gourd vase by Edwin & Walter Martin, dated 1907, shouldered form, painted with veined design in matt grey incised 5-1907 Martin Bros London & Southall, firing cracks to top rim, 8cm. high £200-400

165

166

166. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, swollen, tapering cylindrical form, covered in a deep matt blue/green ground spotted in blue, incised 8-1904 Martin Bros London & Southall, 26cm. high £600-800 Provenance From the family of John Cathles Hill.

167. A Martin Brothers miniature vase by Edwin and Walter Martin, slender, solifleur form, covered in a mottled ochre glaze incised Martin, firing crack to neck, 12.5cm. high £150-200

168. A Martin Brothers miniature stoneware gourd solifleur vase by Edwin & Walter Martin, glazed in ochre and brown, incised Martin Bros London & Southall 8cm. high £300-500 167

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168


169 front and back 169. A Martin Brothers stoneware grotesque jug, dated 1891, incised with a grotesque mask with smiley toothy grin, glazed in ochre, brown and green, incised 10-1891 Martin Bros London & Southall, 11.5cm. high ÂŁ4,000-6,000 Provenance Private collection, London.

170 front and back 170. A Martin Brothers stoneware face jug by Clement Martin, modelled in relief to one side with a smiling face, the reverse with a grimacing face, glazed silver-grey and ochre incised R.W.Martin & Bros London & Southall 16.5cm. high ÂŁ1,500-2,500

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171 all sides

171. A Martin Brothers Pottery stoneware Aquatic vase, by Edwin & Walter Martin, square section, each side incised with a fish incised Martin Bros London 8cm. high £400-600

172. A Martin Brothers stoneware Aquatic jardiniere, dated 1898, shouldered form, incised and painted with grotesque fish, crabs, jellyfish amongst waterweed, in shades of green, blue and brown incised 10-1898 Martin Bros London & Southall, riveted damages 18.5cm. high £1,000-2,000 173

172

Provenance Private collection.

173. A Martin Brothers stoneware vase by Robert Wallace Martin, slender, solifleur form, incised with a large scaly fish above waterweed, glazed blue, green and brown incised 357 R W Martin London & Southall, neck re-stuck 20cm. high £500-800

174. A Martin Brothers stoneware jug, dated 1898, square section, modelled in low relief with reptilian fish creatures glazed olive and white on a dark brown ground incised 10-1898 Martin Bros London & Southall, 24cm. high £1,200-1,800 Provenance From the family of John Cathles Hill.

38

174 front and back


These chargers on display in the Ernst Marsh collection. Photo courtesy of Dr Chris Jordan.

175. A fine pair of Martin Brothers stoneware Aquatic wall chargers by Robert Wallace Martin, dated 1887, incised and painted in with grotesque fish amongst waterweed, one with a lobster, the other a crab, in shades of green and brown on a buff ground incised 4-1887, R W Martin & Bros, London & Southall, and incised Martin Bros to the front, 33cm. diam. ÂŁ8,000-12,000 Provenance Ernst Marsh collection, Hatch Hill. Private collection.

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176 all sides

176. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1889. the gourd shaped vase with pushed-out fish with incised decoration, glazed brown and white, highlighted in blue on a brown ground incised 6-1889, Martin Brothers London & Southall, small glaze nick to top rim, small chip to base rim, 21.5cm. high £700-1,000

177 front and back 177. A Martin Brothers stoneware Aquatic jardiniere, dated 1890, the bowl with pushed-out grotesque fish amidst eels and waterweed, in shades of green, brown and blue on a buff ground incised 1890 Martin Brothers London & Southall, filled firing crack to base 16cm. high £400-600

178. A Martin Brothers stoneware Aquatic vase, dated 1890, the bowl with pushed out grotesque fish amidst jellyfish, eels and waterweed, in green, blue and brown on a buff ground incised 3-1890 Martin Brothers London & Southall, 16cm. high £400-600

178 front and back

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179. A large and impressive Martin Brothers stoneware owl sculpture by Robert Wallace Martin, dated 1896, the long-eared owl with open beak, rotund body glazed brown with opaque white highlights incised 10-1896 Martin Bros London & Southall, firing cracks, 26cm. high ÂŁ30,000-40,000 Provenance Private collection The large open beak suggests this sculpture could have been intended as a spoon-warmer or was just a fantastic development of the spoonwarmers modelled by Robert Wallace in the 1890s.

41


182

180

181

180. A Martin Brothers stoneware jug, dated 1892, shouldered form, incised with dragons amongst scrolling foliage in brown and buff, highlighted in white incised 10-1892 Martin Bros London & Southall 17.5cm. high £500-800 181. A Martin Brothers stoneware twinhandled vase by Robert Wallace Martin, incised with sprays of wild flowers in blue, yellow and brown on a pale brown ground incised R W Martin & Bros London & Southall, 12.5cm. high £500-600

183

184

182. A Martin Brothers stoneware vase dated 1896, ovoid with everted flaring neck, incised with scrolling foliage in buff on a deep brown ground, incised 10-1896 Martin Bros London & Southall, 15.5cm. high £400-600 183. A Martin Brothers stoneware jardiniere by Robert Wallace Martin, dated 1890, incised with a band of passion-flowers on scrolling foliage, in white and ochre on a dark brown ground, incised 5.1890 R W Martin & Bros, London & Southall 16cm. high £500-800 184. A Martin Brothers stoneware twinhandled mug by Edwin & Walter Martin, dated 1898, cylindrical form, incised with three anthropomorphic birds conversing amongst tall grasses, the reverse with three other birds, in shades of blue, brown and green on a buff ground incised 10-1898 Martin Bros London & Southall, paper label, sprung crack, hairline to handle 17.5cm. high £600-1,000 185. A rare Martin Brothers terracotta Seven Ages of Man mirror frame by Robert Wallace Martin, cast and incised in relief with seven portraits, inside interlinked foliage, signed to the back of the glass RWMartin Pomona House, Fulham SW 32.5cm. diam. £2,000-3,000

185

42

Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 28 figure 24 for a comparable frame dated carved in 1869 which corresponds to the Pomona House period.


186. A tall and impressive Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1899, modelled with knowing expression, broad beak and feather pate, and webbed tallons, glazed green and brown with blue highlights, on ebonised wood base incised 11 1899 Martin Bros London & Southall to base and neck, small flat chip to back of head 41.5cm. high ÂŁ30,000-50,000 Provenance From the family of John Cathles Hill. John Cathles Hill (1857-1915) John Cathles Hill was an architect and property developed born in Hawkshill, Dundee in 1857. At the age of 21 he moved to London and on the crest of the suburban expansion of the city he rapidly succeeded becoming a prolific architect/property developer in the North London area. This success highlighted a problem of finding a consistent supply of bricks, leading to the purchase of a brickyard in 1889 and eventually the formation of the London Brick Company. Success continued although after the turn of the century it faltered and by 1912 he was declared bankrupt. He died in 1915. It would be nice to think that through his use of ceramic bricks, and the purchase of the brickyard, he met the Martin Brothers and patronised them directly, the date of this bird, 1899 corresponds to the highpoint of his wealth and success.

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44


187. A rare Martin Brothers stoneware double bird sculpture group by Robert Wallace Martin, dated 1904, each modelled with claw feet, the heads with knowing stare, glazed in shades of ochre and green highlighted with blue, on ebonised wood base, incised R W Martin & Bros London & Southall 9.1.1904 to head and base rim, firing cracks to base rim and one to one neck rim, repair to one beak, 24cm. high ÂŁ15,000-20,000 Provenance Private collection.

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188

189

190 191 188. A Minton’s Art Pottery Capricorn plate designed by Henry Stacy Marks, printed and painted to the well with a medieval scene of a woman supporting a child on the back of a goat impressed marks, 22.5cm. diam. £250-350 Literature J & B Austwick The Decorated Tile, Pitman Press, page 101 for the set of Starsign tiles illustrated. 189. A Montigny sur Loing earthenware wall charger, painted to the well with a maiden portrait, in colours on a cream ground, incised marks, painted H.S monogram 32.5cm. diam. £80-120 190. ‘Portrait of Russell Nadin - three and a half years’ a portrait charger by M Nadin, dated 1885, on Minton’s blank, painted in colours, impressed and painted marks, 41cm. diam. £100-150 191. An Ault Pottery jardiniere and stand probably designed by Dr Christopher Dresser, the ovoid bowl cast in low relief with stylised foliage frieze, glazed yellow graduating to green, the cylindrical stand with similar decoration, cast marks, professional restoration 73cm. high £200-300 192. A set of twelve Minton & Co plates designed by William S Coleman, each printed and painted with fish, insects, marine and botanical studies, in colours printed factory marks, 22.5cm. diam. £700-1,000

192

193. A Mintons majolica wall charger designed by A W N Pugin, decorated to the well with raditing lily flowers in yellow white on a green ground, the well with central flowerhead boss, the rim chevron motif impressed marks date code for 1859 36cm. diam. £200-300 Literature Joan Jones Minton, Swan Hill Press page 154 this design illustrated

194

193

194. A Minton’s Pottery meat platter designed by A W N Pugin, rounded rectangular form, printed with a three leaf foliate repeat in pink and green, the well with central medallion, impressed marks, 48cm. wide £100-200 Literature Paul Atterbury & Clive Wainwright Pugin V&A Catalogue page 150 plate 278 for an example in the blue colourway. 195. An Aesthetic Movement vase in the manner of William S Coleman, the flattened, circular vase with crescent shaped aperture, painted with a mermaid and swordfish, the reverse with a large crab, in ochre on a buff ground painted monogram and date 1902, hairlines to top rim 13.5cm. high £100-200 196. A Linthorpe Pottery ewer designed by Dr Christopher Dresser, model no.342, ovoid with vertical spout and loop handle, covered in a streaked olive green and brown glaze impressed marks, facsimile signature 16.5cm. high £100-200

195

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196


197 198 197. A Minton’s Secessionist vase designed by John Wadsworth and Leon Solon, shouldered form, tubeline decorated with swag design in green and turquoise on a purple ground, another Minton’s Secessionist vase, a Moorcroft flambe vase, a Shelley Intarsio vase and an Old Hall jug designed by Dr Christopher Dresser printed and impressed marks £100-200 Provenance Private collection. 198. A Minton’s Secessionist box designed by Leon Solon and John Wadsworth, square section, slip decorated with flowerbuds in green and buff on a blue ground, two Bretby vases, a pair of Royal Doulton vases and another vase various marks, damages Minton box 10.5cm square £100-200 199. A Minton’s Secessionist jardiniere stand designed by John Wadsworth and Louis Solon, printed and tubelined with Art Nouveau poppy design in red, pink and yellow on a green ground, and a Minton’s Secessionist pail, printed mark, pail repaired stand 74cm. high £100-200 200. A Minton’s Secessionist pottery jardiniere designed by John Wadsworth and Leon Solon, shouldered form, cast in low relief and painted with peacock before stylised Art Nouveau foliage in blue, green, purple and ochre impressed mark, minor damages 37cm. high £300-500

200

199

201. A Minton’s Cloisonne caddy and cover the design attributed to Dr Christopher Dresser, modelled as a bundle tied with gilt rope, on a pink ground, impressed V to base, restored cover, 10cm. wide. £150-200 Literature Widar Halen Christopher Dresser, Phaidon, page 129 figure 141 for two comparable caddies illustrated. 202. A Minton’s Cloisonne caddy and cover the design attributed to Dr Christopher Dresser, modelled as a bundle tied with gilt rope, enamelled with small flower stem and Chinese characters in colours, highlighted in gilt on a pink ground, printed Minton’s mark to base, restored 10cm. wide. £200-300

201

202

Literature Widar Halen Christopher Dresser, Phaidon, page 129 figure 141 for two comparable caddies illustrated. 203. A large Minton Cloisonne drum vase designed by Dr Christopher Dresser, painted with butterflies, beetles and stylised foliage in colours on a turquoise ground, highlighted in gilt foot restored 28.5cm. high £500-800 Literature Michael Whiteway Christopher Dresser 1834-1904 , Skira, page 58 and 59 for a comparable vase, circa 1870. 203

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204. Sir Edmund Harry Elton, 8th Baronet (1846-1920) Flytraps, Brazil, a watercolour on paper, framed and two others by the same hand, signed HE 1874, image 32 x 25cm. £200-400

205. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with cylindrical neck and everted, pinched rim, applied with three looped handles, slip decorated with flowers and foliage in ochre and green on a streaked blue and green ground painted Elton mark, small glaze chip re-stuck to top rim,30cm. high £200-300

204

206. A Sunflower Pottery vase designed by Sir Edmund Elton, shouldered form with flaring rim and lug handles, slip decorated with flower sprays in blue, green and brown on a streaked blue and green ground painted Elton mark, restored rim, glaze chip 30cm. high £100-200

206

205

208

207

209

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207. A Sunflower Pottery tyg by Sir Edmund Elton, cylindrical form with three applied twin-loop handles, slid decorated with flower panels, inscribed PAX 1919 to commemorate peace day July 1919, in coral red on a streaked blue and green ground painted Elton mark, 17.5cm. high £150-250

208. A Sunflower Pottery tyg by Sir Edward Elton, cylindrical form, applied with wild red rose and thistle roundel, inscribed Auld Lang Syne, on a streaked blue, brown and green glaze painted Elton mark, 18cm. high £100-200

209. A Sunflower Pottery ewer by Sir Edmund Elton, tapering cylindrical body with boar head spot and fishtail handle, covered in a streaked blue and green glaze, and a smaller Sunflower Pottery ewer painted Elton mark, minor glaze nicks, 24cm. high £100-200 Provenance Private collection.


