The Gates of Gaza (study for The Beginning of the World). Pencil and white highlighter on brown paper, annotated by Georgiana Burne-Jones
Kinghams Auctioneers
ENQUIRIES
Michael Jeffery 01608 695695
michael@kinghamsauctioneers.com
FINE ARTS AND CRAFTS
To be held at: 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ
WEDNESDAY 10 JUNE 2026 AT 10AM – Lots 1-210
THURSDAY 11 JUNE 2026 AT 10AM – Lots 211-579
Viewing
Monday 8 June – 10am to 5pm
Tuesday 9 June – 10am to 5pm
Wednesday 10 June 10am to 5pm
Thursday 11 June 9am to 10am
Day of the Sale
Auction scheduled to start at 10am with bidding in the room and live bidding on the internet bidding platforms. Telephone bids and commission bids are accepted and potential bidders will need to be registered with us before the sale.
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Catalogue £10.00 (£14.00 by post)
Cover Illustrations:
Front: lots 40, 509 – Back: lot 92 – Inside front: lots1-22 – Inside Back: lot 54
Kinghams Auctioneers Ltd
10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ NB. Please telephone to arrange collection.
Adrian Rathbone Associate Director and Senior Valuer
Michael Jeffery Associate Director and 20th Century Design Specialist
John Keightley Associate Director Senior Valuer and Cataloguer
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MARTIN WARE
THE AVERY COLLECTION OF MARTIN WARE
1 A tall Martin Brothers stoneware vase by Robert Wallace Martin, dated 1887, slender, baluster form, incised and painted with panels of birds flying and perched by blossom branch, incised scrolling classical foliage with dragon head terminals, between classical bands to neck and foot, in chestnut, tan and white on a mushroom ground, incised 61887, R W Martin & Bros, London & Southall, 28.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£500-700
2 A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1887, slender, shouldered form with flaring neck, incised with classical figures amongst scrolling acanthus leaf and swags, the neck and foot with bands of geometric decoration, in buff on a chestnut brown ground, incised 6-1887 R W Martin & Bros, London & Southall, 30cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan. £400-600
3 A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1905, shouldered, cylindrical form with collar rim, incised with thistle teasels, in tan and green, highlighted in blue on a mushroom ground, incised 11-1905 Martin Bros, London & Southall, 21.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
Literature
Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 121, fig.189 this actual vase illustrated. £600-1,000
4 A Martin Brothers stoneware orchid vase by Edwin & Walter Martin, dated 1891, shoulderded, ovoid form with flaring neck, incised and painted with a band of frilled and slipper orchids, a butterfly perched on a stem, in tan and mushroom on a dark chestnut ground, incised 10-1896 Martin Bros, London & Southall, 17.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan. £400-600
5 A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1903, ovoid with collar rim, incised and painted with butterflies flying above wild flowers, in ochre and white on a tan ground, incised 1-1903 Martin Bros, London & Southall, 9.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan. £200-400
6 A Martin Brothers stoneware dragon vase, dated 1902, swollen, square section, incised and painted with a ferocious dragon to each side, in chestnut, brown and green, highlighted in white, on a mushroom ground, incised 9-1902, Martin Bros, London & Southall, factory fill to one side, 28cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor. Southall Library, on loan.
Literature
Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 120, fig.187 this actual vase illustrated.
£800-1,200
7 A Martin Brothers stoneware bird vase by Edwin & Walter Martin, dated 1907, tapering cylindrical form with tapering, buttressed neck, incised and painted with anthropomorphic birds standing amongst tall grasses, in ochre and white on a buff ground, incised 6-1907 Martin Bros, London & Southall, 12cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor. Southall Library, on loan.
Literature
6 both sides
Malcolm Haslam, The Martin Brothers Potters, Richard Dennis Publications, page 89 figure 123 for an original watercolour design signed by Edwin Martin of near identical birds.
£600-1,000
8 A Martin Brothers stoneware dragon vase by Edwin & Walter Martin, partially dated, baluster form, incised with three ferocious dragons, brown on a mottled chestnut ground, with white highlights, incised 190 Martin Bros, London & Southall, 15.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor. Southall Library, on loan.
£400-600
9 A rare Martin Brothers stoneware advertising plaque by Robert Wallace Martin, rectangular, modelled in relief with a Wheel boy, Bench boy and Potter at work in the Southall Pottery, the large jug on the floor by the potter incised Southall Pottery, glazed in shades of ochre and mushroom, incised Southall Pottery Southall, Show Room Holborn, top left, signed R W Martin Sc. and titled to base, firing cracks, crack to wheel boys foot, 40.5cm. wide.
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor. Southall Library, on loan.
Literature
Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 79, fig.98 an identical example of this plaque illustrated. £1,500-2,500
10 A Martin Brothers stoneware grotesque by Robert Wallace Martin, the anthropomorphic figure modelled standing, covered in a burnt umber glaze, incised to back and Martin London to base, one arm missing 36.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
£400-600
11 A Martin Brothers stoneware John Barleycorn flask by Robert Wallace Martin, dated 1911, modelled in relief with a smiling face, his hair with ears of corn, details highlighted in black and white, incised Martin Brothers London & Southall, 4-1911 (under paper collection label), 16cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£500-800
12 A Martin Brothers stoneware grotesque tankard by Robert Wallace Martin, dated 1912, cylindrical, modelled in low relief with a smiling face to either side, highlighted in black and white, incised to base R W Martin & Bros, London & Southall, 1.11.1912
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£400-600
13 The Prodigal Son a rare Martin Brothers terracotta figure by Robert Wallace Martin, modelled standing in deep thought, beside a tree stump next to a pig, the oval base inscribed His faith would have filled his belly, with some white highlights, incised to base Martin Bros London & Southall, loss to pig ear, 24.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£600-1,000
14 A Martin Brothers stoneware Grotesque vase by Edwin and Walter Martin, dated 1911, ovoid form with flaring top rim, applied with two modelled reptile handles, each biting the top rim of the vase, the vase incised with turbulent flowing water design, glazed green highlights on a matt brown ground, incised 11-1911 Martin Bros London & Southall, 21cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor. Southall Library, on loan.
Literature
Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 144, figure 226 for this actual vase illustrated.
£2,000-3,000
15 A Martin Brothers stoneware egg cup, dated 1909, with modelled tray glazed oatmeal and ochre with blue bands to the rim, incised 1-1909 Martin Bros London & Southall, 9.5cm. diam.
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£40-60
16 A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1902, shouldered form with flaring rim, incised and painted with butterflies and mayflies flying amidst foxglove flowers, in white and ochre on a tan ground, incised 9-1902, Martin Bros, London & Southall, stress crack to body, 24.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£200-400
17 A Martin Brothers biscuit fired stoneware Aquatic jug by Edwin & Walter Martin, dated 1895, shouldered, square section, incised and painted with grotesque fish and eels swimming amongst waterweed in sepia and green on a buff ground, incised 10-1895 Martin Bros, London & Southall, 16cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£200-400
18 A Martin Brothers stoneware biscuit fired Aquatic vase by Edwin & Walter Martin, dated 1913, swollen form gourd form, incised and modelled with grotesque scaly fish swimming with eels and a jelly fish above waterweed, incised 12-1913 Martin Bros, London & Southall, 15cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£200-400
19 A Large Martin Brothers stoneware Aquatic jug, ovoid form with modelled strap handle, incised and modelled with large grotesque fish swimming amongst waterweed glazed ochre and green on a green-grey ground, incised Martin Brothers London & Southall, 21cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£1,000-1,500
20 A Martin Brothers Aquatic stoneware vase by Edwin & Walter Martin, dated 1907, cylindrical with hexagonal rim, modelled in low relief and incised with scaly fish swimming amongst waterweed, in ochre and green on a blue ground, incised 10-1907 Martin Bros, London & Southall, 8.5cm. high, 11cm. wide.
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£400-600
21 A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1907, shouldered, cylindrical form with inverted top rim, incised and painted with four frogs swimming below waterlily pads, with water-snails and a small fish, in ochre on a buff ground with blue and green highlights, incised 101907 Martin Bros, London & Southall, fine stress lines to top rim, 11.5cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£400-600
22 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1901, shouldered form with solifleur neck, glazed tan with green spots, incised 11-1901 Martin Bros, London, frit chips to top rim, 13cm. high
Provenance
Samuel Avery thence by descent via William and Mary Avery to Michael Avery and then to the vendor.
Southall Library, on loan.
£150-200
23 Catalogue of an Extensive Collection of Martin Ware - The Property of R W Martin - Sotheby, Wilkinson & Hodge, 24th day of October, 1924, an auction catalogue listing the remaining stock of finished pieces of the pottery, 25 x 15.5cm. £150-250
24 A Martin Brothers stoneware vase, ovoid, incised with scrolling foliage in shades of blue and chestnut, and an early Martin Brothers vase by Robert Wallace Martin incised with bands of decoration, incised Martin London & Southall, 6cm. high (2) Provenance
Private collection of Martin Ware. £100-200
25 A large Martin Brothers stoneware architectural tile panel by Robert Wallace Martin, dated 1879, rectangular, incised with a vase of classical Persian flowers, two serpents climbing the stems, an owl perched at the top with wings open, in blue on a buff ground, incised R W Martin Southall 1879, losses and firing flaws, 83 x 35cm. £600-1,000
26 A Martin Brothers stoneware tile, dated 1895, modelled in low relief with ivy leaves on a textured ground, glazed in shades of ochre on a buff ground, incised Martin Bros, London & Southall, 1895, 15.5cm. square Provenance
Richard & Hilary Myers Collection. £150-250
27 A Martin Brothers stoneware mantel shelf by Robert Wallace Martin, circa 1890, cornice form modelled in high relief with trailing and fruiting vine, from a central Bacchus mask, in three sections, incised marks R W Martin London, 172cm. long, 25.5cm. deep, 13.4cm. high (3) £3,000-5,000
28 A Martin Brothers stoneware Night and Day mantel clock by Robert Wallace Martin, dated 1878, numbered 75, architectural form, the shaped body with scrolling foliate capitals supporting pitched roof, the panels incised with a nightingale singing before a starry sky, a bird making a nest and a Martin bird perched before the setting sun, in blue, green and tan, circular enamelled metal dial with Roman numerals, the hour hand with M motif, with movement and pendulum, incised 75 R W Martin Southall, 5-1878, minor firing flaws, 30cm. high (2)
Literature
Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 40-41 figures 38, 39 and 40 for comparable clock cases illustrated.
£3,000-5,000
29 A Martin Brothers stoneware Imp Musician figure, dated 1891, modelled seated, playing a tambourine, glazed in shades of mushroom, on ebonised wood base, incised to back of tambourine R W Martin & Bros, London & Southall, and 9-91, foot and tambourine hand restuck, 13cm. high
Provenance
Arts and Crafts, Christie’s South Kensington, 21st November 2006, lot 105. Private collection.
Exhibition
Fantasy and the Grotesque, Kinghams Auctioneers, 27th March-1st April 2023, catalogue number 89.
£1,000-1,500
30 A Martin Brothers stoneware Imp Musician figure, dated 1891, modelled seated, singing from a hymn book, glazed in shades of mushroom, on ebonised wood base, incised to back of hymn book R W Martin & Bros, London & Southall, and 9-91, 11.5cm. high
Provenance
Arts and Crafts, Christie’s South Kensington, 21st November 2006, lot 102. Private collection.
Exhibition
Fantasy and the Grotesque, Kinghams Auctioneers, 27th March-1st April 2023, catalogue number 91.
£1,000-1,500
31 A Martin Brothers stoneware Imp Musician figure, dated 1891, modelled seated, playing a drum, glazed in shades of mushroom, on ebonised wood base, incised to front of drum R W Martin & Bros, London & Southall, and 1891, 12.5cm. high
Provenance
Arts and Crafts, Christie’s South Kensington, 21st November 2006, lot 107. Private collection.
Exhibition
Fantasy and the Grotesque, Kinghams Auctioneers, 27th March-1st April 2023, catalogue number 88.
£1,000-1,500
32 A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1881, shouldered form, incised and painted with daffodils, in white, and chestnut brown on a buff ground, between geometric bands, incised 7.4.81, R W Martin & Bros, London & Southall, 22.5cm. high £300-500
33 A Martin Brothers stoneware Peruvian vase by Robert Wallace Martin, dated 1882, ovoid with three flower spouts to the neck, incised to the body and necks with large stylised flowers in blue and green on a chestnut ground, incised 3.7.82 Martin London, 20.5cm. high
Provenance
Ceramic Design from 1860, Bonhams, 16th March 2011, lot 70. £800-1,200
34 A Martin Brothers stoneware bird vase, shouldered form, incised and painted with ducks flying and swimming around a river amongst grasses, in white and brown on a mottled brown ground, incised Martin London & Southall, 10cm. high
Provenance
Decorative Art & Design, Bonhams, 4th September 2019, lot 234. £200-300
35 A Martin Brothers stoneware flagon by Robert Wallace Martin, dated 1888, shouldered, square section with loop handle, incised with panels of finches flying above wild flowers in blue green and brown on a mushroom ground, the shoulder and edges with incised scale decoration, incised 10-88 R W Martin & Bros, London & Southall, 24.5cm. high
Provenance
The Beulah collection.
£700-1,000
36 A Martin Brothers stoneware vase by Robert Wallace Martin, slender baluster form, incised and painted with a flock of finches flying and perched on prunus boughs, in shades of blue and brown on a mushroom ground, the neck and base with incised geometric bands, incised 4-1887 R W Martin & Bros, London & Southall,professional restoration to base of neck, 35.5cm. high
Provenance
The Beulah collection.
£400-600
36A An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1881, shouldered, baluster form, incised with stylised flower and foliage stems inside geometric panels, in blue, green and ochre, incised 15.3.81, R W Martin, London & Southall, 23cm. high £350-450
37 A Martin Brothers stoneware stand by Robert Wallace Martin, circular, incised with a simple band of stylised foliage in blue on a buff and ochre ground, a Martin Brothers stoneware twin-handled ovoid oil lamp, a Martin Brothers stoneware oil lamp reservoir, a Martin Brothers disc, an early Martin Brothers stoneware mug and a modern gourd vase, possibly continental, incised R W Martin & Bros London & Southall, mug missing handle, damages, 15cm. diam. (6) £300-500
38 A Martin Brothers stoneware grotesque spoon warmer by Robert Wallace Martin, dated 1882, modelled as a scaly fish with gaping mouth its tail coiled to form a handle, glazed in shades of green and blue on a buff ground, incised 6.1.82 Martin London & Southall, chip to tail-fin, repairs, 19.5cm. long, 11cm. high £6,000-10,000
39 A rare Martin Brothers stoneware Grotesque sculptural jar and cover by Robert Wallace Martin, dated 1900, modelled as a seated, grotesque anthropomorphic creature with long bony fingers clutching its breast, looking forward with content, smiling face, matt glazed with white and black highlights, painted to neck and incised to base R W Martin & Bros, London & Southall, 3 1900, fine stress hairline to rim of head, 13.5cm. high, 14cm. wide. (2)
Literature
Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 150 figure 240 for a comparable figure. Robert Wallace made a series of these matt and gloss glazed figures mainly in the year 1900, later glazed examples exist dated for October the same year
£15,000-20,000
40 A Martin Brothers stoneware bird jar and cover sculpture by Robert Wallace Martin, dated 1891, with sharp talon claws, ovoid body with tucked in wings, slightly open broad beak and partially open eyes, glazed green, blue and brown with white highlights, on ebonised wood base, incised Martin Bros, London & Southall, 1 -1891, losses to collar, exhibition label to base, 28.5cm. high
Provenance
Decorative Arts, Christie’s King Street, 1974. Private collection, On loan to Leicester Museum & Art Gallery 1979-2006.
Exhibited
Robert Wallace Martin Potter Sculptor Artist, Woolley and Wallis, curated by Michael Jeffery, 31-22nd June 2023, exhibition number 154. £10,000-15,000
41 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, swollen, square section modelled with swag ribs, covered in a buff glaze, the rim and interior chestnut brown, incised 1-1904 Martin Bros London & Southall, 8cm. high £200-400
42 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, flattened disc form with modelled handles and cylindrical neck, covered in a streaked blue glaze, incised Martin Bros, London & Southall, flat glaze frit to top rim, 8cm.high £200-400
43 A large Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1894, ovoid form with everted rim, incised impressed and incised with columnsof seeds glazed chestnut and tan, incised 9-1894, Martin Bros, London & Southall, professional restoration to top rim, 23cm. high
Provenance
British Art Pottery, 14th December 2017, lot 292 . Private collection. £200-400
44 A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated possibly 1896, shouldered ovoid form, incised with vertical columns glazed green and buff, incised 6-96 Martin Bros London & Southall, re-stuck, 4.5cm. high £200-400
45 A Martin Brothers stoneware Aquatic miniature vase by Edwin & Walter Martin, dated 1900, swollen square section, incised to each face with a fish swimming, in blue and green on a buff ground, incised 11-1900 Martin Bros London & Southall, 5cm. high
£500-1,000
46 A tall Martin Brothers stoneware Aquatic Frog vase by Edwin & Walter Martin, dated 1911, shouldered, square section modelled in low relief to each side with frogs amongst waterweed, in blue and green incised 4-1911 Martin Bros London & Southall, minor glaze flakes, 26.5cm. high
£500-1,000
47 A rare Martin Brothers earthenware Aquatic ewer by Edwin & Walter Martin, dated 1895, shouldered, square section, painted with scaly fish, eel and a jellyfish swimming amongst waterweed in brown and green on a tan ground, incised 12 1895 Martin Bros London & Southall, tiny glaze nick to spout, 18.5cm. high
£1,000-2,000
48 An Alfred George Hopkins Lambeth studio pottery ewer, shouldered form with angular handle and spout, covered in a mottled blue high-fired glaze, and a twin-handled bowl similar, stamped mark to ewer and annotated prices, 8cm. high (2)
Provenance
Private English collection, (purchased together).
Catalogue notes
Alfred G Hopkins (1884-1940), his father Alfred Isaac Hopkins, (both glaze scientists) and his brother Henry Loveday (a master potter) all worked at the Doulton Lambeth factory, until the 1930s. Alfred G Hopkins was an important studio potter, teacher and lecturer. He gave a lecture on ‘William De Morgan, his life, work and influence’ on March 12th 1928. £200-300
49 The Works of George Tinworth by Edmund Gosse, a hardback book, published by Fine Art Society Ltd, 1883, 40.5 x 26cm. £60-100
50 A small Royal Doulton stoneware pot pourri vase by Maud Bowden, shouldered form with pierced bands, modelled in low relief with foliage in brown on a blue ground, impressed factory mark, incised MB monogram, 9cm. high £50-60
51 An unusual Doulton Lambeth stoneware oil lamp base by Frank Butler, dated 1883, swollen form, impressed and painted with fronds of fern leaf, glazed in shades of green on a pale green textured ground, and three other Doulton stoneware lamp bases, a cover and a glass reservoir, impressed factory mark incised monogram to main, 28cm. high (5) £60-100
52 A Doulton Lambeth stoneware oil lamp base, incised and applied with a band of scrolling foliage with beadwork, between bands of applied and incised stylised flowers and foliage, in brown, green and blue on a buff ground, another decorated in low relief with panels of birds perched in trees, and Japanese mon, another oil lamp base similar, two covers, two Doulton Lambeth stoneware oil reservoirs by Edith Lupton and another Doulton reservoir, main lamp unmarked, others various impressed and incised marks, 31.5cm. high (9) £60-100
53 A Doulton Lambeth stoneware model of a carpenter’s tool bag designed by to George Tinworth, on stepped, domed base, glazed in shades of brown and tan, impressed factory mark, minor loss to saw handle, 12.5cm. wide
Literature
Desmond Eyles & Louise Irvine, The Doulton Lambeth Wares, Richard Dennis, page 58 for an example illustrated. £100-200
54 An Important pair of Doulton Lambeth large stoneware Angel Figures representing Art and Courage by George Tinworth, one dated 1897, almost certainly made for the the Paris 1900 International Exhibition, both modelled in white seated on a deep blue glazed socle plinth, one angel holding an artist’s palette, emblematic for Art, with Queen Victoria’s portrait in low relief, dated 1897, the other angel holding a sword, emblematic for Courage, GT monogram to one, old damages, 68cm. high (2).
Provenance
Private English collection, acquired in 1967-68 in Lambeth, London.
Literature Peter Rose, George Tinworth, Harriman Judd Collection, Volume 1, private press, discusses the fountain and angel figures above for the Paris 1900 Exhibition with dates 1897-1899.
Catalogue notes
There are examples of such fountains manufactured by Doulton including in Kelvingrove Park, Glasgow produced to celebrate Queen Victoria’s Golden Jubilee in 1887. Tinworth did a small number of architectural fountains which also include a drinking fountain in the Victoria Hotel From the written descriptions it is likely these two angels are two of the six angels from the Paris Exhibition fountain.
The Doulton Pavilion - Lambeth Art Exhibits: ‘Lovers of art, especially ceramic art have had the opportunity of inspecting at Doulton’s…. the beautiful exhibits which the firm will send to the Paris Exhibition…. Within an annexe of the pavilion at Paris, it is intended to erect some examples of the work of Mr. George Tinworth. The most prominent will be the large fountain in Doulton ware… This stands 12ft 6in high, within a circular basin 12ft in diameter. The colouring has been kept very simple, being mainly a contrast of deep blue and white. Around the lower part are six seated angel figures each with an emblem. They represent Truth, Art, Hope, Courage, Industry and Music. Above, in various tiers, are modelled kingfishers and storks. Crowning the whole is a group of children with water-urns, guided and controlled by a standing female figure’ The South London Press, March 17, 1900, (page 7). £5,000-10,000
55 A Doulton Lambeth Crown baluster vase, slender form with knopped neck, painted with stems of Iznik foliage in shades of turquoise and white, highlighted in gilt on a blue ground, printed factory mark, professionally restored, 33.5cm. high
£100-200
56 A Doulton Lambeth stoneware vase by Francis Lee, shouldered form, incised with a band of stylised blue clematis flowers on a scrolling band, between carved borders, in blue, ochre and green, and an Aesthetic Movement Doulton Lambeth Faience vase tubeline decorated with ducks flying above water weed, in colours impressed factory marks, incised monogram FEL, chip to foot rim, Aesthetic vase restored rim, 28cm. high (2)
£150-200
57 A Royal Doulton Chang stoneware ‘brush washer’ dish by Charles Noke and Harry Dixon, irregular, circular form, covered in a running, crackled white glaze over flambe red with yellow splashes, painted Doulton Chang mark, facsimile Noke signature and HN monogram, 12cm. wide
£200-300
58 A Doulton Lambeth faience vase, slender, shouldered form, painted with flag iris and apple blossom, in colours on a sky blue ground, and a another Doulton Lambeth Faience vase painted with flowers on a blue ground printed factory marks, second vase restored top rim, 40cm. high (2)
£200-300
59 An unusual Minton Japoniste jardiniere, shouldered ovoid form, modelled in low relief with a bird perched amongst chrysanthemum, in gilt on a matt bronze textured ground, impressed factory marks, 20.5cm. high
£200-300
60 A large Doulton Lambeth stoneware bottle vase by George Hugo Tabor, dated 1884, incised with scrolling flowers and foliage sprays in blue and green on a chestnut brown ground, impressed factory marks, incised monogram,minor chips to foot rim, 49.5cm. high
£150-200
61 A Royal Doulton stoneware rabbit designed by Mark V Marshall, glazed in shades of blue and ochre, three other Royal Doulton stoneware rabbits glazed in colours and a Royal Doulton stoneware bird figure designed by mark V Marshall, impressed marks, 5cm. wide (rabbits), (5)
£150-200
62 A rare Doulton salt-glaze stoneware rodent paperweight by Mark V Marshall, the grotesque creature modelled on haunches with tail wrapped back over its body, glazed, another Royal Doulton stoneware grotesque paperweight by Mark V Marshall and an inkwell by Mark V Marshall modelled a fishlike creature when turned it depicts a stylised human face, glazed blue, impressed marks, 8.5cm. wide (3)
Literature
The Doulton Lambeth Wares, Desmond Eyles & Louise Irvine, Richard Dennis Publications, page 258 for these three models illustrated.
£150-200
63 An Aesthetic Movement Ashworth’s Pottery charger, printed in sepia with a portrait of Ellen Terry as Portia from The Merchant of Venice, in medieval costume, impressed factory marks, 37cm. diam.
£100-200
64 An Aesthetic Movement wall charger by the Countess of Gosford, probably Minton, painted with a finch flying past grasses and blossom, in colours on a black ground, impressed factory marks, painted Countess of Gosford, 39cm. diam.
£100-200
65 A Minton Seven Ages of Man wall charger by Henry Stacy Marks, titled ‘Is second childishness and mere Oblivion’, painted with a medieval scene of an old man seated in an armchair with a standing lady behind, watching a young girl picking flowers from the border, in colours, the sky with gilt decoration, impressed factory marks, painted inscription, paper label, 40cm. diam.
£400-600
66 A Minton Aesthetic Movement plate, painted to the well with finches perched on a prunus bough, inside a border of bird mon roundels on a scale ground, in colours, a Minton Game series plate designed by W S Coleman, printed and painted to the rim with a stylised bird amidst fern and erica sprays, the well three feeding tits, a Minton plate by CRJ painted with a classical maiden with white doves possibly Aphrodite, a Minton’s King Lear plate designed by John Moyr Smith and three other Minton Aesthetic Movement plates, impressed marks, minor restoration to rim of main plate, 23.5cm. diam. (7)
Literature
Masterpieces of Minton, Bonhams, London, 23rd June 2002, lot 295 for two plates from the Game series illustrated. £100-200
67 An Aesthetic Movement Service Rousseau soup bowl and two plates designed by Eugene Rousseau and Felix Bracquemond, first edition, circa 1868, the soup bowl printed and enamelled with a butterfly, bee and flower stem in colours, the plates with a large fish, insects and convulvulus flowers, all inside blue painted rim, printed Creil L M & Cie Montereau Modele E Rousseau, Paris mark, 24.5cm. diam. (3)
Catalogue notes
This model was shown in the Universal Exhibition, Paris, 1867. The motifs were taken from Japanese prints including the Mangwa of the artist, Hokusai.
£200-300
68 A large Aesthetic Movement Minton wash set possibly designed by William Stephen Coleman, model D.1592, comprising single-handled jug and twin-handled basin, printed and painted with a robin bird and a butterfly flying past lily stems, in pink and green on a white ground, printed and painted factory marks, crack to basin 34.5cm. high (2)
£150-200
69 A large Brown Westhead and Moore Aesthetic Movement charger in the manner of William S Coleman, painted with a young woman holding a pipe with a bubble above a young baby, in an Aesthetic interior, in colours, inside laurel border, impressed factory marks, painted T Brooke 11 signature, stress hairlines and old repair to rim, 62cm. diam.
