Kinghams Auctioneers

THE ALLAN AND SONDRA GOTLIEB COLLECTION Thursday 8 October 2026

THE ALLAN AND SONDRA GOTLIEB COLLECTION: VICTORIAN ART & DESIGN To be held at 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ

THURSDAY 8 OCTOBER 2026 AT 10AM London View We are pleased to show the highlights of the sale at the William Morris Society, Kelmscott House, Hammersmith on Thursday 24th September between 10am and 4pm. For further enquiries please contact Michael Jeffery on 07854 840784.

Viewing Monday 5 October – 10am to 5pm, Tuesday 6 October – 10am to 5pm Wednesday 7 October – 10am to 5pm & Thursday 8 October – 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.

Contact michael@kinghamsauctioneers.co.uk – 07854 840784

SPECIALISTS

Michael Jeffery

George Kingham

John Keightley

Adrian Rathbone

Claire Cleaver

Associate Director and 20th Century Design Specialist

Director

Associate Director Senior Valuer and Cataloguer

Associate Director and Senior Valuer

Head of Photography

Live internet bidding is available on www.kinghamsauctioneers.com, www.the-saleroom.com, www.invaluable.com, and www.easyliveauction.com together with a fully illustrated catalogue.

Catalogue £10.00 (£14.00 by post) Cover Illustrations: Front: lot 63 – Back: lot 87 – Inside front: lot 98 – Inside back: lot 113 – Opposite: lot 57

Kinghams Auctioneers Ltd 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ 01608 695695 | enquiries@kinghamsauctioneers.com | www.kinghamsauctioneers.com NB. Please telephone to arrange collection.

MAP AND DIRECTIONS Our auction house is located in the historic Cotswold market town of Moreton-in-Marsh

By Car We are centrally located on the A44 in reach of motorways the M5, M4, M40 and M42.

Ample free parking.

By Rail Moreton-in-Marsh’s train station is less than a mile from the auction centre.

By Plane The nearest International Airports are Birmingham, 45 miles and Heathrow, 70 miles.

Accommodation The Howard Arms (10-minute drive from the auction centre) Lower Green, Ilmington, CV36 4LT 01608 682226 www.howardarms.com

DELIVERY SERVICES FOR BUYERS We offer an in house packing service for most items and paintings up to 110cm x 80cm. Please email enquiries@kinghamsauctioneers.com for a quote or call 01608 695695 for a quotation.

For Furniture: Tustain Carrier Fine Art & Antique Carriage 07964 626325 enquiries@tustainclearance.com www.tustaincarriers.com

USEFUL INFORMATION FOR BUYERS Buying at Kinghams Auctioneers Ltd:

Buyer’s Premium

There are several ways you can bid at our auctions; by leaving a commission bid, on the telephone and live via the internet.

There is a buyer’s premium of 26% plus VAT on the first £500,000 of the hammer price of each lot. 18% plus VAT on the excess of £500,001 and up to £1,000,000 of the hammer price of each lot, and 15% plus VAT on the excess of £1,000,001 of the hammer price of each lot.

Bidding in Person It is essential that all prospective buyers register with us prior to the auction. Proof of identification will be required in order for a bidding number to be allocated which can then be used when bidding for an item.

Commission Bids Kinghams will execute bids if you are unable to attend the sale. Bids can be left with our staff during or after viewing, or in advance by telephone or e-mail: enquiries@kinghamsauctioneers.com

Telephone Bids Lines must be booked by 5pm the day before the auction begins. Lines are booked on a first come first served basis.

Full name, address and telephone numbers will be required together with proof of identity. Bank and/or credit/debit card details are necessary to secure the line.

Artist’s Resale Rights (Droit De Suite) Royalty Charges) A picture or work of art by an applicable living artist, or those who have died within the last 70 years, which costs more than £1,000 hammer price will incur a royalty charge paid by the buyer. Items marked with ARR in the catalogue will potentially incur royalty payments.

Payment Must be made in full before items can be removed from the premises. If buyers are unknown to us, we cannot handover purchase until payment has been cleared.

Payment Methods - We accept payment by: • Cash - up to £9,000 (subject to money laundering regulations).

• Cheques - we do not accept cheques.

• Debit cards accepted. We do not accept any credit cards.

Live Internet Bidding Register online via www.kinghamsauctioneers.com, www.the-saleroom.com, www.invaluable.com, www.easyliveauction.com and www.liveauctioneers.com.

Various charges apply, please check with your bidding platform.

Condition Bidders must satisfy themselves as to the condition of each lot. Condition reports are available on request. (no later that 48 hours before the sale).