210. A Sunflower Pottery ewer by Sir Edmund Elton, swollen, slender form with trefoil pinched rim, slip decorated with a spray of berried foliage on a streaked blue and green ground painted Elton mark, 27cm. high £150-200

211. A large sunflower pottery ginger jar and cover designed by Sir Edmund Elton, shouldered form, streaked blue and red ground, with applied band of red lustre decoration, the flat-topped cover with simple flower finial, painted Elton mark. £1,500-2,000 Literature Malcolm Haslam Elton Ware Richard Dennis Publication page 33 plate 17 for a comparable example. Elton began to experiment with the use of lustre glazes circa 1902, the first examples using it as an additional background glaze

210

211

212. A Sunflower Pottery jug designed by Sir Edmund Elton, covered in a gold crackled glaze over olive green, painted Elton to base 15cm. high £150-200

212

213. A Farnham Pottery vase, tapering cylindrical form, slip decorated with oriental figures in a mountain landscape, before a pagoda, in dark blue incised Fairlight hall 18cm. high £150-200

213

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214. A Bretby Pottery garniture of three vases, in the manner of Dr Christopher Dresser, each vase with twin-pulled handles, painted with flowering blossom, and a collection of Bretby Pottery Prunus pattern pottery painted with finches amongst foliage on a black ground impressed marks, 23.5cm. high £100-200 215. A large Bretby pottery Chinese vase, swollen square section with applied handles, covered in a streaked purple glazed over red impressed marks, 42cm. high £150-200

214

216. A C H Brannam Dolphin vase, dated 1895, ovoid body with three cast dolphin supporting ovoid neck, incised with scaly fish in shades of blue white and buff on a blue ground, a Brannam bottle vase decorated with a bird, and two Baron vases incised marks, minor chip to bottle vase and glaze loss to Baron vases, 14cm. high £150-250 217. A Leeds Fireclay Co Ltd advertising dish, modelled as a dragon to the rim, covered in a pale green glaze impressed marks to rim, chips, 13cm wide £100-200 218. A Burmantoft’s Faience Anglo Persian vase designed by Leonard King, compressed ovoid form with cylindrical neck, painted with flowers and foliage in shades of turquoise, blue, green and aubergine on a white ground impressed factory mark, 26cm. high £600-1,000

216

215

219. A pair of Lefco ware stoneware jardiniere and stands, Leeds Fireclay Company, cast with foliate panels, glazed oatmeal cast marks to base, minor damages 92cm. high £1,000-1,500 220. A pair of Lefco ware stoneware jardiniere and stands, Leeds Fireclay Company, cast with foliate panels, glazed oatmeal minor damages 92cm. high £1,000-1,500

217

218

221. A pair of Lefco Ware stoneware jardinere and low stands, Leeds Fireclay Company, circular fluted bowl on waisted stand and square section base, covered in an oatmeal glaze, impressed marks,, wear and minor damages 53cm diam, 46cm.high £400-600

221 219

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220


222. A pair of Wood & Sons Trellis pattern vases designed by Frederick Rhead, tubeline decorated with Glasgow rose motif in red, green and blue on a white ground, highlighted in gilt, another pair smaller, a pot and cover, a tobacco jar and cover and three various bowls in the same pattern printed mark, 26cm. high £300-500 223. A Bursley Ware Seed Poppy vase designed by Frederick Rhead, waisted cylindrical form, tubeline decorated with flowers and foliage in shades of green, pink and purple on a blue ground printed mark painted P28, 19.5cm. high £150-200

222

223

224. A Ruskin Pottery stoneware vase, dated 1906, compressed body with tapering neck and everted rim, covered in a purple lustre glaze, and another taller impressed marks, 17.5cm. high £100-200 225. A Ruskin Pottery egg-shell vase, covered in a yellow lustre glaze, two Ruskin bowls, a Farnham Pottery bowl, and three other vases various marks, damages Ruskin lustre vase 7.5cm. high £100-200 226. A Ruskin Pottery bowl, flaring form, covered in a deep blue glaze, the interior with crystalline glaze, a Japanese Satsuma bowl painted with chrysanthemum flowers and Wemyss pottery tray dish decorated with bees around a hive impressed marks to Ruskin 20cm. diam. £100-200

224 225

Provenance Albert E Wade collection. 227. A Ruskin Pottery stoneware vase covered in a yellow crystalline glaze, two other similar and a Ruskin Pottery egg shell bowl and cup and saucer impressed marks, 15.5cm. high £100-200 228. A Ruskin Pottery stoneware vase, dated 1905, compressed form with tapering cylindrical neck, printed with a band of vine, under a streaked green, blue and purple glaze impressed marks 23cm. high £200-300

226 227

229. A Ruskin Pottery high-fired stoneware vase, dated 1910, shouldered form with cylindrical neck and everted rim, covered in a streaked strawberry pink glaze over silver impressed marks, professional restoration 21.5cm. high £200-300 230. A Ruskin Pottery high-fired stoneware vase with A.E Jones silver mount, dated 1908, compressed form with tall, flaring cylindrical neck, covered in a mottled purple and silver ground, the shoulder with turquoise and blue impressed marks, to base stamped hallmarks to rim, Birmingham 1908, 23.5cm. high £500-800 Literature Paul Atterbury & John Henson, Ruskin Pottery, Richard Dennis Publications page 92 for a bowl and small pot with A E Jones silver mounts.

228

229

230

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231. A Bernard Moore figure of Diakokan, with applied glass eyes, covered in a red lustre, flambe glaze painted BM monogram 5.5cm. high £150-200

232. A Bernard Moore flambe shallow bowl, decorated to the well with a heraldic lion salient, inside geometric borders painted Bernard Moore mark, scratches 26cm. diam. £100-200

233. A Royal Doulton Sung vase designed by Charles Noke, shouldered form with everted rim, smoked and veined blue glaze over red flambe, and two Bernard Moore vases printed and painted marks, 16.5cm. high £200-300

231

232

234. A Bernard Moore vase, baluster form, printed and painted with a peacock standing on a tree bough, in blue and purple, highlighted in gilt on a red flambe ground printed Bernard Moore mark, 14.5cm. high £300-400

235. A Royal Doulton Titanium Ware bowl, shallow footed form, covered in a pale blue glaze, another Royal Doulton Titanium Ware bowl, smaller, glazed green and a Ruskin Pottery egg-shell bowl glazed blue printed marks 26cm. diam. £100-150

233

234 236. A Carter’s Poole Pottery lustre vase, ovoid with collar rim, covered in a streaked green lustre glaze, and a Poole sugar basin, impressed Carter’s mark, 11.5cm. high £100-200 236 237. ‘Pick a Back’ a polished plaster maquette by Phoebe Stabler, the figure produced by Royal Worcester incised Phoebe Stabler to base 26cm. high £150-200

235

238. ‘Buster Boy’ a Hammersmith pottery figure by Phoebe Stabler, dated 1913, cast figure holding a garland of flowers, glazed in colours on an oatmeal ground impressed Hammersmith Bridge mark, Phoebe Stabler and 1913, 18cm. high £150-200 239. The May Queen a rare Charles Vyse Pottery figure, painted in colours impressed Charles Vyse Chelsea 30.5cm. high £1,600-2,000

237

52

Literature Charles Vyse Richard Dennis exhibition catalogue, 1974 page 40 figure 53 for a comparable figure.

238 239


240

241

242

240. A Della Robbia style vase, ovoid, tapering body with applied strap handles, incised and painted with wheel roundel in colours on a cream ground incised number to base, drilled hole, repair to top rim 36cm. high £100-200 241. A plaster panel of a winged cherub in the manner of Della Robbia, coloured red and ochre, framed unsigned 29 x 31cm. £100-200 242. A Della Robbia Pottery jardiniere by Liz Wilkins, dated 1900, ovoid with everted rim, cast in low relief with a frieze of stylised Arabic characters with borders of wild animals, glazed green and yellow on a brown ground incised marks, LW monogram and date, chips to top rim, 26cm. high £400-600 Literature Peter Hyland The Della Robbia Pottery ACC page 93 for a contemporary illustration of two similar examples exhibitied at the Royal Pavilion at the Paris Exhibition 1900.

243

243. An impressive Della Robbia Pottery charger, dated 1904, decorated with a large carnation flowerhead to the well, the rim with a frieze of Art Nouveau tulips, in green, yellow and red incised and painted DR ship mark, date 1904 and ELL monogram, incised Birkenhead 50cm. diam. £1,500-2,000 Literature Peter Hyland The Della Robbia Pottery, ACC page 125 figure 133 for a comparable example of a charger by the same unknown artist. 244. A large Della Robbia Pottery terracotta Triangular Pilgrim’s vase and cover by Ruth Bare, dated 1900, flattened form with cast Bacchanalian mask handles with looped horns and beard, the body incised with heart-shaped Art Nouveau foliage in green and buff, incised DR ship, monogram and 1900, minor professional restoration to neck rim, 53cm. high £700-900 Literature Victoria Bergesen Encyclopedia of British Art Pottery plate X this actual vase illustrated. Peter Hyland The Della Robbia Pottery, ACC page 220 figure 239 for a comparable vase

244

245. ‘Undine’ a rare Della Robbia Art Nouveau plaque probably designed by Harold Rathbone, incised and painted with a nymph in blue, green and yellow, titled Undine, in oak frame paper label to reverse, professional restoration 45 x 19.5cm. £1,000-2,000 The plaque label states the Nymph Undine by the Della Robbia Pottery Birkenhead, from Harold Rathbone. 245

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246 247

248

STUDIO POTTERY 246. A Coldrum Pottery stoneware vase by Reginald Wells, ovoid form with everted rim, covered in a speckled blue and ochre glaze over violet impressed Coldrum mark, over-painted chips to top rim, 16.5cm. high £100-200 247. Janet Leach (1918-1997) a Leach Pottery stoneware vase, shouldered, cut-sided form, covered in a rich tenmoku glaze over oatmeal glaze to the foot impressed seal marks, 13.5cm. high £200-300 249

Provenance Contemporary Ceramics, Bonham’s London. The Cornuelle Collection. 248. David Leach (1911-2005) a Lowerdown Pottery stoneware bowl, covered in a tenmoku glaze impressed seal mark, 27cm. diam. £100-200 Provenance J K Hill British Studio Ceramics, London. The Cornuelle Collection. 249. A large Alan Caiger Smith Aldermaston Pottery charger, painted in ruby lustre with abstract panels, and another large charger painted with a dragon motif painted monogram to first 60cm. diam. £500-700 250. An Alan Caiger Smith Aldermaston Pottery vase, shouldered form with flaring neck, covered with rattan effect design in copper and ruby lustre painted mark, impressed J 28cm. high £150-200

250

251. A pair of Alan Caiger Smith Aldermaston Pottery mugs, glazed in ruby and copper lustre, three vases similar and three God’s Hill Pottery pedestal bowls painted marks, 11cm. high £100-200 251

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253 254

252 252. A muffin dish and cover by Moira Forsyth, painted with bell flowers in pink lustre on a white ground painted MF monogram 17cm. diam. £150-250 253. A pair of A E Gray Gloria Lustre vase and covers designed by Susie Cooper, baluster form with domed covers, each painted with swirls and stylised foliage, in blue and purple lustre, highlighted in gilt printed Gloria Lustre mark, 23cm. high £300-500 Literature Ann Eatwell, Susie Cooper Productions, Victoria & Albert Museum, page13 catalogue number 12 for a ginger jar and cover in this design illustrated. 254. A pottery seated black cat, modelled wearing a neck tie, printed details, applied green glass eyes apparently unmarked 33cm. high £150-200

254A

255

254A. A rare Wedgwood Rhodian charger, painted with bands of scrolling flowers and foliage in blue, green and purple highlighted in silver around a central flowerhead roundel, impressed and painted mark, 36cm. diam. £600-800 Literature Maureen Batkin Wedgwood Ceramics, Richard Dennis Publications, page 159 plate 386 for a comparable charger. 255. A Wedgwood pottery charger by Millicent Taplin, painted with stylised flowers and foliage in blue, pink lustre and green on a white ground, impressed mark, painted monogram 37cm. diam. £100-200 256. A large Wedgwood vase by Louise Powell, numbered 4469, ovoid with collar rim, painted with columns of flowers and foliage in silver lustre on a white ground impressed marks, painted monogram 31cm. high £500-800

256

257. A Wedgwood vase and cover by Alfred and Louise Powell, tall, slender baluster form, painted with alternate stripes of flowers and foliage in orange and pink lustre highlighted in gilt, the low cover with similar panels, painted conjoined leaf mark referring to their marriage,, chips to inside of top rim, 45cm. high £300-500 Literature Maureen Batkin Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 138 for a comparable vase illustrated plate 341 at Red Lion Square in 1907. the conjoined mark may suggest this vase was produced together after their marriage in 1906. Provenance Private collection.