£300-500
THE RICHARD AND HILARY MYERS COLLECTION OF WILLIAM MORRIS TILES
70 The Works of Geoffrey Chaucer a Facsimile of the Kelmscott Chaucer, with illustrations by Edward BurneJones, published by The World Publishing Company, 1958, ‘The Beginning of the World Twenty Five Pictures by Edward Burne-Jones’, published by Longmans Green & Co, 1903, ‘The Art of William Morris’ Art Journal 1899, published by J S Virtue & Co, and ‘William Morris - The Story of Cupid and Psyche’ Clover Hill Editions, published 1974, in folio, (4) Provenance
Richard and Hilary Myers.
£150-250
71 Pan Pipes a Book of Old Songs with illustrations by Walter Crane, published by George Routledge and Sons, Walter Crane Picture Book’ comprising The Baby’s Opera, The Baby’s Bouquet, & The Baby’s Own Aesop, published by Frederick Warne, 1900, ‘Cartoons for the Cause’ by Walter Crane, published by The Twentieth Century Press, 1900 and ‘Eight Illustrations to Shakespeare’s Tempest designed by Walter Crane, published by Dallastype Press, 1893, (4) Provenance
Richard and Hilary Myers. £150-250
72 A collection of seventy-nine Thomas Elsley Portland Metal Works advertising postcards, sepia tinted, depicting tile designs, fireplace designs, grates, door furniture, ceiling lights and a wall light, in a modern cover, including tile designs by William Morris and William De Morgan and a fireplace by Charles Francis Annesley Voysey, some dated to the reverse, the backs with prices and details Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 139 figure 237-241 examples illustrated. £100-200
73 A pair of Morris Marshall Faulkner & Co Sussex ebonised ash armchairs possibly designed by Philip Webb, with rush seat, 85.5cm. high, 52.5cm. wide (2) Provenance
Richard & Hilary Myers.
Literature
Linda Parry (edited), William Morris 1834-1896, Victoria & Albert Museum exhibition catalogue, page 160 figure 74 for the range illustrated from Morris & Co’s catalogue. Anna Mason (edited), William Morris, Thames & Hudson, page 199 figure IX.12 for a comparable example illustrated. £400-600
74 A rare and early Morris Marshall Faulkner & Co Hare tile designed by Philip Webb, probably painted by Philip Webb or Kate Faulkner, painted in blue with a seated hare roundel, inside foliage panels in blue on a white tin-glaze, printed Morris & Co mark, paper number label 71, minor losses to edges 13cm. square
Provenance
Tiles, Phillips Auctioneers, 22nd February 1990, lot 204. Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 55 figure 23b, this actual tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 130.
Morris & Company Tiles, Court Barn, 2015.
£1,500-2,000
75 A rare and early Morris Marshall Faulkner & Co Swan tile designed by William Morris, painted with alternate swan and flower stem panels, in blue on a white tin-glaze, unsigned, minor losses to edges 13cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 42 figure 10G, for a comparable tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 130.
Morris & Company Tiles, Court Barn, 2015. £100-200
76 A rare and early Morris Marshall Faulkner & Co Cock tile designed by Philip Webb, probably painted by Philip Webb or Kate Faulkner, painted in blue with a standing cockerel roundel, inside foliage panels in blue on a white tin-glaze, remains of printed Morris & Co mark, paper label number 72, minor losses to edges 13cm. square
Provenance
Tiles, Phillips Auctioneers, 22nd February 1990, lot 204.
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 55 figure 23b, this actual tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 130.
Morris & Company Tiles, Court Barn, 2015.
£1,500-2,000
81 A Morris & Co Artichoke tile designed by William Morris or William De Morgan, Dutch tile, painted in blue on a white tin-glaze, paper exhibition and collection labels, chip to corner, 13cm. square Dutch tile), 15.3cm. (larger tile) (2)
Provenance
Richard and Hilary Myers.
Literature
77 A Morris Marshall Faulkner & Co
Bough tile designed by William Morris, painted with panels of foliage and berried foliage in blue on a white tin-glaze, applied paper exhibition label, 13cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 42 figure 10f this actual tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.89. £150-200
78 A Morris Marshall Faulkner & Co
Bough tile designed by William Morris, painted with panels of foliage and berried foliage in blue/green on a white tin-glaze, applied paper exhibition label, 15cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 101 figure 151 for a comparable tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.89. £150-200
79 A Morris & Co Nine Square Bough tile the design attributed to William Morris or William De Morgan, painted with nine panels of berried foliage and flower stems in green on a white ground, and another similar decorated in blue, paper collection label, 15.5cm. square (2)
Provenance
Richard & Hilary Myers. £150-200
80 A Morris Marshall Faulkner & Co Vine tile the design attributed to May Morris, painted with grape and vine in blue with a yellow chevron border, on a white tinglaze, applied paper exhibition label, 15cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 114 figure 197 this actual tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.126. £200-300
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 105 figure169 this tile illustrated (right) of a two tile panel.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 101.
Small Bough tile designed by William Morris or William De Morgan, painted with alternate panels of foliage and berried foliage in blue on a white tin-glaze, paper exhibition label, 15.5cm. square
Provenance
G. K. Beulah collection (428).
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 101 figure 147 this actual tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.86. £150-200
83 A rare set of Morris Marshall Faulkner & Co
The Season’s tiles designed by Sir Edward Coley Burne-Jones, painted in blue on a white tin-glaze, framed exhibition and collection paper labels, repaired damages,15cm. square (tiles), 35.5cm. square.
Provenance
The Hill, Witley, Surrey, the house of the watercolour artist Myles Birket Foster, decorated by Morris, Marshall, Faulkner & Co, this actual set included in a fireplace. Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 55 figure 23a this actual panel illustrated.
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 59 figure 66-69 for two larger 6 inch tiles and two original watercolour designs by Burne-Jones for this set of four tiles, illustrated.
Anna Mason (editor) William Morris, Thames & Hudson/ Victoria & Albert Museum, page 228 catalogue X.13 for a comparable set illustrated, (William Morris Gallery).
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 56.
Morris & Company Tiles, Court Barn, 2015.
Catalogue notes
Richard & Hilary Myers have convincingly suggested that the tiles illustrated an unpublished romance by William Morris, with the same title as Burne-Jones’ picture Green Summer painted in 1864. It tells the story of the Knight Sir Richard le Petit who is probably the figure on horseback in this Autumn tile.
£2,000-4,000
84 A Morris & Co Rose two-tile panel designed by William Morris, painted in blue on a white tinglaze, paper exhibition label, 15.5cm. square (each tile), 15.5 x 31cm. (panel) (2)
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 96 figure 40k this tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 116.
£400-600
85 A William De Morgan Rose two-tile panel, Poole Architectural tiles, painted in shades of aubergine and green on a white ground, impressed factory marks, minor chips and one fill to rims, 15.5cm. square (tile), 31 x 15.5cm. (panel) (2)
Provenance
Richard & Hilary Myers.
£300-500
86 A rare Morris Marshall Faulkner & Co Medea three tile panel designed by Sir Edward Coley Burne-Jones, from The Legend of Good Women by Geoffrey Chaucer, painted standing holding a round pot, a sprig of foliage in her other hand, painted in colours framed, frame back stamped Morris & Co, exhibition and collection paper labels, top tile broken, minor rim chips,15cm. square (tiles), 49.5 x 19.5cm.
Provenance
Mrs Lucius Gubbins, after 1934 Private collection. British Art Pottery, Woolley and Wallis, 28th November 2012 lot 126. Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 90 figure 34b this actual panel illustrated. Exhibited
Morris Centenary Exhibition Victoria & Albert Museum, London 1934.
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 80. Morris & Company Tiles, Court Barn, 2015.
Catalogue notes
This design is closely based upon the painting Morgan Le Fay painted by Burne-Jones in 1862 now in the Cecil French Bequest Gallery Collection of the London Borough of Hammersmith and Fulham. The pot, in the Le Fay painting contains a magic potion - here on the tile design it probably contains the poison Medea will spread on Glauce’s golden robes. £8,000-12,000
87 A rare Morris Marshall Faulkner & Co Lucretia three tile panel designed by Sir Edward Coley Burne-Jones, from The Legend of Good Women by Geoffrey Chaucer, painted standing holding a sword, painted in colours framed, frame back stamped Morris & Co, exhibition and collection paper labels, top tile restored, minor rim chips,15cm. square (tiles), 49.5 x 19.5cm.
Provenance
Mrs Lucius Gubbins, after 1934 Private collection. British Art Pottery, Woolley and Wallis, 28th November 2012 lot 127. Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 90 figure 34a this actual panel illustrated.
Exhibited
Morris Centenary Exhibition Victoria & Albert Museum, London 1934.
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 80. Morris & Company Tiles, Court Barn, 2015.
Catalogue notes
Lucretia, whose rape and suicide led to the establishment of the Roman Republic, also appears in Burne-Jones’s studies for Chaucer’s Legend of Good Women. Six of these became stained glass windows for the Combination Room, Peterhouse College, Cambridge. Burne-Jones’s designs were also reproduced in designs for embroidery and as a series of two tile panels. These three tile Morris & Co tile panels are rare with only five known to exist. Etta May Gubbins (1871-1955) who purchased these tiles after the 1934 exhibition, was a New Zealander who had settled in Eastbourne with her Husband Lucius Gubbins after the First World War. She became a considerable patron of Morris & Co.
£8,000-12,000
88 A rare and early Morris Marshall Faulkner & Co Hypsiphile two tile panel designed by Sir Edward Coley BurneJones, from The Legend of Good Women by Geoffrey Chaucer, painted standing wearing a crown beside a scroll, inside chequer border, minor losses to edges 15.5cm. square (tiles), 31 x 15.5cm. (panel)
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 40 figure 8e, this actual tile panel illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 23.
Morris & Company Tiles, Court Barn, 2015.
£6,000-10,000
89 A rare and early Morris Marshall Faulkner & Co Cleopatra two tile panel designed by Sir Edward Coley BurneJones, from The Legend of Good Women by Geoffrey Chaucer, painted standing holding a crown beside a scroll and three black rearing snakes, inside chequer border, bottom left corner re-stuck, minor losses to edges 15.5cm. square (tiles), 31 x 15.5cm. (panel)
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 40 figure 8b, this actual tile panel illustrated. An Aesthetic Odyssey The Peter Rose and Albert Gallichan Collection, Christie’s 30th September 2021, lot 32 for a variation on this tile panel.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 23. Morris & Company Tiles, Court Barn, 2015. £6,000-10,000
90 A rare and early Morris Marshall Faulkner & Co Lucretia two tile panel designed by Sir Edward Coley BurneJones, from The Legend of Good Women by Geoffrey Chaucer, painted standing holding a sword, beside a scroll, inside chequer border, repaired chip, minor losses to edges 15.5cm. square (tiles), 31 x 15.5cm. (panel)
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 40 figure 8f, a comparable tile panel illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 23 Morris & Company Tiles, Court Barn, 2015.
£6,000-10,000
91 A Morris Marshall Faulkner & Co Cinderella two tile the design Sir Edward Coley Burne-Jones, painted with Cinderella trying on the slipper, whilst the prince and her sisters watch on, in colours on a white ground, inside a border of modern Sandroyd panels by Williams Ellis, framed, unsigned, exhibition paper label,15cm. square (tiles), 49 x 34cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 45 figure 13C, this actual tile panel illustrated (scene 6 The Slipper Fits).
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.43.
Morris & Company Tiles, Court Barn, 2015. £3,000-5,000
92 A Morris & Co Poppy two-tile panel designed by William Morris, painted in green and yellow on a white tin-glaze, paper exhibition and collection labels, 13cm. square (each tile), 26 x13cm. (panel) (2)
Provenance
The G K Beulah collection (cat. no.427).
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 96 figure 40h these actual tiles illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 111.
Morris & Company Tiles, Court Barn, 2015 (illustrated page 14).
£300-500
93 Three Morris & Co Peony tiles the design attributed to Kate Faulkner, painted in shades of green and yellow on a white ground, framed, unsigned,15cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 96 figure 401 two examples of this design illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 -5th January 1997, exhibit no.120 (one tile). £400-600
94 A Morris & Co Longden six tile panel the design attributed to Philip Webb, probably Dutch, painted with alternate flower and berried foliate panels in blue on a white tin-glaze, one yellow, framed 13cm. square (tile), 43.5 x 30.5cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 103 figure 156-161 for six examples of this design illustrated. £300-500
95 A Scroll six tile panel designed by William Morris, probably Ravesteijn, Dutch tiles, glazed in blue and white, framed, 13cm. square (tile), 43 x 30cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 100 figure 140 and 141 two examples of this design illustrated. Richard points out this design as a Morris & Co tile is only known from one fireplace. £200-400
96 A Morris Marshall Faulkner & Co Daisy tile designed by William Morris, painted with clumps of flowers in blue and yellow on a white tinglaze, paper exhibition label, 14.8cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 36 figure 4b this actual tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.3
Catalogue notes
Richard Myers suggests that the rough terracotta body might be the Firm attempting to manufacture the tile body rather than using a Dutch blank. £ 100-200
97 A Morris Marshall Faulkner & Co
Columbine tile designed by William Morris, painted with a clump of flowers in blue on a white tin-glaze, paper exhibition label, 15.5cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 42 figure 10a this tile illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.12. £150-200
98 A Morris Marshall Faulkner & Co Primrose tile designed by William Morris, painted with a clump of flowers in blue on a white tin-glaze, paper collection label, broken and museum restored, 15cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 42 figure 10b for a comparable tile illustrated.
Linda Parry (edited) William Morris 1834-1896, 9th May-1st September 1996, Victoria & Albert Museum exhibition catalogue, page 187 catalogue K.6 for a comparable tile. £100-200
99 Three Morris & Co Daisy tiles designed by William Morris, each painted with clumps of daisies in yellow, white and blue on a white tin glaze ground, framed, unsigned, paper exhibition label to reverse, 15cm. square, 49.5 x 19.5cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 36-37 figure 4a5a four examples of Morris & Co Daisy pattern tiles illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 -5th January 1997, exhibit no.4 (two tiles). In the catalogue for the exhibition it notes that these tiles are typical of those produced by the Firm in the mid-1860s onwards. the top example has the additional glaze, forming a protective surface, which as applied to many of the Firm’s tiles in the earlier years of production. It has the disadvantage of somewhat discolouring the painted decoration and sometimes causing ‘spit out’.
£200-400
100 A Morris & Co Diagonal Leaf tile, Dutch tile, painted in blue with a simple flower stem in in blue on a white tin-glaze, unsigned, paper collection label, 134cm. square
Provenance
Richard & Hilary Myers.
£150-250
101 A Copeland tile in the manner of William Morris, painted in blue with a scrolling, berried foliage design on blue and white squared ground, impressed Copeland, minor chips, 15.5cm. square
Provenance
Richard & Hilary Myers.
£100-200
102 Four Morris & Co Scroll tiles designed by William Morris, Dutch tiles, painted in blue on a white tin-glaze, framed 13cm. square, 56.5 x 17cm.
Provenance
Richard and Hilary Myers.
Literature
104 A Morris & Co Daisy tile designed by William Morris, Dutch tile, painted with clumps of flowers in blue, aubergine, yellow and green on a white tin-glaze, a tin glaze Scroll tile, a Longden pattern tile, a Leaves and Berries half tile, and a modern Sandroyd pattern tile by Williams Ellis, unsigned, paper exhibition label, 15cm. square (5)
Provenance
Richard and Hilary Myers. £200-300
£200-400
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 100 figure 140 and 141 two examples of this design illustrated. Exhibit no.84.
103 Five Morris & Co Longden tiles the design attributed to Philip Webb, Dutch tiles, painted in blue with flower stems and flower heads, on a white ground, framed, 13cm. square (tile), 70.5 x 17cm.
Provenance
Arts and Crafts, Woolley and Wallis, 18th June 2014, lot 69 (part).
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 103 figure 156-161 six examples of this design illustrated. £300-500
105 A Morris & Co Bough three tile panel designed by William Morris, Dutch tiles, painted with alternate squared panels of foliage in blue on a white tin-glaze, framed, unsigned, paper exhibition label, two tiles cracked, 15.5cm. square, 50 x 19cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 102 figure 152 for a comparable example illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.90 (two tiles). £300-500
106 A Morris Marshall Faulkner & Co Flower Pot tile designed by William Morris, possibly painted by Kate Faulkner, painted in thick ‘Gesso’ like slip in pale mint-green with a a vase with flowers and foliage, on a white tin-glaze, applied paper collection label, 15cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 110 figure 186 for a painted example of this tile illustrated. £150-200
107 A Morris & Company Hawthorn tile designed by Kate Faulkner, painted with raised ‘gesso’ like white slip on a green ground, paper exhibition label, broken and re-glued, 15cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 113 figure 196 this tile illustrated. William Morris and his Art, p27b this design illustrated. Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no. 125. Morris & Company Tiles, Court Barn, 2015. £80-120
108 A Morris Marshall Faulkner & Co Tulip and Trellis three tile panel designed by William Morris, painted with flower and scrolling foliage in blue on a white tin-glaze ground, framed, unsigned, paper exhibition label, 15cm. square (tile), 50 x 19.5cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 107 figure 173 four tiles illustrated. Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.108 (three tiles). Tulip & Trellis was one of three tiles designed by Morris for manufacture by William De Morgan when he set up his pottery in Chelsea (circa 1872), the tiles were also painted at the Firm.
£400-600
109 A William De Morgan Artichoke tile, on Wedgwood blank, painted in ruby lustre on a cream ground, unsigned, minor rim chips, 15.5cm. square
Provenance
Richard and Hilary Myers.
£100-200
110 A William De Morgan Rose and Scroll tile, on Wedgwood blank, painted in ruby lustre on a cream ground, unsigned, minor rim frits, 15.5cm. square
Provenance
Richard and Hilary Myers.
£150-200
111 A William De Morgan Sunflower tile designed by William Morris, painted in ruby lustre on a white ground, unsigned, paper exhibition label, 15.5cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 104 figure 163 and 164 two examples of this design illustrated.
Exhibited
113 A William De Morgan Chelsea Period
BBB tile, painted with a flower head in yellow, aubergine, blue and green on a white ground, impressed factory mark, museum restoration to one corner, 15.5cm. square
Provenance
Richard & Hilary Myers.
Literature
Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 135 figure 682 for the original design. £150-200
114 Four Morris & Co Sunflower tiles designed by William Morris, Dutch, each painted in blue on a white tin glaze, framed unsigned, paper exhibition label, two repaired, 15cm. square (tile), 34.5cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 105 figure 165 two of these actual tiles illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.103 £200-400
£150-200
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.105.
112 A William De Morgan BBB tile, probably Wedgwood blank, painted with a stylised flower in red lustre on a white ground, unsigned, 15.5cm. square
Provenance
Richard and Hilary Myers.
Literature
Tiles by William De Morgan the John Catleugh Collection, Haslam & Whiteway, page 54 catalogue no.204 for a run of four comparable tiles.
£150-200
115 A Morris Marshall Faulkner & Co
Longdon four tile panel designed by Philip Webb, painted with alternatel flower stems and flower heads in blue on a white tin-glaze, framed, unsigned, exhibition paper label, 15.5cm. square (tile), 34.5cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 103 figure 157 one of these tiles illustrated.
Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.98a (two tiles). £300-500
116 A William De Morgan Sands End Pottery Pink and Hawthorn two tile panel designed by William Morris, painted with flowers in aubergine, white, turquoise and green on a blue ground, framed, impressed factory marks, hand written paper price label, both cracked, 15.5cm. square
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 96 figure 40F this actual two tile panel illustrated. £200-300
117 A Morris & Co Little Bo Peep tile plaque the design attributed to Walter Crane, rectangular probably Minton blank tile, painted with Bo Peep resting before a medieval castle and bridge, in blue, inside a border of modern tiles, framed, collection paper label, 30 x 15cm. (tile plaque), 42.5 x 28cm.
Provenance
Richard and Hilary Myers.
Literature
Richard and Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 126 figure 227, this Nursery Rhyme tile panel illustrated as a two tile panel. Exhibited
Morris & Company Tiles, exhibition at William Morris Gallery, 14th September 1996 - 5th January 1997, exhibit no.43.
Morris & Company Tiles, Court Barn, 2015. £800-1,200
118 A rare Morris, Marshall & Faulkner Co Goose tile designed by Philip Webb, painted on a Dutch blank, painted with a bird in blue on a tin-glaze ground, unsigned, 15.5cm. square
Provenance
Purchased by the vendor’s mother at Portobello market circa 1970.
Literature
Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, Addendum, A set of six tiles based on the bird stained glass quarries at Red House were found in Cambridge in 2003-2004 and are now held in the Victoria & Albert Museum collection. In addition these two tiles also came to light. In discuss with Edward Hollamby, the last owner of Red House, with Richard Myers - Hollamby stated that a visitor to Red House said that the birds were actually designed by Edward Coley Burne-Jones and were inspired by the medieval glass oriel window in Worcester and also Wells Cathedral.
£1,000-1,500
119 A rare Morris, Marshall & Faulkner Co Magpie tile designed by Philip Webb, painted on a Dutch blank, painted with a bird in blue on a tin-glaze ground, unsigned, 15.5cm. square
Provenance
Purchased by the vendor’s mother at Portobello market circa 1970.
Literature
Charlotte Gere & Michael Whiteway, Nineteenth Century Design From Pugin to Mackintosh, Weidenfeld & Nicolson, page 77 plate 74 for the glass quarries designed by Phililp Webb illustrated.
Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, Addendum, A set of six tiles based on the bird stained glass quarries at Red House were found in Cambridge in 2003-2004 and are now held in the Victoria & Albert Museum collection. In addition these two tiles also came to light. In discuss with Edward Hollamby, the last owner of Red House, with Richard Myers - Hollamby stated that a visitor to Red House said that the birds were actually designed by Edward Coley Burne-Jones and were inspired by the medieval glass oriel window in Worcester and also Wells Cathedral.
£1,000-1,500
WILLIAM DE MORGAN
120 A William De Morgan Merton Abbey Moffat tile, painted with stylised carnation flowers in aubergine, white and green on a turquoise blue ground, impressed factory mark, 15cm. square
Provenance
Jon Catleugh. Private collection.
Literature
Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 137 catalogue number 683 for the original design illustrated. £200-300
121 A William De Morgan Marlborough eight large tile panel, painted in shades of aubergine, green and blue, framed unmarked, 20cm. square tiles, 89 x 48.5cm. (panel)
Provenance
The Rita Smythe collection.
Literature
Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 148 catalogue number 690-691 for the original drawing. £2,000-3,000
122 A William De Morgan Merton Abbey Persian ten tile panel, painted in shades of painted with stylised flowers and foliage in shades of blue, turquoise, aubergine and green on a white ground, various impressed marks
Provenance
The Rita Smythe collection.
Literature
Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 149 catalogue number 588 for the original drawing. £1,000-2,000
123 A William De Morgan Iles Passenger Persian tile, painted with radiating stylised carnation flowers in blue, aubergine and green on a white ground, impressed DIP mark, 15.5cm. square
Provenance
Private collection.
Catalogue notes
In 1898 William De Morgan dissolved his partnership with the architect Halsey Ricardo and started a new partnership with Charles & Fred Passenger and Frank Iles. £100-200
124 A William De Morgan Sands End Pottery Persian tile, painted with a large round flower head in blue, turquoise, green and aubergine on a white ground, impressed factory marks, 15.5cm. square
Provenance
Private collection.
Literature
Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway, 2010, page 89 figure 291 for this tile design illustrated in a two tile panel. £150-200
125 A William De Morgan Early Fulham Rose Trellis tile, painted with two wild rose flowers and foliage on a trellis in shades of yellow, green and blue on a white ground, impressed factory mark, 15.5cm. .square
Provenance
Private collection.
Literature
Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 139 catalogue number 661 for the original design illustrated. £100-200
126 A William De Morgan Sands End Pottery tile, from a panel, painted with radiating flower stems in green, aubergine and yellow on a white ground, impressed factory mark, 15.5cm. square
Provenance
Private collection. £200-300
127 A William De Morgan Late Fulham Period Persian tile, painted with carnation flower stems and stylised flowers, on the diagonal, in aubergine, green, blue and turquoise on a white ground, impressed factory mark, 15.5cm. square
Provenance
Private collection. £100-200
128 A pair of Grotesque Animal tiles designed by Halsey Ricardo, probably De Morgan, the hand made tiles with painted red lustre design on cream, indistinct De Morgan mark, 16cm.square, (2) £500-800
129 A William De Morgan Chelsea Period four tile panel from a frieze, the large, square tiles painted with Renaissance putti figures amongst scrolling foliage and a winged Lion, in shades of blue on a white ground, impressed factory marks to three, professionally restored, 20.6cm. square (each tile), 82cm. wide. (4)
Provenance
Acquired from a private collection (circa 2012). Private collection of William De Morgan.
Literature
Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 169 figure 511 for the original design drawing. Painted in tones of blue with Renaissance style patterns including putti and a winged lion, the set may be from å series of frieze designs produced by De Morgan for the interior decoration of ocean liners. This was a lucrative area for him, as commissions included tiling for the decoration of twelve P & O liners between 1882 and 1900. This is for four tiles and shows the three key motifs, which could be repeated as necessary to fit the space available. Elements could also be reversed, to make a set of six. Designs for other De Morgan tile friezes show a similar flexibility. This design illustrated is pricked, and therefore was used to produce the tiles. They may have been made as a sample for the design, but were never produced in quantity. Three of the four tiles have an impressed W DE MORGAN mark, indicating that they were made during De Morgan’s first production period in Chelsea, 1871-1881.
130 A William De Morgan Merton
Abbey Galleon tile, painted with a ship in full sail on a calm sea, in shades of blue and turquoise on a white ground, impressed factory mark, 15.5cm. square
£1,000-1,500
131 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
Provenance
Arts and Crafts, Woolley and Wallis, 18th June 2014, lot 66. Private collection.
Literature
Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway Ltd page 58 catalogue number 214 for this design in blue £500-1,000
£5,000-8,000
132 A William De Morgan Merton
Abbey Sailing Ship tile, painted with a galleon at full sail, one sail with a pilgrim figure, sailing on a calm sea with seagulls flying around, in green on a white ground. impressed factory mark, professional restoration to bottom edge, 15.3cm. square
Provenance Private collection.
Literature
Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 196 plate 24 for a varitation original design illustrated. £400-600
133 ‘William De Morgan’ Victoria & Albert Museum, 15th March-18th June 1989, a colour printed exhibition poster, framed 75 x 50cm. (image)
Provenance
Richard Dennis OBE.