• Bank transfer to: HSBC Bank, 32 Bridge St., Evesham, WR11 4RU Account No.: 51655345 Account Name: Kinghams Auctioneers Ltd Sort Code: 40-20-27 IBAN: GB91MIDL40202751655345 SWIFTBIC: MIDLGB22 Please note that a fee of £15 will be added for international bank payments.

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A LOVE AFFAIR WITH RUBY LUSTRE Allan and Sondra Gotlieb as Collectors of William De Morgan Tiles The collecting passions of our parents Allan and Sondra Gotlieb were shaped by a lifetime of deep engagement with art and culture, but their particular devotion to the tiles of William De Morgan had a discernible starting point. It was the 1992–93 exhibition The Earthly Paradise: Arts and Crafts

by William Morris and His Circle in Canadian Collections at the Art Gallery of Ontario (AGO) that first sparked Allan Gotlieb’s serious interest in the Arts and Crafts movement and its decorative legacy. From that moment, a focused and passionate collection began to take shape.

Our father was well prepared for this enthusiasm. A Rhodes Scholar and, for a time before returning to Canada to join the diplomatic service, an Oxford don, he had long nurtured a love of Victorian art in its many forms as well as French art from the same era. He collected the prints of James Tissot with particular avidity, and was drawn especially to Tissot’s portraits of women. He was also a collector of Victorian drawings, acquiring Burne Jones’s Gates of Gaza in 1962 when he was a diplomat in Geneva. He favoured works by the Pre-Raphaelite artist Simeon Solomon — once again focusing principally on representations of women. For our mother he purchased period jewelry by Giuliano and others which she wore with delight at social events. Yet it was not until 1982, when he retired from his position as Canadian Ambassador to the United States and settled in Toronto that these collecting interests became truly systematic, first in the case of drawings and eventually the tiles of De Morgan. A particularly memorable acquisition came when, browsing in a favourite shop, Richard Dennis on Kensington Church Street during a trip to London, he purchased two ruby lustre tile panels depicting galleon ships.

It was ruby lustre, above all, that captivated him. The deep, iridescent warmth of De Morgan’s ruby lustre pieces — a technique revived from medieval Islamic pottery — inspired in him something approaching infatuation. Katharine Lochnan, the AGO’s senior curator emeritus, recalls him giving a talk at a ceramics symposium at the Gardiner Museum in Toronto, which he titled My Love Affair with Ruby Lustre — a title that captured the personal, almost romantic intensity of his engagement with these objects.

The tiles were not kept in a single dedicated space but were distributed throughout the Gotlieb Toronto home — installed on walls, displayed on tables and stands — so that encounters with them were constant and often unexpected. For family and visitors alike, navigating the house was something of an adventure, the De Morgan tiles appearing at every turn, sometimes making passage through the rooms a charmingly precarious affair. They also maintained a room informally known as the “opium room,” small, plushly furnished, and atmospherically dim, where Victorian drawings — including works by Solomon and Edward Poynter — were densely hung.

Our mother, journalist and humourist Sondra Gotlieb shared his enthusiasm, and was an avid reader of Anthony Trollope’s Barsetshire and Palliser novels. Their Toronto garden, inspired by Sissinghurst, extended the collecting vision outdoors, incorporating tiled architectural features and other Victorian ornamental elements that gave the exterior of the house the same character as the interior.

Together, Sondra and Allan created not merely a collection but an environment that celebrated the richness of Victorian and Edwardian British art and design.

Marc Gotlieb and Rachel Gotlieb.

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WILLIAM DE MORGAN MASTER POTTER

William De Morgan has always occupied a special place in the history of British art pottery. His work is revered today by collectors and, produced over three decades, his tiles, vases and chargers are included in museums and art galleries around the world.

Born on the 16th November 1839 in London he was encouraged to pursue a career in the arts by his parents, the distinguished mathematician Augustus De Morgan, and his mother Sophia, an advocate of women’s education and progressive causes. In 1856 he entered the Royal Academy School, London, where he met like-minded artists including Henry Holiday and Simeon Solomon. Holiday introduced him to William Morris in 1863, who is credited with encouraging De Morgan away from a career in painting towards a career in design and craft. Initially, De Morgan supplied designs to Morris, Marshall, Faulkner & Co (The Firm) for the stained glass studio and it is here he developed his lifelong fascination with the shimmer of lustre and surface decoration. His own experiments, on ceramic, and research into the historical lustre production from the Middle East and the Mediterranean led to him leaving The Firm, to set up his first pottery in 1872 in Chelsea making and decorating tiles.

A young William De Morgan.