257

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PILKINGTON’S LANCASTRIAN 258. A pair of Pilkington’s Royal Lancastrian candlesticks, tapering cylindrical form covered in a matt orange glaze, a Pilkington’s Royal Lancastrian bowl similar and four Torquay terracotta plaques two with fishing scenes and two by W Witham painted with cottage scenes impressed marks, 26cm. high £100-200

258

259

259. An early Pilkington’s Lancastrian vase, ovoid with waisted cylindrical neck, covered in a streaked pink and yellow glaze impressed bee mark 30cm. high £150-200 260. A Pilkington’s Lancastrian vase and cover by William S Mycock, dated 1907, slender, shouldered form, painted with scrolling Tudor rose with entwined heart-shaped foliage, in gold lustre on a red ground, impressed marks, painted monogram impressed VII for 1907, fine hairlines to top rim, 15.5cm. high £700-900 261. A Pilkington’s Lancastrian vase by William S Mycock, dated 1930, shouldered form, painted with a band of scrolling, stylised flowers and foliage in golden lustre on a red and orange fiery lustre ground, the neck with a geometric design £400-600

260

261 262. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1912, swollen baluster form, painted with scaly fish swimming amongst waterweed, in copper and red lustre impressed and painted marks, painted cipher and date code, professional restoration to top rim. 24cm. high £300-500 263. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1907, shouldered form, painted with swallows flying past stylised oak trees on a river bank in golden lustre on a cream ground, with foliate spray date mark to side impressed marks, painted artist cipher, painted date mark for 1907 to side, small bruise to top rim, 21cm. high £700-900

262

263

264. A large Pilkington’s Lancastrian Pottery vase by Richard Joyce, ovoid with flaring neck, painted with a band of two classical Greek warriors in horseback catching a bull, one with a spear the other shooting an arrow, in golden lustre highlighted in ruby painted monogram 27cm. high £3,000-4,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles Richard Dennis Publications, page 63 plate 95 for a comparable vase decorated with a bull by Joyce. 265. A rare Pilkington’s Lancastrian Pottery solifleur vase by William S Mycock, dated 1910, painted with a frieze of hunting hounds coursing a hare, the hare hiding on the base of the vase, before stylised heart-shaped foliage in golden lustre on a fiery orange ground, the neck with foliate panels, impressed mark, painted cipher and impressed datemark 21cm. high £1,000-1,500

56

264

265


266. A Pilkington’s Lancastrian solifleur vase by Richard Joyce, dated 1912, painted with scaly fish amongst waterweed, in golden iridescence on a green ground impressed mark, painted cipher and date code 18cm. high £500-800 267. A Pilkington’s Lancastrian solifleur vase by Richard Joyce, painted with a hatched floral design in gold and ruby lustre on a royal blue ground impressed mark, painted cipher 19cm. high £400-600 268. A Pilkington’s Lancastrian solifleur vase by Jessie Jones, painted with a frieze of berried foliage, in copper and ruby lustre on a streaked blue ground painted artist cipher, 15.5cm. high £200-300 269. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, shouldered form, painted with a seated leopard before fruiting vine, in gold and ruby lustre on a blue ground, impressed mark, painted artist cipher and impressed date mark VIII, minor professional restoration to the top rim, 22cm. high £1,000-1,500

266

267

268

Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles Richard Dennis Publications, page 48 plate 50a for a reproduction of a Pilkington’s catalogue with a near identical vase. 270. A rare Pilkington’s Lancastrian vase designed by Walter Crane, painted by Richard Joyce dated 1917, shouldered form with everted rim, painted with a frieze of classical figures dancing between cypress trees and oil lanterns, in silver and ruby lustre on a rich blue lustre ground above a flame and column band impressed marks, painted artists ciphers and date mark, small restored drill hole, 31cm. high £3,000-5,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 9 plate II for two comparable vases.

269

270

271. A large and impressive Pilkington’s Lancastrian charger by William S Mycock, dated 1919, painted with two comic hare beside large stylised flowers in ruby, the rim with a frieze of scrolling foliage, the inner rim with Latin inscription in golden lustre, impressed mark, painted monogram and date 48cm. diam. £4,000-6,000 272. A fine Pilkington’s Lancastrian Pottery wall charger by William S Mycock, dated 1916, painted to the well with a galleon at sail, in copper and ruby lustre on a blue ground, the rim with a frieze of scrolling foliage impressed P, painted artist cipher and date code, paper retail labels, 32cm. diam. £2,000-4,000 271

272

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275 274

273

MOORCROFT POTTERY 273. ‘Iris’ a James Macintyre Florian Ware solifleur vase designed by William Moorcroft, tubeline decorated in shades of yellow, green and blue on a pale blue ground printed mark, painted green signature 23cm. high £600-1,000 274. ‘Cornflower’ a James Macintyre Florian Ware vase designed by William Moorcroft, swollen cylindrical form with everted rim, printed mark painted green signature, minor glaze nick to base rim 25cm. high £500-1,000 275. ‘Daffodil’ a James Macintyre Florian Ware jardiniere designed by William Moorcroft, tubeline decorated in yellow, green and pale blue ground on a dark blue ground printed mark painted green signature 8.5cm. high £300-400

277

276

276. ‘Rain Forest’ a modern Moorcroft Pottery limited edition vase designed by Sally Tuffin, dated 1993, painted in colours painted marks, 6.4.93, 119/150 42cm. high £500-1,000 277. ‘Late Florian Ware’ a Moorcroft Pottery vase, designed by William Moorcroft, tall, flaring cylindrical form with inverted rim, painted with flowers and foliage in shades of green, blue and yellow impressed marks, painted signature, professional restoration to base rim 36cm. high £200-300 Provenance The Albert E Wade Collection. 278. ‘Claremont’ a good Moorcroft Pottery vase by William Moorcroft, made for Liberty & Co, low, footed form with inverted rim, painted in shades of pink, blue and yellow on a streaked green ground, impressed marks, painted facsimile signature, printed Liberty mark, 14.5cm. diam. £700-1,000

58

278


279. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery bowl, designed by Walter Moorcroft, painted in colours on a blue ground, a Moorcroft Pottery ‘Wisteria’ plate, a Moorcroft tobacco jar and cover, six Moorcroft items and a Doulton ashtray impressed and painted marks, Orchid bowl 22cm. diam. £100-200 Provenance Albert E Wade Collection. 280. ‘Wisteria’ Four Moorcroft Pottery plates designed by William Moorcroft, painted in shades of pink, purple, green and yellow on a blue ground impressed marks, painted blue signature 21.5cm. diam. £300-500 281. ‘Flambe Leaf and Berry’ a tall Moorcroft Pottery vase designed by William Moorcroft, dated 1940, shouldered cylindrical form with everted rim, painted in colours under a rich flambe glaze impressed marks, painted blue signature dated 1940, 32cm. high £1,500-2,000

280 279

282. ‘Flambe Orchid’ a Moorcroft Pottery jug designed by William Moorcroft, painted in colours under a rich flambe glaze impressed marks, hairline to handle 21cm. high £250-300 283. ‘Pomegranate’ a Moorcroft Pottery vase with Liberty Tudric Pewter foot, designed by William Moorcroft, painted in shades of pink, purple, ochre and green on a blue ground stamped Liberty Tudric and Moorcroft marks, 16cm. high £150-250 284. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, solifleur form, painted in shades of pink, purple, ochre and green on a blue ground impressed marks, painted green signature 16.5cm. high £200-300 285. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, solifleur form, painted in shades of pink, purple, ochre and green on a mottled green and blue ground, impressed marks, painted green signature, small chip to top rim 15cm. high £100-200

281

286. ‘Pomegranate’ a large Moorcroft Pottery vase designed by William Moorcroft, dated 1919, shouldered form, painted in colours on a deep blue ground painted green signature and date, small chips and firing crack to base 39cm. high £300-500 287. ‘Pomegranate’ a Moorcroft Pottery bowl designed by William Moorcroft, painted in colours on a green and blue ground impressed marks, painted blue signature 13cm. diam. £80-120 282

284

283

287 285

286

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CONTINENTAL CERAMICS 288. A Lachenal stoneware Persian charger, circular with fluted rim, painted with scrolling foliage around a central flowerhead, in shades of blue, turquoise and coral red impressed Lachenal mark, glaze faults and air bubbles, 34cm. diam. £150-250

288

289

289. A Cantagalli Pottery Persian ewer, painted with stylised tulip and carnation flowers in shades of blue, turquoise and red on a white ground, the swollen neck with French inscription painted cockerel mark, minor chips, 21cm. high £100-200 290. A Delphin Massier Vallauris vase, flaring, square section with inverted rim, painted and modelled with wild poppy stems, the reverse with a bird with an insect in its beak, in copper and ruby lustre with splashes of turquoise, painted marks, minor glaze chips, 19cm. high £100-200

290 291

291. An Emile Galle pottery vase, ovoid with irregular pointed top rim, decorated in the Anglo Japanese manner with panels of mountains and insects, glazed in colours, highlighted in gilt painted E&G depose, Galle Nancy marks 15cm. high £100-200 292. A Finzi porcelain vase designed by Siegmund Schutz, 1933, flaring cylindrical form, cast with stylised figures harvesting corn, spray glazed oatmeal, the rim highlighted in gilt printed marks, applied paper label, 22cm. high £300-400 Literature Berliner Porzellan Brohan-Museum catalogue, figure 312 for an identical vase.

293 293. An Amphora Pottery vase, shouldered form, painted with abstract foliate panels in colours on a matt black ground, two other Amphora pieces, three EE Wilkes flambe bowls, a Bursley Ware charger by Charlotte Rhead and a collection of items various marks, Amphora vase 28.5cm. high £100-150

292

294. An Italian tile panel, painted with a maiden in a fieldscape, in colours painted tower mark, remains of Firenze paper label, 33 x 25.5cm. £100-200 295. A pair of Art Nouveau tile panels, possibly Amphora, each rectangular form, slip decorated with a maiden, in colours on an olive green ground, framed 35.5 x 17cm. £100-200 294

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295


296

297

298

295A 295A. A Zsolnay Pecs Pottery charger, printed and painted with an exotic bird and a butterfly flying amidst stylised flowers and foliage, in colours, highlighted in gilt on a cream ground printed factory mark, 36cm. diam. £150-250

296. A Rookwood Pottery figure of a fawn holding a turtle, model no.2336, glazed blue impressed Rookwood mark, XXII mark, 17.5cm. high £100-200

297. An Austrian pottery model of a Macaque monkey by Eduard Klablena, probably manufactured by FA Keramos, model no. 543, modelled seated holding one arm up, glazed turquoise blue printed mark, impressed marks, 22.5cm. high £200-300

299

298. A Royal Dux Pottery centrepiece, modelled with a shepherd boy piping a tune to his sheep, a maiden listens on from afar, with central bowl applied pink triangular, restoration to horns and ears, 39cm. high £100-200

299. A Continental three piece porcelain garniture, decorated in relief with Art Nouveau female figures amidst flowers and foliage, glazed in pastel colours printed and painted marks, impressed number, minor losses, 61cm. high £400-600

301

300

300. An unusual Primavera pottery vase, compressed ovoid form with collar rim, incised with angels under a running blue glaze impressed mark, 25cm. high £350-500

301. A Eckhardt & Engler Secessionist pottery tureen and cover, model no.1697, in the manner of Albin Muller, fluted form, on three scroll feet with lion mask terminals, glazed matt mint green, the fluted cover with similar mask finial stamped marks, 36cm. high £150-250

302. A Rorstrand Iris porcelain sandwich set designed by Alf Wallander, comprising footed tazza and six side plates, each cast in low relief with pink and blue flag iris impressed and printed factory marks, tazza 23.5cm. diam. £200-300 302

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304 303

WORKS ON PAPER

305

306

303. ‘Studies in Design’ by Dr Christopher Dresser, a book published by Cassell, Petter and Calpin, London, cloth bindings with chromo-lithographic prints, boards 43 x 30.5cm. £400-600 304. The Studio Volumes 13-32, twenty dark green leather bound books £150-250

307

308

305. ‘The Art of William Morris - Easter Art Annual 1899’ by Lewis F Day, published by J S Virtue, and a folio of designs from the Furniture Gazette August 7th 1880 by Dr Christopher Dresser £150-200 306. ‘William Morris & Company - Metal Casements Stained Glass and Decorative Ironwork’ a catalogue, with printed cloth boards, 37 x 25.5cm. £100-200 307. Jon Catleugh three untitled acrylic on board paintings, unsigned dated to reverse, 1992, exhibition label 60 x 60cm. (largest) £200-400 Exhibited Jon Catleugh Late Paintings, De Morgan Foundation 2009, catalogue number 16.

309

Provenance The artist’s estate. 308. Winifred M Ackroyd Leda and the Swan pen, ink and watercolour on paper, framed signed lower left, sold with a copy of The Classic Book of Nursery Rhymes Treasure Press illustrated by Winifred Ackroyd and ‘Alice in Wonderland’ also illustrated by Winifred Ackroyd image 32 x 25.5cm £100-200 309. Frank Brangwyn R.A. (1867-1956) Ghent, 1906 an etching on paper, another etching of Ghent and a windmill both by Frank Brangwyn, mounted, unframed signed in the print 35 x 31cm. £300-500 310. William S. Coleman (1829-1904) two prints on paper, one depicting a young girl on a swing, the other a girl playing pipes, framed signed with monogram to one, 34 x 17cm. £300-400

310

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310A. Paul Berthon (872-1909) ‘Sa Tres Gracieuse Majeste La Reine Wilhemine’ an Art Nouveau lithographic poster , framed signed in the print image 39 x 36cm. £200-300

311. Sidney Harold Meteyard (1868-1947) two pen and ink illuminated initial letters T and G from The Quest, highlighted in Chinese white, in common frame, paper exhibition and gallery labels, annotated No.28 in Meteyard exhibition 1974 in pen, G 7.5 x 6cm. £300-400 Provenance Rupert Maas Gallery. Private collection. Exhibited Mastery Art, Birmingham School of Art 18841920), City Museum & Art Gallery, loaned by John Constable. 311

310A

312. Jessie M King (1875-1949) an original ink on vellum design for a buckle, modern frame, 4 x 2.5cm. £300-400 Provenance Jessie M King & E A Taylor Illustrator and Designer, Sotheby’s June 1977. 312

FURNITURE

313. A mahogany Brussels longback armchair designed by George Walton, the back-splat inlaid with harewood flower panel 122cm. high £500-1,000 Literature Karen Moon George Walton Designer & Architect, White Cockade page 76 plate 94, page 104 plate 137 for another example illustrated. The Brussels armchair takes its name from a design originally conceived by Walton for the Kodak showroom in Brussels.