Catalogue notes
The exhibition was sponsored by William Wiltshire III and Richard Dennis. £50-100
134 The Designs of William De Morgan by Martin Greenwood, a book published by Richard Dennis, ‘William De Morgan by William Gaunt and D E Clayton-Stamm, ‘Catalogue of Pottery by William De Morgan’ V&A, ‘The Birkenhead Della Robbia Pottery’ a Della Robbia catalogue and ‘Iznik The Pottery of Ottoman Turkey’, four reference books, (5) £50-100
135 A William De Morgan Merton Abbey twin-handled vase, shouldered form with applied strap handles, decorated in low relief with a Persian flower design, covered in streaked turquoise glaze over white, impressed Merton Abbey mark, small glaze nick to top rim, 17cm. high
Provenance
Woolley & Wallis, 31st May 2007, lot 772. Private collection. £200-400
136 A William De Morgan Persian bottle vase, ovoid with cylindrical knopped neck, painted with graduated geometric bands in blue, aubergine and turquoise on a white ground, unsigned, 18cm. high
Provenance
Private collection of William De Morgan and John Pearson Pottery. £300-400
137 A William De Morgan vase, ovoid with collar rim, painted with stems of flowers in turquopise and white on a blue ground, unmarked, minor glaze loss to rims, 16.5cm. high
£400-600
138 A William De Morgan vase, slender, ovoid form painted with stems of foliage in ruby lustre on a white ground, unmarked, small chips to top rim, 16.5cm. high
£400-600
139 A fine and large William De Morgan Merton Abbey Persian twin-handled vase, circa 1885, swollen baluster form, painted with sunflowers on a scroll background, in yellow, turquoise and green on a white ground, the handles with painted scales, impressed Merton Abbey mark, collection paper label, 40cm. high Provenance
Richard Dennis, purchased in 1967. Charles & Lavinia Handley-Read collection. The collection of Richard Dennis OBE. Literature
William Gaunt & M Clayton Stamm William De Morgan, Studio Vista, page 78, colour plate 51 this vase illustrated. Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 240 plate 265 this vase illustrated. Exhibited Victorian and Edwardian Decorative Arts, The Handley-Read Collection, Royal Academy, London 4th March to 30th April 1972, catalogue no.G4, illustrated page 115. £30,000-50,000
140 A William De Morgan twin-handled Persian vase by Fred Passenger, slender, shouldered form on domed foot, applied with twin-strap handles, painted with Iznik flowers and foliage in shades of blue, turquoise and aubergine on a cream ground, painted FP monogram, professional restoration, 31.5cm. high £1,500-2,000
141 A William De Morgan Pottery Persian plate, painted with three chrysanthemum flowers to the well, the rim with a band of flower buds, in blue, turquoise, aubergine and green on a white ground, painted DM mark, museum restoration, 20cm. diam.
Provenance
Hartley’s 30th March 2011, lot 117.
Private collection of William De Morgan and John Pearson Pottery. £150-200
142 A William De Morgan Persian charger by Charles Passenger, painted to the well with a mythical large cat fighting a snake, the rim a frieze of mythical beast and fish amidst scrolling foliage, in shades of blue, turquoise, green, aubergine and black on a white ground, painted mark W De Morgan & Co, Fulham, and CP monogram, museum restored, 34cm. diam.
Provenance
Private collection. £3,000-5,000
143 A large William De Morgan Persian twin-handled vase, shouldered form with knopped neck, painted to each side with a peacock, amidst scrolling carnation sprays, in blue, turquoise, aubergine and green on a white ground, unsigned, paper exhibition label DM03, professional restoration to one handle and top rim, 37cm. high
Provenance
Anthony J Cross Collection.
A Love of Lustres and other Wares: The Personal collection of Anthony J Cross, Kinghams Auctioneers, 11-12 June 2021, lot 34. Private collection.
Literature
The William E Wiltshire Collection, Sotheby’s London, 18th November 1991, lot 48 for a related larger Iznik vase illustrated. £3,000-5,000
144 A William De Morgan Persian bottle vase, ovoid with knopped cylindrical neck, painted with flowers and foliage in blue , green and aubergine, unmarked, 14cm. high
£500-800
145 A William De Morgan solifleur vase, ovoid with flaring neck, painted with yellow berried foliage in green and blue on a white ground, impressed tulip mark,11.5cm. high
Provenance
Haslam & Whiteway.
Private collection.
£500-800
146 A William De Morgan Persian double gourd vase by John Helsey, painted with flowers and foliage in blue, pink pale turquoise on a white ground, impressed tulip mark, painted JH monogram, minor glaze loss to top rim, 23.5cm. high
Provenance
Arts and Crafts Christie’s South Kensington, 14th May 2002, lot 15.
Private collection.
£800-1,200
147 A William De Morgan Thistle pedestal bowl by Charles Passenger, painted to the exterior with a band of alternating flower stems in purple, pink, blue and green on blue and turquoise panel ground, the interior with running band of leaves, painted W De Morgan and CP monogram, stilt chips to base, 16cm. diam. 7cm. high
£500-800
148 A William De Morgan Persian Rice dish, painted with four carnation flowers radiating from central flower head, in aubergine, blue and green on a turquoise ground, the reverse painted with simple grass tuft motif in blue, unsigned, 23.5cm. diam.
Provenance
The Michael Blood collection.
£300-500
149 A William De Morgan Fulham Pottery Persian vase b y Joe Juster, shouldered form with flaring cylindrical neck, painted with flowers and foliage in shades of aubergine and green on a turquoise blue ground, the neck with blue triangle border, painted W De Morgan & Co Fulham, JJ monogram, minor glaze loss to base rim, 17cm. high
£600-1,000
150 A William De Morgan pottery Persian bowl by Charles Passenger, painted with panels of carnation flower stems in white, aubergine and green on alternate blue and turquoise ground, painted De Morgan and CP monogram, professional restoration, 20.5cm. diam.
Provenance
Private collection of William De Morgan and John Pearson Pottery.
£500-800
151 A William De Morgan Sunset and Moonlight Suite vase by Fred Passenger, shouldered form, the octagonal faceted body painted with columns of alternating grape vine and berried foliate panels, in shades of silver and ruby lustre on a midnight blue lustre ground, the neck with simple flower stem and bud motif, painted FP monogram, small repaired chip to top rim, 25.5cm. high
Literature
British Art Pottery, Woolley and Wallis Auctioneer’s 30th November 2016, lot 60 for a comparable vase.
£500-1,000
152 A William De Morgan Dragon charger by Fred Passenger, painted to the well with a dragon amidst scrolling foliage in ruby lustre on a cream ground, painted W De Morgan & Co Fulham, 2041, and FP monogram, 29.5cm. diam.
£1,500-2,000
153 A William De Morgan lustre vase, swollen, cylindrical form, painted with mythical birds and beasts in a flowering glade, in red lustre on a white ground, impressed tulip mark, 28cm. high
Provenance
Private collection.
£2,000-4,000
154 A William De Morgan Peacock charger, painted to the well with a large peacock displaying, the border with a frieze of birds in ruby lustre, highlighted with gold on a white ground, the reverse with foliate stems raditating, unsigned, repaired
Literature
Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 215 plate 93 for a variation of this design illustrated.
£800-1,200
Provenance
Fine & Decorative Arts, Kinghams Auctioneers, 3rd October 2024, lot
155 A William De Morgan Pottery charger, painted to the well with a peacock displaying, on foliate ground, in ruby and gold lustre on a white ground, the back with radiating lines, unsigned, 36cm. diam.
547. £3,000-5,000
JOHN PEARSON CERAMICS
156 A John Pearson pottery jug, shouldered form, painted with stylised flowers and foliage sprays in blue, turquoise and black on a white ground, painted JP monogram to base, 17cm. high
Provenance
British Art Pottery, Woolley and Wallis Auctioneers, 30th November 2011 lot 71.
Private collection of William De Morgan and John Pearson Pottery.
£150-250
157 A John Pearson pottery vase, shouldered, ovoid form with collar rim, painted with four sailing ships, sailing on a calm sea with winds blowing, in shades of blue, painted monogram inside flower to base, small glaze flaw side, 13cm. high
Provenance
Private collection of William De Morgan and John Pearson Pottery.
£200-300
158 A John Pearson earthenware bowl, flaring conical form, painted with two galleons sailing amidst large classical dolphin on a calm sea, the well with scrolling wave panel, in blue, black and turquoise with gold and silver lustre, the exterior with stylised foliage panels and scrolling S motif, painted JP monogram to base, glaze loss panel to base, minor glaze loss to top rim, 25.5cm. diam, 11cm. high
Provenance
Decorative Arts, Christie’s South Kensington.
Private collection.
£300-400
159 A John Pearson Pottery bowl, painted to the well with a large carnation flower, the rim with a band of similar flowers in blue, purple and turquoise, highlighted in silver on a white ground, the exterior with geometric bands, painted JP monogram, 25.5cm. diam.
Provenance
Private collection of William De Morgan and John Pearson Pottery. £200-300
160 A small John Pearson pottery bowl, painted with two birds perched amongst flowerin stems, in shades of blue, black and green, highlighted in silver on a white ground, painted JP monogram beside fish design to base, 14cm. diam.
Provenance
19th & 20th Century Design, Woolley and Wallis, 3rd October 2012, lot 1151.
Private collection of William De Morgan and John Pearson Pottery. £100-200
161 A large John Pearson pottery rectangular bowl, with canted corners, painted to the well with three fish swimming amongst waterweed, in green, blue and black on a white ground with yellow and silver lustre highlights, the exterior with chevron border, painted JP monogram with waterfall motif to the base, museum restoration to stress hairlines on top rim, 30.5cm. long, 7cm. deep
Provenance
Private collection of William De Morgan and John Pearson Pottery. £200-400
162 A large Maw & Co Jackfield footed bowl, painted with panels of stylised carnation flowers between scrolling foliage, in ruby lustre on a white ground, painted Maw & Co Jackfield, professional restoration 26cm. diam.
Provenance
Private collection of William De Morgan and John Pearson Pottery.
£200-400
163 A small Bushey Heath Pottery pedestal dish by Fred Passenger, painted with a large central flower head to the well, inside yellow stylised flower head border, in red, yellow and copper, the exterior a frieze of arches and a band of stiff-leaf foliage, painted FP monogram, 15.5cm. diam.
£200-300
164 A Bushey Heath Pottery vase by Fred Passenger, ovoid with cylindrical painted with a peacock and snake design in black on a green ground, printed Bushey Heath mark and FP monogram, professional restoration to neck, 20.5cm. high
Provenance
Ceramic Design 1860-1945, Bonhams, 31st January 2002, lot 74.
Private collection.
Catalogue notes
£500-1,000
Fred Passenger has repeated the design three times around the body of the vase.
165 A Burmantoft’s Pottery Anglo Persian vase designed by Leonard King, shape no.40, design number 65, ovoid with tapering neck, painted with flowers and foliage in shades of pale blue, green, aubergine and white on a blue ground, impressed factory mark, painted artist monogram and marks, small hairline to top rim, 25cm. high
£400-600
166 A large and Impressive Cantagalli Pottery
Iznik footed bowl, painted with Persian flowers and foliage to inside and outside in green, blue and chestnut on a white ground, painted factory mark, minor stress hairlines and glaze loss, 40cm. diam.
£1,000-2,000
CONTINENTAL CERAMICS
167 A Bombay School of Art Wonderland Art Pottery roundel, painted with flowers to the well inside flowers and foliage border, in colours on a dark chestnut ground, a Bombay school faux copper ewer and cover and a small vase painted with a bird and scrolling foliage, impressed Bombay mark, 33.5cm. diam. (3) Provenance David Battie collection. £200-300
168 A Bombay School of Art Wonderland Pottery charger, painted with figures worshiping a deity to the well inside a band of birds amongst scrolling foliage, in blue and turquoise on a white ground, painted marks, minor glaze loss and chips, 47cm. diam. £150-250
169 An Franceschini Pesaro Italian tin-glaze pottery pedestal dish, scalloped oval form, painted to the well with a portait of a young lady in profile, the rim with classical scrolling foliate border, painted Fraceschini Pesaro and ZG, 29cm. wide, 9cm. high £80-120
170 A pair of Secessionist candlesticks, probably Dutch, tapering rectangular base supporting square section column and flaring drip pan, flanking buttress, decorated with panels of stylised flower heads in white and yellow on a blue ground, printed and impressed factory marks, 25.5cm. high (2) £100-200
171 An unusual Clement Massier tulipiere vase, modelled as a stack of tapering ovoid vases in a footed bowl, glazed in colours, unsigned, 32cm. high £200-300
£100-200
172 A Sevres high-fired porcelain vase on bronze base, dated 1927, shouldered form, covered in a streaked purple, lavender and blue glaze, printed Sevres mark and date, 14.5cm. high
173 An Art Nouveau Zsolnay Pecs vase, swollen form with four angled handles to the neck, modelled in low relief with stylised flowers and foliage panels in golden-green lustre on a black ground, and an American Frankonian Ware vase glazed tan, Zsolnay marks under glaze, 12cm. high (2)
£80-120
174 An Art Nouveau Royal Bonn Old Dutch twin-handled vase, shape no.2508, heart-shaped from on shallow foot, painted with stylised leaves and tendrils in colours, painted factory marks, 22.5cm. high
£80-120
175 An Art Nouveau Dutch pottery solifleur vase in the manner of Rozenburg den Haag , painted with flowers and foliage in purple, green and red, on a white ground, and a Rozenburg den Haag tile painted with flowers and foliage incised and painted marks to vase, small chips to foot rim, 23cm. high (2)
£100-200
176 A pair of Art Nouveau Rozenburg Den Haag covered vases, each painted with panels of stylised foliage in green, ochre, blue and yellow, painted factory marks, M 361, small chip to inside rim of one vase, 26cm. high (4)
Literature
Rozenburg 1883-1917, Kunst & Antiquitaten, page 113 figure 3 for a pair of comparable covered vases illustrated.
£150-200
177 A majolica novelty teapot and cover probably Joseph Holdcroft, modelled as a Chinese boy climbing up onto a large melon, his head and shoulders forming the cover, impressed mark to base, 19cm. wide (2) £80-120
178 An Aesthetic Movement Minton majolica vase, model 2210, modelled as a large gourd on square section Chinese stand, decorated in low relief with vines of gourds in turquoise on a blue ground, another Aesthetic Movement Minton vase modelled as a vase on organic leaf stand, glazed vivid yellow and green, a Minton vase glazed purple, a small Elton Pottery vase and a Dunmore pottery twin-handled vase impressed factory marks, body crack to main vase, 21.5cm. high (5) £300-500
179 An Aesthetic Movement Mintons’ Studio Kensington Gore charger, dated 1874, painted with butterflies flying amongst apple blossom boughs, in colours on a brown ground, impressed and printed factory mark, painted artist monogram, impressed arrow date code, 41.5cm.diam.
£150-250
180 A Minton Aesthetic Movement moon flask, disc form with cylindrical neck and applied handles, printed in blue with birds flying amongst flowers and foliage, highlighted in gilt, and a pair of Minton jugs, indistinct marks to moon flask, 19.5cm. high (3) £100-200
181 A Minton Aesthetic Movement Japanese Crane part tea service after a design by Dr Christopher Dresser, comprising a tea cup and saucer and four tea plates, printed in blue with cranes and other birds flying above waves, on a celadon ground, and a Minton crescent shaped dish similar impressed factory marks, 16.8cm. diam. (7)
£200-300
182 A pair of small Aesthetic Movement Watcombe Pottery vases probably designed by Dr Christopher Dresser, shouldered form with twinstreamlined handles and knopped neck, painted with panels of flowers, a singlehandled vases similar and a jug modelled in low relief with flying cranes, printed factory marks, 15cm. high (4)
Literature
Paris International Exhibition 1878, catalogue, for comparable vases illustrated. £200-300
183 An unusual Old Hall pottery vase the design attributed to Dr Christopher Dresser, compressed ovoid form with tapering neck and two stylised gilt decorated handles, the body glazed dark blue with gilt prunus blossom decoration, printed and painted factory marks, 25cm. high
Provenance
Private collection. £100-200
184 An Ault pottery vase designed by Dr Christopher Dresser, model no.146, compressed, shouldered form with tall neck and twin-handles, painted with geometric panels on a green ground, impressed factory mark and facsimile signature, restored, 17cm. high
£100-200
185 Two rare Minton’s porcelain plates designed by Dr Christopher Dresser, pattern G2229, each painted with a butterfly before prunus blossom, inside elaborate arched foliage border, painted in colours, highlighted in gilt on a turquoise ground, the rim with gilt border with embossed geometric design, impressed factory marks, painted numbers, 23.5cm. diam.
£200-400
186 Two rare Minton’s porcelain plates designed by Dr Christopher Dresser, pattern G2229, each paninted with a butterfly before prunus blossom, inside elaborate arched foliage border, painted in colours, highlighted in gilt on a turquoise ground, the rim with gilt border with embossed geometric design, impressed factory marks, painted numbers, 23.5cm. diam.
£200-400
187 A Minton porcelain Cloissone vase designed by Dr Christopher Dresser, swollen, shouldered form with moulded wooden stand and ring handles, printed and enamelled with panels of three flower stems in a stylised vase, in colours, highlighted in gilt on a turquoise ground, the neck with Greek Key border, impressed factory marks, crack to body, 24.5cm. high
Catalogue notes
A comparable example is held in the collection of the Metropolitan Museum, New York.
£500-800
188 A Minton porcelain Cloissone vase designed by Dr Christopher Dresser, swollen, shouldered form with moulded wooden stand and ring handles, printed and enamelled with stylised floral panels in colours, highlighted in gilt on a turquoise ground, the neck with Greek Key border, impressed factory marks, professional restoration to body, 24.5cm. high
Catalogue notes
£200-400
An example of this vase is held in the collection of The Metropolitan Museum of Art (Catalogue number 2016.178.1).
189 A Minton porcelain Cloissone vase designed by Dr Christopher Dresser, swollen, shouldered form with moulded wooden stand and ring handles, printed and enamelled with stylised floral panels in colours, highlighted in gilt on a turquoise ground, the neck with Greek Key border, impressed factory marks, professional restoration to neck, 24.5cm. high
£250-350
190 A rare Minton porcelain Cashmere vase designed by Dr Christopher Dresser, shouldered, twin-handled for, printed and painted un colours with profuse stylised flowers and foliage panels with gilt highlights, impressed Minton marks, printed Daniell & Sons Wigmore Street, London retailers mark, 11cm. high
£300-500
191 A Mintons Pottery Secessionist floor vase designed by John Wadsworth and Leon Solon,shouldered form, slip decorated with Art Nouveau flowers and foliage in blue and green impressed factory marks 47.5cm. high.
£150-200
192 An Aesthetic Movement Copeland small jug modelled as a Chinaman, glazed in colours and gilt, and another Copeland Chinaman jug glazed white with gilt decoration, printed factory mark, 10.5cm. high (2) £80-120
193 An Aesthetic Movement Little Bo Peep earthenware shaped bowl after a design by Walter Crane, by BB, dated 1881, printed and painted to the well with a square design of Little Bo Peep looking for her sheep, inside border, in colours, and a Minton porcelain muffin dish and cover painted with a Kate Greenaway garden tea party scene in colours dated 1881, painted BB 1881 to front and back of dish, DRC collection label, 29.5cm. wide (3) £100-200
194 A rare Minton teapot and cover by Eduard Rischgitz, modelled as a gourd, painted with scenes of Don Quixote resting by his horse, and riding in armour, hunting sheep, and two Minton Aesop Fables plates painted by Eduard Rischgitz, ‘The Tortoise and the Hare’ and ‘The Stag and his Reflection’, impressed factory marks, plates signed, restoration to spout, 23cm. wide. (4)
£200-300
196 A Rare Mintons parian ‘Well Spring vase designed by Richard Redgrave, twinhandled form, modelled in low relief with grasses, the neck a band of flowers, and a a parian jug designed by Sir Henry Cole under the pseudonym Felix Summerly, for a Society of Arts competition, dated 1846, unmarked, jug printed Minton mark, restored handle, 21.5cm. high (2) £150-200
197 A Minton Waste Not want Not tray designed by A W N Pugin, model no.430, circular, modelled in low relief, covered in a white glaze, impressed factory marks, 35cm. diam. £100-200
198 A rare Derby Porcelain Works Robert Bloor period porcelain Altar vase designed by Augustus Welby Northmore Pugin, swollen, footed form, painted with a crown above roundel, in blue with gilt initials, the neck inscribed Ave Maria Gratia Plena (Hail Mary Full of Grace), in blue and red, unmarked, hairline crack to the top rim, 22.5cm. high Literature
Floriated Ornament Designed by A Welby Pugin, front cover roundel for a comparable design. Paul Atterbury, A.W.N Pugin Master of Gothic Revival, Bard Graduate Centre, page 313 catalogue number 78 for a comparable example illustrated. £200-400
£100-200
195 A Minton parian model of a kneeling boy, modelled clasping the holy bible to his chest, a Parian platter designed by W Savage, Winchester. three jugs decorated with flying cranes, and a small Parian jug with mask handle, impressed marks, 24cm. high (6)
199 A rare Minton & Co porcelain part tea set designed by Sir Henry Cole, under the pseudonym Felix Summerly, dated 1846, comprising large slop basin, three plates and two shaped cake plates, printed and enamelled in turquoise with scrolling foliage design, printed factory mark, FS monogram and date 1846, 26cm. wide (cake plates), (6)
Catalogue notes
The service is marked Society of Arts Prize Pattern, 1846. £300-400
A pair of tall Jackfield urn vases, enamelled with butterflies and insects flying past bouquets of flowers in colours on a gloss black ground, with gilt highlights indistinct impressed number, 38.5cm. high (2) £100-200
201 A pair of Royal Worcester Aesthetic Movement Indian bottle vases by James Callowhill, dated 1876 and 1877, footed form with tapering conical body and cylindrical neck, slip decorated with a band of flowers and foliage in pink, purple and green on a celadon ground, below black and green bands, highlighted in silver and gilt, printed factory mark, painted JC monogram and 76 and 77, 27.5cm. high (2) £200-400
202 A pair of large Royal Worcester Aesthetic Movement ‘Pottery Production’ moonflasks dated 1872 and 1876, circular with angular handles and simulated wooden stand, moulded in low relief with Chinese figures making pottery, in simulated ivory and lacquer finish, glazed in colours on a cream ground, with gilt highlights, printed puce factory mark, 26.5cm. high (2)
Provenance
Sotheby’s New York, 22nd October 2020, lot 309 Private collection.
Catalogue notes
This vase form was introduced and included in the second London International Exhibition in 1872. A pair of similar form were reproduced in The Art Journal - Catalogue of the International Exhibition, second division ‘The Royal Porcelain Works at Worcester exhibit these very remarkable productions... One peculiar interest attached to this set of vases is that their decorations illustrated the process of their own manufacture as conducted in the East.
£1,500-2,000
203 A pair of Aesthetic Movement terracotta candlesticks, each dated 1881, modelled as a tall lotus flower sconce the stem wrapped with spiky foliage, a frog climbing one leaf and one to the base looking up, whilst a snail eats the foliage, glazed green, impressed banner A 1881, 22cm. high (2) £80-120
208
204 A pair of Dunmore Pottery wall brackets, each modelled as a Mermaid and a Merman figure supporting a plinth, glazed blue, unsigned, 29cm. high (2) £150-250
205 A small pottery comical grotesque bird, in the manner of the Martin Brothers, modelled standing with wings out, facing forward, covered in a bright orange glaze, unsigned. 11cm. high £150-250
206 A rare Burmantoft’s Faience Crocodile spoonwarmer, model no.1898,modelled seated with head tilted back and mouth open, covered in a brown glaze impressed factory marks, minor professional restoration to one foot and a tooth, 16.5cm. high £200-300
207 A grotesque Burmantoft’s Faience
Frog spoonwarmer, modelled seated, model no.451, covered in a vivid yellow glaze, another Wardle Pottery grotesque modelled as a three leggest standing creature, and a small grotesque creature glazed red, impressed factory marks, restored front legs, 13.5cm. high (3) £200-300
208 A rare Ewenny Pottery Lamb of God wall plaque, modelled in low relief with a central crucifixion, the rim inscribed Lamb of God that Takest Away the Sins of the World, glazed yellow, incised Made in Ewenny Pottery Feb 20th 19...by Robert Goo.., losses to the back, 35cm. long
Provenance
The Roger Warner Collection, Part 1, Christie’s South Kensington, 20-21 January 2009, lot 328 Private collection. £300-500
209 A small Carlo Manzoni Pottery vase, ovoid with waisted cylindrical neck, incised with panels of stylised flowers and foliage in shades of blue, yellow, red and turquoise, two Medmenham dust-pressed tiles possibly designed by Conrad Dressler, rectangular with simple cast border, glazed pale green, and a Della Robbia style plaque of John the Baptist, incised marks, 15cm. high (4)
Provenance
Private collection. £150-200
210 A rare Minerva Art Pottery jardiniere and stand by Carlo Manzoni, dated 1896, ovoid bowl with collar rim, on waisted cylindrical stand, both incised with panels of flowers stems, below pendulous flowers, in terracotta, blue, green and yellow on a white ground, incised monogram and date to jardiniere and base, FG artist monogram to jardiniere, hairline to jardiniere, 96.5cm. high (2)
Catalogue notes
Carlo Manzoni left the Della Robbia Pottery in Birkenhead in 1895 setting up the short lived Minerva Art Pottery in Stoke on Trent which closed in 1898 with Manzoni returning to work for Della Robbia. £500-800
211 A Della Robbia Pottery vase by Aphra Peirce, shouldered form, incised and painted with fairies flying amidst flower stems, the fairies holding bees on a string lead, in colours incised mark, AJP monogram, 10.5cm. high
£100-200
212 A Della Robbia Pottery Moorish vase by Arthur Bells and Annie Smith, shouldered, twin-handled form, incised and painted with a flower stem in red and green on a pale yellow ground, the reverse with a similate stem with red berries, incised factory mark, AB monogram and painted AS monogram chip to foot rim, 25.5cm. high
Provenance
Private collection of Della Robbia Pottery.
£200-400
213 A Della Robbia Pottery vase by Charles Collis, shouldered form with three loop handles, incised and painted with a band of flowering Tudor rose, in yellow and turquoise streaked glaze, incised Della Robbia mark, artist C cipher and 396, 28.5cm. high
Provenance
Tennants Auctioneer’s, 26th April 2001, lot 25.
Private collection.
£300-500
214 A Della Robbia Pottery bottle vase by Cassandia Annie Walker, dated 1899, slender form with tall neck, incised with Art Nouveau flowers and foliage in turquoise, green and yellow, the cylindrical neck with a narrow band of incised entwined foliage, incised factory mark, CAW monogram and 1899 date, 39cm. high
Provenance
James Miles Decorative Arts.
Private collection.
£700-1,000
215 A Della Robbia Pottery tall Persian vase by Annie Williams, dated 1895, ovoid with garlic knopped neck, painted with panels of stylised foliage and bullrushes, in ochre, green, yellow and turquiose, incised factory mark, painted AW and date, minor museum restoration to top rim, 35cm. high
Provenance
Private collection of Della Robbia Pottery.
£250-350
216 A Della Robbia Pottery Dutch jar and cover by Violet Enid Woodhouse, compressed ovoid form with flaring neck and flat cover, incised and painted with bands of foliage and simple flowerheads in yellow, green and turquoise on a brown ground, incised mark and painted Enid signature, minor firing losses, 27cm. high (2)
Provenance
Private collection of Della Robbia Pottery.
£500-800
217 A Della Robbia Pottery Dutch jar and cover by Hannah Jones and Charles Collis, compressed ovoid form with flaring neck and flat cover, painted with flowers and foliage in green, turquoise and blue, incised factory mark, C monogram, painted HJ monogram, professional restoration to top rim and cover, 28.5cm. high (2)
Provenance
Private collection of Della Robbia Pottery.