313

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314

316

315

314. An Aesthetic Movement mahogany desk, the rectangular top with green leather, carved flower motif, turned legs on castors 92 x 55cm. £150-250 315. An Aesthetic Movement oak desk, the rectangular top inset with green leather, turned legs on castors, 91 x 55cm. £150-250 316. A Marsh and Jones oak desk possibly designed by Charles Bevan, two drawer form, the rectangular top with brown leather, turned legs on castors, 107 x 55cm. £500-1,000 317

317. An ebonised ash rocking chair, in the manner of Morris & Co, with strung seat, 85cm. high £100-200

318

318. A pair of ebonised wood Sussex armchairs, probably Morris & Co, with carved bobbin back and strung seat 86cm. high £150-250 Literature Linda Parry William Morris, Victoria & Albert Museum exhibition catalogue, page 160 figure 74 for a reproduced advert for the Sussex range produced by Morris & Co, page 168 catalogue number J-11 for a comparable chair.

320

319. An Aesthetic Movement ebonised wood sideboard in the manner of E W Godwin, with asymmetrical shelves and mirrored glass panels, above twin doors, strap hinges, locks stamped Cope and Collinson 162cm. high, 119cm wide £200-400 320. An ebonised wood table in the manner of Heal’s, rectangular with small cupboard, the hinged door painted with a bird amongst foliage panel, 52cm. wide, 72cm high £200-300

321 319

64

321. An Aesthetic Movement oak coal scuttle and shovel, in the manner of Dr Christopher Dresser, with polished brass fittings, unsigned 48cm deep, 34cm wide £200-300


322 stamp

322. A Lamb of Manchester oak buffet, model no.35102, Jacobean revival style with swollen pillars, twin long drawers below two shelves, brass furniture, on castors, stamped marks to drawer 153cm wide, 46cm. deep £800-1,200

323. A large glazed oak Gothic Revival firescreen in the manner of John Moyr Smith for Cox & Sons, rectangular with two hinged door panels, the glass set with painted roundels depicting the seasons, inside floral quarry tiles, leaded, unsigned 110cm. high, main panel 68cm wide £500-1,000

322

323

Literature Design from 1860, Bonhams London 12th June 2012 for a comparable form lot 51.

324. A large oak sideboard designed by Bruce Talbert, with carved foliate panels and pierced foliate roundels, the doors with lozenge panels of rabbit and duck scenes, the back with panels of pomegranate, vine and apples, with brass handles 210 x 189cm. £800-1,200 Literature John Andrews Arts and Crafts Furniture, ACC publishing, page 35 plate 30 for a comparable piece. Bruce Talbert Fashionable Furniture London 1881, plate 20 for a comparable piece. 324

65


325

325. A large oak refectory table and two benches, the benches on six legs, benches 244 x 31cm, refectory table 244 x 87cm. £2,000-4,000

326

326. An oak sideboard in the manner of Charles Bevan, two open shelves flanked by cupboards with, simple plank decoration to doors and back, 193cm wide, 122 high £300-500

327. A large William Ingham oak glazed bookcase in the manner of A.W.N. Pugin, probably for Constantine & Co, three cupboard form with linen fold carved panels, brass furniture, with Hobbs & Co locks, stamped mark to underside of door, locks stamped Hobbs & Co 56cm. deep, 223cm high, 179cm. wide £2,000-3,000

66

327


328. A set of eight oak chairs after a design by A W N Pugin, for the House of Commons, red leather seats, with kicked back back-legs 88.5cm. high £500-1,000 Literature Paul Atterbury & Clive Wainwright Pugin, V&A catalogue page 131 figure 230 for comparable chairs. 329. A weathered oak bookcase, possibly Bowman Brothers, with glazed sliding doors, 103cm. wide, 92cm. high £200-400

328

330. A set of six oak chairs designed by George Edward Street, carved decoration, four chairs with castors, 90cm high £200-400 331. A Jas Shoolbred & Co oak and beech stool, model no.3825, octagonal seat carved with cranes in a riverscape, on three turned legs stamped marks, 36cm. high £100-200 332. A mahogany firescreen with embroidered silk panel, the rectangular panel embroidered with a peacock perched on a wild rose branch 93cm. high, 65cm wide £100-200 329

330

333. An oak table the design attributed to Arthur Romney Green, the circular top on four flaring legs and sleigh feet, with chip carved edge decoration, 84cm diam. £200-300 Literature John Andrews Arts and Crafts Furniture, ACC page 207 plate 223 for a comparable table with undershelf. 334. An oak table the design attributed to Arthur Romney Green, circular top with under-shelf, chip-cut cruciform legs, 69cm diam, 61cm high £200-300 Literature John Andrews Arts and Crafts Furniture ACC books, page 207 plate 223 for an identical table.

332

331

333

334

67


335 335. A Heal’s Simple Bedroom Furniture chestnut fitted wardrobe on stand designed by Ambrose Heal, the drawer with carved heart-shaped pulls, the cupboard with carved, locking handles, applied label 191cm high, 113cm wide £800-1,200 337 336

Literature Susanna Goodden At The Sign of the Fourposter A History of Heal’s, published by Heal & Son, page 25 for the Owl chest in this range illustrated The Studio Yearbook of Decorative Art 1906 page 81 this design illustrated. 336. A set of six Heal’s oak chairs, with drop in strung seats, applied ivorine label 87cm. high £500-800 337. A Heal’s oak dining table, on simple square legs and H stretcher, applied ivorine label, 168 x 76cm. £500-800

338

338. An oak table possibly Heal’s, circular top on four turned legs, unsigned 106cm wide, 71cm high £500-800 339

340

68

339. An oak dressing chest with mirror possibly retailed by Heal’s, two short drawers over three full width drawers, turned wood knobs 155cm. high, 107cm wide. £200-400 340. A brass topped occasional table, probably Heal’s, the circular brass top stamped in low relief with a central roundel of three elephants, inside Arabic panel borders, the plank legs with teardrop cutout, 60cm. diam, 62cm high £100-200


341. A Heal’s Simple Bedroom Furniture chestnut fitted wardrobe on stand designed by Ambrose Heal, the drawer with carved heart-shaped pulls, the cupboard with carved, locking handles, applied label 191cm high, 113cm wide £1,200-1,800 Provenance Liberty & Co Private collection. Literature Susanna Goodden At The Sign of the Fourposter A History of Heal’s, published by Heal & Son, page 25 for the Owl chest in this range illustrated The Studio Yearbook of Decorative Art 1906 page 81 this design illustrated.

342. A Heal’s oak table, rectangular top with H frame and stretcher, 138 x 68cm. £400-600

343. A Heal’s oak table, circular top with inlaid holly and ebony chequered banding to edge, on four pierced legs with wavy stretcher and pegged joints, the legs with holly and ebony square panel inlay unsigned 70cm. high, 60cm. diam. £800-1,200

341

344. A Heal’s weathered oak sideboard, central drawer with flanking cupboards, below mantle with metal cup hooks, inset ivorine label 129cm. wide, 122cm. high £300-500

345. A Heal’s pine gentlemen’s compactum, with turned wood handles 152cm high, 92cm wide £200-300

342 343

346. A Heal’s pine Gentlemen’s compactum, with turned wood handles, applied ivorine label, 117cm wide, 122cm high £200-300

344

345

346

69


347 348

349

347. A large Gothic Revival oak refectory table, three plank top with adzed edges, on flaring X frame with pegged joints, the stretcher carved with Tudor rose 229 x 75cm. £300-500 348. A Holland & Sons walnut table with marble top after a design by Augustus Welby Northmore Pugin, the patinated metal drawer handles incorporating stylised M, the octagonal legs carved with foliate panels, with pegged stretcher, veined white marble top, stamped to drawer 74.5cm, 61cm deep, 12.5cm wide £800-1,200

350

351

Literature The Best of British Paul Reeves/Sotheby’s 20th March 2008, lots 7 & 8 for two comparable Holland & Sons writing tables Jeremy Cooper Victorian , Edwardian Furniture and Interiors Thames & Hudson, page 79 plate 96 and 97 for comparable examples. 349. An Aesthetic Movement oak hall table, rectangular, the front with carved Tudor rose motif, on octagonal legs and H stretcher 121cm wide, 84cm. high £300-500 350. An oak bureau, in the manner of Liberty & Co, with pierced foliate back plate, the patinated metal hinges with ‘Ruskin’ ceramic roundels, 123cm high, 64cm wide £300-500

353

352

351. A pair of Arthur W Simpson of Kendal The Handicrafts oak high-back chairs, vertical splats with carved flowerhead motif, drop in leather seats 100cm. high £200-300 352. An Art Nouveau inlaid desk, with pierced flowerhead decoration to stretcher, inlaid with marquetry and metal tulip panels 91 x 53cm. £200-300

λ 353. An Anglo Japanese mahogany wall cupboard, rectangular form with hinged cupboard door inlaid with ivory and abalone shell iris panel, with fitted interior, next to shelf and drawer compartments, with copper furniture unmarked 79cm. wide, 65cm. high £100-200 354. A Shapland & Petter oak canterbury, with carved elliptical panels, unsigned 69cm. high £400-600 355. An oak hallstand in the manner of Shapland & Petter, with cut-out heart motif, mirror back and five patinated metal hooks 183cm. high £200-400

354 355

70


356. An oak purdonium in the manner of Shapland & Petter, the hinged front door with carved tree motif, pierced S cut-outs to top rail, 69cm. high £100-200

356

357

357. A small Shapland & Petter oak smoker’s cabinet, rectangular section on tapering square legs, with shaped lower shelf, patinated metal door furniture and fitted door interior, stamped 117, 70cm. high, 38cm. wide £300-400

358

358. A good Shapland & Petter Art Nouveau dressing table, inlaid with marquetry and mother of pearl heart and floral design, stamped marks to locks dressing table 122cm wide, £800-1,200

359. A good Shapland & Petter mahogany display cabinet, with marquetry flower panels, leaded glass door and foliate brass hinges, stamped S & P B to locks, 173cm high, 137cm wide £400-600 Provenance Albert E Wade collection. Literature Daryl Bennett, Shapland & Petter of Barnstaple, page 74, 5.14 for comparable door furniture and marquetry panels

359

71


360

361

360. An Arthur W. Simpson of Kendal The Handcrafts oak hanging bookshelf, model no.8015, with overhanging mantle, inlaid chequerboard frieze and hinged dust flap applied label, stamped 8015, 106cm wide, 20cm deep, £200-300

362

362 motif

361. A large Arthur W Simpson of Kendal The Handicrafts walnut hanging shelf unit, twin-shelves with hinged dust guards, flanked with twin cupboards carved with foliate panels, the guards carved with bell flower frieze, patinated metal door furniture by Richard Llewlyn Rathbone, 153cm wide, 66cm. high £1,500-2,000 Literature Hugh Wright The Beautiful Furniture of the Simpsons of Kendal, Bookcase, page 33 for a reproduction of a comparable hanging bedroom cupboard and shelf unit in line drawing form from an Arthur W Simpson brochure, 1894. and a reproduction of a page of Rathbone metal hinges and handles, first reproduced in The Studio, page 186 plate 126 which includes a variant of this handle. 362. A leather strung oak and mahogany stool, triangular section on three turned wood legs, the seat with tooled Celtic knot bird motif faded paper label to underside 44cm. diam. £100-200

364 363

363. An S Pollard oak stool, with carved wood frame and pegged joints, leather strung seat, stamped S Pollard 38 x 31cm. £200-300 364. An Arthur W Simpson Kendal The Handcrafts oak stool, with leather web seat, applied label 40 x 30cm. £200-300 365. A set of four oak chairs probably by William Birch, with turned front legs and ball feet, the tapering back with stylised flower cut out, strung seat, 106cm. high £100-200

366 365

72

366. A Shapland & Petter mahogany wall cabinet, the hinged cupboard door, with pierced copper decoration stamped lock 66cm. wide £150-250


367. A pair of oak side chairs designed by Roger Fry at the Omega Workshops, for the Cadena Cafe, Bayswater, made by the Dryad Workshops, tapering square legs, rush seat and arched back splat with simple heart-shaped cutout 100cm. high £800-1,200 Literature Isabelle Anscombe Omega & After Bloomsbury and the Decorative Arts plate 29 for a comparable chair Jeremy Cooper Victorian and Edwardian Furniture and Interiors page 639 The Chair, Christie’s King Street, 9th November 2000 lot 6 page 17 for another pair of these chairs. The Omega Workshops were commissioned to decorate and furnish the Cadena Cafe, 59 Westbourne Grove, Bayswater in 1914.

368. A pair of oak armchairs designed by Mackay Hugh Baillie Scott, the rounded triangular section seat with plank back running through to form the leg, curved arms, 83cm. high £800-1,200 Provenance The Chair, Christie’s King Street, 11th May 1999, lot 20. Private collection. Literature Deutsche Kunst und Dekoration Volume XII and XIII 1903-1904 page 237, for a similar chair illustrated. This design was produced by the Dresdener Werkstätten fur Handwerkkünst is recorded in for photo archives of the DWH, dated 1903.