£500-800
THE MIKE HIGGINS COLLECTION OF DELLA ROBBIA POTTERY
218 A large and impressive Art Nouveau Della Robbia Pottery Pilgrim bottle vase and cover by Cassandra Annie Walker, dated 1903, modelled in relief with two satyr mask handles with scrolling forked beard, painted with an Art Nouveau maiden representing purity and temptation, in colours, painted Della Robbia mark, date and CAW monogram, 52cm. high
Provenance
Private collection of Della Robbia Pottery.
Literature
Peter Hyland The Della Robbia Pottery, Birkenhead, 1894-1906, ACC Books,page 123 figure 131 this actual vase illustrated. £2,500-3,500
219 Melody a Della Robbia Pottery plaque designed by Ellen Mary Rope, painted by Marianne de Caluwé, rectangular, cast in low relief with three musicians playing, standing by a tree, whilst eight others rest, in colours, framed, signed in the cast E M Rope, painted marks to reverse, broken and restored, 49 x 30cm. (plaque)
Provenance
Private collection of tiles.
Private collection of Della Robbia Pottery.
Literature
The Studio, Volume13, 1898, page 190 for a comparable plaque titled ‘Melody’ and designed by Miss Rope, illustrated.
£1,000-1,500
220 A Della Robbia Pottery plaque designed by Ellen Mary Rope, dated 1898, by Harry Pearce, rectangular, modelled in low relief with young children dancing around a tree, in yellow, green and turquoise, incised Della Robbia mark, , date and EMN and HP monograms, minor glaze frit, 24.5 x 20cm.
Literature
Peter Hyland, The Della Robbia Pottery, Birkenhead 1894-1906, ACC Books, page 207 figure 222 for a comparable plaque. £300-500
221 A Della Robbia Pottery Kneeling Angel plaque designed by Ellen Mary Rope, dated 1898, modelled in relief with a kneeling angel, glazed in yellow and blue, incised Della Robbia mark, CD and dated 398, restored, 39 x 30.5cm.
Provenance
Private collection of Della Robbia Pottery.
Literature
Peter Hylund, The Della Robbia Pottery, Birkenhead, 1894-1906, ACC Books, page 209, figure 224 for a comparable plaque illustrated. £500-800
222 A Della Robbia Pottery Kneeling Angel plaque designed by Ellen Mary Rope, dated 1905, painted by Alice Louisa Jones, rectangular, modelled in relief with a praying angel, glazed in white, yellow and blue, impressed factory mark and date 1905, painted LJ monogram, minor glaze loss, 39.5 x 30.5cm.
Literature
Peter Hylund, The Della Robbia Pottery, Birkenhead, 1894-1906, ACC Books, page 209, figure 224 this actual plaque illustrated. This moulded plaque was listed in the 1896 catalogue. £500-800
223 Gertrude Alice Meredith Williams (1877-1934)
Angel painted plaster panel of an Art Nouveau maiden inside floral halo possibly for the Della Robbia Pottery, green stained oak frame, incised GAW
30.5 x 27.5cm.
Provenance
Bonhams, Knightsbridge, 4th February 1994 lot 140. The Hancock Collection, Lyon & Turnbull 25th January 2023, lot 68.
Private collection of Della Robbia.
Literature
Shaw, Phyllida Undaunted Spirit. The Art and Craft of Gertrude Alice Meredith Williams, Independent Publishing Network illustrated page 42. Gertrude Meredith Williams briefly worked for the Della Robbia Pottery from OctoberDecember 1905. This panel shows the influence of the Glasgow School of Art.
£1,000-2,000
224 ‘Sea Sprites’ a large Della Robbia Pottery plaque designed by Ellen Mary Rope, dated 1902, worked on by Liz Wilkins and Marion de Caluwe, modelled in relied with two sea figures swimming in turbulent waters, glazed in blue, yellow and cream, in wooden frame, incised Rope signature and date bottom left, incised Della Robbia, 184 and artist monograms to reverse, cracked, 55 x 28cm. (panel)
Provenance
Private collection of Della Robbia Pottery.
Literature
The Birkenhead Della Robbia Pottery 1893-1906, Jeremy Cooper Ltd, page 46 catalogue number 31 for a comparable panel dated 1906.
Peter Hyland Della Robbia Pottery, Birkenhead 1894-1906, ACC Books, page 208 figure 23 for a comparable example.
Catalogue notes
£1,200-1,800
This panel was originally known as Water Babes but also known as Water Sprites and Sea Sprites, a similar panel is held in the Victoria & Albert Museum collection. (C.145-2018).
225 ‘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.
Catalogue Notes
The plaque label states the Nymph Undine by the Della Robbia Pottery Birkenhead, from Harold Rathbone.
Provenance
Arts and Crafts, Woolley and Wallis, 18th June 2014, lot 245.
Private collection of Della Robbia. £1,000-2,000
226 ‘Saint George For England’ a Della Robbia Pottery five tile panel, dated 1896, modelled in low relief with a frieze of Saint George on Horseback fighting the dragon, with central banner inscribed Saint George For England, glazed blue, green and turquoise on a white ground, incised marks, 96, losses, 113 x 24.5cm. (tile panel), (5)
Provenance
Private collection of Della Robbia Pottery. £1,000-2,000
227 A rare Della Robbia Pottery wall mirror by Lizzie Wilkins, dated 1901, possibly designed by Harold Rathbone, tapering rectangular form, modelled in low relief with fairies playing amongst stems of dicentra flowers and foliage, in green, yellow and pink on a mustard yellow ground, painted Della Robbia mark, date 1901 and LW monogram, painted in terracotta Della Robbia Pottery Birkenhead and H, impressed Della Robbia mark with date 1901, professional restoration, 57.5cm. high, 47cm. wide.
Provenance
Design since 1860, Lyon & Turnbull, 16th October 2024, lot 247.
£2,000-3,000
228 A large Della Robbia Pottery wine cooler, dated 1898, possibly exhibited at the Paris Exhibition, 1900, oval section, cast in relief with classical masks and grotesques, on a band of acorns, in blue, green and terracotta, incised Della Robbia mark, 37/98 date, painted FMW mark, 37cm. diam, 21cm. high
Provenance
Private collection of Della Robbia Pottery.
Literature
Peter Hyland, The Della Robbia Pottery, Birkenhead 18941906, ACC Books, page 93 figure 96 for a reproduction photograph of some of the 20 Della Robbia pieces sent to the Royal Pavilion at the Paris Exhibition, 1900.
£1,000-1,500
229 A Della Robbia Pottery Love and Beauty twin-handled vase by Aphra Peirce, after a design by Sir Edward Coley Burne-Jones, shouldered albarello shape, cylindrical form with applied strap-handles, incised and painted with two classical figures, standing in a landscape, one surrounded by birds, the other holding an arrow, joined by holding a thin yellow ribbon, in colours, incised Della Robbia mark, signature Alpha Pierce and number 419, restored handle and top rim, 35.5cm. high
Provenance
Jeremy Cooper Ltd The Birkenhead Della Robbia Pottery 1893-1906, page 60, catalogue number 73 this vase illustrated. £1,000-1,500
230 A Della Robbia Pottery Dragon
Jug by Liz Wilkins and Arthur Bells, bellied form the spout modelled as a grotesque creature, incised and painted with panels of Art Nouveau stylised foliage in green, blue and turquoise, painted Della Robbia mark and LW monogram, incised 353 and AEB monogram, 26.5cm. high
Provenance
Decorative Arts, Bonham’s London 24th April 2012, lot 315.
Private collection.
Private collection of Della Robbia Pottery.
Literature
Peter Hyland, The Della Robbia Pottery Birkenhead 1894-1906, ACC Books, page 238 for a page from the Della Robbia catalogue reproduced with this shape, number 14. £700-900
231 A Della Robbia Pottery twinhandled vase, possibly by Edward Turri, shape no.477, shouldered form, applied with twin-dolphin handles, incised and painted with panels of flowers and foliage in turquoise, green and blue, incised Della Robbia mark, 477 and T mark, professional restoration to neck,, 25.5cm. high
£300-500
232 A Della Robbia Pottery plate by Cassandra Annie Walker, dated 1897, incised and painted with a profile portrait of a classical maiden, in shades of yellow, green and ochre on a brown ground, the rim with fruit and foliage border, incised Della Robbia mark, CAW monogram and 1897 date, hairlines to rim, 21.5cm. diam. £200-300
233 A Della Robbia Pottery bowl by C Taylor, dated 1902, incised and painted to the well with radiating leaves in yellow and turquoise on a brown ground, the rim with a band of bead decoration, incised mark, 1902 date, painted CT monogram, 19.5cm. diam. £80-120
234 An Art Nouveau Della Robbia Pottery charger by Tom Hall, numbered 168, incised and painted with radiating flower stems and leaves to the well, the rim with incised swirl motif, in yellow and green on a turquoise ground, incised Della Robbia mark, incised monogram and 168, and painted monogram, fine stress hairllines to rim, 34cm. diam. £400-600
235 A Della Robbia Pottery plate by C Taylor, dated 1902, incised and painted with stylised Tudor rose motif and foliage boughs, in turquoise, yellow, green and ochre on a yellow ground, incised factory mark and 1902, painted C Taylor, minor losses and a filled small chip to rim, 21cm. diam. Literature
Peter Hyland The Della Robbia Pottery Birkenhead, 1894-1906, ACC Books, page 217 fig.234 this plate illustrated. £100-150
236 A Della Robbia Pottery tureen and cover by Ruth Bare and Charles Collis, the domed cover painted with Celtic entwined knot motif, the tureen interior with stylised entwined foliage, with a band of shield motif to the rim, in yellow, turquoise and green on a brown ground, incised Della Robbia mark, and C, painted RB, cover finial repaired, rim chips, 20cm. diam. (2) £80-120
237 A tall Art Nouveau Della Robbia Pottery vase by Ruth Bare, dated 1899, cylindrical with flaring tim, incised and painted with wild rose flowers and foliage growing through a stylised trellis, in green, brown and cream-yellow, incised Della Robbia mark, 1899 and RB monogram, restoration to top rim, 40cm. high
Provenance
The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass Department, Victoria & Albert Museum, London Design Since 1860, Lyon & Turnbull, 17th April 2024, lot 184.
Private collection of Della Robbia Pottery.
£1,000-2,000
238 A tall and impressive Art Nouveau Della Robbia Pottery vase by Cassandra Annie Walker, dated 1899, cylindrical with flaring rim, incised and painted with three Art Nouveau maidens with long flowing blond hair, holding hands, below a band of stylised blue birds, between bands inscribed He Who Teaches Beauty.. teaches Holiness, in yellow, blue, green and turquoise on a pale cream ground, incised Della Robbia mark, incised C A Walker signature and 1899 date, old museum restoration, 41.5cm. high
Provenance
John Jesse Arts and Crafts, Woolley and Wallis Auctioneers, 19th June 2019, lot 133. £1,500-2,000
239 A tall and impressive Della Robbia Pottery vase by Gertrude Russell, cylindrical form with flaring rim, incised and painted with poppy flower stems, in red, green and yellow on a turquoise ground, incised factory mark, painted artist’s monogram, minor professional restoration, 40cm. high.
Provenance
Sotheby’s Olympia.
British Art Pottery, Woolley and Wallis, 27th November 2019, lot 225.
Private collection of Della Robbia Pottery. £500-1,000
240 A Della Robbia Pottery Irish Clay
Tall Persian bottle vase by J Delahunt, dated 1902, the pear shaped body with knopped neck and flaring top rim, modelled in low relief with two Art Nouveau maidens holding diaphanous scarves, dancing before the rising sun, inscribed to lower band Who Teaches Beauty Teaches Holiness, glazed in colours, incised DR Irish Clay, dated 1902 and incised signature, paper US import label and DRC collection label, restoration to top rim and knop of neck, 38.5cm. high
Provenance
The David Coachworth and Peter Myers Collection.
Private collection. £800-1,200
241 A rare Della Robbia Pottery Lizard vase, shouldered form, applied with a crawling lizard to the shoulder, covered in a mottled green and chestnut brown glaze, incised Della Robbia Pottery mark, 14.5cm. high
Provenance
Private collection of Della Robbia Pottery.
Literature
245 A Della Robbia Pottery Spill vase with handle by Charles Collis and Gwendoline Buckler, cylindrical form, painted with bands of geometric foliate motif in cream and green on a tan ground, and another Della Robbia Pottery Spill vase probably by Jessie Sinclair incised and painted with flower stems, incised factory mark and C artist mark, painted GEMB monogram, fine stress line to inside of Collis vase, 12.5cm. high (2)
Literature
£200-300
Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, ACC Books, page 176 figure 186 for a comparable example illustrated.
242 A Pottery bottle vase in the manner of Della Robbia Pottery, slender ovoid form with cylindrical neck, incised and painted with panels of flowers in blue and cream on a brown ground, and another vase similar painted with angled geometric columns, both unsigned, 20.5cm. high (2)
Provenance
Private collection of Della Robbia Pottery. £100-200
243 A Della Robbia Pottery tyg by Charles Collis, number 123, shouldered form with applied handles, slip decorated with scrolling foliage in white on a green and terracotta ground, the interior glazed blue, incised Della Robbia Pottery mark, C monogram and 123, minor glaze loss, 13cm. high £200-400
244 A small Della Robbia Pottery Spill Pot possibly by Jessie Sinclair, number 162, incised with a band of leaping scaly fish in green, turquoise and ochre, incised Della Robbia mark, JS monogram and number 162, 12.5cm. high £100-200
Peter Hyland The Della Robbia Pottery, Birkenhead 1894-1906, ACC Books, page 147 fig.154 for two comparable Spill Vase with handles illustrated. £200-300
246 A Della Robbia Pottery small jug by Charles Collis and Liz Wilkins, cylindrical with swollen neck, incised and painted with tracery panels in blue, green and turquoise on a brown ground, and another similar decorated by Gwendoline Buckler and Harry Pearce, incised Della Robbia mark, and C, painted LW monogram, 12cm. high (2)
Provenance
Private collection of Della Robbia.
£250-350
247 A Della Robbia Pottery double gourd vase by Liz Wilkins and possibly Jessie Sinclair, double gourd form, incised bands of stylised foliage panels, under a green and turquoise streaked glaze, incised Della Robbia mark, JS monogram, painted LW monogram, small factory chips to rims, 23cm. high £150-250
248 A Della Robbia Pottery Small Dutch vase and cover by Charles Collis, incised and painted with a frieze of flowers stems, in turquoise, green and yellow on a textured purple ground, incised factory mark, incised C monogram and 58, 13.5cm. high (2)
Literature
Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, ACC Books, page 184 fig.198 for a comparable Small Dutch vase and cover. £150-250
249 A Della Robbia Pottery vase by Liz Wilkins and Aphra Peirce, dated 1899, albarello shape, incised and painted with a frieze of fairies below a fruit and foliage swag, two fairies with butterfly wings, one fairy picking a fruit from teh swag, in red, green, yellow and turquoise, incised factory mark, artist cipher, painted LW monogram and 1899 date, minor glaze loss, 19.5cm. high
£400-600
250 An unusual Della Robbia Violet vase by Liz Wilkins and John Cecil Shirley, bottle form with knopped neck, incised and painted with elephants standing and eating leaves from a tree, in white, green and blue on a terracotta ground, incised Della Robbia Pottery mark, Shirley and 306, painted LW monogram, professional restoration to top rim, 27cm. high
£500-800
251 A Della Robbia Pottery bottle vase by John Cecil Shirley and Gwendoline Buckler, dated 1898, ovoid with waisted cylindrical neck, incised and painted with a cloud of butterflies, in yellow and tan on a blue ground, incised factory mark, and Shirley, date 98, painted GEMB monogram, small re-stuck frit to top rim, 21.5cm. high
Provenance
Private collection of Della Robbia Pottery.
£400-600
252 A Della Robbia Pottery bottle vase by Violet Woodhouse, incised and painted with birds perched inside scrolling, flowers and foliage, the knopped neck inscribed A Bird in the Hand is worth two in the Bush, in green, red and aubergine on a pale yellow ground, incised Della Robbia Pottery mark, and Violet, 20.5cm. high
Provenance
Clarice Cliff, Art Deco & Design, Woolley and Wallis 22nd March 2023, lot 247.
Private collection of Della Robbia Pottery.
£300-500
249
250
253 A Della Robbia Pottery twin-handled vase by Alice Louise Jones and John Fogo, number 254, ovoid with applied handles to shoulder, incised with panels of Art Nouveau flowers in yellow, red and green on a turquoise ground incised factory mark, JF monogram and 254, painted LJ monogram, minor glaze loss to top rim, 12cm. high £150-200
254 An Art Nouveau Della Robbia Pottery preserve pot and cover by Charles Collis and Tom Hall, incised and painted with Art Nouveau stylised poppy flower stems in red, yellow and green on a turquoise ground, incised Della Robbia mark, C monogram and 829, painted TH monogram, professional restoration to pot, 10.5cm. high (2)
Provenance
Private collection of Della Robbia Pottery. £150-250
255 A Della Robbia Pottery vase and cover by Hannah Jones and Charles Collis, shouldered form, incised and painted with panels of scrolling, stylised foliage in green, turquoise and yellow on a terracotta ground, incised Della Robbia factory mark and C, painted HJ monogram, small glaze frit to top rim, 16.5cm. high (2) £250-350
256 A Della Robbia Pottery vase by Charles Collis and Tom Hall, number 593, slender, shouldered form, incised with wild rose flower stems, in red, yellow and green on a turquoise ground, incised Della Robbia Pottery mark, C monogram and 593, painted TH monogram, professional restoration to foot, 20cm. high
Provenance
Private collection of Della Robbia Pottery. £200-300
257 A Della Robbia Pottery Prince of Wales
Water Bottle vase by Enid Woodhouse, incised and painted with yellow daisy flower stem and scrolling foliage panels, in yellow, green and turquoise on a cream ground, incised Della Robbia Pottery mark and Enid, 19.5cm. high
Provenance
The Mike Higgins Collection of Della Robbia Pottery, Birkenhead. £300-500
258 A Della Robbia Pottery Prince of Wales
Water Bottle vase by Gwendoline Buckler and Arthur Bells, tapering form, incised with columns of stylised foliage in green, turquoise and ochre, incised Della Robbia mark, AEB and painted GEMB monograms, professional restoration to top rim, 19.5cm. high
Provenance
Private collection of Della Robbia Pottery.
Literature
Peter Hyland The Della Robbia Pottery Birkenhead 1894-1906, ACC Books, page 240 for an original photograph from the 1896 Della Robbia shape catalogue showing this shape. £300-500
259 A Della Robbia Pottery twin-handled vase, footed form with applied strap handles, painted with Tudor rose flowers on Art Nouveau sinuous stems, in red, green and ochre on a green ground, incised Della Robbia mark and 265, professional restoration to one handle, glaze loss to foot rim, 28.5cm. high £250-350
260 A rare Della Robbia tulip vase by Charles Collis and Alice Louisa Jones, compressed, shouldered form with five pierced apertures, central neck with knopped rim, modelled with stylised, pierced floral bosses, painted in shades of blue, green and turquoise, the neck with painted flower stems in green on a yellow ground, incised Della Robbia mark, and C, painted ALJ mark, professional restoration to one bosse, 25cm. high £800-1,200
261 A Della Robbia Pottery twin-handled vase by Annie Beaumont, shouldered form applied with twin-mask handles, the body painted with stylised foliage sprays in green, turquoise and yellow on a terracotta ground, incised Della Robbia mark, AB monogram and painted AS monogram possibly for Annie Smith, 31cm. high £400-600
262 An unusual Della Robbia Pottery vase by Emily Margaret Wood, shouldered form applied with three dolphin mask handles, incised and painted to the body with grotesque fish and eels swimming amongst waterweed, in green, yellow and ochre on a turquoise ground, incised Della Robbia Pottery mark, painted EW monogram, professional restoration to foot rim, 31.5cm. high
Provenance
Decorative Arts, Bamfords Auctioneers, 16th March 2016, lot 3003. £1,000-2,000
263 A Della Robbia Pottery Water Bottle vase probably by Jessie Sinclair, ovoid with waisted cylindrical neck, incised and painted with a frieze of stylised flowers in turquoise, red and cream, incised factory mark and JS monogram, painted artist cipher possibly for Harold Rathbone, professional restoration to the top rim, 18.5cm. high
Catalogue notes
The vase has a green painted monogram, hard to read, but possibly the monogram of HR used by Harold Rathbone when he was in supervision of an artist working on a piece.
£200-300
264 A Della Robbia Pottery vase possibly by J L Levy, shouldered, baluster form, incised and painted with simple panels of flowers and foliage in red, yellow and green on a turquoise ground, incised Della Robbia factory mark and L monogram, minor glaze loss to the top rim, 21.5cm. high
£250-350
265 A Della Robbia Pottery singlehandled vase by Hannah Jones, ovoid with flaring conical neck, painted with Tudor rose motif in red, yellow and green on a pale yellow ground, painted Della Robbia Pottery mark, painted HJ monogram, 24cm. high
Provenance
20th century Design, Tennants Auctioneer’s, 2nd March 2024, lot 46. £150-200
266 ‘Valoze e Carita (values and charity)’ a tall pottery vase by Carlo Manzoni, dated 1896, probably Granville Pottery, shouldered form, painted with a roundel of classical figures in a formal garden setting, in colours on a cream ground, painted inscription inside neck, restored neck, 50cm. high £500-800
267 A Della Robbia Pottery footed vase by Liz Wilkins, dated 1896, ovoid on three claw feet, applied with three looped handles to the neck, incised with three flying fairies blowing a bell flower horn, in yellow, turquoise and blue on a cream ground, the shoulder with modelled beadwork border and painted foliage sprays, incised Della Robbia Pottery mark, dated 1896, painted LW monogram. chips, £150-200
268 A Della Robbia Pottery vase by Tom Hall and possibly George Warhurst, ovoid with collar rim, incised and painted with stems of bleeding heart flowers and foliage in yellow and green on a turquoise ground, incised Della Robbia Pottery mark, GW and painted TH monogram, 9cm. high
£100-200
269 A Della Robbia Pottery vase by Alice Louisa Jones and Charles Collis, numbered 228, compressed ovoid form with waisted cylindrical neck, incised and painted with grape vine, in purple and green on a terracotta ground, incised factory mark, C monogram, painted ALJ monogram, 20.5cm. high
£300-400
270 A large Della Robbia Pottery Mead jug by Ruth Bare, footed cylindrical form with electroplated foot, handle and hinged cover, the body incised with a band of honey bees on a meandering band over stylised honeycomb, in green, yellow and turquoise, incised factory mark and artist monogram, painted monogram, 25cm. high
Provenance
Private collection of Della Robbia Pottery. £700-900
271 A Bernard Moore pottery bowl, painted to the well with a Tudor rose flower head, in gold on a mottled mushroom ground, painted BM monogram and artist cipher, 16.5cm. diam.
£150-200
272 A Sunflower Pottery crackled lustre vase designed by Sir Edmund Elton, compressed form with knopped neck, modelled with three circular cabochon, covered in a crackled golden lustre glaze over green, painted Elton mark, 15.5cm. high
Provenance
Private collection.
Literature
273 A Ruskin Pottery brooch, circular, souffle glazed in shades of sky blue and pink, set in white metal pierce frame, four other Ruskin Pottery stones, four Ruskin Pottery heart-shaped stones and nine other stoneware mounted roundels, impressed marks, 4.5cm. diam. (main), (18)
£80-120
274 A Ruskin Pottery high-fired stoneware vase designed by William Howson Taylor, shouldered form, covered in a speckled mint green glaze over silver-white, with flambe splashes, impressed factory marks, 20cm. high
Provenance
Private collection.
£600-800
Malcolm Haslam Elton Ware, Richard Dennis Publications, page 28 plate 11 for a comparable, taller vase illustrated.
£250-350
275 A rare Ruskin Pottery stoneware box and cover designed by William Howson Taylor, square section, covered in a purple glaze with lavender spots, the cover top with lavender and turquoise speckling, impressed factory marks, Ferneyhough paper label to cover, 9.5cm. square, 7cm. high (2)
Provenance
William Howson Taylor.
Ferneyhough Collection (no.102).
British Decorative Arts from 1880 to the Present Day, Christie’s King Street, 5th February 1992, lot 272. The Albert E Wade Collection, part 1, Sotheby’s Olympia, lot 401.
Private collection.
Literature
Paul Atterbury & John Henson, Ruskin Pottery, Baxendale Press, page 132, this box and cover illustrated.
£500-700
276 A small Ruskin Pottery high-fired stoneware vase designed by William Howson Taylor, dated 1905, flaring, shouldered form, lavender with white band to shoulder and foot, covered with mint green and turquoise speckles, impressed Ruskin mark and 1905, 9.5cm. high
£200-300
277 A Wedgwood Pottery Rhodian charger designed by Alfred and Louise Powell, painted by Millicent Taplin, pattern C5528, painted with stylised flowers and foliage to the well in shades of blue, green and red, the rim with alternate hatch and scroll panels, impressed factory mark and painted marks, collection paper label, 37.5cm. diam.
Provenance
Hensleigh Collection of Wedgwood. Private collection.
Literature
£150-200
Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 159 plate 385 and 386 for comparable pieces in the Rhodian design.
278 A large porcelain bowl by Hugh Thackeray Turner, dated March 28th 1924, painted to the interior with flowering boughs in red and green inside a wavy border, the exterior similar flower stems in red, green and yellow below a band of stylised flower roundel, painted monogram, date and glaze colour details, small chip to rim, 28cm. diam.
£400-600
279 A large Wedgwood Pottery wall charger by Alfred Powell, dated 1914, painted to the well with a seated lion inside a band of scrolling, fruiting grape vine, in gilt on a midnight blue ground, the rim with a band of stylised foliage in green and blue, highlighted with purple lustre on a white ground, the reverse with simple painted leaf panels, impressed Wedgwood mark, painted monogram, 754 Hampstead Oct 1914, paper collection label, repaired section to rim, 56cm. diam.
Provenance
Charles Harold St.John Hornby collection, number B.67. Hornby lent ceramics by Alfred & Louise Powell as well as furniture by Sidney Barnsley, Edward Barnsley, to An Exhibition of Cotswold Craftsmen, 1951.
£300-500
280 A large Wedgwood Pottery cider jug by Louise Powell, number 957, swollen, ovoid form painted with foliage design in silver on a black ground, impressed mark, painted LP monogram. 22cm. high
Literature
The Studio Yearbook 1919, Cottage Design Decoration and Furnishing, page 115 this jug illustrated.
£200-300
A PRIVATE COLLECTION OF ALFRED AND LOUISE POWELL AND GRACE BARNSLEY CERAMICS
281 A Wedgwood Pottery jug by Grace Barnsley, number 221, shouldered form, painted with stylised flowers in iron red and black on a cream ground, impressed factory marks, painted artist monogram, numbered 221, 9.5cm. high
Provenance
A private collection of Alfred & Louise Powell ceramics. £200-300
282 A small Wedgwood Pottery jug and dish by Grace Barnsley, number 117, painted with scrolling purple lustre foliage with orange berries, impressed factory marks, painted GB monogram and 117, 7cm. high (2)
Provenance
A private collection of Alfred & Louise Powell ceramics. £200-300
283 A Wedgwood Pottery coffee can and saucer by Grace Barnsley, number 257, painted with stylised carnation flower stems, in pink blue and green, and a Wedgwood Pottery coffee can and saucer by Grace Barnsley painted with small pink flowers, impressed factory marks, painted artist monogram, number 257, crazed can, 12.5cm. diam. (4)
Provenance
A private collection of Alfred & Louise Powell ceramics. £150-200
284 A Wedgwood Pottery bowl by Grace Barnsley, octagonal, painted with wild flowers and foliage in colours on a cream ground, impressed factory marks, painted monogram, numbered 96, hairline crack to side, 17cm. diam.
Provenance
Henry Aldridge Auctioneers, lot 216.
A private collection of Alfred & Louise Powell ceramics. £150-200
285 A Wedgwood Pottery covered basin by Grace Barnsley, painted with bough of foliage and hips in red, green and brown on a white ground, impressed factory mark, painted artist monogram, number 198, 11.5cm. diam.
Provenance
A private collection of Alfred & Louise Powell ceramics. £200-300
286 A pair of Roeginga Pottery bowls by Grace Barnsley, flaring conical, footed form, one painted with carnation, the other rose hips, in colours on a cream ground, painted monogram to rosehip bowl, hairline to one, 10.5cm. diam. (2)
Provenance
A private collection of Alfred & Louise Powell ceramics.
Catalogue notes
In 1938 Grace Barnsley and her husband Oscar Davies they took over the Upchurch Pottery and renamed it the Roeginga Pottery. £200-300
287 A large Wedgwood Pottery twinhandled vase by Louise Powell, shouldered form, painted with alternating foliate panels in blue and chestnut brown on a cream ground, with simple bands of chestnut dashes to rims and handles, impressed factory marks, painted monogram and 3688, 25cm. high
Provenance
A private collection of Alfred & Louise Powell ceramics. £500-800
288 A fine Wedgwood Pottery Cotswolds Views bowl by Alfred Powell, painted with scenes of Tewksebury, The Seven Bore, Gloucester, Sapperton, Old Gloucester Thames Head, Cirencester, and Painswick, in blue on a whote ground, the interior with snakeshead fritillery, impressed factory marks, painted artist cipher, 25.5cm. diam
Provenance
A private collection of Alfred & Louise Powell ceramics. £2,500-3,500
289 A set of six Wedgwood Pottery plates by Alfred Powell, number 4411, each painted with a sailing boat at sea, inside foliate border in blue and green on a white ground, the reverse with simple boat motif, impressed factory marks, painted artist cipher, number 4411, 23.5cm. diam. (6)
Provenance
A private collection of Alfred & Louise Powell ceramics. £1,000-1,500
290 A Wedgwood Pottery charger by Louise Powell, number 2150, painted with geometric design of fruiting grape vine in green, blue and chestnut brown on a cream ground, impressed factory mark, painted artist monogram, small chip to rim, 32cm. diam.
Provenance
A private collection of Alfred & Louise Powell ceramics. £300-500
291 A Wedgwood Pottery bowl by Alfred Powell, number 4127, painted to the interior with a birds nest with seven eggs in, inside radiating trees, the exterior native birds in shades of blue, green and chestnut on a white ground, with purple lustre highlights impressed factory marks, painted artist monogram and 4127, 18.5cm. diam.
Provenance
A private collection of Alfred & Louise Powell ceramics. £400-600
292 Alfred Hoare Powell (1865-1960) Magnolia Tree, 1946 gouache on linen, framed signed Alfred Powell 29.5 x 23.5cm. (image)
Provenance
A private collection of Alfred & Louise Powell ceramics. £200-300
293 Alfred Hoare Powell (1865-1960) Erigeron, gouache on linen, framed signed Alfred Powell and gallery label 22.5 x 15cm.
Provenance
The Brook Street Art Gallery
A private collection of Alfred & Louise Powell ceramics. £200-300
294 Alfred Hoare Powell (1865-1960) Laurel Blossom, gouache on linen, framed signed, gallery label to reverse 33 x 23cm. (image)
Provenance
The Brook Street Gallery Abbott & Holder, 1999
A private collection of Alfred & Louise Powell ceramics. £200-300
295 Alfred Hoare Powell (1865-1960) Primroses and Bluebells, gouache on linen, framed signed Alfred Powell 32 x 23cm. (image)
Provenance
A private collection of Alfred & Louise Powell ceramics. £200-300
296 Harry Parr (1882-1966 presumed)
Bridget Parr, 1927 an unrecorded earthenware bust of his daughter aged seven, glazed in colours impressed HY Parr, 1927 Chelsea 16.5cm. high
Literature
Terence Cartlidge & David A Lawrence, Charles Vyse, Harry Parr& Leslie Harradine, private press, page 127 for a variation of this bust also dated 1927. £80-120
297 A pottery Knight and Fair Maiden sculpture, in the manner of Stanley Thorogood, modelled as a maiden riding on horseback, a knight standing holding the reigns, glazed in colours, unsigned, 30.5cm. high £400-600
297A Three Minton Aesthetic Movement Cat plates, printed in green with a cat hunting fish in a bowl, seated in a large jardiniere with peacock feathers in sepia and resting under an umbrella in sepia, on white ground impressed and printed factory marks, 20.5cm. diam. (3) £100-200
298 A large Burmantoft’s Faience architectural tile, square, modelled in low relief with a formal foliate and scroll design, in sand yellow on pale blue, incised RLD, Provenance
The Michael Blood collection.
£80-120
299 A Pilkington’s Lancastrian tile designed by Charles Francis Annesley Voysey, dust-pressed with simple stylised flower glazed olive green impressed P mark, 15.2cm. square
Literature
Karen Livingstone CFA Voysey Arts and Crafts Designer, V&A, page 285 figure 373 this tile design illustrated. £80-120
300 Eight Minton’s China Works tiles designed by John Moyr Smith, comprising Ishmael in the Desert, Sosern Before King Pharoah, The Death of the First Born, Jack and the Beanstalk, Little Tailor, and the Finding of Moses, printed in brown on a cream ground, and Jacob’s Dream at Bethel, and Sodom and Gomorrah, printed in black on cream, impressed factory marks, five with MS monograms in the print, 15cm. square (8) £60-100
301 A pair of Minton Hollins & Co Gothic Revival dust-pressed tiles, one printed with a young scholar studying at a lectern whilst a young lady watches on, in black and yellow, the other with mother and young child playing in a formal garden setting, framed individually, impressed marks, 27.5 x 30cm. (2) Provenance
The Michael Blood collection. £150-200
on four boards,
and
Provenance
Private collection.
Catalogue notes
Originally this panel was installed in the workers canteen of the Campbell Tile Works (shared with Minton via a connecting door), the panel is illustrated in situ in the Pottery Trade Gazette August 1950, with its companion panel of Trentham Gardens which was only partially saved when the building was destroyed in the early 1980s. £500-1,000
303 A pair of Minton Hollins & Co majolica tiles, each cast in low relief, one with two birds on a nest, the other a bird perched on a fruiting bough, in colours inside geometric border, framed cast marks, paper Minton Hollins label, 19.5cm. square (2)
Literature
Victoria Cecil Minton Majolica, Jeremy Cooper Ltd, page 78 catalogue number 115. £80-120
304 An important Minton’s encaustic floor tile panel from commissioned by William Waldorf Astor for Cliveden House, Buckinghamshire, in 1895, fourteen tiles decorated with cupids holding a wreath issuing from a vase in the form of a fountain, in blue, tan and white, framed, impressed factory marks, 90 x 29.5cm. (tile panel)
Provenance
The Collection of Michael Blood.
Literature
The John Scott Collection, (Jackfield Tile Collection) Pitkin Publishing, 2017 front cover depicting Medusa the central roundel from the floor. Also page 354 for the centrepiece roundel from the floor previously in the John S M Scott collection and page 355 for the review of the floor described in the Pottery Gazette 1st November 1895. This tile panel forms part of the outer border. £500-1,000
302 A large Minton ninety-six tile panel of Little Moreton Hall by John Wadsworth, dated 1948, painted in colours on a pale yellow ground, mounted
signed
dated lower right, 244cm. wide, 93cm. high (4)
A PRIVATE COLLECTION OF PILKINGTON’S LANCASTRIAN POTTERY
305 A Pilkington’s Lancastrian Pottery solifleur vase by Gordon Forsyth, dated 1908, shouldered, slender cylindrical form, painted with vertical bough of stylised blossom in ruby and gold lustre on a cream ground, impressed factory mark, painted artist cipher and date code, professional restoration to neck, 23.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £300-500
306 A Pilkington’s Lancastrian pottery urn by Gordon Forsyth, dated 1912, modelled in relief with four lion mask handles to the shoulder, painted with swags and geometric borders in ruby and gold lustre on a cream ground, impressed factory mark, painted artist cipher and date code, professionally restored foot, 28cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £400-600
307 A small Pilkington’s Lancastrian Pottery vase by Gladys Rogers, dated 1906, ovoid with tapering cylindrical neck, painted with Cypress trees amidst tall foliate boughs in ruby and gold lustre on a cream ground, printed factory mark, painted artist cipher and impressed VI date code, 11cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-200
308 A Pilkington’s Lancastrian Pottery vase by Richard Joyce, dated 1909, shouldered ovoid form, painted with scaly fish amongst waterweed, in gold lustre on a ruby red ground, and a compressed ovoid vase painted with fish by Richard Joyce dated 1906, impressed factory mark, painted artist cipher and date code, both vases cracked, 12.5cm. high (2)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-200
309 A Pilkington’s Royal Lancastrian Pottery vase by Richard Joyce, shouldered form, painted with deer running amongst formal cypress trees, in golden lustre on a red flambe ground, and a Pilkington’s Lancastrian solifleur vase painted with red carnation panels, impressed factory marks, painted marks, hairline to top rim and Pilkington’s glaze crazing to main vase, 20cm. high (2)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-200
310 A Pilkington’s Lancastrian solifleur vase by Richard Joyce, shape no.2598, painted with scaly fish swimming amongst waterweed, in gold lustre on a cream ground, impressed factory mark, painted artist cipher, 14cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-200
310A A Pilkington’s Royal Lancastrian Pottery vase by Richard Joyce, shape no.3255, ovoid with collar neck, painted with seated lions amidst foliage sprays in red and gold lustre on an orange ground, a Pilkington’s Lancastrian vase by Charles Cundall with all over foliate design in gold, and another vase by Gordon Forsyth, impressed factory marks, painted artist cipher, second vase cracked, 18.5cm. high (3)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-300
311 An unusual Pilkington’s Lancastrian model of a rat resting on an apple designed by Richard Joyce, covered in a golden iridescent glaze, apparently unsigned 15cm. wide
Provenance
Fine Arts and Crafts, Woolley and Wallis Auctioneers, 17th June 2015, lot 157.
Private collection of Pilkington’s Lancastrian Pottery.
Literature
A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications page 55 plate 74 for another version illustrated.
£400-600
312 A Pilkington’s Lancastrian Pottery vase by Charles Cundall, dated 1908, shouldered form, painted with tall stylised Cypress trees between scrolling heart-shaped foliage panels, in red and gold lustre on an orange ground, impressed factory marks, painted artist cipher, painted date code tree in design, 11.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£150-200
313 A Pilkington’s Lancastrian Pottery vase by Gladys Rogers, shouldered ovoid form, painted to the shoulder with a band of bell flowers in dark bronze and ruby on a blue ground, and another small Pilkington’s Lancastrian vase by Gladys Rogers painted with stylised berries, impressed factory mark, painted artist cipher, 10.5cm. high (2)
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£150-200
314 A Pilkington’s Lancastrian bowl by Richard Joyce, painted to the well with a medieval knight on horseback, on scrolling foliate ground, in golden lustre on a red ground, painted artist cipher, professional restoration to top rim, 22cm. diam.
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£150-200
315 A Pilkington’s Royal Lancastrian Pottery twin-handled vase by Richard Joyce, shape no.3255, ovoid with collar rim, painted with heraldic seated lions amongst scrolling foliage in golden lustre, highlighted in red on an orange ground, impressed factory marks, painted artist cipher, 18cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£400-600
316 A tall Pilkington’s Lancastrian Pottery vase by William S Mycock, dated 1909, shape no. 2642, painted with prunus blossom in red and gold lustre on a blue ground, impressed factory marks, painted artist cipher and date code, 28cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £500-1,000
317 A Pilkington’s Lancastrian Pottery solifleur vase by Richard Joyce, dated 1914, ovoid with slender tapering neck, painted with scaly fish swimming amongst waterweed, in ruby and red lustre on an orange ground, impressed factory mark, painted artist cipher, date code, restored rim chip to top rim, 22cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £300-500
318 A Pilkington’s Royal Lancastrian Pottery vase by William S Mycock, dated 1925, shouldered form, painted with heraldic dragons before scrolling foliage with lizards, in gold and red lustre on a deep royal blue ground, the shoulder and neck with bands of scrolling foliage, impressed factory marks, painted cipher and date 1925, cracked, 15cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-250
319 A Pilkington’s Lancastrian Pottery twin-handled vase by William S Mycock, dated 1914, painted with a heraldic twinheaded eagle to one side, the reverse a lion rampant, in golden lustre on a streaked green and brown glaze, impressed factory mark, painted artist cipher and date code, professional restoration, 18cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-400
316 317
319 both sides
320 A Pilkington’s Royal Lancastrian vase by Richard Joyce, bottle form, painted with a knight on horseback in armour, holding a lance, the reverse with a heraldic shield, in gold and red lustre on a dark blue ground, impressed factory marks, painted artist cipher, 24cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£400-600
321 A large Pilkington’s Royal Lancastrian bottle vase by William S Mycock, dated 1927, painted with a frieze of oriental figures in a scrolling foliage setting, the neck with bands of scrolling foliage, in ruby, orange and gold lustre impressed factory marks, painted artist cipher and date, Pilkington glaze crazing, 34.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-400
322 A Pilkington’s Lancastrian Pottery vase by Richard Joyce, shouldered form, painted with heraldic lion passant, in golden on a red lustre ground, impressed factory marks, painted artist cipher, small chip to top rim and side of vase, 16.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-250
323 A Pilkington’s Lancastrian dust-pressed Griffin tile, modelled in low relief and glazed in ruby lustre on white, four small Pilkington’s lustre tiles, a Pilkington’s Lancastrian tile plaque printed and painted with a windmill by T F Evans and eleven other tiles, impressed P mark, 15cm. square, (17)
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
Literature
A J Cross, Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 36 plate 38A for an example of the griffin tile illustrated. Angela & Barry Corbett Pilkington’s Tiles 18912010, page 17 this actual windmill tile illustrated. £200-400
324 A large Pilkington’s Lancastrian vase by Charles Cundall, dated 1911, shouldered form with cylindrical neck, painted with a frieze of stylised flower stems inside scrolling rose border, the neck with slender Art Nouveau flower stems, in gold, red and blue lustre on a buff ground, impressed factory marks, painted artist cipher and date code, 36.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £700-1,000
325 An early Pilkington’s Lancastrian Pottery vase, step shouldered form by Robert Tunnicliffe designed by Lewis F Day, covered in a curdled blue glaze, another smaller covered in a green streaked glaze and two others with faceted neck covered in gold and red lustre glaze, impressed P and printed P mark, incised V artist mark, collection paper label, 20cm. high (4)
Provenance
Arts and Crafts, Woolley and Wallis 1st June 2007 lot 814. Private collection of Pilkington’s Lancastrian Pottery.
Literature
Joan Maria Hansen Lewis Foreman Day (1845-1910) Unity in Design and Industry, ACC Books, page 198 cat. no.6.58 for an example of this shape illustrated. £150-200
326 An early Pilkington’s Lancastrian Pottery vase, compressed ovid form with twisted neck, covered in a finely streaked sand over ruby glaze, a small circular dish modelled in low relief with a simple flower design, covered in a green aventurine glaze, a vase covered in a green aventurine glaze and four other vases, printed P factory mark, chip to top rim of tall red vase, 16.5cm. high (7)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-250
327 A Pilkington’s Lancastrian Pottery vase, tapering cylindrical form with swollen neck, covered in a curdled blue glaze, an ovoid vase with flaring neck covered in a curdled glaze and seven other Pilkington’s Lancastrian vases, impressed factory marks, 25.5cm. high (9)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-300
328 A Pilkington’s Lancastrian Pottery Sava jug by Richard Joyce, dated 1919, compressed ovoid form with single looped handle, painted with birds standing amongst scrolling grape vine, in copper lustre on a dark bluegreen ground, a Pilkington’s Royal Lancastrian Pottery twin-handled vase painted with foliage, a solifleur vase covered in a tea dust glaze and three other experimental glazed vases, painted artist cipher and date code, repaired neck to one, 11cm. high (6)
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
Literature
A J Cross, Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 48 plates 52 and 53 for thirteenth century Persian Sava jugs and a Pilkington’s example by Gordon Forsyth illustrated. £150-250
329 An early Pilkington’s Lancastrian Pottery vase, dated 1909, shape no.2159, compressed form with flaring neck, covered in a streaked cream glaze over red experimental glaze, a tall vase modelled with band of diamond shape decoration covered in a streaked ruby lustre glaze made for the Pilkington’s Tiles Ltd Social & Recreational Club, dated 1946, another vase similar, a shouldered vase covered in a fiery crystalline glaze with aventurine inclusions, another similar, a miniature vase covered in a golden lustre and four ruby lustre vases, impressed factory mark and date code, chip to top rim of aventurine vase, 10.5cm. high (10)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-300
330 A tall Pilkington’s Lancastrian vase, dated 1908, shape no.2182A, slender, shouldered form cast in low relief with strap design, covered in a mottled matt green glaze, a shouldered vase by William S Mycock, dated 1932, decorated in low relief with grape vine and three other green glazed vases, impressed factory marks and date code, small chip to top rim, 41cm. high (5)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-400
331 A Pilkington’s Lancastrian Pottery vase by Charles Cundall, dated 1911, shape no.2888, swollen baluster form, painted with tall scrolling foliage stems with berries, in gold and ruby lustre, impressed factory marks, painted artist cipher and date code, small chip to top rim, 22.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£200-400
332 A Pilkington’s Lancastrian Pottery solifleur vase by Richard Joyce, dated 1910, painted a frieze of large scaly fish amongst waterweed, in golden lustre on a mottled green ground, impressed factory mark, painted artist cipher and date code, restuck neck, 17.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£100-200
333 A Pilkington’s Lancastrian Pottery solifleur vase by William S Mycock, dated 1917, slender pear-shaped form, painted with sprays of acorns and oak leaves in golden lustre on a blue ground, and a Pilkington’s Lancastrian vase by William S Mycock dated 1915, painted in green and gold lustre on orange, impressed factory mark, painted artist cipher and date, minor professional restoration to rims, 29.5cm. high (2)
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£200-300
334 A Pilkington’s Lancastrian Pottery vase by William S Mycock, dated 1926, slender, shouldered form, painted with sprays of berried foliage in ruby red and gold lustre on a blue ground, impressed factory marks, painted artist monogram and date, 21cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£500-800
335 A large Pilkington’s Lancastrian Pottery box and cover by Annie Burton, dated 1908, circular, painted with stems of stylised tulip flowers and grass clumps in ruby and gold lustre on a pale blue ground, impressed factory mark, impressed VIII date, painted artist cipher, 10cm. diam. (2)
Provenance
Arts and Crafts, Woolley and Wallis, 17th June 2006, lot 155.
£300-500
336 A Pilkington’s Lancastrian Pottery box and cover by Gladys Rogers, circular painted with panels of heartshaped foliage to cover and side in gold lustre on a cream ground, the cover with central Tudor Rose in ruby, and another smaller box and cover by Gladys Rogers, painted with a border of vine in golden lustre on a blue ground, impressed factory marks, painted artist cipher, professional restoration, 7.5cm. diam. (4)
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
Literature
A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 39 plate XXVII for a near identical box and cover illustrated.
£150-200
337 A Pilkington’s Lancastrian Pottery small pedestal bowl by Gladys Rogers, shape no.3157, painted to the interior with radiating branches with dots in dark bronze on a blue ground, the exterior glazed blue, another pedestal bowl by Gladys Rogers, and a Pilkington’s ruby lustre bowl and vase, impressed factory mark, painted artist cipher, minor damages, 9cm. diam. (4)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-300
338 A Pilkington’s Lancastrian Pottery vase by William S Mycock, shouldered square section, painted with a topiary box tree to each side, in gold lustre on a ruby red ground, and two Pilkington’s Lancastrian ruby lustre vases, impressed factory mark, painted artist cipher, professional restoration to neck of main, 16.5cm. high (3)
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-300
339 A Pilkington’s Lancastrian vase by William S Mycock, dated 1912, ovoid with collar rim, painted with scrolling foliage band in ruby lustre, a Pilkington’s Lancastrian vase dated 1908, shape number 2828, slender form modelled in low relief with leaves, covered in a fiery crystalline glaze, and two other Pilkington vases with mottled and streaked blue glazes, impressed factory mark and date mark, painted artist cipher, 17cm. high (4)
Provenance
Private collection of Pilkington’s Lancastrian Pottery.
£150-250
340 A Pilkington’s Lancastrian Pottery vase, shape no.2801, dated 1909, shouldered form with flaring neck, the body modelled in low relief with shields, glazed in gold lustre on a red ground, the interior glazed gold, and another Pilkington’s Lancastrian Pottery twin-handled vase, shape no.2805, covered in a flambe glaze, impressed factory marks, main vase hairline to top rim, second vase restored neck, 12cm. high (2)
Provenance
The Nick Rocke Collection of British Art Pottery, Woolley and Wallis, 25th February 2015, lot 222 (main vase).
Private collection of Pilkington’s Lancastrian Pottery. £150-250
341 A Pilkington’s Lancastrian Pottery beaker vase by Charles Cundall, dated 1911, flaring conical form, painted with a frieze of stylised foliage in yellow and gold lustre above flambe red band, the interior with columns of chevrons and central Tudor rose motif, impressed factory mark, painted cipher and date code, 10.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £200-300
342 An unusual Pilkington’s Lancastrian ‘Soap Bubble’ vase and cover, shape no.2642, covered in a running, curdled red glaze over orange, impressed marks, hairline to cover and glaze loss to vase, 29cm. high
Literature
The Nick Rocke Collection of British Art Pottery, Woolley and Wallis 25th February 2015, lot 189 for vases with a similar experimental glaze.
Provenance
British Art Pottery, Woolley and Wallis, 25th November 2015, lot 182.
Private collection of Pilkington’s Lancastrian Pottery. £300-500
343 A Pilkington’s Lancastrian Pottery vase by Gordon Forsyth, dated 1912, shouldered form, painted with flowers amongst scrolling foliage, in ruby lustre on a pale green ground, impressed factory marks, painted artist cipher and impressed date code, stress hairlines to top rim, 20.5cm. high
Provenance
Private collection of Pilkington’s Lancastrian Pottery. £150-250
344 Richard Joyce (1873-1931)
Parakeet
watercolour on paper, four watercolour landscapes by Richard Joyce, two etching of lions and a woodblock print of a finch resting in a berried bough, two watercolours signed, small lion print signed in the print 25 x 15cm. (parakeet image), (8)
Provenance
Gifted to the owner by Richard Joyce’s descendants. £300-400
345 A Pilkington’s Lancastrian Pottery vase by Gordon Forsyth, shape no.2512, ovoid form, painted with berried foliage in gold and ruby lustre on a deep red ground, impressed factory mark, painted artist cipher, minor professional restoration to top rim, 11cm. high
£100-200
346 A large Pilkington’s Lancastrian Pottery vase by Richard Joyce, dated 1913, flaring, shouldered form, modelled in low relief with scaly fish swimming in turbulent water, in gold and ruby lustre on a deep blue ground, impressed factory marks, painted artist cipher and date code, 19cm. high £600-1,000
347 A Pilkington’s Royal Lancastrian heraldic charger by William S Mycock, dated 1923, painted with the crest of Missouri and motto Salus Populi Suprema Est Lex, The Welfare of the People is the Supreme Law, in ruby and golden lustre impressed factory mark, painted monogram and date, paper collection labels, 31.5cm. diam.
Provenance
The Anthony J Cross collection.
A Love of Lustre and Other Wares, Kinghams Auctioneers, 11-12th June 2021, lot 427. Private collection.
£600-800
MOORCROFT POTTERY
348 ‘Persian’ a Moorcroft Pottery twinhandled pedestal bowl designed by William Moorcroft, tubeline decorated with flowers and foliage in blue, purple and green on a white ground, impressed factory marks, painted green signature, one handle professionally restored, 29cm. wide, 15cm. high
Provenance
Decorative Arts Phillips 26th March 1996 lot 462. A Private collection of Moorcroft Pottery. £400-600
349 ‘Wisteria’ a James Macintyre & Co footed vase designed by William Moorcroft, painted in shades of purple, pink and green on a white ground, printed Macintyre mark, painted green signature, 22cm. high £1,000-1,500
350 ‘Violets’ a James Macintyre & Co Ltd
miniature vase designed by William Moorcroft, waisted cylindrical form with three applied loop handles, tubeline decorated with flowers in green and blue on a white ground, printed factory mark, painted green signature, professional restoration, 6.6cm. high
Provenance
A Private collection of Moorcroft Pottery.
£150-250
351 ‘Violets’ a James Macintyre & Co Ltd
Florian Ware miniature vase designed by William Moorcroft, swollen cylindrical form, tubeline decorated with flower stems in blue on a pale blue ground, printed factory mark, painted green signature, chip to foot rim, 7.5cm. high
Provenance
A Private collection of Moorcroft Pottery.
£100-200
352 ‘Honesty’ a James Macintyre & Co Ltd
Florian Ware miniature vase designed by William Moorcroft, tapering, shouldered cylindrical form, tubelined with seed heads in blue on a pale blue textured ground, printed factory mark, painted green signature, professional restoration to top rim, 7.5cm. high
Provenance
A Private collection of Moorcroft Pottery.
£300-400
353 ‘Anemone’ a James Macintyre & Co Ltd
miniature twin-handled vase designed by William Moorcroft, ovoid form with two applied handles, tubeline decorated with flower stems in blue and green on a white ground, printed factory marks, painted green signature, minor professional restoration to the base rim, 6cm. high
Provenance
A Private collection of Moorcroft Pottery.
£150-250
354 ‘Alhambra’ a James Macintyre & Co Ltd
miniature ewer designed by William Moorcroft, ovoid form, tubeline decorated with flower panels in salmon pink, red and blue, highlighted in gilt printed factory mark, professional restoration, 6.5cm. high
Provenance
A Private collection of Moorcroft Pottery.
£200-400
355 ‘Tulip’ a James Macintyre & Co Ltd
miniature vase designed by William Moorcroft, ovoid with collar neck, tubeline decorated with flowers in red and green on a sand ground, the interior blue, printed factory mark, painted green signature, professional restoration to rims, 6.5cm. high
Provenance
A Private collection of Moorcroft Pottery.