367

368 368 back

73


369

370

371

369. A Jas Shoolbred oak sideboard, twin cupboards above two short drawers, patinated metal furniture stamped mark to top of drawer 122cm wide, 116cm high £700-900

370. An oak framed marquetry door cupboard possibly Rowley Gallery, rectangular with two hinged doors, decorated with geometric abstract design, wooden handles, internally fitted with shelves and drawers, unsigned 46cm high, 59cm wide. £100-200

372 373

371. A set of five William Birch chairs, one carver and four chairs, with turned front legs and strung seats 107cm. high £100-200

372. An Aesthetic Movement oak table, octagonal top with turned legs and carved flowerhead panels, 88cm diam, 70cm. high £100-200

373. An oak occasional table, circular top on tripod stem an flaring sleigh feet, stamped marks to underside F201 28.6.48, 58cm. diam. £100-200

374. An English Art Nouveau glazed display cabinet, glazed and stained doors, the frame inlaid with mixed metal flowerhead motif, 87cm wide, 178cm high £500-1,000

375. A Stanley Webb Davis oak standard lamp, dated 1952, tripod leg, tapering hexagonal stem, carved initials and date 141cm. high £350-450 374

74

375


377

378

376

376. A pair of Barnsley Workshops walnut side tables, rectangular top with tapering square legs, the top inlaid with banding border stamped Barnsley 35 x 41cm, 56cm. high £300-500

377. A Robert Mouseman Thompson oak tray, kidney shape with adzed surface, carved with two mice to the rim 47cm. wide £100-200

378. A pair of Robert Mouseman Thompson oak wall lights, semicircular frame with carved mouse signature 30cm. wide £400-600

379

379. A Robert Mouseman Thompson oak firescreen, with embroidered panel, the worked oak frame with carved mouse signature 70cm. high £300-500

380. A Robert Mouseman Thompson oak panelled wardrobe, with cared wood handles and locks, fitted shelves and carved mouse signature 168cm. high, 122cm wide, 58cm. deep £3,000-4,000

380 detail

380


381. A Secessionist walnut firescreen, the curved top rail with carved blossom panel, elliptical cut out decoration, unsigned 88cm high, 71cm wide. £200-300

382. A cherrywood armchair probably American, with wide plank arms, curved back with pierced decoration, padded seat 87cm. high £100-150

381 382

383. An L & J.G. Stickley Brothers oak table, the hexagonal top on six legs with pegged radiating stretchers, stamped marks, 121cm. diam. £800-1,200 Literature John Andrews Arts and Crafts Furniture, ACC books, page 262 plate 283 for a comparable table Robert Judson Clark The Arts and Crafts Movement in America 1876-1916, page 43 catalogue number 44 for a comparable library table illustrated

384. A Shapland & Petter oak smokers cabinet, rectangular form with applied shelves the supports with cut-out heart motif, the hinged door with glass panel behind copper Art Nouveau flower stem design, fitted interior, stamped S & P B to the lock 51cm. high £100-200

383

76

385. An oak bureau bookcase, in the manner of Shapland & Petter, with patinated heart-shaped metal furniture, 161cm. high, 42cm. wide £300-500

384 385

385 open


386. An Axminster Egyptian Revival rug, decorated with winged scarab and sunray motif inside lotus flower border, in colours applied label to reverse 180 x 90cm. £100-200 387. A pair of Morris & Co Vine woven wool curtains designed by John Henry Dearle, green, blue and red 167 x 101cm. £300-500 Literature Linda Parry William Morris Textiles, Crescent page 159 figure 71 this design illustrated 388. An Alexander Morton & Co Donegal carpet designed by Gavin Morton & G.K. Robertson, decorated with floral design in colours on a blue ground 192 x 154cm. £1,500-2,500

387

386

Literature Malcolm Haslam Arts and Crafts Carpets, Rizzoli International Publications, figure 69 389. A Jacquard silk machine embroidered table cloth, the ground with numerous stylised flowers and foliage in blue and, buff and red on a red ground, 269 x 170cm. £300-400 390. A woven wool portiere, decorated with peony flowers in pink on a green ground, inside floral border unsigned 126 wide, 174cm high £80-120

389

388

390

77


391

392

393

394

395 396 391. A Glasgow School silk embroidery of a woman before trees, modelled standing before fruiting vine and apple trees, embroidered in colours on a silk ground, in gilt wood frame, unsigned, deterioration to ground 34 x 21.5cm. £100-200 392. A gilt-wood mirror frame, rectangular, decorated with a frieze of berried foliage, the corners a flowerhead 53 x 42cm. £200-300 393. A brass adjustable desk lamp, with flaring vaseline glass shade 62cm. high £50-100 Provenance Albert E Wade collection. 394. A patinated metal ceiling light, foliate form with flaring vaseline glass shade etched with flowers light stamped Armorite 41cm. high £200-300 395. An Aesthetic movement patinated metal wall light, cast with scrolling design, with etched glass ball shade unsigned 41cm. wide £100-200 396. A patinated copper ceiling light, with five radiating branches with floriform terminals, opaque glass shades 58cm high £300-400 398

397. A Cotswold School wrought iron standard lamp, domed tripod foot with twisted stem 146cm. high £100-200 398. A pair of polished bronze candlesticks by Placide Poussielgue Rusand, flaring, pierced conical base with claw feet, the central stem with cast foliate panels and knop set with coloured stone roundels unmarked 46cm. high £200-400

397

78

This design is included in the Poussielgue Rusand trade catalogue issued by Burns & Oates, London circa 1880.


399. A pair of Archibald Carne polished steel fire dogs, tripod form with tall twisted finial stamped A Carne Truro 30cm. wide £150-200 Literature Colin Pill, Cornish Art Metalwork, Sansom & Company, page 89 for a photograph of the Red Rose Guild Exhibition in Manchester (probably 1937) illustrating an identical firedog 399 400. A pair of polished steel and brass wall sconce designed by Edward Spencer, the stamped shield back with three articulated sconce, unsigned 43cm. high £500-1,000

401. A pair of wrought iron andirons designed by Ernest Gimson and probably made by Alfred Bucknell, on tripod feet 54cm. high £600-1,000 Literature Annette Carruthers Ernest Gimson and The Cotswold Group of Craftsmen, Leicester Arts and Museums Service, page 99 for a contemporary photograph of the Daneway showrooms with a comparable pair.

400

401A. A Cotswold School patinated iron fender, with scroll terminals and shield shape decoration 92cm wide £100-200

402. A Cotswold School polished steel fender, with pierced central panel, the hinged wings with urn terminals, unsigned 78cm wide, 32cm deep £200-300

403. A patinated copper fender, D shape, stamped in low relief with stylised heartshaped leaf panels and central heart motif, unsigned 95cm. wide £200-300

401A

401

402 403

79


404

405

406

404. An Aesthetic Movement ebonised wood mantle clock, possibly retailed by Howell & James, rectangular section, the dial painted with panels of flowers in blue on a gilt and white ground, Arabic numerals, 31cm. high £150-200 405. A Mission oak wall mirror, slender, rectangular form with raised peg decoration unsigned 64 x 30cm. £100-150

408 407

406. A carved oak wall mirror in the manner of Arthur Simpson of Kendal, circular, carved in relief with flower and foliage frieze unsigned 41.5cm. diam. £150-250 407. An interesting Glasgow School oak wall mirror, rectangular form with chamfered surfaces unsigned 71 x 65cm. £200-300 408. A pair of carved oak bookends in the manner of Arthur Simpson of Kendal, curved, rectangular form, carved with a stylised flower stem in low relief unsigned 19cm. high £200-300

409

410

409. A marquetry mantle clock, tapering rectangular section with flaring mantle, the front inlaid with stylised trees lining a pathway unmarked 20cm. high £100-200 410. A Shapland & Petter Peacock marquetry twin-handled tray, with brass handles, unsigned 66cm. wide £100-200 411. A Thomas Gnomeman Whittaker oak table lamp, carved as a gnome seated and leaning against a tree, without electrical fittings, 32.5cm. high £150-200 412. A pair of oak candlesticks, octagonal domed base supporting swollen octagonal stem and flaring sconce unsigned 32cm. high £100-200

411

80

412


414

413

413. A pair of wrought iron candlesticks designed by Ernest Gimson, probably made by Alfred Bucknell, the octagonal base on ball feet, knopped stem with octagonal drip pan, stamped decoration unsigned 23cm. high £1,000-2,000 414. A set of wrought iron firetools designed by Ernest Gimson and probably made by Alfred Bucknell, each with scrolling heart terminal, the handles with chevron design, comprising, shovel, coal tongs, poker, brush, small toasting form and a large fork, largest 82cm. long £800-1,200

λ 415 A shagreen, ivory and gessoed wood dressing table mirror, with carved and painted dolphin frieze, the two hinged sides with carved dolphin feet, unsigned main panel 84 x 47cm, approx 83cm wide £1,500-2,000 416. A patinated copper fender, repousse hammered with facing peacocks, the side panels with fruit 122cm. wide £200-400 417. A Barnard Bishop and Barnard cast bronze tinderbox designed by Thomas Jeckyll, cast in low relief with Japanese Mon design, twin-handled rectangular form, cast regd diamond 47 x 12cm £200-300

415

Literature Susan Soros Thomas Jeckyll, Architect and Designer 1827-1881, page 222 plates 6.58 and 6.59 for comparable trays 418. A T. Elsley cast iron fire surround in the manner of Charles Robert Ashbee, cast in low relief with a foliate frieze, cast marks to back 93 x 52cm. £200-400

416

417 418

81


421

420 419

419. A Benham & Froud copper and brass coffee pot designed by Dr Christopher Dresser, with brass mounted rod handle, and a Benham & Froud kettle designed by Dr Christopher Dresser, stamped marks, 22.5cm. high £100-200 Literature Michael Whiteway Christopher Dresser 1834-1904, Skira, page 148 plate 174 for a variation of this design Widar Halen Christopher Dresser, Phaidon, page 172 plate 192 for another comparable example. Provenance Private collection. 420. A Benham & Froud brass chamberstick, in the manner of Dr Christopher Dresser, the square tray with central cylindrical stem and square sconce and drip pan, with applied loop handle, stamped mark, 12.5cm. wide £80-120

422

423

421. A pair of Benham & Froud brass and wrought iron coal-tongs, the design attributed to Dr Christopher Dresser, the twisted arms with flowerhead terminals, turned ebonised wood handle stamped mark to spring 46cm. long £120-180 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 174 figure 235 for comparable fire irons. 422. A Benham & Froud brass ewer in the manner of Dr Christopher Dresser, shouldered, flaring form with tall spout and scroll handle stamped mark to base 26cm. high £120-180

424

423. A large brass ewer in the manner of Dr Christopher Dresser, footed form with angled cylindrical body, neck and spout with angled stem unsigned 33cm. high £80-120 424. A Hukin & Heath electroplated double basket designed by Dr Christopher Dresser, model no.2223 stamped marks, designed by Dr C Dresser 20cm. wide £300-400 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A page 142 for the single version 425. A Benham & Froud brass ewer designed by Dr Christopher Dresser, shouldered form with hinged cover and vertical spout, with applied over-slung handle with scroll terminals, and two other brass jugs in the manner of Dr Christopher Dresser stamped marks, 35cm. high £100-200 Provenance Private collection.

82

425


426 427 426. A brass Kardofan chamberstick designed by Dr Christopher Dresser, and a Benham & Froud copper and brass kettle stamped mark to kettle 14.5cm. high £200-300 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 181 figure 245 for a decorated Kardofan candlestick by Richard Perry, Son & Co. 427. A Hukin & Heath electroplated metal oil and vinegar cruet designed by Dr Christopher Dresser, model no. 2592, the two circular compartments on rod feet, with central rod handle and D finial, with two cut glass bottles and stoppers, stamped marks, 16..5cm. high £200-300 Literature Christopher Dresser Metalwork The Andrew McIntosh Patrick Collection, Lyon & Turnbull, 19th April 2005 lot 15 for a four compartment version, model no.2592.

428 429

428. A Hukin & Heath electroplated metal claret jug with faceted glass body designed by Dr Christopher Dresser, with hinged flat cover and cast, square section rod handle, stamped H&H mark 23cm. high £500-800 429. An electroplated claret jug after a design by Dr Christopher Dresser, with clear glass body, hinged cover and ebonised wood rod handle unsigned 25.5cm. high £150-200 430. A James Dixon & Sons electroplated toastrack designed by Dr Christopher Dresser, alternating triangular partitions and central T bar handle, stamped marks, 13cm. long £1,500-2,000 Literature Michael Whiteway Christopher Dresser 18341904, Skira page 105 plate 94 for a comparable toastrack Michael Whiteway Christopher Dresser A Design Revolution, V&A Publishing page 156 figure 195 for a comparable toastrack

430

83


432

433 431. ‘Shakespeare’s Sonnet CLIV’ an electroplated metal charger cast from a model by Reginald E Arnold, dated 1934 signed and titled in the cast 43cm. diam. £80-120

431

432. A pair of patinated copper roundels, possibly by the Bromsgrove Guild, cast in low relief with St Mark and St John the Evangalist, in wooden frames, panels 16cm diam. £100-200 434

435

433. A Cotswold School plaster panel designed for Robert Weir Schultz, rectangular, cast in low relief with wild rose frieze unsigned 92 x 27cm. £100-200 Provenance Robert Weir Schultz. 434. A pewter mounted wooden casket, rectangular form with hinged cover, the pewter panels cast with caterpillar and floral designs, set with abalone shell and amethyst stones, the cover with central roundel, silk lined, 15 x 10cm £100-200

436 437

435. An enamelled copper casket and cover, rectangular section, the cover cast in low relief with foliage boughs and enamelled orange fruit panels, with applied leaf and orange finial, unsigned 14.5cm. wide £200-300 436. A Duchess of Sutherland Cripples Guild electroplated desk inkwell, rectangular section, the three inkwells each with hinged covers stamped marks, 25cm. wide £100-200 437. A patinated copper champagne cooler, swollen cylindrical form, with applied loop handles, the body stamped in low relief with vine frieze, inscribed ACN 14.5.191014.11.1922, 25cm. high £200-300 438. A bronze model replica of the Level Birmingham New General Hospital, presented by John C Holder to H.R.H The Duke of York, 1894 inscribed 47cm. high £250-350

438

84

439

439. A set of patinated metal fire tools, comprising poker, shovel and tongs, on stand, the stand with stamped flower-head decoration, hammered finish, 60cm. high £100-200


440 440. A repousse hammered copper tray probably Newlyn Industrial Class, attributed to William Pezzack, decorated in low relief with a frieze of scaly fish with sharp teeth, interspaced with shell and waterweed, a Keswick School of Industrial Arts tray, Two Hugh Wallis items and a crumb tray stamped monogram to one end 59.5cm. wide £100-200 Literature Daryl Bennett & Colin Pill Newlyn Copper, Arts and Crafts Copper Work in Newlyn, Sansom & Company page 112 for an example of William Pezzack’s monogram.