£400-600
356 A James Macintyre & Co Ltd Gesso Faience moustache cup and saucer designed by William Moorcroft, tubeline decorated with a band of simple flowers and foliage in blue on a celadon green ground, with green border and gilt bands, printed Macintyre Gesso mark, 17cm. diam. (saucer), (2) £200-300
357 A Moorcroft Pottery vase designed by William Moorcroft, swollen form the flaring neck with pinched rim, tubeline decorated with stylised flowers in blue, yellow and green on a celadon ground, painted green signature, professional restoration to top rim, 9cm. high £200-300
358 ‘Poppy’ a James Macintyre Co Ltd jug designed by William Moorcroft, tapering cylindrical form, tubeline decorated with Art Nouveau floral cartouche in blue and white on a pale blue ground, with electroplated neck and hinged cover, a Florian Ware Cornflower jug and a Macintyre Dura Ware jug tubeline decorated with flower stems in salmon pink and green, printed factory mark, painted green monogram, hairline to base rim, 23cm. high (3)
Literature
Paul Atterbury Moorcroft, Richard Dennis Publications, page 39 plate 4 for a comparable Poppy jug illustrated.
£150-200
359 ‘Big Poppy’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered, cylindrical form, tubeline decorated with a yellow poppy flower to either side, in yellow and blue on a celadon ground, a Moorcroft Pottery Flamminian Ware vase designed by William Moorcroft retailed by Liberty & Co and a Arum Lily lamp base designed by Walter Moorcroft, impressed factory mark and facsimile signature, Flamminian vase chip to top rim, 21cm. high (3) £250-350
360 ‘Flambe Frilled and Slipper Orchids’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid, tubeline decorated with orchids and springflowers in colours under a rich flambe glaze, and another Flambe Frilled and Slipper Orchids Moorcroft vase, impressed factory marks, painted blue monogram, professional restoration to foot of second vase, 13 and 14.5cm. high (2)
£20-300
361 ‘Frilled and Slipper Orchids’ a tall Moorcroft Pottery vase designed by William Moorcroft, ovoid tubeline decorated with orchids and springflowers in colours on a green ground, a taller Moorcroft Pottery Orchids vase dated 1942, and two smaller Moorcroft Pottery vases, impressed factory marks, painted blue monogram, hairline to tall vase, 18cm. high (4)
£150-200
362 ‘Angel Fish’ a Moorcroft Pottery vase designed by William Moorcroft, ovoid with collar rim, tubeline decorated with aa fish in blue and celadon green on a matt white ground, impressed factory marks, painted blue signature, 16cm. high
£200-250
363 A rare James Macintyre & Co Carp vase designed by William Moorcroft, gourd form, tubeline decorated with scaly carp fish swimming amongst waterweed, the swollen neck with scallop shell motif, in shades of green and celadon green on a deep blue ground, painted green signature W Moorcroft des, professional restoration to neck, 30.5cm. high £7,000-10,000
364 ‘Narcissi’ a Moorcroft Pottery vase designed by William Moorcroft and retailed by Liberty & Co, waisted cylindrical form, tubeline decorated with flowers, in pink and green on a yellow lustre ground, printed Liberty mark, painted green signature, small chip to foot rim, 19.8cm. high Provenance
A Private collection of Moorcroft Pottery.
£800-1,200
365 A James Macintyre & Co Ltd pot pourri vase and cover designed by William Moorcroft, made for retail by Pringles Ltd, pedestal form with modelled twinhandles, tubeline decorated with panels of tulip forget-me-not flowers and foliage in blue, pink and green on a white ground, printed factory mark and retailers mark, painted green signature, professional restoration to stem, 22cm. high (2)
£300-500
366 ‘Poppy’a James Macintyre & Co Florian Ware vase designed by William Moorcroft, waisted cylindrical form with fluted top rim, tubeline decorated with panels of Art Nouveau flowers in blue and green on a white ground, printed factory mark, painted green signature, 31cm. high
£400-600
367 ‘Revived Cornflower’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, compressed form with tall cylindrical solifleur neck with fluted rim, tubeline decorated with panels of flowers in blue, yellow and green ona pale blue ground, printed factory mark, painted green signature, professional restoration to top rim, 19.5cm. high
£300-500
368 ‘Brown Chrysanthemum/Revived Cornflower’ a James Macintyre & Co solifleur vase designed by William Moorcroft, compressed form with tall cylindrical neck with fluted rim, tubeline decorated with Art Nouveau flower panels in blue and red on a green ground, printed factory mark, painted green signature, 25cm. high
£500-800
369 ‘Peacock Feathers’ a James Macintye & Co Florian Ware vase designed by William Moorcroft, shouldered form, tubeline decorated with peacock feathers in blue, yellow and green on a pale blue ground, printed factory mark, painted green signature, 10cm. high
Provenance Design, Woolley and Wallis, 21st March 2018 lot 184. Private collection.
£250-350
370 ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, slender, shouldered form, tubeline decorated in colours on a blue ground, impressed factory marks, painted blue signature, 20cm. high
£150-200
371 A rare Moorcroft Pottery mask designed by Francis Arthur Edwardes, modelled smiling, covered in a flambe glaze, unsigned, applied Moorcroft Museum paper label, 8cm. tall
Provenance
Moorcroft Pottery Museum, catalogue number 00854.
Literature
Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 107 for a vase and large owl figure designed by Edwardes and glazed by Moorcroft.
Catalogue notes
Little is known about Francis Arthur Edwards, his birth certificate is lost, but, we do know around 1906/7 he arrived at Potteries Guild of Cripples in Hanley, Stoke on Trent. The first time Francis is mentioned in connection with the Guild is July 1907, described as the able assistant to Miss Newey, the manager of the metalwork department. there is no significant mention of sculpture or pottery design. The Potteries Guild would become the Duchess of Sutherland Cripples Guild in1907.
£300-400
372 ‘Big Poppy’ a large Moorcroft Pottery flambe vase designed by William Moorcroft, dated 1930, ovoid, shouldered form with collar rim, tubeline decorared with large red poppy flowers on a blue ground, under a flambe glaze, impressed factory marks, painted blue signature and 1930 date, 25.5cm. high
£1,500-2,000
373 ‘Flambe Leaf and Berry’ a large Moorcroft Pottery vase designed by William Moorcroft, dated 1930, swollen ovoid form, painted in colours, under a rich flambe glaze, impressed factory marks, painted blue signature, painted 1930 date, 43cm. high
£2,000-3,000
374 ‘Waratah’ a rare Moorcroft Pottery vase designed by William Moorcroft, slightly swollen cylindrical form, tubeline decorated with flowers in red, green, and sand on a blue ground, impressed factory marks, painted blue signature, professional restoration to top rim, 24cm. high
Provenance
A Private collection of Moorcroft Pottery. £4,000-5,000
375 ‘Flambe Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, footed, flaring cylindrical form tubeline decorated with a landscape , between chevron a scallop borders, in purple, blue and sand under a light flambe glaze, impressed factory marks, painted blue signature, foot professionally restored 15cm. high
Provenance
Private collection
Moorcroft: Important Single Owner Collection, Kinghams Auctioneers 15th June 2019, lot 67.
Private collection.
£500-1,000
376 ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, made for retail by Liberty & Co, shouldered form with swollen neck, tubeline decorated with a band of toadstools red and blue on a streaked green ground, impressed factory marks, painted green signature, printed Liberty mark, minor professional restoration to top rim, 22cm. high
Literature
Paul Atterbury Moorcroft, Richard Dennis Publications, page 65 figure 4 for a taller example of this Claremont vase illustrated, circa 1905. £400-600
377 ‘Claremont’ a large Moorcroft Pottery bowl designed by William Moorcroft with silver mounts by Shreeve & Sons San Francisco, tubeline decorated with large mushrooms and toadstools in shades of red green and tan on a streaked blue ground, the top rim and interior with silver mount pierced and engraved with flowers on Art Nouveau entwined stems, the interior tubeline decorated with toadstools radiating in from the rim, impressed and printed factory marks, painted green Moorcroft signature and Shreeve & Company San Francisco, 25.3cm. diam, 11.8cm. high £2,000-3,000
378 ‘Moonlit Blue’ a Moorcroft Pottery vase with Tudric pewter foot designed by William Moorcroft, retailed by Liberty & Co, flaring cylindrical form, tubeline decorated with trees in a landscape in green and blue on a midnight blue ground, stamped marks, small chip to top rim, 16cm. high
£300-500
379 ‘Moonlit Blue’ a Moorcroft Pottery plate designed by William Moorcroft, tubeline decorated with trees in a hilly landscape, in blue and green on a midnight blue ground, impressed factory marks, painted green signature, 22cm. diam. £300-500
380 ‘Moonlit Blue’ a Moorcroft Pottery preserve pot with electroplated mount and cover designed by William Moorcroft, tubeline decorated with trees in a landscape, in green and blue on a midnight blue ground, impressed factory marks to base, 9.5cm. high (2)
Provenance Private collection.
£200-400
381 ‘Moonlit Blue’ a Moorcroft Pottery jug with pewter mounts designed by William Moorcroft, probably retailed by Liberty & Co, tapering cylindrical body tubeline decorated with trees in a landscape, in blue and green on a midnight blue ground, with hammered pewter neck and handle, impressed factory marks, painted blue signature, tiny glaze frit to base rim, 14.5cm. high
Provenance
William Moorcroft, Richard Dennis at the Fine Art Society, 4-15th December 1973, catalogue number 279. Private collection.
£250-350
GLASS
382 A vaseline glass teardrop shade, internally decorated with peacock feather motif, unsigned, chips to rim, 20cm. high £100-150
383 A vaseline glass teardrop shade, internally decorated with peacock feather motif, unsigned, chips to rim, 20cm. high £100-150
384 A James Powell & Sons Whitefriars glass fan vase with wrought iron mount designed by Harry Powell, flaring fan-shaped vaseline glass with metal foot, with wire-work stand four scroll feet and twisted handle, unsigned, 31.5cm. high, (2)
Literature
Lesley Jackson, Whitefriars Glass the Art of James Powell & Sons, Richard Dennis, page 101, plate 21 for comparable forms illustrated. £400-600
385 A James Powell & Sons Whitefriars threaded glass vase designed by Harry Powell, shouldered form, blue graduating to green with applied fine blue thread bands, unsigned, 20.5cm. high
Literature
Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis, page 121 plate 103 for a comparable example illustrated. £50-100
386 A James Powell & Sons Whitefriars threaded glass vase designed by Barnaby Powell, footed, flaring form sea green glass with blue threaded trails, unsigned, 15cm. high £100-200
387 A James Powell & Sons Whitefriars glass inkwell with silver cover, blue glass internally decorated with aventurine, dimpled form, the hammered silver cover of tapering form with applied ball finial, stamped marks, JP&S London 1913, 10.5cm. high (2)
Provenance
Design, Woolley and Wallis, 21st March 2018, lot 427 Private collection. £600-1,000
FROM THE ESTATE OF ELLA ANNESLEY VOYSEY
Ella Annesley Voysey was the daughter of the reverend Ellison Annesley Voysey (born in 1867), youngest brother of Charles Francis Annesley Voysey the architect and designer.
Ella was born in Staffordshire in 1903, she became a Teacher of Natural Movement and Dancing, meeting and acting with Robert Donat, then going on to marry in 1929. Robert Donat became a star of stage and screen throughout the 1930’s to 50’s. Best known for starring in films such as ‘The Count of Monte Cristo’, ‘The Winslow Boy’, Hitchcock’s ‘The 39 Steps’, ‘Goodbye Mr Chips’ for which he was awarded the Oscar for best actor, and his final film with Ingrid Bergman ‘The Inn of the Sixth Happiness’.
Ella was very close to her uncle Charles, meeting and corresponding regularly, and it is believed the dressing table and stool (lot 394), made for Ella, was C.F.A Voysey’s last design. He also designed individual bookplates (lot 389) for the family library.
388 A rare oak table designed by Charles Francis Annesley Voysey, made by F C Nielsen cabinet makers, circular top on four chamfered, tapering square legs and cross stretchers, original F C Nielsen paper label, 76.5cm. diam.
74cm. high.
Provenance
Ella Annesley Voysey, thence by descent.
Literature
RIBA archives for the original drawings for this table, one example commissioned by Mrs McKay. The Furnisher, 1899, this design illustrated.
Annette Carruthers and Mary Greensted Good Citizen’s Furniture, The Arts & Crafts Collections at Cheltenham, Lund Humphries/The Cheltenham Art Gallery & Museum, page 71 figure 75, catalogue number 10 for an identical table. Two examples of this table design were also made for Queensborough Terrace. £3,000-5,000
A young Ella sitting with her uncle, C.F.A Voysey
Ella Voysey with her husband the actor Robert Donat
Ella Annesley Voysey
389 Forty one books by William Shakespeare each with Ellison Voysey bookplate designed by Charles Francis Annesley Voysey, published by J M Dent, and twelve other books with bookplates designed by C.F.A Voysey, for Ella Annesley Voysey, Ellison Annesley Voysey and three other books with Joanna Donat bookplates, (56)
Provenance
Ellison Voysey.
£80-120 390
390 Reginald Grenville Eves (1876-1941)
Joanna Donat oil on board, framed, and a preparatory sketch of Joanna Donat, dated 1932, framed signed
34.5 x 24cm. (image)
34.5 x 22cm. (sketch image), (2)
Provenance
Ella Annesley Voysey, thence by descent. £80-120
391 Charles Francis Annesley Voysey (1857-1941)
Individuality, 1915 published by Chapman & Hall Ltd London, dedicated to E L Lutyens ARA by C.F.A Voysey, July 1915
19.8 x 13.8cm.
Provenance E L Lutyens
Ella Annesley Voysey, thence by descent. £400-600
392 Charles Francis Annesley Voysey
Loving Thoughts Like Arrows Fly, hand coloured print on paper of a blindfolded cherub aiming his bow and arrow, inscribed To Ella Donat from her loving uncle C.F.A. Voysey Fecit Con Amore, titled in the same hand to the reverse Loving thoughts like arrows fly, although I fail to catch your eye, 16.5 x 11.7cm.
Provenance
Ella Annesley Voysey, thence by descent. £100-150
393 Charles Francis Annesley Voysey (1857-1941)
The House that Jack Built a modern printed linen probably manufactured by Morton Sundour, framed unsigned, 70 x 49cm. (image)
Provenance
Ella Annesley Voysey, thence by descent. £200-400
394 A unique oak dressing table and stool designed by Charles Francis Annesley Voysey made for his niece Ella Annesley Voysey, 1934, two base sections one a hinged cupboard, the other four drawers, with central full-length mirror with Gothic arched top, on short legs,the foot stool, square section with African goat skin seat, with turned bobbin stretchers and tapering square legs, unsigned
168cm. high
123cm. wide
44.5cm. high (stool) (2)
Provenance
Ella Annesley Voysey, thence by descent.
Exhibited
CFA Voysey Architect & Designer 1857-1941, page 95 catalogue number 67.
Literature
Duncan Simpson CFA Voysey An Architect of Individuality, Lund Humphries, page 141 full page illustration.
£2,000-3,000
395 An elm Thames Valley Windsor arm chair, 19th century turned flaring legs supporting elm seat, spindle back and flaring arms, unsigned, 104cm. high
Provenance
Robert Donat.
£80-120
396 A tall oak music cabinet in the manner of Heal’s, champferred form with fourteen drawers with carved wooden handles, flanked by narrow hinged cupboards, on shaped feet, 166cm. high, 70cm. wide, 35.5cm. deep
Provenance
Ella Annesley Voysey, thence by descent.
£300-500
397 A large Linen-fold blanket chest, rectangular with hinged cover on short feet, carved panel decoration, dowel and pegged joints, unsigned, 106cm. wide, 43.5cm. deep, 50.5cm. high
Provenance
Ella Annesley Voysey, thence by descent.
£80-120
398 A large mahogany gentleman’s library specimen cabinet, egg and dart edge mouldings, comprising a triple bank of fourteen short graduated drawers with turned pulls, 129cm. high, 132cm. wide, 50cm. deep
Provenance
Ella Annesley Voysey, thence by descent.
£500-800
Robert Donat photographed sitting in this chair in a press photograph
399 A pair of oak table lamps in the manner of Charles Francis Annesley Voysey, simple turned column on stepped, domed base unsigned, 32cm. high (2)
Provenance
Ella Annesley Voysey, thence by descent.
£200-300
400 A pair of oak table lamps in the manner of Charles Francis Annesley Voysey, simple turned column on stepped, domed base unsigned, 32cm. high (2)
Provenance
Ella Annesley Voysey, thence by descent.
£200-400
401 An oak cabinet in the manner of Heal’s, rectangular with two hinged doors, with turned wood Voysey handles, 87cm. wide, 32cm. deep, 73cm. high
Provenance
Ella Annesley Voysey, thence by descent.
£200-300
402 A small Heal’s oak cabinet, rectangular section on four square section legs, twin-door hinged cabinet with turned wood ‘Voysey’ handles, below open shelf applied Heal’s ivorine label, 73cm. high, 53cm. wide, 27.5cm. deep.
Provenance
Ella Annesley Voysey, thence by descent.
£200-400
403 A Heal’s oak sideboard, rectangular section, the top with shallow back rail, three hinged cabinets below two rows of drawers, with turned wood ‘Voysey’ handles, applied ivorine label, 137cm. wide, 48cm. deep, 99cm. high
Provenance
Ella Annesley Voysey, thence by descent.
£400-600
404 A rare oak wall mirror designed by Charles Francis Annesley Voysey, rectangular with flaring mantel, unsigned 55.5 x 35.5cm.
Provenance
Ella Annesley Voysey, thence by descent. £1,000-2,000
405 An Aesthetic Movement adjustable piano stool, rectangular section on turned legs, unmarked 50cm. wide, 58cm. high
Provenance
Ella Annesley Voysey, thence by descent.
£50-100
406 An Arthur W Simpson The Handicrafts Kendal oak stool, model no. 699, rectangular on four tapering octagonal section legs, with leather strap seat, applied label, 41cm. wide, 30cm. high
Provenance
Ella Annesley Voysey, thence by descent.
£100-200
ARR 407 Daphne Casorati Maugham (1897-1984)
Italian Mountain Landscape oil on board, framed signed D Maugham C
40 x 35cm. (image)
55 x 50cm. (frame)
Provenance
Ella Annesley Voysey, probably purchased from the Zwemmer Gallery, thence by descent.
£200-300
408 Mary Dearing
Lichen, 1985
watercolour on paper, framed, Beddgelert and Folly Hill Farnham two landscapes by Mary Dearing signed and dated 30 x 25.5cm. (Lichen image), (3)
Provenance Joanna Donat.
£80-120
409 Charles Francis Annesley Voysey FRIBA RDI (1857-1941)
Voysey Coat of Arms, Crest and Motto, 1899 printed linen, framed unsigned 46 x 17cm. (image)
Provenance
Ella Annesley Voysey, thence by descent.
Literature
Karen Livingstone with Max Donnelly and Linda Parry, C F A Voysey, Arts and Crafts Designer, V&A, page 51 the original design illustrated as a design for stained glass.
£100-200
410 A small oak table, simple rectangular top on shaped plank legs, unsigned, 30 x 45cm., 46cm. high
Provenance
Ella Annesley Voysey, thence by descent.
£100-200
411 A set of four Edward Barnard & Sons ltd silver teaspoons designed by Charles Francis Annesley Voysey, oval upturned terminals with rat tails, stamped regd 516397, marks, London 1908, 11.5cm. long, 42grams (4)
Provenance
Ella Annesley Voysey, thence by descent.
Literature
John Brandon Jones, C.F.A Voysey Architect & Designer 1857-1941, Lund Humphries, page 137 catalogue number E.11.
Exhibited
C.F.A Voysey Architect & Designer 18571941, Art Gallery & Museum, Brighton, 11th July to 3rd September 1978, catalogue number E.11.
Stuart Durrant Architectural Monographs No.19, CFA Voysey, Academy Editions, page 125 for a black and white original photo including this range of tableware. £500-800
412 A pair of Charles William Fletcher electroplated metal serving spoons designed by Charles Francis Annesley Voysey, oval upturned terminal with rat tail, stamped CWF mark, 22.5cm. long (2)
Provenance
Ella Annesley Voysey, thence by descent.
Literature
John Brandon Jones, C.F.A Voysey Architect & Designer 1857-1941, Lund Humphries, page 137 catalogue number E.11.
Stuart Durrant Architectural Monographs No.19, CFA Voysey, Academy Editions, page 125 for a black and white original photo including this range of tableware. £200-300
413 A Charles William Fletcher electroplated metal part service designed by Charles Francis Annesley Voysey, comprising two forks, two spoons, two fish forks and a fish knife, oval upturned terminals, with rat tail to spoons, stamped CWF mark to spoons, 22cm. long (forks), (7)
Provenance
Ella Annesley Voysey, thence by descent.
Literature
John Brandon Jones, C.F.A Voysey Architect & Designer 1857-1941, Lund Humphries, page 137 catalogue number E.11. £500-800
414 A Charles William Fletcher electroplated metal 16cm. ladle designed by Charles Francis Annesley Voysey, oval upturned terminal with rat tail, stamped CWF mark, 16cm. long
Provenance
Ella Annesley Voysey, thence by descent.
Literature
John Brandon Jones, C.F.A Voysey Architect & Designer 1857-1941, Lund Humphries, page 137 catalogue number E.11.
Stuart Durrant Architectural Monographs No.19, CFA Voysey, Academy Editions, page 125 for a black and white original photo including this range of tableware. £100-200
415 A large Charles William Fletcher electroplated metal soup ladle designed by Charles Francis Annesley Voysey, oval upturned terminal with rat tail, stamped CWF mark, 34.5cm. long
Provenance
Ella Annesley Voysey, thence by descent.
Literature
John Brandon Jones, C.F.A Voysey Architect & Designer 1857-1941, Lund Humphries, page 137 catalogue number E.11.
Exhibited
C.F.A Voysey Architect & Designer 18571941, Art Gallery & Museum, Brighton, 11th July to 3rd September 1978, catalogue number E.11 £200-400
FURNITURE
416 A set of four oak cabinet doors with Thomas Elsley & Co patinated brass hinges and heart-shaped door plates designed by Charles Francis Annesley Voysey, marks concealed 38cm. long (4)
Provenance
Private collection.
Literature
Karen Livingstone, Max Donnelly and Linda Parry, C F
A Voysey, Arts and Crafts Designer, V&A, page 237 catalogue number 297 for a comparable pair of hinges illustrated.
£600-1,000
417 An Aegyptian variation mahogany armchair attributed to Cottier & Co possibly designed by John Moyr Smith, rectangular plank and seat and pitched back with traces of stencilled decoration, with turned back legs and spindles, the front legs curved forward, unsigned 87cm. high, 60cm. wide.
Literature
Brian Coleman, The Best of British Arts and Crafts, Schiffer Publishing, page 244 for a comparable ebonised chair with gilt stencilled decoration.
£400-600
418 A large oak coffer designed by Sir George Trevelyan, probably made by Ernest Smith under Peter Waals at Chalford, rectangular with hinged flat top, dovetail joints, wrought iron furniture, unsigned 143 x 66cm, 57cm. high
Provenance
Sir George Trevelyan, thence by descent.
Literature
Mary Comino Gimson and the Barnsleys, Evans Press, page 194 for Sir George Trevelyan’s account of the Chalford workshops.
£2,000-4,000
416
419 An Aesthetic Movement ebonised wood corner cabinet, on turned front legs, twin-door compartment between open shelves, the doors painted with simple daisy flower sprays, with carved and gilded scrolling border to top rail, and bobbin footrail, unsigned, 112cm. high, 61cm. wide Provenance Private collection, London.
£100-200
420 Louis Galice (1864-1935) Cirque D’Hiver lithographic poster, printed in colours by Louis Galice, unmounted, framed signed in the print Louis Galice 119 x 79.5cm. (image)
£300-400
421
422 A Marsh and Jones oak Registered Reclining Chair designed by Charles Bevan, with inlaid and carved decoration, adjustable back and seat pierced and chamfered X form sides, the front legs with brass castors, the upholstery designed possibly by Lewis F Day, unsigned 90cm. high
Provenance
Richard Dennis Esq.
Arts and Crafts including The Aesthetic Movement, Woolley and Wallis, 22nd June 2011, lot 500. Private collection.
Literature
The Best of British - The Auction Sotheby’s/Paul Reeves 20th March 2008 lot 15 for a comparable example.
Jeremy Cooper Victorian and Edwardian Furniture and Interiors, London 1987 figure 267 for a similar design.
The John Scott Collection: Modern English Design from the 1860s and 1870s, Volume 2, The Fine Art Society, London, 2014, page 12-13 catalogue number 2 (for a variant of this model).
Furniture & Works of Art, H Blairman & Sons Ltd, 2019/2020 catalogue, catalogue number 5 for a comparable chair.
£1,000-2,000
421 A Marsh and Jones oak Registered Reclining Chair designed by Charles Bevan, with carved decoration, adjustable back and seat pierced and chamfered X form sides, the front legs with brass castors, the upholstery cream foliate design, unsigned 90cm. high
Provenance
Fine Art Society/Michael Whiteway. Private collection.
Literature
The Best of British - The Auction Sotheby’s/Paul Reeves 20th March 2008 lot 15 for a comparable example.
Jeremy Cooper Victorian and Edwardian Furniture and Interiors, London 1987 figure 267 for a similar design.
The John Scott Collection: Modern English Design from the 1860s and 1870s, Volume 2, The Fine Art Society, London, 2014, page 12-13 catalogue number 2 (for a variant of this model).
Furniture & Works of Art, H Blairman & Sons Ltd, 2019/2020 catalogue, catalogue number 5 for a comparable chair.
£1,000-2,000
423 An Aesthetic Movement ebonised wood three fold screen in the manner of Richard Norman Shaw, the rectangular leaves set with large foliate textile above ebonised wood panels, decorated with coral red mon, unsigned, 168 x 55cm. (each panel)
£400-600
424 An Aesthetic Movement ebonised wood stool, rectangular section on turned legs, the square section stretchers, with turned bobbin decoration, the padded seat with Liberty & Co Peacock printed textile, unsigned 55cm. high, 43 x 34cm. (seat)
£80-120
425 An oak and pitch pine chair in the manner of Richard Norman Shaw, the back with turned bobbins and dowel top rail, the pitch pine seat with carved cut-out, unsigned, 45 x 45cm. seat, 71cm. high
£150-250
426 An Aesthetic Movement mahogany coal box, with brass fittings and shovel, with patent door release, the handle pivots to open the door, the door with carved decorated panels, regd marks, 34cm. wide, 34cm. high. (2)
£80-120
427 An Aesthetic Movement lacquered wood picture easel, with carved decoration and runed bobbins, with separate picture shelf, 169cm. high, 49cm. wide
£80-120
428 An Aesthetic Movement ebonised wood corner shelf, bevelled mirror back with turned columns, incised stylised flower motif with gilt highlights, unsigned, 45cm. high
£60-100
429 A Lake District School oak book trough the design attributed to Arthur W Simpson, rectangular section with shaped end plates carved with stylised fruiting pomegranate design, and dowel handle, unsigned, 36.6cm. high, 40cm. wide £150-200
430 Time and Tide Wait For No Man an oak mantel clock possibly retailed by Liberty & Co, tapering rectangular section with broad, flat overmantel, the round dial painted with a stylised flower head in blue and green, inside copper plate stamped with inscription and Roman numerals, unsigned, 27.5cm. high £100-200
431 An Arthur W Simpson of Kendal carved mahogany wall rack, probably for guns, rectangular, carved with a frieze of acorns and oak leaves, unsigned, 86cm. high, 78cm. wide £250-350
432 An oak coffer the design attributed to Shapland & Petter, rectangular with hinged cover, on four tapering square legs, the front carved with a panel of alternating peacock feathers and flag iris stems, unsigned, 101cm. wide £250-350
433 An Arthur W Simpson of Kendal The Handicrafts oak sideboard, rectangu.ar section with short backplate, twin hinged cabinets flanking central bank of two short and two long drawers, with polished brass escutcheon and handle furniture after a design by C.F.A Voysey, decorated with thin carved foliate bands, unsigned, 147cm. wide, 125cm. high, 53cm. deep Provenance
From the family of Sir Alfred Thornely (1870-1953). Thornely had an architects practise in Liverpool and was elected as a Fellow of the Royal Institue of British Architects in 1907, amongst his body of work are Stormont, Belfast and the Walker Art Gallery extension, Liverpool.