441

442

441. A large Newlyn Industrial Class copper charger, hammered to the rim with a frieze of exotic birds amidst grasses unsigned 52.5cm. diam. £100-200

443

442. A W.A.S Benson copper twin-handled bowl, two Benson flasks, and six other items various marks, bowl 13.5cm. wide £100-200 443. A W.A.S Benson copper and brass kettle on stand, another W.A.S Benson electroplated kettle on a stand, two other kettles and a flask stamped marks, 30cm. high £100-200

444

λ 444. A W.A.S Benson electroplated tureen and cover, twin-handled form with ceramic lining, two coffee pots with ebonised wood handles, one with ivory finial, and a composite four piece tea set on tray various marks, tureen 34cm. wide £100-200

445

445. A W.A.S. Benson patinated copper pan and cover, on tripod stand with burner, the pan with ebonised wood handle and wooden finial, and four Thermos flasks and a Thermos jug stamped marks 28cm. wide £150-200 446. A W.A.S Benson adjustable table/wall light, silvered metal frame with vaseline glass shade stamped Benson to adjuster 26cm. high £400-600 446

85


449 447

448

450 447. A copper wall mounted brush holder, the scrolled back panel stamped in low relief with fruiting bough panel, above circular mirror, two wrought metal hooks, unsigned 36cm. high £100-200 448. A Keswick copper wall charger by W H Mawson, circular repousse hammered with a frieze of classical dolphin, stamped W H Mawson, Keswick 59cm. diam. £200-300 452 449. A Keswick School of Industrial Arts copper plate, repousse hammered with panels of a bird and fish, amongst foliage borders stamped KSIA mark 26cm. diam. £100-150

451

450. A Keswick School of Industrial Arts copper wall charger, hammered to the well with peony flowers stamped KSIA to rim 66.5cm. diam. £100-200 451. Five brass panels the design attributed to Lewis F Day, stamped in low relief with fruiting apple, floral design and a sunset landscape design stamped regd diamond to two 15cm. square £100-200

454 453

452. A pair of patinated bronze roundels, in the manner of Alphonse Mucha, each cast in low relief with a maiden in profile, in wooden frames unsigned panels 21cm. diam. £100-150 453. A copper wall charger probably Newlyn Industrial School, the well hammered in relief with a scaly fish, the rim with a frieze of scaly dolphin, apparently unmarked, 59cm. £300-500 454. A large Yattendon copper vase by R Loader, tapering form with applied handles, hammered in low relief with squirrels perched in tree boughs below a band of flower bud motif signed to the base R Loader 649, 43cm. high £100-200 455. A John Pearson repousse hammered copper box, heart-shaped, the cover hammered with stylised flower stems in low relief stamped JP mark 14cm. wide £100-200

455

456

456. A John Pearson copper charger, repousse hammered with three flying birds to the well, the rim stylised foliage and berries, stamped JP mark, 38cm. diam. £250-350 Provenance Arts and Crafts 23rd June 2010 Woolley and Wallis lot 542 456A. A repousse hammered copper coal box and cover by John Pearson, dated 1905, drum form on four feet, hammered in relief with animal masks and tulip flower stems, stamped JP 1905 to base 33cm. high £300-400

86

456A


457. An Irish electroplated metal pot pourri and cover designed by John Williams, the work attributed to Patrick Roche, footed form, the stem with pierced panels of foliage set with enamelled flower roundels, the pierced cover with entwined rose stems around large central enamelled flowerhead roundel, inside Gather Ye Rosebuds While Ye May inscription, unsigned 19cm. high £400-600 Literature The Studio, February 1907. Paul Lamour The Arts and Crafts Movement in Ireland Friar’s Bush Press, page 44 for a reproduction from The Studio 1907.

457 top

457

458. A Scottish patinated brass wall mirror, elliptical form, stamped in low relief with entrelac panels, unsigned 83.5cm. wide £300-400

459. A John Hardman & Co Gothic Revival silver gilt chalice, dated 1872, in the manner of A.W.N Pugin, the flaring bowl cast in low relief with panels of berried foliage, below chased foliate frieze, on knopped, cast stem and flaring gadrooned base, the base and stem cast with berried foliage and set with enamelled roundels, and a later paten stamped marks J H & Co Birmingham 1872, 23.5cm. high £1,000-2,000

458

460. A rare Scottish patinated brass wall clock the design attributed to Margaret Gilmour, circular, slightly domed face stamped in low relief with entrelac border, Arabic numerals, with later battery operated movement unsigned 35.5cm. diam. £300-400

461. A rare Glasgow school brass wall sconce after a design by Peter Wylie Davidson, rectangular back plate stamped in low relief with a boat at full sail, above two stylised birds flanked with time and tide panels, the drip tray with two sconce, unsigned 36cm. high, 24cm wide £800-1,200 Literature Gerald & Celia Larner The Glasgow Style, page 188 for an illustration of a wall clock with a variation of this design, held in the Kelvingrove Art Gallery and Museum.

460

459

462. A Scottish brass wall sconce the design attributed to Alexander Richie at Iona, the rectangular back plate hammered in low relief with a longboat below elaborate Celtic knot design, a twin-handled tray similar and three dishes unsigned sconce 26cm. high £300-500 461

462

87


463. A Secessionist brass table lamp, swollen triangular base tapering to slender, swollen stem, the domed shade stamped with a band of roses unmarked 56cm. high £100-200 464. A continental Secessionist chandelier, two square shades of glass rod construction on brass frame, the frame cast in low relief, 147cm. high £300-500 465. A Continental hall lantern, square section cast metal frame with green glass liner applied green and opaque glass rods unsigned 38cm. drop £100-200

463 464

465

467

466. A Secessionist enamelled brass pot and cover, probably Austrian, the drum form body stamped in low relief with stylised flower stem repeat, enamelled green and blue, the cover with similar enamelled knop finial unmarked 18.5cm. high £200-400 467. A gilt metal and glass sweetmeat dish designed by Friedrich Adler, twinbowl form, cast in relief with grotesque feet and pierced Secessionist handle, stamped numbers to feet, 31cm. wide £200-300 Literature Friedrich Adler, Zwischen Jugendstil und Art Deco, Arnoldsche, page 172 catalogue number ME25 for an identical piece.

466

λ 468. ‘Cruel Love’ a gilt bronze and ivory bust cast and carved from a model by Agathon Leonard, on square section alabaster base, signed in the cast A Leonard stamped 87, 18cm. high £800-1,200 Literature Bryan Catley Art Deco and Other Figures ACC publishing page 203 for an example illustrated

468

469

λ 469. ‘Rose and Butterfly’ a gilt bronze and ivory bust cast and carved from a model by Agathon Leonard, on square section alabaster base, signed in the cast A Leonard stamped 48, 19.5cm. high £800-1,200 Literature Bryan Catley Art Deco and Other Figures ACC publishing page 203 for an example illustrated 470. An Art Nouveau patinated bronze clock, cast in the form of a maiden rising from flower stems, set with turquoise stones, on mahogany base, unsigned 33cm. high £700-900 Literature Geoffrey Warren Art Nouveau page 36 plate 47a for this design illustrated

471

88

470

λ 471. A small Secessionist ivory bust of a woman, with downcast look, on amber onyx base unsigned 12.5cm. high £100-150


472 detail

472. A Favrile glass and patinated metal mantle clock in the manner of Tiffany Studios, rectangular form with broken pediment, the Favrile style glass behind cast foliate design, circular dial with Arabic numerals, cast monogram in design 41.5cm. high ÂŁ1,500-2,000

473. A Good Tiffany Studios patinated bronze and Favrile glass Peacock table mirror, model no.29236, cast bronze inset with Favrile glass peacock eye motif, the back initialled EPR stamped Tiffany Studios New York, number to base, 32.5cm. high ÂŁ4,000-6,000

472

Literature Important 20th Century Decorative Arts, Christie’s New York, 11 June 1998, lot 107 page 102 for a comparable table mirror.

473 473 back

89


476

474 475

474. An Art Nouveau W.M.F electroplated metal dish, modelled as a maiden rising up from two dishes, stamped mark, 34.5cm. wide £100-200 475. A Secessionist W.M.F. electroplated metal and glass centrepiece, model 225, square section base supporting glass column and electroplated winged-bust with flanking columns, flaring cut glass bowl, stamped marks to base 36cm. high £300-500 476. A large Art Nouveau W.M.F pewter wall plaque, oval section, cast in relief with four sea maidens rising up before berried foliage and a sun rising in the distance stamped marks, 59cm. wide £900-1,100

478

477. A W.M.F copper and brass claret jug, stamped in low relief with Secessionist stylised vine border, the hinged cover with swag finial, stamped marks, 33cm. high £150-250

477

478. An Austrian Secessionist brass inkwell and pen tray, the hinged cover with simple bird mask motif, and another patinated copper inkwell cast marks, 22cm. wide £100-200 479. A W.M.F pewter wine bottle holder, model no.358, pierced and cast with berried foliage and whiplash stem design, and an electroplated wine bottle holder by W.M.F. cast marks, 9.5cm. high £150-250

479 480

480. A W.M.F polished pewter tray, model no.400, elliptical with over-slung handle, cast in low relief with a female figure lying amongst flowering rose cast and stamped marks, 25cm. wide £100-150 481. An Art Nouveau continental pewter frame, pierced and cast rectangular form on easel back, and two dishes by the same factory stamped shield mark, 24cm. high £100-200 Provenance Albert E Wade collection.

482

481

90

482. An Art Nouveau pewter tray designed by Hugo Leven, four compartment form with twin handle, cast in low relief with berried foliage panels and whiplash tendrils, stamped 81 to underside of rim 41cm. wide £150-200


483 The Studio, 1906

483 clasp

483. ‘The Dictionary of Gods Demi-Gods and Heroes’ bound by Bertha Lillian Goff, published by John Bell, the leather bound with silver and shagreen mount set with crimson carbuncles, Bertha Lillian Goff studied, Camden School Islington, the clasp cast with Mercury, published by J Bell, volumes and two in one binding, published M.DCC.XC (1790) £300-500

483

Provenance Private collection Literature The Studio MCMVI (1906), page 319 this book illustrated and reviewed by Aymer Vallance.

484. A large silver table top display case the design attributed to Henry Wilson, the rectangular section base on four bun feet, applied with cast panels of foliage and set with lapis lazuli stones, rising to twin hinged doors with fine rope borders and also set with lapis lazuli stones, the mantle with panels of foliage flanking a family, entitled Caritas (Charity), the back a clear glass panel, partially silk lined unsigned 42cm. high, 33cm. wide £5,000-8,000

484

91


487 485

486 485. A Elkington & Co enamelled bronze urn vase and cover, decorated with floral panels, in shades of blue, green and pink, and another similar stamped marks, 10cm. high £80-120

488

486. A Henry Elkington 1851 Exhibition commemorative gilt and silver plated bronze inkwell designed by John Leighton, circular section with spherical, hinged well, the base cast in low relief with panels of craftsmen, inside commemorative banners listing artists and designers including Cellini, Durer, Flaxman and Newton, entwined with berried stem, the globe inkwell cast in low relief with a map of the world under banner inscribed Exhibition Industry of All Nations London 1851, with faceted cut-glass bottle, inscribed to the rim Published as the act directs by Henry Elkington Feb 20 1851 23cm. diam. £300-500

489

487. A large patinated copper candle casket, rectangular with pitched, hinged cover, applied with evangelist enamel roundels inside wirework frames, with wooden interior unsigned 37cm. wide £500-1,000 488. A Robert Stewart silver ewer, tapering cylindrical form with hinged cover, with applied scrolling handle with wicker covering, etched W to body, stamped marks, London 1900 24.5cm. high £100-200 489. A Charles Edwards silver three piece tea set, comprising teapot with hinged cover, milk-jug and sugar basin, all on tripod feet, the milk and sugar with cast foliate handles, the teapot with ebonised wood handle, hammered finish stamped marks, CE London 1911 13cm. high £200-400

490 491

490. A Birmingham Guild of Handicraft silver teapot and cover, designed by Arthur Stansfield Dixon, set with malachite finial and ebonised wood handle stamped marks, Birmingham 1899 15cm. high £400-600 491. An A E Jones silver bowl with inverted rim, the rim with simple bead decoration, hammered finish set with four Coral coloured stones stamped marks, Birmingham 1905 14cm. diam. £600-800

492

92

λ 492. An A E Jones silver four piece tea set, comprising teapot and hinged cover, hot-water pot and hinged cover with wooden handles, milk-jug and sugar basin, each with cast floral repeat fine band and hammered finish, on tripod feet, stamped marks, Birmingham 1918-1920 hot-water 18cm. high £1,000-2,000


493. A R & W Sorley silver bowl, on three cast dolphin feet, their tails raised up to form three looped handles, the rim with simple band of raised roundels, stamped RS WS Glasgow 1905 20cm. diam., weight approx 21oz. £800-1,200

493

494. A Jack Baily Guild of Handicrafts silver muffin dish and cover designed by Charles Robert Ashbee, circular hammered finish with ropework border, the domed cover with silver flowerhead finial, stamped marks, GofH London 1909 23cm diam., weight approx 18oz. £800-1,200 The hallmark and date for 1909 tie in with the Guild’s liquidation in that year. Baily stayed in Camden and ran his own workshop under the Guild of Handicraft’s name.

494

495. A Guild of Handicraft silver porringer, after a design by Charles Robert Ashbee, the hammered bowl with wirework handle, stamped marks GofH London 1925, Hart & Huyshe, Campden 17cm. wide. £800-1,200

495

93


497

496. An Irish Wakely & Wheeler silver vase, circular section flaring to squared rim, with four angular handles, stamped J.W and F.C.W Dublin 1901, 25.5cm. high, weight approx 64oz. £800-1,200

497. An Elkington & Co silver cruet, cast in low relief with flag iris stems, comprising; two salts, a pepper pot and a mustard pot and cover, with remains of blue glass liners stamped marks, Birmingham 1905 pepper 8cm. high £150-200 496

498. A George Jackson and David Fullerton silver bowl, low pedestal form with strap handles and applied beads, stamped marks, London 1904, 14cm. diam., weight approx. 8.5oz. £200-400

498

499

499. A William Hutton & Sons silver footed bowl, with three applied handles, hammered finish, stamped marks, London 15.5cm. high £300-500

500. An Artificer’s Guild Limited silver canister and cover designed by Edward Spencer, panelled circular form, spothammered decoration, rope-work borders, the cover with a knop finial, stamped marks, London 1927, 12.3cm high, approx. weight 6oz. £300-400 Literature The Studio Yearbook 1913, Taschen, page 363 for a comparable canister

500

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A COLLECTION OF OMAR RAMSDEN SILVER


501

502

501. A set of three Omar Ramsden silver spoons, cast with Tudor rose, thistle and shamrock terminals, in original wooden fitted case stamped marks, London 1923, 14cm. long £600-1,000 502. A set of eight Omar Ramsden silver teaspoons, each with twist stem and squared terminal, in fitted blue velvet case, stamped marks, London 1926-27 10.5cm. long £800-1,200 503. A pair of Omar Ramsden silver spoons, with cast thistle and poppy seedhead terminals, hammered finish, in original fitted wooden case stamped marks, London 1937 15.5cm. long £800-1,200 504. An Omar Ramsden silver teaspoon and tongs set, in original presentation case, comprising pair of tongs, six teaspoons and a larger serving spoon, with simple twist stem and squared terminal, hammered finish stamped marks, London 1923-24 longest spoon 14.5cm. £700-1,000

503

505. An Omar Ramsden silver ladle, the arched stem with fluted terminal, deep bowl, with hammered finish stamped marks, London 1925 17.5cm. long £400-600

505 504

96


506 cover 506

506. A good Omar Ramsden silver and enamel box and cover, rectangular section, the hinged cover cast and pierced with a galleon at full sail, above blue, green and white enamel panel, cedar wood lining stamped marks, London 1928 Omar Ramsden Me Fecit 13.5 x 8.5cm. £2,000-3000

507

507. An Omar Ramsden silver and mother of pearl box and cover, rectangular section, the frame cast in relief with entwined rose stems, the base rim with simple rope border, the inside rims chased with scrolling foliate design, cedar wood lining stamped marks, London 1935, Omar Ramsden Me Fecit, 11.5 x 6.5cm. £1,500-2,000

508. An Omar Ramsden silver and enamel matchbox case, rectangular, with rope-twist borders, cast and pierced in low relief with a galleon at full sail, on a blue and green enamel panel stamped marks, London1927, Omar Ramsden Me Fecit 7.5 x 5cm., weight approx. 4oz. £1,000-2,000 508

97


509. An Omar Ramsden Gothic Revival silver travelling chalice and paten, the chalice with tapering, gadrooned hexagonal stem with central knop, flaring bowl with hammered finish, in fitted, wooden travelling case, stamped marks, London 1936 , Omar Ramsden Me Fecit Chalice 10cm. high £500-1,000 509

510. An Omar Ramsden silver tazza, tapering, circular section foot, supporting cast band of intertwined foliage and berry, flaring bowl, hammered finish stamped marks, 1938 Omar Ramsden Me Fecit 14cm. high, weight approx. 21oz. £1,500-2,000 510

511

98

511. An Omar Ramsden silver grape stand, the shaped octagonal base with twisted wirework stem and cast leaf decoration, with a pair of stamped marks, London, 1930, Omar Ramsden Me Fecit 29cm. wide, weight approx. 32oz. £2,000-3,000


512. An Omar Ramsden three piece tea set, comprising teapot and hinged cover, milk-jug and sugar basin, footed form, the teapot with ebonised wood handle and finial, on raised oval foot, the sugar and milk with loop handles, on raised circular feet, stamped marks, London 1932 and 1934, Omar Ramsden Me Fecit teapot 30cm. wide, weight approx. 37oz. ÂŁ2,000-3,000 512

513. A large Omar Ramsden silver three light candelabra, tapering square section stem with ropetwist band and flaring supports, supporting two twisted arms, three sconces with flaring drip pans, stamped marks, London 1928, weighted, 32.5cm. high ÂŁ5,000-8,000 513

99


514

515

518 519

516

517

521 520 514. A pair of silver hairbrushes designed by Kate Harris, each stamped with maiden in a bonnet before lily flowers stamped marks C & S Co Ltd London 1900 24.5cm. long £300-500 515. A William Hutton & Sons silver cigarette case designed by Kate Harris, cast in low relief with a maiden in a bonnet, stamped marks, Birmingham 1899 9cm. high £100-200 516. An Art Nouveau silver mounted glass pot, the cover stamped with a maiden in a crown, stamped marks, Chester 1902 6.5cm. diam. £100-200 517. ‘La Porteuse des Fleurs’ a silver brooch by Pierre Turin, octagonal, cast in low relief with a woman before flowering rose bush, stamped poincons to rim, signed P Turin in cast, 4cm. wide £150-200

522

523

518. A Queensway silver and enamel necklace, cast as a Tudor rose, enamelled blue and green stamped marks, 2cm. diam. £150-200 519. A silver and enamel pendant, circular, cat in low relief with a classical dolphin, enamelled green, blue and orange, with natural pearl drop stamped marks London 1901 2cm. wide £150-250 520. A Charles Horner silver and enamel pendant necklace, cast as a butterfly, enamelled blue, green and purple stamped Chester marks 2.5cm. wide£150-200 521. A Charles Horner silver and enamel necklace, cast as a bat wings outstretched, enamelled green and blue stamped Chester marks 3.5cm. wide £200-300 522. A Henry Mathews Art Nouveau gold and abalone shell pendant pierced entrelac form set with abalone shell and natural pearl drop stamped marks, 1906 4cm. high £150-200 523. A James Fenton Secessionist silver and enamel link bracelet, each pierced elliptical panel enamelled blue and green stamped marks, Birmingham 1909, 20cm. long (overall) £100-200 524. A James Fenten silver and enamel bracelet, circular links enamelled salmon pink and light blue, in later fitted case stamped marks, £200-300

524

100


525 detail

525. A patinated copper wall mirror set with two enamel panels, in the manner of the Guild of Handicrafts, the rectangular panels one painted with three galleons at full sail, the other three fish unsigned frame 54 x 29cm, panels 19.5 x 7.5cm. £300-500 526. An enamelled silver pendant necklace, cast grape and vine framework supporting three multi-coloured enamel elliptical panels unsigned 4.5cm. high £200-300 527. A rare silver necklace by H Dawson-Bowman Iona, after a design by Peter Wylie Davidson, cast and pierced with a flock of stylised swooping swallows, stamped Sterling Scotland, rubbed makers mark, 14cm. wide £400-600 Literature Gerald & Celia Larner The Glasgow Style Astragal Books, plate 188 for a comparable silver gilt brooch illustrated with a listing of a wirework example without clouds (like this example) illustrated in peter Wylie Davidson’s book Applied Design in the Precious Metals (1929). It is believed an example was exhibited in the Scottish Section at the Turin exhibition, 1902. This example probably dates from circa 1949.

525

527

526

101


528. An unusual Ruskin Pottery high-fired stoneware silver mounted brooch, rectangular sang de boeuf glazed stone with lavender speckles, set on silver mount with ropetwist border stamped Ruskin England Sterling 4.5 x 4cm £150-250

529. A Continental silver napkin ring, cast in low relief with a Secessionist shield motif, and another similar stamped marks, 3.5cm. diam. £100-200

529

528

530. A set of six Liberty & Co silver and enamel dress buttons, circular, enamelled blue and green stamped marks, Birmingham 1906, 1cm. diam. £100-200

531. A George Hunt silver brooch, the hammered square section frame set with central mother of pearl panel in ropetwist border, stamped GH shield mark, 4cm. square £300-500

531

530

532. A silver brooch in the manner of Sybil Dunlop or Dorrie Noissiter, the cast wirework frame set with chalcedony and chrysoprase stones, a pair of ear-rings and a bar brooch similar and a single clip earring, unsigned 3.5cm. diam. £300-500

533. A silver and opal brooch in the manner of Sibyl Dunlop, circular wirework design of flowers and foliage, set with five opals unsigned 4cm. diam. £350-450

533

532

534

102

λ 534. A white metal mounted horn paperknife, the rectangular handle mounted with pierced and cast berried foliate bands stamped Vulpera 25.5cm long £100-150


535. A Liberty & Co Ostade patinated copper mirror, rectangular form, hammered in relief with simple stylised trees and rivet decoration remains of paper label 61 x 42cm. £200-400 535

Literature Daryl Bennett Liberty’s Furniture 1875-1915, ACC publishing, page 216 plate 6.4 for an example illustrated in Yuletide Gifts 1903/4.

536

536. A Liberty & Co Ostade copper mirror, rectangular form, hammered in relief with simple stylised trees and rivet decoration label missing 61 x 42cm. £400-600 Literature Daryl Bennett Liberty’s Furniture 1875-1915, ACC publishing, page 216 plate 6.4 for an example illustrated in Yuletide Gifts 1903/4. 537 537. A pair of Liberty & Co stoneware planters possibly designed by Archibald Knox, cast in relief with four pilaster feet, cast with a frieze of heart-shaped foliage, stamped marks, 50cm. diam. £1,500-2,000 538. An oak Athelstan armchair designed by Edward Punnett, retailed by Liberty, flaring rectangular rush drop in seat, 105cm. high £500-1,000 Literature Daryl Bennett Liberty’s Furniture 1875-1915 ACC books, page 174 figure 5.36 for a comparable chair with a slightly curved back rail 539. A Liberty & Co stained oak table, circular top on tripod flaring legs, with pierced decoration, 68cm. high £100-200 Literature Daryl Bennett Liberty’s Furniture 1875-1915 ACC books, page 143 figure 4.117 for a comparable table 538

539

103


540. A Liberty & Co brass wall mirror, elliptical form, applied with Ruskin ceramic roundels in strapwork frames applied label 63cm. wide £300-400

541. A pair of Liberty & Co armchairs, spindle back with strung seats, 127cm. high £250-350 Literature Daryl Bennett Liberty’s Furniture 1875-1915 ACC books, page 260 figure 7.34 chair numbered 7, reproduction of a Liberty & Co Inexpensive Furniture catalogue, 1907

540 541

542. A Shapland & Petter oak wall shelf and magazine rack, with stained landscape panel decoration, painted metal rods stamped B 2454 to back 73cm. high, 51cm wide £200-300

543. A Shapland & Petter oak cabinet, the hinged cabinet door with patinated copper panels, pierced stylised flower motif to backboard, stamped R 64 99 to back and S&P B to lock, 74cm wide, 66cm high £250-300 542

543 544. A Liberty & Co oak gate-leg table, the legs carved with three leaf panels, 101 x 76cm. £300-500 Literature Daryl Bennett, Liberty’s Furniture 1875-1915, ACC Books, page 175 plate 5.37 for an Ethelbert chair with comparable cut our decoration

544 545

545. A small oak hanging wall cabinet probably retailed by Liberty & Co, the rectangular cupboard with hinged door stained with peacocks in a landscape, below curved over-mantle shelf 57cm. wide £100-200

546. An oak bookcase or side table probably retailed by Liberty & Co, with turned bobbin panels, on castors 70 x 33cm. £200-300 546 547

104

547. A pair of Liberty & Co oak armchairs, with padded seats, 95cm. high £400-600


548. A large Liberty & Co copper mirror designed by Archibald Knox, rectangular formed, stamped in low relief with Celtic entrelac knots 90 x 61cm. £1,500-2,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 229 for comparable examples of mirrors in brass and copper

548

549. A Liberty & Co stoneware Beowulf flower pot designed by Archibald Knox, cast with four loop handles and a Celtic Knot frieze, stamped numbers to interior, weathered 51cm. diam. £500-700 Literature Dr Stephen Martin, The Journal of the Archibald Knox Society 150th Anniversary Edition page 49 for examples of this jardiniere

549 550. A large mahogany Thebes stool probably retailed by Liberty & Co, square section on four turned legs, dowelled undercarriage, with studded leather seat unsigned 55cm. square £1,000-2,000 Literature Daryl Bennett, Liberty’s Furniture 1875-1915, ACC Books, page 96 plate 4.13 for a comparable Thebes stool

550

105


551. A Liberty & Co pewter mug designed by Archibald Knox, with cast foliate handle, cast golfer roundel, the glass base etched 19th Hole, with a pewter candlestick with enamel roundels, unsigned mug 12cm. high £150-200

552. A large Liberty pewter tazza designed by Archibald Knox, model number 01161, the slightly domed base cast in low relief with Art Nouveau honesty design, the tripod stem supporting flaring bowl cast with border of honesty seedheads, stamped marks, 27cm. high £500-800 552

551

553. A Liberty Tudric Pewter and enamel bowl with green glass liner designed by Archibald Knox, model no.0320, cast twinhandled form enamelled with Art Nouveau blue enamel panels stamped marks, 23cm. diam. £1,200-1,800

553

554

554. A Liberty & Co pewter butter dish designed by Archibald Knox, model no.0162, circular with three cast handles, cast in low relief with foliate motif, with clear glass liner, stamped marks, 14.5cm. diam. £200-300 Literature Victor Arwas Art Nouveau From Mackintosh to Liberty Papadakis, page 109 for an example illustrated.