Literature
Eleanor Davidson The Simpsons of Kendal, Craftsmen in Wood 1885-1952, University of Lancaster, figs. 19 and 21 for comparbale sideboards.
Hugh Wright The Beautiful Furniture of the Simpsons of Kendal, Bookcase, page 183 figure 116 for an identical handle and escutcheon illustrated.
£2,000-3,000
434 A carved wood wall mirror probably Irish, rectangular, carved with a band of pomegranate fruit and scrolling foliage, unsigned, 65 x 55cm. £150-200
435 A carved oak stool by Jack Grimble of Cromer, rectangular top over tapering rail and flaring plank legs, with chip carved edges carved JG monogram, 35 x 26cm. (seat), 26cm. high £100-200
436 An Oetzmann & Co oak mantel clock, tapering rectangular section with stepped, flaring overmantel, inset with ebonised wood heart, the circular dial with enamelled Roman numerals, stamped Oetzmann & Co London to back, 26cm. high £100-200
437 A pair of Glasgow school mahogany hall chairs possibly designed by E A Taylor, flaring rectangular seat on tapering square section legs, three splat, tapering back with marquetry stylised flower head panel, padded seat, unsigned, 95cm. high (2) £300-500
438 A Glasgow School oak cabinet retailed by Morgan & Co Cardiff, rectangular section, with overhanging mantel, with two hinged doors set with large Glasgow Rose stained glass panels, above single drawer, on square section legs, applied retail label to door, 123cm. high, 81cm. wide, 41cm. deep.
£300-500
439 A Mahogany Thebes stool, probably American, square section on four turned legs flaring to feet, with curved panel seat, dowel stretchers, unsigned, 40 x 40cm, 37cm. high
£150-200
440 A carved oak wall mirror in the manner of the Keswick School of Industrial Arts, circular frame carved with stylised berried foliage band, unsigned, 44cm. diam. £100-150
441 A carved oak exhibition panel by Arthur Rowlands, a design for a corner cabinet, rectangular form, carved with birds amongst Art Nouveau foliage, paper exhibition, probably South Kensington label to verso, 73 x 36cm.
£250-350
442 A set of three Heal and Son ebonised wood candlesticks, square section with stepped shoulder, unsigned, 8cm. high, 12.5cm. wide. (3)
Provenance
Oliver Heal.
Private collection.
Literature
The Studio Yearbook of Applied Art, 1921 page 101 for a comparable pair with band decoration illustrated. £100-200
443 An oak umbrella stand in the manner of Heal’s, eight waisted oak panels with leather binding, on eight ball feet, metal drip tray, unsigned, 64.5cm. high (2) £200-300
444 A carved oak wall mirror, rectangular, carved with entwined stylised flowers and foliage, with oval bevelled mirror, unsigned, 55 x 44cm. £100-200
445 A pair of oak bookcases, rectangular four tier with open arched sides, the back with pierced geometric roundel panel, unsigned, 127cm. high, 61cm. wide £300-500
446 A Gothic Revival mahogany threestep library steps, the triangular frame with pierced tracery roundels and carved flower head panels, three rectangular steps, with turned handrail, unsigned, 148cm. high £400-600
447 A Glasgow School silk embroidery, rectangular, depicting an Art Nouveau maiden and three white doves, inscribed Make Beauty, Seek Beauty Hand on Beauty, in coloured silks, framed, unsigned 22.5 x 11cm. (panel)
Provenance Private collection. £250-350
448 A long length of Peacock Feather woven textile in the manner of Dr Christopher Dresser, possibly retailed by Liberty & Co, unsigned, 137cm. wide, 800cm. long £100-200
449 Walter Crane (1845-1915)
Aladdin’s Procession, 1876 coloured wood block on paper, and three other wood block prints ‘New Lamps for Old’, ‘The Wonderful Lamp’ and ‘Princess Bell Etoile’ by Walter Crane, framed artist cipher in print, 20 x 23.5cm. (image), (4) £100-200
450 Edith Payne (1875-1959)
A Butterfly in May signed lower right Edith Payne, paper label to verso 16.5 x 11cm. (image) £200-300
451 Edith Payne (1875-1959)
Spindleberries, 1918 watercolour on paper, framed signed and dated lower right, remains of paper gallery label to verso 27.5 x 17cm.
Provenance
Mr Robert Gere. Newman Fine Art. £200-300
452 An early Robert Mouseman Thompson of Kilburn oak dining table, three plank top with carved scroll corners, on central cruciform pedestal with carved mouse, carved mouse signature, 89 x 91cm, 70cm. high
£1,500-2,000
453 A set of four early Robert Mouseman Thompson of Kilburn oak dining chairs, each with carved lattice back panel and carved mouse to front leg, tan leather seat with stud border, carved mouse signature, 86.5cm. high
£800-1,200
454 A large Morris & Co Peacock and Dragon hand-loom jacquard woven wool panel designed by William Morris, originally designed in 1878, green, green, chestnut and tan on a blue ground, four joined sections forming a horizontal panel 200cm. high 623cm. wide (approximately)
Literature
Linda Parry William Morris Textiles, V&A Publications, page 224 catalogue number.36 for a comparable example. £1,500-2,000
METALWARE
455 An Artificers Guild silvered copper wall sconce, model no.496, shaped rectangular back plate, pierced with stylised rose flowers, with rounded rectangular tray with two sconce, stamped number 496, 28cm. high £500-1,000
456 A rare Clement John Heaton cloisonné enamel charger, made for retail by Liberty & Co, circular, decorated with a scrolling foliate roundel to the well, the rim a brad band of Art Nouveau flowers and foliage, enamelled in blue, turquoise and black, with applied hanging loop, unsigned, 44.5cm. diam.
Provenance
Paul Reeves.
Private collection.
Literature
Anne Ceresole, The Work in Cloissoné of Clement John Heaton, Decorative Arts Society Journal no.20, page 40 figure 10 this actual piece illustrated.
L’Art Nouveau La Maison Bing, Van Gogh Museum, Amsterdam 2005, page 159 figure 172 for comparable piece illustrated. £400-500
454 detail
457 Edwin Whitney-Smith (1880-1952)
Bust of a Young Girl, 1910 tall patinated bronze on square base signed E Whitney-Smith, 1910 to base 42cm. high
Provenance
Private collection, purchased by the vendor in April 1966.
Catalogue notes
This bust can seen included on a table of bronzes in a photograph of Whitney-Smith circa 1920s held in the National Portrait Collection. It is a reduced version of the bust carved in marble recorded in a photograph in the Victoria & Albert Museum collection. £1,500-2,500
458 A large pair of Art Nouveau gilded bronze figural panels, each cast in high-relief with a standing Art Nouveau maiden before stylised foliage, cast signature Collin, 50cm. high, (2) £1,200-1,800 457
459 A W.A.S Benson patinated copper jardiniere designed by William Arthur Smith Benson, flaring flowerhead form, unmarked, 18cm. high £200-300
FROM A PRIVATE COLLECTION OF W.A.S BENSON
460 A W.A.S Benson copper tray designed by William Arthur Smith Benson, elliptical form with scrolled handles, unsigned, 48cm. wide
Provenance
Private collection of WAS Benson metalware.
£40-60
461 A rare W.A.S Benson copper and brass chamberstick designed by William Arthur Smith Benson, model no. 343, brass foliate stem twin feet supporting cylindrical flower stem scrolling to handle, copper foliate drip pan, unsigned, 21.5cm. high
Provenance
Private collection of WAS Benson metalware.
Literature
Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 253, plate 24 this model illustrated in Benson’s catalogue of lighting and hollow ware. £200-400
462 A W.A.S Benson copper and brass chamberstick designed by Heywood Sumner, the copper, curved backplate stamped in low relief with a flower panel, unsigned 22.5cm. high
Provenance
Arts and Crafts, Woolley and Wallis Auctioneers 22nd June 2011, lot 556. Private collection of WAS Benson metalware.
Literature
Ian Hamerton W A S Benson Arts and Crafts Luminary and Pioneer of Modern Design ACC Publishing page 125 plates 101 and 101A for an example illustrated £300-500
461
459
463 A tall W.A.S Benson copper and brass table lamp designed by William Arthur Smith Benson, model no.156, tripod brass base supporting ball terminal and copper reservoir and brass fittings, applied copper supports, with pleated pink silk shade, stamped Benson to foot, 45cm. high
Provenance
Private collection of WAS Benson metalware.
Literature
Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 248 plate 3 this design illustrated in Benson’s catalogue of lighting and hollow ware. £300-500
464 A rare W.A.S Benson electric candle lamp designed by William Arthut Smith Benson, model no. 343, cast brass floriform foot with rising foliage stem handle, copper flower bud sconce supporting faux candle, stamped WAS Benson mark to foot, 32cm. high
Provenance
Private collection of WAS Benson metalware.
Literature
Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 253, plate 24 this design illustrated in Benson’s catalogue of lighting and hollow ware designs. £300-500
465 A W.A.S Benson copper and brass table/wall light designed by William Arthur Smith Benson, model no.1141, the tripod foot cast with foliage motif, with swollen sten and scroll panel,, with silk pleated lampshade, unsigned, 39cm. high (2)
Provenance
Private collection of WAS Benson metalware.
Ian Hamerton, W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 115 plate 91 this lamp design illustrated. £300-400
466 A rare W.A.S Benson brass reading lamp designed by William Arthur Smith Benson, model no. 427, cruciform brass base supporting swollen stem and reservoir, with brass reflector shade, unsigned, 41cm. high
Provenance
Private collection of WAS Benson metalware.
Literature
Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, ACC Books, page 106, plate 86 for a comparable lamp illustrated. £300-500
467 A W.A.S Benson cast brass table/ wall lamp designed by William Arthur Smith Benson, heart-shaped base with hook terminal, articulated ball supporting gently curved stem and angled fitting, with cream pleated silk shade, stamped Benson to fitting, 27cm. high
Provenance
Private collection of WAS Benson metalware. £300-500
468 A rare W.A.S Benson copper and brass reading lamp designed by William Arthur Smith Benson, model no. 427, cruciform brass base supporting swollen stem and copper reservoir, with copper reflector shade, unsigned, 41cm. high
Provenance
Private collection of WAS Benson metalware.
Literature
Ian Hamerton W.A.S Benson Arts and Crafts
Luminary and Pioneer of Modern Design, ACC Books, page 106, plate 86 for a comparable lamp illustrated. £300-500
469 A pair of W.A.S Benson brass wall/desk lights designed by William Arthur Smith Benson, the cast heart-shaped foot rim supporting curved stem and counterbalance weight, and adjustable fitting, stamped Benson mark to side of fitting, 27.5cm. high (2)
Provenance
Private collection of WAS Benson metalware. £400-600
470 A rare W.A.S Benson copper and brass fender designed by William Arthur Smith Benson, model no.503, cast brass frame with foliate feet, applied with alternate brass and copper disc shields, unsigned, 115cm. wide, 35cm. deep
Provenance
Private collection of WAS Benson metalware.
Literature
Ian Hamerton W.A.S Benson Arts and Crafts
Luminary and Pioneer of Modern Design, ACC Books, page 255, plate 32 for a comparable example with copper discs illustrated in Benson’s catalogue of lighting and hollow ware. £2,000-3,000
END OF COLLECTION
471 A pair of Benham & Froud copper and brass chambersticks, on domed copper base, knopped stem with crenellated drip tray, turned wood handles, stamped redg marks to base, 21cm. high (2)
£50-100
472 A Hugh Wallis brass bottle holder, shouldered form, stamped in low relief with a Tudor rose stem, below rope border, and a Dryad of Lester copper bowl on three ball feet stamped HW monogram, 26cm. high (2)
£100-200
473 A Hart & Huyshe Campden hammered copper bowl, with central raised foliate boss, with applied rope border, stamped Hart & Huyshe Campden Glos mark, 27cm. diam.
Literature
£100-200
Simplicity or Spendour, Arts and Crafts Living: Objects from the Cheltenham Collections, Cheltenham Art Gallery & Museum, page 73, figure 105 (catalogue number 198) for a comparable bowl illustrated.
474 A large and impressive repousse copper box by John Pearson, dated 1905, oak lined, rectangular with hinged cover, hammered in relief with a fruiting bough to front and top, the sides with raised sun motif, stamped J Pearson 1905 to back, 27cm. wide, 17cm. deep, 15.5cm. high
£500-800
475 A John Pearson repousse copper wall charger, circular the well decorated with three flying, stylised birds, the rim with alternate leaf and medallion motif, stamped JP mark, 38cm. diam.
Provenance
Arts and Crafts 23rd June 2010 Woolley and Wallis lot 542.
£300-500
476 A large Glasgow School brass tray in the manner of Margaret Gilmour, oval, stamped in low relief with a frieze of grape vine with stylised leaves, unsigned, 71.5cm. wide
£150-200
477 A Glasgow School brass planter with liner in the manner of Margaret Gilmour, rectangular with geometric feet and flaring top rim, stamped to front and back with a large stylised Glasgow Rose panel, unsigned, 35.5cm. wide, 15cm. high
£150-250
478 A Gothic Revival Benham & Froud brass vase, footed, ovoid form with flaring neck, etched with bands of stylised foliate decoration, applied with four Tudor rose flowerheads set with malachite cabochon, on four claw feet, stamped marks, 21cm. high £150-200
479 A Gothic Revival brass flagon in the manner of John Hardman, swollen, footed form, with angular spout and hinged cover set with elaborate cornw finial, the body engraved with stylised Gothic flower motif unsigned, 30.5cm. high £120-180
480 A Gothic Revival jewel encrusted silver and copper travelling goblet in the manner of William Burges, the flat foot set with abelone and polished stone cabochon, with latin insctiption around the foot rim, cylindrical copper step with silver gem encrusted knop and enamelled bands of mythical beasts, and plain hammered silver bowl, unsigned, 16cm. high £200-300
481 A Howell & James brass casket with hinged cover, the cover set with engraved cruciform panel set with five agate cabochon, the front with smaller panel, lined with red velvet, unsigned, 17cm. wide
Provenance
The Michael Blood collection. £100-200
482 A pair of Aesthetic Movement brass door plates in the manner of Thomas Jeckyll, rectangular, engraved with a central chrysanthemum flowerhead mon, between panels of ivy leaf and flowerheads, unsigned, 27.6 x 7.5cm. (2) £80-100
483 An Elkington & Co electroplated metal four piece tea set the design attributed to Dr Christopher Dresser, model no.16587, comprising teapot and hinged cover, hot-water pot and cover, milkjug and sugar basin, each with angled geometric handles, the covers with ball finials, the hot-water pot with an engraved crest, stamped marks, 22cm. high (4)
£150-200
484 A Hukin and Heath electroplated lemon squeezer, model no.4771, the squeezer modelled as a lemon with a hinged cover and screw mechanism, supported on three wirework legs and wirework frame to hold four lemons, on a textured circular base, stamped marks and registration marks, 29cm. high £300-500
485 An A E Jones electroplated mantel clock, model no.1771, the rectangular body with tapering overhanging mantel and base with turned oak pillars, on bun feet, circular dial with Roman numerals, stamped 1771, 23cm. wide, 13.5cm. high
£150-250
486 A patinated copper inkwell probably A E Jones, hexagonal section tray on ball feet with applies silver flower head motif, the waisted cylindrical well with hinged cover, hammered finish, unsigned, 15.5cm. wide
£150-200
487 A Cotswold School oak double inkwell, in the manner of Gordon Russell, rounded rectangular pen tray, with tow chamfered wells with hinged covers, and ceramic liners, unsigned, 23.5cm. wide.
£120-180
488 A Birmingham Guild of Handicraft copper and brass jardiniere designed by Arthur Stansfield Dixon, the hammered, patinated copper body with applied brass handles with scroll terminals, unmarked, minor losses, 18.5cm. wide
£150-200
489 A Birmingham Guild of Handicraft copper and brass vase designed by Arthur Stansfield Dixon, shouldered from, hammered, patinated copper body with brass rims, and another smaller stamped marks, 24.5cm. high (2)
£150-200
490 A large Birmingham Guild of Handicraft copper and brass rose bowl probably designed by Arthur Dixon, the hammered, patinated copper body set on three foliate patinated brass feet, stamped BGH mark, 30cm. diam. 12.5cm. high
Literature
Alan Crawford By Hammer and Hand, The Arts and Crafts Movement in Birmingham, page 101 figure 80 for a Birmingham Guild stand, 1908 featuring a similar bowl.
£250-350
491 A Gordon Russell Lygon wrought iron toasting fork, with octagonal guard punched with geometric design, the handle with scroll terminal, unsigned, 41cm. long
£250-350
488
485
492 A Glasgow School cast iron desk inkwell and pentray, the rectangular pen tray cast with Glasgow rose panels, set with two square section glass inkwell with circular cast Glasgow rose covers, cast regd marks, 25cm. wide, 14cm. deep. (5) £100-200
493 An Art Nouveau Orivit pewter candlestick, twin-branch the two flower sconces on floriform stem and flaring, fluted base stamped Orivit 2110, 19.5cm. high, 22.5cm. wide £100-200
LIBERTY & CO
494 A Liberty & Co Tudric Pewter and enamel four piece tea set, probably designed by Archibald Knox, model no. 0303, the hammered pewter body set with four blue and green enamel panels, comprising teapot and hinged cover, hot-water pot and hinged cover, milk-jug and sugar basin, two Liberty pewter dishes designed by Archibald Knox, model 0359, a Liberty & Co Tudric dish designed by Archibald Knox, model 0313, a Liberty golfing tankard designed by Archibald Knox and a twinhandled vase, stamped marks, losses to enamel, 17cm. high (9) £100-200
495 A Liberty & Co Tudric Pewter biscuit box and cover designed by Archibald Knox, shape no.0194, swollen, square section, cast in low relief with stylised sunflowers, stamped Tudric 0194, 11.5cm. high (2) £100-200
496 A Liberty & Co Tudric Pewter rose bowl probably designed by Oliver Baker, model no.01129, footed form cast in low relief with stylised flower bud motif to the body, hammered finish, stamped marks, 24cm,. diam, 13cm. high £150-250
497 A Liberty & Co Solkets English Pewter footed bowl designed by Oliver Baker, shape no.067, the circular bowl with four buttress legs, stamped marks 33cm. wide, 12cm. high
Literature
English Pewter, Liberty & Co catalogue, page 2 this design illustrated catalogue number 2, priced at £220. £150-250
498 A pair of Liberty & Co English Pewter knife rests probably designed by Archibald Knox, model no.0491, cast and pierced with Art Nouveau foliate design, stamped marks, 8cm. wide (2) £80-120
499 An unusual Liberty & Co pewter vase with glass liner, model no,0828, the pierced and cast foliate base supporting flaring conical stem cast as four leaves and a band of primrose flowers, with clear glass bombe liner, stamped number, 24.5cm. high (2) £150-200
500 A Liberty and Co Tudric pewter and enamelled clock, model 0559, pediment form, cast in relief with a foliate shield and chevron, the dial with a copper chapter ring, blue enamel Roman numerals, around a central blue green roundel, 11cm. high £150-200
501 A Liberty and Co Tudric pewter and enamel mantel clock designed by David Veazey, model 0371, the tapering rectangular body with cast tree motif, supporting triangular clock, with circular copper dial, enamelled blue and green, with Roman numerals, stamped marks to base, 23cm. high £2,500-3,500
502 A Liberty & Co silver tea set, model no.2303, comprising teapot and hinged cover, milk-jug and sugar basin, the teapot with bakelite handle, stamped marks, Birmingham 1912, milk Birmingham 1911, 17.5cm. wide (teapot), 295 grammes total. £150-250
503 A Liberty & Co Cymric silver sugar basin and milk jug, model no.5208, compressed form with hammered finish, both with forked handles with extended terminals, stamped marks, Birmingham 1905 15cm. wide (sugar basin), 192grammes (2) £100-200
504 A Liberty & Co silver and enamel vase, model no.4643, footed form, with raised panels, the rim set with a band of enamelled stylised foliage and simple flower heads in blue and green, the foot with stylised flowers heads and rope twist border, stamped marks, Birmingham 1910, etched 4643, 9cm. high, 13cm. wide. £300-500
505 A pair of Liberty & Co silver and enamel hair and clothes brushes, model no.5692, enamelled with a panel of stylised flowers and foliage in red, blue and green stamped marks, Birmingham 1925, 26.5cm. long (hair brush), (2) £150-200
506 Three Liberty & Co William H Haseler silver brushes, each set with simple turquoise stone, stamped marks, Birmingham 1907 and 1916, 17cm. wide (3 £150-200
507 A set of six Aesthetic Movement Liberty & Co silver teaspoons by Sadajiro Musashiya, in fitted case, each bowl in the form of a different flower, on plain wire stems, the terminals cast in relief and modelled as various animals including birds, dragonfly, toad, butterfly and fish, in velvet lined Moroccan leather case, velvet stamped Liberty & Co, 9cm. long, 0.86ozt (6)
Literature
Liberty’s 1875-1975, Victoria & Albert Museum, exhibition catalogue, 1975, page 27 catalogue number B.24 for a comparable set owned by John Llewellyn with different decoration, stamped SM. £400-600
508 A Liberty and Co Cymric silver and enamelled Coronation Spoon designed by Archibald Knox, dated 1901, the stem cast with panels of interwoven entrelac and central blue and green enamel panel, over inscription with incorrect date 26th June 1902, the rounded bowl cast ER VII incised under blue and green enamel inside cast entrelac, stamped marks, L& Co, Birmingham 1901, Cymric, 20.5cm. long, 2.96oz
Literature
Stephen A Martin Archibald Knox, ARTMEDIA, page 212 for a selection of comparable Cymric spoons illustrated. £1,500-2,500
509 An impressive Liberty & Co Cymric silver and enamel vase and cover, dated 1901, model 255, the tapering cylindrical body with swollen neck applied with four arms formed as foliate tendrils, applied with four plaques depicting sailing vessels at sea in polychrome enamel, the possibly later cover with an organic finial, atop a spreading foot, stamped marks,Cymric, Birmingham 1901 to base, cover unmarked, 33cm. high,1566g/5.34ozt approx (2)
Literature
Stephen A Martin, Archibald Knox, ARTMEDIA, page 90, this cup and cover illustrated.
£7,000-9,000
510 Archibald Knox (1864-1933)
Landscape, Isle of Man watercolour on paper, framed unsigned, 55 x 42.5cm. (image)
72 x 59cm. (frame)
£800-1,200
511 Archibald Knox (1864-1933)
Landscape, Isle of Man watercolour on paper, framed unsigned, 54.5 x 42cm. (image)
72 x 59cm. (frame)
£800-1,200
512 Archibald Knox (1864-1933)
Hill landscape, Isle of Man watercolour on paper, framed unsigned, The Manx Museum and Art Gallery paper label, 55 x 42cm. (image) 72 x 59cm. (frame)
Catalogue notes The distinctive hill is probably Colden Hill, Isle of Man which Knox painted several times.
£800-1,200
513 Archibald Knox (1864-1933)
Landscape, Isle of Man watercolour on paper, framed unsigned, 55 x 42cm. (image)
72 x 59cm. (frame)
£800-1,200
OMAR RAMSDEN SILVER
514 An Omar Ramsden silver bowl on six feet, hexagonal form with pierced top rim cast with scroll panels, tapering, hammered body, engraved Mary Rose MCMXXXVI to side, stamped hallmarks, London 1928, engraved Omar Ramsden Me Fecit to base, 7cm. high, 11.5cm. diam. £200-400
515 A small Omar Ramsden silver footed vase, flaring form with applied, simple rope twist band, hammered finish, stamped hallmarks, London 1927, engraved Omar Ramsden Me Fecit, 6.2cm. high £150-200
516 A small Omar Ramsden silver and enamel dish, circular form with raised central Tudor Rose to the well, with enamelled red panels, inside roptwist border, hammered finish stamped hallmarks, London 1925, 7.5cm. diam.
£150-200
£600-1,000
517 An Omar Ramsden silver milk-jug and twin-handled sugar basin, each on stepped, cylindrical foot, with hammered body, stamped marks, London milk-jug 1903, sugar basin 1904, engraved Omar Ramsden Me Fecit to base, 11cm. high (milk-jug), (2)
516
514
515
SILVER AND JEWELLERY
518 A Connell & Co silver plate, cast in low relief with a border of daffodils, hammered well, stamped marks, London 1898, 20.5cm. diam.
£150-250
519 An Art Nouveau Lawson & Co twinhandled silver cup, footed, flaring conical form, with applied foliate handle and shield, engraved initials the verso 11th May 1907, on a hammered ground stamped marks, Glasgow 1905, 9cm. high, 15cm. wide, 260 grammes
£300-500
520 A Liberty & Co silver mustard pot and spoon, on four feet, the tapering hammered body with simple raised heart motif, hinged cover and applied strap handle, with serving spoon, stamped marks Birmingham 1907, 7cm. high
£150-200
521 An A E Jones silver tea caddy spoon, the circular hammered bowl with wire handle and ball finial, stamped marks, Birmingham 1920, 8cm. long
£100-200
522 A Hukin & Heath electroplated sugar basin the design attributed to Dr Christopher Dresser, model no.2997, elliptical bowl with inturned rim, with ebonised wood handle, stamped marks, 20cm. wide, 12.5cm. high
£150-200
523 Hukin & Heath, an electroplated metal twin-bowl bonbonniere, the design attributed to Dr Christopher Dresser, model no.2961, twin-bowl form with pinched sides and central loop handle, stamped marks, 18.3cm. wide, 14cm. high
£120-180
523 520
521
518
519
524 A set of twelve Artificers Guild Ltd silver Zodiac tea spoons probably designed by John Bonnor, in original silk-lined fitted case, each with cast star sign round terminal on tapering faceted stem, unsigned, the silk lining stamped in gilt The Artificers Guild Ltd, 10.5cm. long (12) £500-800
525 A Richard Llewellyn Rathbone silver table lamp, octagonal tapering base supporting slender, tapering octagonal stem, with rope twist bands, stamped marks, RLR Chester 1912, 33cm. high
Catalogue notes
Richard Lewellyn Benson Rathbone was born in West Derby, the son of Richard Rathbone a merchant from Liverpool and a relative of Harold Rathbone, chairman of the Della Robbia Pottery. Richard Lewellyn was also related to William Arthur Smith Benson the metalworker, who he trained with in London.
£300-500
526 A large William Hutton silver and enamel tazza the design attributed to Kate Harris, dated 1902, the planished body with applied foliate tendrils and four enamelled fruit plaques, the twin swept handles with bifurcated terminals, atop a stepped pedestal foot, stamped marks, London 1902, 17.5cm. high, 44.5cm. wide, diameter 27.7cm. 1230g/39.54ozt approx £2,000-4,000
524 detail
527 A pair of Johnson, Walker & Tolhurst Ltd silver plates designed by Gilbert Marks, circular, the broad rims decorated in relief with tulips, stamped marks, London, 1894, signed Designed by Gilbert L Marks, 22.5cm. diam, 683g/21.95ozt (approx combined weight) (2) £2,000-3,000
528 An enamel roundel by Ernestine Mills, enamelled with a vase of wild flowers in colours, framed gilt EM monogram, 6cm. diam. (panel), 11cm. diam. (frame). £100-200
529 A copper tea caddy and cover by Effie Anderson, dated 1915, on four strap feet, tapered, square section with hinged cover, set with champleve enamel panel panel of foliage initialled to centre in blue, green and white, etched Effie Anderson 1915 to base, 9cm. high £200-300
530 A silver and enamel mounted commemorative wood box and cover, dated 1907, oval section, the cover stamped in low relief with inscription Souvenir of Clarke’s Estate Lincoln 1888-1907, the centre with large green enamel plaque inscribed to Mrs W Beard, unsigned, 9.5cm. wide (2) £80-120
531 An enamel plaque Watch and Be Ready by K W Bailey, probably Birmingham School of Art, square panel with a lying heraldic deer below inscription ‘Watch and Be Ready’, an enamelled heraldic shield plaque for The Queens College Oxford Coat of Arms, by A Jarvis, dated 1931, another heraldic Badge of London plaque by A E Hilley, 1924 and another signed in the design W Russell 1926, all probably students at Birmingham School of Art, etched marks, 6.5cm. square (4) £100-200
532 A silver and enamel pendant necklace in the manner of The Bromsgrove Guild, triangular pierced frame with narrow chased foliate panels, set with central enamel of a young lady, the chain set with two small foliate panels set with amethyst, unsigned, 4cm. long (pendant) £200-300
533 A Liberty & Co Cymric silver buckle designed by Oliver Baker, central shaped panel set with elliptical cabochon, flanked with wirework panels, stamped marks, Birmingham 1901, 8.5cm. wide
Literature
The Art Nouveau Buckle, Christie’s South Kensington, 27th November 2007, lot 107 for an identical buckle the stone described as opal matrix.
Gabriel Mourey, Art Nouveau Jewellery and Fans, Dover, page 79, plate 62. for a variation illustrated. £150-200
534 A Liberty & Co silver and enamel buckle designed by Archibald Knox, model no.182, pierced and cast with entwined entrelac design, with blue and green enamel panels, stamped marks, Birmingham 1902, 6.3cm. wide
Literature
Stephen A Martin, Archibald Knox, ARTMEDIA, page 268 two variations illustrated. £150-200
535 A Liberty & Co silver belt buckle the design attributed to Oliver Baker, model no.162, cast, pierced square panels of stylised foliage, hammered finish, stamped marks, L&Co Birmingham 1908, 9cm. wide, (2) £150-200
536 A Liberty & Co silver and enamel buckle designed by Oliver Baker, model no.7, elliptical shape with textured finish, enamelled in shades of green, yellow and blue stamped marks, Birmingham 1902, 8cm. wide £150-200 532
537 A rare E Bonsmann AEG enamelled metal advertising paperknife probably designed by Peter Behrens, the handled with geometric panel enamelled black with remains of gilt highlights, with AEG logo to reverse, and an Art Deco bronze paperknife by Pierre Turin, cast with a naked standing maiden, stamped E Bonsmann Solingen to blade, 23cm. long (2) £100-200
538 A set of five Liberty & Co Cymric silver buttons designed by Archibald Knox, circular cast in low relief with foliate entrelac, and two continental Art Nouveau buttons, stamped marks, Birmingham 1904, 3cm. diam. (7)
Literature
Stephen A Martin Archibald Knox, ARTMEDIA, page 271 for comparable designs illustrated. £150-200
539 A set of six William Hutton silver buttons designed by Kate Harris, each cast in low relief with an Art Nouveau maiden, stamped marks, Birmingham 1904 2.5cm.diam. (6) £150-200
540 A hammered silver hatpin, pierced and cast with a diamond shaped panel with wire entrelac and central green triangular cabochon to both sides, and a Georg Jensen silver bar brooch model number 216, and a Georg Jensen silver tie clip, unmarked, 14cm. long (3) £100-200
541 A Martin Mayer Jugendstil amber set silver brooch, oval frame cast in low relief with rose flower border, the centre a large Tudor rose set with central amber cabochon, stamped marks, 800 and 97, 4.5cm. wide £100-150
542 A James Fenton Secessionist silver and enamel link bracelet, each pierced elliptical panel enamelled blue and green stamped marks, Birmingham 1909, 20cm. long (overall)
Provenance Arts and Crafts, Woolley and Wallis, 18th June 2014, lot 524. Private collection. £150-200
543 A Jugendstil silver and plique a jour enamel pendant necklace, pierced triangular form with blue enamel panels, central mother of pearl cabochon, and natural pearl drop, stamped depose, 3.5cm. wide £150-200
544 A Jugendstil silver and plique a jour enamel pendant, pierced and cast foliate frame, with green plique a jour enamel, set with central polished abelone panel, small garent and pearls, with three baroque pearl drops, stamped depose 800, missing loop 3.5cm. wide
£120-180
545 An Art Nouveau Levinger & Bissinger silver and plique a jour enamel brooch, pierced cast silver foliate frame with two green enamel leaves and central polished opal, in fitted J B Haag, Munchen box, stamped H mark, depose 900, 3.3cm. wide £200-300
546 A Pforzheim Jugendstil silver and plique a jour enamel brooch in the manner of Levinger & Bissinger, pierced, cast silver frame modelled as a single flower stem with geometric leaves, enamelled green graduating to pink cells, with polished green chalcedony tear shaped drop, stamped sterling silver, 3.5cm. wide
£200-300
545
544
543
547 A Liberty & Co silver and amethyst pendant necklace, shaped wirework panel with central set amethyst, with oval drop with foliate wirework and set elliptical amethyst, on link chain, unsigned, 5.5cm. drop
Literature Yuletide Gifts, Liberty & Co catalogue 1913-1914 this design illustrated. £300-500
548 A silver and amethyst pendant necklace in the manner of Liberty & Co, the silver frame pierced and cast with foliate motif, set with central polished moonstone and large amethyst drop, unsigned, 5.5cm. drop £150-200
549 A Bernard Instone silver Tree brooch, cast as a foliate spray applied with large oval abalone panel amethyst and polished green chalcedony stones, unsigned, stamped silver, 7.5cm. long £150-200
550 An Arthur and Georgie Gaskin silver and amethyst link bracelet, seven linked wirework panels with simple flower motif, set with alternate amethyst and blister pearl stones, unmarked, 21cm. long £200-400
551 A pair of Arthur Gaskin silver and amethyst earrings, each wirework frames with simple flower motif, set with amethyst stones, unmarked, 4.5cm. drop (2) £300-500
552 A silver and amethyst link bracelet, alternate cast oval panels with cruciform motif, and oval panels set with amethyst stones, unsigned, 18cm. long £80-120
552 550
549
547
548
553 An Shipton & Co silver Iona Galleon pendant necklace, pierced and cast with a ship at full sail on a rough sea, stamped S & Co, Chester 3.5cm. drop £100-200
554 A silver and turquoise Galleon pendant necklace, modelled at full sail, set with turquoise stone, on link chain, unmarked, 3cm.wide
£150-200
555 A Liberty & Co silver and enamel pendant necklace, shield shape cast in low relief with entwined foliage panels and central green enamel roundel, inscribed Love Never Faileth, below brooch bar panel, stamped marks, Birmingham 1910, 3.5cm. drop
£100-200
556 A silver and opal Secessionist necklace, hammered rectangular panel with central opal, inside circle set with two further opals and an opal drop, the chain with two additional panels set with opals, stamped indistinct makers mark and 850, 4cm. long
£150-250
557 A silver and opal brooch in the manner of Amy Sandheim, oval with cast radiating panels, set with four moonstones and five opals, unsigned, 4cm. diam. £120-180
558 A silver and moonstone necklace probably Liberty & Co, set with trefoil set moonstones with single drop, flanked with alternating moonstones and small blue spinel panels unsigned, 3cm. drop £150-250
559 A silver pendant necklace, pierced and cast with a scrolling panel with three pools of light glass spherical drops probably rock crystal, on link chain, unsigned 4.5cm. drop £120-180
560 A large silver mounted cut rock crystal teardrop pendant probably Amy Sandheim, the facetted cut glass tear drop with cast foliate mount, foliate bale, on long, link chain, unsigned, 6cm. drop £150-200
561 A Bernard Instone silver brooch, cast as a foliate spray, stamped marks, 5.3cm. wide £80-120
562 A silver and Connemara marble necklace in the manner of Bernard Instone, five graduated polished cabochon with cast floral mounts and link panels, on link chain, unsigned, 41.5cm. long £100-200
561
558
560
559
563 A Jugendstil silver pendant necklace, cast as a geometric stylised leaf set with small amethyst, with square drop, hammered finish, unsigned 4.5cm. drop £80-120
564 A Secessionist silver and opal pendant necklace, pierced shield shape set with central opal and two small peridot stones, the chain with smaller panels set with opals, stamped marks, 3.8cm. wide £150-200
565 A Liberty & Co gold and turquoise Butterfly necklace, model no.9609, the wirework drop modelled as two butterfly set with central turquoise cabochon, below three single butterfly panels, unsigned, 5cm. drop
Literature
Liberty Sketchbook, model no.9609.
Yuletide Gifts, Liberty & Co catalogue, 1912, this design illustrated in gold set with turquoise. £300-500
566 An Art Nouveau yellow metal pendant necklace, circular wirework design of leaves set with four mother of pearl panels around central mother of pearl roundel, unsigned, 3.5cm. drop £150-200
567 A silver and enamel brooch in the manner of Fleetwood
Charles Varley, cast scroll border, central enamel roundel painted with a tree on a riverbank, in a landscape, unsigned, 4.5cm. wide £80-120
568 A Jugendstil silver brooch in the manner of Patriz Huber, pierced and cast as two entwined leaves with central red cabochon, stamped H Ges, 900, 2.6cm. wide £150-200
566 564
565
563
569 A Murrle Bennett & Co silver and amethyst pendant necklace, circular with pierced panels and hammered finish, set with central amethyst, with drop set with two more amethyst stones, stamped marks, 6.5cm. drop £100-200
570 A silver and moonstone link necklace probably designed by Sybil Dunlop, five graduated, pierced and chased foliate panels set with central moonstones, on link chain, unsigned, 42cm. long £300-500
571 A silver and turquoise pendant necklace in the manner of Liberty & Co, cast as a simple flower, set with turquoise cabochon, the link chain set with two turquoise drops, unsigned, 2.5cm. drop £100-200
572 A WMF Art Nouveau silver necklace, three shaped rectangular panels, with ball dividers on rope chain, stamped WMF 935, 41cm. long £100-150
573 An Alexander Ritchie Iona silver Celtic cross, cast in low relief stamped marks Iona AR, Chester, 1917 5cm. long £80-120
574 A Charles Horner silver and enamel pendant necklace, pierced and cast with foliate motif enamelled green and blue with central mother of pearl stone, stamped mark CH Chester 1909, missing drop, 3.5cm. long £100-200
575 A Charles Horner silver and enamel pendant necklace, pierced and cast with foliate motif enamelled green and blue with central mother of pearl stone, and pearl drop stamped mark CH Chester datemark rubbed, 4cm. long £150-200
576 An Art Nouveau silver and turquoise pendant necklace possibly Liberty & Co, foliate wire frame with central turquoise stone, and larger turquoise drop, unmarked, 5cm. drop £80-120
577 A Liberty & Co silver and enamel pendant necklace, model no.8703, cast in low relief pierced foliate motif, enamelled blue and green panels, unsigned, 4cm. drop
Literature
Liberty Sketchbook, Number 8703, this design illustrated. £150-200
578 A silver wreath brooch in the manner of Bernard Instone, circular form with a border foliage tendrils set with seven citrines, unsigned, 4.5cm. diam. £80-120
579 A Liberty & Co silver and enamel pendant necklace the design attributed to Jessie M King, model no.9449, pierced and cast as four flower stems, flanking central abalone shell panel, and a small William Hair Haseler silver and enamel brooch cast as three Art Nouveau flowers, brooch stamped WHH, 3.3cm. drop (pendant), (2)
Literature
Liberty Sketchbook, number 9449, this design illustrated. £200-300 574
577
578 575 576
These Conditions of Sale and Business constitute the contract between Kinghams Auctioneers limited and the seller, on the one hand, and the buyer on the other. By bidding at the auction, and/or consigning to Kinghams Auctioneers limited, you agree to be bound by the following terms.
CONDITIONS OF SALE
1. DEFINITION
In these terms of business: Kinghams Auctioneers & Valuers is referred to as ‘Kinghams’. The Kinghams representative conducting the auction is referred to as the ‘auctioneer’.
2. AGENCY
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers if the transaction is not completed and paid for.
3. 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.
4. DESCRIPTIONS AND CONDITION OF LOTS
Every effort is made to ensure the accuracy of statements relating to authorship, descriptions, origin, date, age, provenance and condition of lots. Statements made orally or in the catalogue are opinions given after careful consideration and research. Prospective buyers are given ample opportunity to view lots before any sale. When bidding, buyers acknowledge that they are fully satisfied as to the description and condition of the lot. The absence of a condition report or reference to condition in catalogue descriptions does not indicate that the lot is without fault.
5. ATTRIBUTION OF PICTURES
(a) If the forename(s) (or asterisks where not known) and surname of the artist are given, this indicates that in the opinion of Kinghams the picture is a work by the named artist.
(b) If the initials of the forename(s) and the surname of the artist are given, this indicates that in the opinion of Kinghams the picture is a work of the period of the named artist and may be wholly or in part his work.
(c) If the surname of the artist is given, this indicates that in the opinion of Kinghams the picture is a work of the same school of the named artist, or by one of his followers, or in his style and of uncertain date.
(d) The term ‘Bears signature’ indicates that in the opinion of Kinghams this is not the signature of the artist.
(e) All other terms are self-explanatory.
6. FORGERIES
Notwithstanding Condition 4, any lot which proves to be a deliberate forgery 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 provided that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium.
7. THIRD PARTY LIABILITY
Every person on Kinghams premises before, during or after a sale shall be deemed to be there at their own risk and shall have no claim against Kinghams in respect of any injury they may sustain or any accident which may occur.
8. DISPUTES
Any dispute not covered in these terms of business will be settled at the sole discretion of Kinghams.
9. GENERAL
We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of the 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.
Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email in which case it shall be deemed to have been received by the addressee 48 hours after posting.
Special terms may be used in catalogue descriptions of particular classes of terms in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.
Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of the 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.
English law applies to the interpretation of these Conditions.
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 Kinghams Auctioneers & Valuers.
2. WARRANTY
The Seller warrants that possession in the lots can be transferred to the Buyer with good and marketable title, free from any third party right and encumbrances, claims or potential claims. The Seller has provided all information concerning the items ownership, condition and provenance, attribution, authenticity, import or export history and of any concerns expressed by third parties concerning the same.
3. COMMISSION
Commission is charged to sellers at a flat rate of 15% plus VAT on each lot. There is a lotting charge of £5.00 (+VAT) per lot sold or unsold. There is a charge of £10.00 (+VAT) per furniture lot sold or unsold (defined by staff).
Insurance is charged at 1.5% (+ VAT) of hammer price or bottom estimate if unsold.
4.
REMOVAL COSTS
Items for sale must be consigned to the saleroom by and 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.
5. LOSS AND DAMAGE OF GOODS
a) Loss and Damage Warranty – Kinghams is not authorised by the FSA to provide insurance to its clients and does not do so. However, Kinghams for its own protection, assumes liability for property consigned to it at the lower presale estimate until the hammer falls. To justify accepting liability, Kinghams makes a charge of 1.5% of the hammer price plus VAT. The liability assumed by Kinghams shall be limited to the lower pre-sale estimate or the hammer price if the lot is sold.
b) If the owner of the goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owners 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 5(a) is inapplicable.
6. ILLUSTRATIONS
The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will 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.
7. MINIMUM BIDS AND OUR DISCRETION
Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 8. We may sell lots below the reserve provided if we can 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 a “discretion” we may accept a bid of up to 10% below the formal reserve.
8. 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 unreasonably high reserves {in which case goods carry the storage (Condition 17) and loss damage warranty (Condition 5(a) charges as 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.
d) Reserves are not usually accepted for lots expected to realise below £50.
9. 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.
10.
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 clauses 9 and 10 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection upon request.
11. 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 4 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.
12. UNSOLD ITEMS
If an item is unsold it may at our discretion 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.
13. WITHDRAWN AND BOUGHT IN ITEMS
These are liable to incur charges on being bought in or withdrawn after being catalogued.
14. CONDITIONS OF SALE
You agree that all goods will be sold subject to 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.
15. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST
You authorise us to deduct commission at the stated rate and all expenses incurred from 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. You authorise us at our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of 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.
17. STORAGE
We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make storage charges.
18. SETTLEMENT
Settlement is started from 4 weeks after the auction, subject to normal business conditions and funds being cleared. If the buyer has not paid for the goods no settlement will 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. Please note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 11 above and you should therefore bear this in mind before parting with the proceeds of sale.
INFORMATION FOR BUYERS
1. INTRODUCTION
The following notes are intended to assist buyers particularly those who may be inexperienced or new to our saleroom. All sales are conducted in accordance with our Conditions of Sale. Our staff will be happy to help you with 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. THE BUYER
The highest bidder acknowledged as such by the auctioneer will be the buyer. If any dispute arises, the auctioneer has absolute discretion to settle the matter. The auctioneer rules the bidding and bids cannot be retracted. The auctioneer reserves the right to refuse any bid.
The successful bidder, whether bidding for himself or for a third party, is entirely responsible for paying for the lots they have bought in accordance with Kinghams’s Conditions of Sale and Business. The auctioneer reserves the right to bid on behalf of the sellers for any lot and to withdraw, consolidate or divide any lot or lots.
4. REGISTRATION
Unless registered already on a bidding platform, it is essential that all prospective buyers register with us, giving their full name, address, contact telephone number(s) and email address.
All buyers will be required to provide proof of identity (i.e. driving licence/passport). Upon receipt of the above a paddle will be issued, which is only valid for the current sale. The paddle may be used to indicate your bids to the Auctioneer during the sale. If successful, the bidder must ensure that their number can be seen by the Auctioneer and that it is their number that is called out. Should there be any doubts as to price or buyer, please draw the Auctioneer’s attention to it immediately.
We reserve the right to investigate and identify all bidders and the source of any funds received by us, including but not limited to engaging approved thirdparty vendors. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Kinghams Auctioneers & Valuers Limited or the Seller.
5. BUYER’S PREMIUM - COMMISSION CHARGES
There is a buyer’s premium of 26 per cent plus VAT on the hammer price of each lot up to and including £500,000. The buyer’s premium is 18% plus VAT on the hammer price of each lot on the excess of £500,001 up to and including £1,000,000. The buyer’s premium is 15% plus VAT on the hammer price of each lot on the excess of £1,000,001.
6. VALUE ADDED TAX
Lots on which the buyer may have to pay VAT on the ‘hammer price’ are indicated in the catalogue with the following symbol *. The buyer must pay this VAT at the rates that apply on the day of the auction in addition to the buyer’s premium and VAT thereon.
7.
AUCTIONEERS MARGIN SCHEME
This scheme allows auctioneers to sell items without VAT on the hammer price. The buyer then pays an amount equivalent to VAT. This amount cannot be refunded and is not shown separately on the invoice.
8. PAYMENT
Buyers must pay in full before items can be removed from the premises (please see “payment methods” below).
Invoices will be issued from the day of the sale. Buyers must pay their invoice in full within 24 hours and advise when they will be collecting their item(s). Any invoices which remain unpaid after seven days will incur interest at 5% above the base rate, charged from the date of the sale. If buyers are unknown to us, we cannot hand over purchases unless we have adequate references or payment is cleared.
Payment Methods
We accept payment by:
Cash – up to £9,000 (subject to money laundering regulations).
Debit cards - Visa, Delta, Switch, Connect (we accept a maximum payment of £1,000 by phone)
Bank transfer to:
HSBC Bank, Bridge St, Evesham WR11 4RU Account no. 51655345
Account name Kinghams Auctioneers & Valuers Sort code 40-20-27
IBAN GB91MIDL40202751655345
SWIFTBIC MIDLGB22
Please note that a fee of £15 will be added for international bank payment. Please note we do NOT accept credit card or paypal payments. In case we have to provide a payment link a 5% fee of the total invoice value will be charged.
9. LIVE INTERNET BIDDING
Live online auctions are in conjunction with the-saleroom.com, invaluable.com and easyliveauction.com
We ask that you register for the sale a minimum of 24 hours before the auction. When you have registered, you can watch the auction in real time; simply click the bid button to place a bid.
If your bid is successful we will notify you after the sale for payment. Charges will be made for internet bidding dependent on the auction platform. See their terms and conditions for details.
10. TRANSFER OF RISK
Each lot is the buyer’s sole responsibility from the fall of the hammer.
11. COMMISSION BIDS
If instructed, Kinghams will execute bids and advise prospective buyers. This service is free.
Buyers who cannot come to a sale may leave their bid with our staff after/during viewing, or make their bid in advance by telephone or email (enquiries@ kinghamsauctioneers.com). Such bids are placed at the buyer’s own risk.
Bids must be made at least one hour before the sale starts, but we advise buyers to make bids at the earliest possible opportunity. When making bids, buyers must provide:
Their full name
Address
Email address
Contact telephone numbers
The number of the lot they wish to buy
Their maximum bid amount – excluding commission which will be added to the invoice afterwards.
Buyers must state what their maximum bid would be. We cannot accept an instruction to ‘buy’ or unlimited bid.
We will ensure that lots are bought as cheaply as possible depending on the bids made and other reserves. If identical bids are placed, they will be dealt with on a “first come first served” basis.
12. TELEPHONE BIDS
Lines for telephone bidding must be booked 24 hours before the auction. Lines are booked on a “first come first served basis.” Full name, address and telephone numbers will be required together with proof of identity and address. Bank and credit/debit card details are also necessary to secure the line.
13. DATA PROTECTION
Kinghams will use information provided by its clients or obtained by Kinghams relating to its clients for the provision of auction services or as required by law. Kinghams may need to record telephone conversations for security or legal reasons or as necessary to provide a higher quality of service. Clients agree that Kinghams may use sensitive information that they supply to Kinghams. Unless permitted by law, Kinghams will not otherwise process sensitive personal data without express consent. By agreeing to the Conditions of Sale and Business, clients agree to the processing of their personal information.
14. STORAGE CHARGES
Handling and storage charges may be applied to any purchased or unsold lots that have not been collected within 14 days from the date of the auction at the following rates:
Small items (such as jewellery, watches, books or ceramics): handling fee of £20 per lot plus storage charges of £2 per lot per day.
Medium items (such as most paintings or small items of furniture): handling fee of £30 per lot plus storage charges of £4 per lot per day.
Large items (items that cannot be lifted or moved by one person alone):handling fee of £40 per lot plus storage charges of £8 per lot per day.
Oversized items (such as monumental sculptures): handling fee of £80 per lot plus storage charges of £10 per lot per day.
A lot’s size with be determined by Kinghams Auctioneers on a case by case basis (typical examples given above are for illustration purposed only)
All charges are subject to VAT, where applicable. All charges are payable to Kinghams Auctioneers.
Storage charges will cease for purchased lots which are shipped through Kinghams Auctioneers’ shipping service from the date on which we have received a signed quote acceptance from you.
14.1 LIABILITY FOR LOSS OR DAMAGE
Buyers are reminded the Kinghams Auctioneers accepts liability for loss or damage to lots for a maximum period of thirty (30) days after the date of the auction.
15. ELECTRICAL GOODS AND SOFT FURNISHINGS
These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations.
16. EXPORT OF GOODS
Buyers intending to export goods should check whether an export licence is required and whether there is any specific prohibition on importing goods of that character because e.g. they may contain prohibited materials such as ivory. Ask us if you need help.
17. PACKING AND DESPATCH
We offer a packing and despatch service for smaller lots. We also use national and local carriers. Further details can be obtained from our office.
18. DROIT DE SUITE ROYALTY CHARGES
A work of art by a living artist, or those who have died within the last 70 years, which costs more than the UK sterling equivalent of €1,000 will incur a royalty charge. We pass this payment onto the Design and Artists Copyright Society (DACS), and do not charge a handling fee. Buyers can calculate royalty charges on the DACS website.
Items marked with the † symbol in the catalogue will potentially incur royalty payments.
We use the euro to UK sterling exchange rate which applies on the day of the sale. It is the buyer’s responsibility to check the relevant exchange rate.
The actual qualifying threshold is calculated by the Artist’s Resale Right Service Hub based on the European Central Bank reference rate published at 2.15pm on the day of the sale, and can be found on the DACS website.
The royalty charge for pictures which achieve a hammer price of more than the UK sterling equivalent of €1,000, but less that the UK sterling equivalent of €50,000 is 4%. On works of art that achieve a hammer price of more than the UK sterling equivalent of €50,000 a sliding scale of royalty charges applies. For a complete list of the royalty charges and threshold levels please download more information from the DACS website.
The royalty charge is added to invoices, and must be paid before purchases are removed. VAT is not paid on royalty charges.
19. CITES LICENSE - IMPORTANT NOTICE RELATING TO SPORTING AND NATURAL HISTORY
Clients intending to import/export any item derived from natural history specimens into/from a non-European country should first check for any Import/Export and possession restrictions prior to bidding/selling.
Certain species (λ) are also subject to CITES regulations when exporting/ importing these items out of the EU. CITES regulations are given on www.ukcites.gov.uk or maybe obtained from Animal Health, Wildlife Licensing and Registration Service, Zone 1/17, Temple Quay House, 2 The Square, Bristol BS1 6EB. Those species that are covered by the US Endangered Species Act (USESA) or The Migratory Bird Treaty Act (MBTA): potential US bidders should check with USF&W (US Fish and Wildlife Services) for trade/possession restrictions in the US prior to bidding.