555. A Liberty & Co English Pewter tankard designed by Archibald Knox, model 0334, cylindrical form, cast in low relief with Art Nouveau Honesty design, stamped marks, 13.5cm. high £300-400

555 556

556. An unusual Liberty & Co Tudric Pewter dish designed by Archibald Knox, model no. 0231, cast in low relief with stylised honesty seedheads stamped marks, 14cm. diam. £250-350

557. A Liberty & Co pewter mantle clock, model no.0756, swollen rectangular form on bun feetm with enamelled blue and green, Roman numerals stamped number to base 10.5cm. high £300-500

558. A pair of Liberty pewter vases the design attributed to Oliver Baker, model number 0214, compressed form with cylindrical neck, twin handles cast with stylised honesty, stamped numbers, 33cm high £500-1,000 557

106

558


559

559 top

559. A Liberty & Co Tudric pewter cigar box and cover set with enamel panel by Charles Fleetwood Varley, the pewter with hammered finish to hinged cover, cedar lined, the cover set with rectangular enamel landscape panel stamped marks, and Connell Cheapside mark 19cm. wide £400-600 Literature Barbara Morris Liberty Design Chartwell Books, page 89 for two comparable enamel plaques by Varley. 560. A Liberty & Co pewter coupe designed by Archibald Knox, model no. cast and pierced with berried panels, with later green glass liner stamped marks, 13.5cm. high £300-500 560 561 561. A Liberty & Co polished pewter vase designed by Archibald Knox, model no.0227, flaring cylindrical form, on tripod foot, cast in low relief with pendulous flower stems stamped number 24.5cm. high £300-500 Literature Victor Arwas Art Nouveau From Mackintosh to Liberty Papadakis, page 126 for a variation of this vase in silver. 562. A pair of Liberty & Co Tudric Pewter twin-branch candlesticks designed by Archibald Knox, model no. 0530 cast in relief with berried foliage, the base similarly cast and pierced, with loose sconces stamped marks, 28cm. high £2,500-3,500 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 217 for a comparable pair of candlestick illustrated Victor Arwas The Liberty Style, Rizzoli New York, catalogue number 37 for a comparable candlestick. 562

107


563. A Liberty & Co English Pewter jug designed by Archibald Knox, model no.0279, cylindrical form, cast in low relief with heart motif and a band of green and blue enamelled heart motif, stamped marks, 14.5cm. high £150-200

564. A Liberty & Co Tudric Pewter floating bowl designed by Archibald Knox, model no.0230, on three loop feet, cast in low relief with foliate roundel design, stamped marks, 27cm. diam. £300-500

564 563

565. A Liberty & Co English Pewter basket designed by Archibald Knox, model no0359, elliptical form with over-slung handle, cast and pierced with stylised foliage panels, stamped marks, 23.5cm. wide £80-120

566. A Liberty Tudric Pewter and enamel bowl designed by Archibald Knox, model no.0535, elliptical form, cast and pierced with panels of Art Nouveau foliage sprays, the well enamelled blue and green stamped marks, 25.5cm. wide £300-500

566

565

567. A Liberty & Co pewter vase designed by Archibald Knox, bombe form on three scroll feet, cast in low relief with whiplash berried foliage unmarked 11cm. high £150-200

568. A Liberty & Co Tudric Pewter vase designed by Archibald Knox, model no.0288, cast in low relief with Art Nouveau scrolling foliage tendrils, on four loop feet stamped marks, 7.5cm. high £100-200

568

567

569. A modern Liberty & Co silver photograph frame, rectangular set with two blue and green enamel roundels, with velvet mounted back and easel support, stamped marks, Sheffield 1988, 22.5 x 17cm. £100-200 Provenance Albert E Wade collection.

570 569

108

570. A set of Liberty & Co silver mounted butter knives, the handles cast in relief with berried foliage, in original silk-lined Liberty presentation box stamped marks, Birmingham 1912 18cm. long £150-250


571. A Liberty & Co Cymric silver vase, slender trumpet form on flaring foot, stamped in low relief with scroll design, stamped marks, Cymric Birmingham 1903 17.5cm. high, weight approx. 5.5oz. £400-600 571

572. A William Hutton & Sons silver and enamel photograph frame, cast in low relief with stylised foliate panels, enamelled green and blue, on wood frame with easel support, stamped mark London 1903 13cm. high £400-500 Literature Victor Arwas, Art Nouveau From Mackintosh to Liberty Andreas Papadakis, page 162 for a comparable frame by William Hutton & Sons. 572

573. A Liberty & Co Cymric silver and enamel photograph frame designed by Archibald Knox, model no.5292, rectangular form with easel back, cast in low relief with foliate roundels enamelled in green and blue, set with tiny turquoise and pearl studs stamped marks, Birmingham 1905, 14cm, high £5,000-7,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 230 for a comparable example with the same model number. 573

109


574. A Liberty & Co silver and enamel napkin ring, model 5395, cast in low relief with a stylised tree, enamelled green and blue stamped marks, Birmingham 1916 5.5cm. wide £150-200

575. A pair of Liberty & Co silver and enamel hairbrushes designed by Archibald Knox, model no. 5692, each with four Celtic knot panels enamelled in shades of green and blue stamped marks, Birmingham 1916, 26.5cm. long £250-350 574

575

576. A pair of Liberty & Co enamelled silver spoons designed by Archibald Knox, simple bowl with slender stem and pierced foliate terminal enamelled blue and green, and a electroplate and enamel matchbox cover stamped marks to spoons 13cm. long £100-200 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 213 for a comparable spoon illustrated Provenance Albert E Wade collection.

577

576

577. A Liberty & Co Cymric silver and enamel brooch designed by Archibald Knox, set with abalone shell, cast in low relief with foliate repeat enamelled bluegreen stamped marks, Birmingham 1902 3cm. diam. £200-300 Literature Cymric Silver, Liberty catalogue illustrated page 100-101 catalogue number 9.

579

578. A set of six Liberty & Co silver coffee spoons, each with coloured stone coffee bean finial, in original fitted case stamped marks Birmingham 1928, 9.5cm. long £100-200

579. A Liberty & Co silver card case designed by Archibald Knox, rectangular form with hinged cover, applied with silver roundel set with a turquoise stone, stamped marks Birmingham 1904 8.5cm. long £200-300

110

578


580

580. An attractive set of Liberty Cymric silver and enamel buttons designed by Archibald Knox, in original presentation case, each button cast in low relief with Art Nouveau whiplash design, enamelled orange, green and blue stamped marks, Cymric Birmingham 1900, each button 3cm. diam. ÂŁ300-500 Literature Stephen A Martin Archibald Knox, Artmedia, page 271 plates 1-4 for comparable sets.

580 boxed

581. A Liberty & Co gold mounted moonstone pendant designed by Archibald Knox, the wirework frame cast with simple foliate tendrils, set with large polished moonstone unsigned 3cm. high ÂŁ500-800 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 67 for an original Liberty & Co advert illustrating a similar pendant necklace.

581 582. An attractive Murrle Bennett silver and enamel brooch designed by Archibald Knox, model no.1309, stylised honesty with whiplash tendrils, enamelled in colours stamped marks, silver 5cm.wide ÂŁ800-1,200 Provenance Didier Antiques Private collection Literature Stephen A Martin Archibald Knox Artmedia, page 267 for a comparable example. 582

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584 583

583. A Liberty & Co Cymric silver and enamel Coronation spoon designed by Archibald Knox, with cast knopped stem, the bowl inscribed AD 1902 E VII, enamelled green and blue stamped L & Co Cymric Birmingham 1901, regd 391479, 10.8cm. long £400-600 Literature Stephen A Martin, Archibald Knox ARTMEDIA, page 212 for a comparable spoon. 584. A Liberty & Co Cymric silver and enamel Coronation spoon designed by Archibald Knox, the stem cast and pierced with Celtic Knot motif, the bowl with additional knot motif, cast crown and inscribed AC ER VII, enamelled red and green stamped L & Co Birmingham 1901, regd 391476, 16.5cm. long £400-600 Literature Stephen A Martin, Archibald Knox ARTMEDIA, page 212 for a comparable silver spoon Adrian Tilbrook The Designs of Archibald Knox, page 126 figure 107 for another example illustrated. 585. A large Liberty & Co Cymric silver Coronation spoon designed by Archibald Knox, the stem cast with flanking panels of Celtic knot motif, the bowl inscribed Anno Coron E.R. VII inside knot border, stamped L & Co Cymric Birmingham 1901, regd 391478, 20cm. long. £1,000-2,000 Literature Stephen A Martin, Archibald Knox ARTMEDIA, page 212 for a comparable spoon Adrian Tilbrook The Designs of Archibald Knox, page 127 figure 109 for another example illustrated. Liberty’s 1875-1975, V&A Museum catalogue page 58 figure D81C for a comparable spoon. 585 586. A Liberty & Co Cymric silver Coronation spoon designed by Archibald Knox, the stem cast and pierced with a Celtic knot motif, the bowl cast in low relief with Celtic Knot and Anno Coron ER VII, stamped marks, Birmingham 1901, 16cm. long £1,000-1,500 Literature Judy Rudoe Decorative Arts 1850-1950 British Museum Catalogue page 219 catalogue 133 for a comparable example. 587. A rare Liberty & Co Cymric silver fork designed by Archibald Knox, the slender stem cast in relief with a Celtic knot. the handle set with a turquoise stone stamped L & Co mark, Cymric, Birmingham 1903 18.5cm. long £2,000-3000 Literature The Pursuit of Style - John Jesse at Kensington Church Street, Sotheby’s London, 22nd February 2006 lot 50 for an identical fork illustrated. Stephen A Martin Archibald Knox, Academy Editions, page 115 for a comparable fork.

587

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586


Liberty Design December 2014 Closing date for entries 10th October

ENQUIRIES Michael Jeffery | Tel: +44 (0)1722 424505 | michaeljeffery@woolleyandwallis.co.uk

Liberty and Arts and Crafts valuation day Friday 3rd October at 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU


20th Century Design Wednesday 10th September 2014 Closing date for entries 16th July

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk

An original artwork on paper by Dodo Burgner. Estimate: ÂŁ400 - ÂŁ600


British Art Pottery Wednesday 3rd December 2014 Closing date for entries 10th October

A fine Lucie Rie bottle vase, purchased from the artist directly. Estimate: ÂŁ3,000 - ÂŁ5,000

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk


Tribal Art Thursday 19th June 2014

ENQUIRIES Will Hobbs Tel: +44 (0)1722 339752 willhobbs@woolleyandwallis.co.uk

A Chokwe Chihongo mask, 23.5cm high. Provenance: formerly the collection of Max Alpert, Berkeley, California. Estimate: ÂŁ2,000-ÂŁ3,000


Fine Porcelain & Pottery Tuesday 9th September 2014 Entries are now being accepted for this sale

A rare Worcester ‘Scratch Cross’ mug from the Raymond Dennis Collection. Sold for £41,500

ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk


Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification:

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

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CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.


PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

APS

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

Mailboxes

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

Pack & Send

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

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

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

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

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

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

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

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

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

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

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

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


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

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

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


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

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

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

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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


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

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

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

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

Woolley & Wallis valuations are accepted by all leading insurance companies. DIRECTIONS TO OLD SARUM

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Furniture, Works of Art, Clocks & Tribal Art. 2 Danebury Court, Old Sarum Park, Salisbury, Wilts SP4 6EB

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VAT No: 631 9832 29 Design & Production by Jamm Design Ltd. Tel. 020 7424 7830 www.jammdesign.co.uk

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU Registered in England No. 2998482

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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DIRECTIONS FROM WOOLLEY & WALLIS CASTLE TO SALT LANE TOSTREET CASTLE STREET & WALLIS WOOLLEY FROM DIRECTIONS

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TESCO Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.


WOO L LE Y & WA L LI S Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Arts & Crafts

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 18th June 2014 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.

Signature

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

www.woolleyandwallis.co.uk


AUCTION CALENDAR TRIBAL ART & ANTIQUITIES ARMS & ARMOUR 19th June Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 8th July 7th October Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 22nd & 23rd July 16th October – A private collection of 15th-17th century medals 21st & 22nd October Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 24th July 23rd October Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 30th July 29th October Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 9th September – Fine Porcelain & Pottery 25th November – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 10th September – 20th Century Design 3rd December – British Art Pottery Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 24th September – Oils, Watercolours, Prints & Miniatures 10th December – Part 1: Fine Old Masters & 19th Century Part 2: 20th Century & Contemporary Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk ASIAN ART 12th & 13th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk


www.woolleyandwallis.co.uk

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Woolley & Wallis  

Arts & Crafts | Wednesday 18th June 2014

Woolley & Wallis  

Arts & Crafts | Wednesday 18th June 2014

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