By 1882, demand for his work had grown to a level necessitating a move to a larger site, and De Morgan moved the pottery to Merton Abbey, close to Morris’ textile workshops. Whilst at Merton Abbey he won a major commission to decorate P&O ocean liners (providing tile panel decoration for over a dozen ships). 1888 saw the final move of the pottery to Fulham, here he is credited with producing some of his finest firings, including the triple lustre tiles of blue, silver and copper oxides. The auction includes of these masterpieces (lots 56-63).

Michael Jeffery.

LONDON VIEW We are pleased to show the highlights of the sale at the William Morris Society, Kelmscott House, Hammersmith on Thursday 24th September between 10am and 4pm.

For further enquiries please contact Michael Jeffery on 07854 840784

A fabulous collection that has been hidden Christina Prescott-Walker away for years...

Consultant Ceramics Specialist, Former Senior Vice President, Sotheby's, New York William De Morgan aged 76.

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WILLIAM DE MORGAN TILE PANELS

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A William De Morgan BBB two tile panel, on Craven Dunnill & Co blanks, each painted with a stylised flowerhead and foliage in ruby lustre on a white ground, impressed factory marks, 15cm. square (tile) £500-800 2.

A William De Morgan BBB two tile panel, on Craven Dunnill & Co blanks, each painted with a stylised flowerhead and foliage in ruby lustre on a white ground, impressed factory marks, 15cm. square (tile) £500-800 3.

A William De Morgan Chelsea Period Carnation two tile panel, each tile painted with two carnation flowers inside scrolling foliate border, in blue and green on a white ground, framed, impressed factory mark, 15cm. square £200-300

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A William De Morgan Sand’s End Pottery Blue Flowers three tile panel, each painted with six small blue flowers and foliage, in shades of blue, turquoise and green on a cream ground, one with impressed Sand’s End mark, minor glaze frits, 15.5cm. square (tile), (3) Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 54 figure 37 for this design illustrated.

£300-500

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A pair of William De Morgan Sand’s End Pottery BBB tiles, painted in shades of blue, green and aubergine on a white ground, framed, impressed Sand’s End mark, chip to corner of one, 15cm. square (each tile) Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 135, catalogue number 682 for the original design illustrated. £200-400 6.

A William De Morgan De Morgan Iles and Passenger BBB (variant) two tile panel, painted with stylised carnation flowers in blue, green and aubergine on a white ground, framed, impressed DIP mark, 15cm square (each tile) £300-500 7

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A pair of William De Morgan Sand’s End Pottery BBB tiles, painted in shades of yellow, green and aubergine on a white ground, framed, impressed Sand’s End mark, 15cm. square (each tile) Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 135, catalogue number 682 for the original design illustrated. £200-400 8.

A William De Morgan Late Fulham Period Persian three tile panel, painted with Iznik flowers and foliage in shades of blue, turquoise, green and aubergine on a white ground, framed, impressed factory marks, 15.5cm. square, 50.5 x 19.5cm. (frame) Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 149 plates 572 and 591 for comparable original designs illustrated.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 61. £300-500

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A William De Morgan Persian two tile panel, on Poole Architectural blank tiles, painted with carnation flowers and foliage in blue, green, and aubergine on a white ground, framed, impressed factory marks, 14.5cm., square £150-250

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

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10. A William De Morgan Sand’s End Pottery Persian two tile panel, painted with a large stylised flower head above foliage, in shades of blue, turquoise, green and aubergine on a white ground, framed impressed factory marks, 15cm. square (tiles), 35 x 19.5cm (frame) Literature Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway, page 89 catalogue number 291 for a comparable (reversed) two tile panel. £500-800

11. A William De Morgan Late Fulham Period Persian two tile panel, each painted with fan flower in blue, turquoise, green and aubergine on a white ground, framed impressed factory mark, minor glaze frits, 15cm. square (each tile) £300-500

12. A William De Morgan Late Fulham Period Mongolian (variation) three tile panel, painted with a stylised flower and scrolling foliage column in blue, turquoise and green on a white ground, framed, impressed factory marks, painted HCM, 15.5cm. square (tile) Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 148 catalogue number 592 for the Mongolian original design illustrated.

Catalogue notes One of the tiles has the painted initials of HCM which might refer to Henry Currie Marillier managing director of Morris & Co. £500-800

12 factory mark

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13. A William De Morgan Late Fulham Period three tile Persian panel, each painted with flowers and foliage in green on a white ground, impressed factory marks, minor glaze frits,15cm. square (3) £150-200

14. A William De Morgan Chelsea Period Fruiting Branch five tile panel, painted with small berried foliage, in green and yellow on a white ground, impressed factory marks, 80.5 x 19.5cm.

Provenance Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th29th May 2026, catalogue number 53. £200-300 13

15. A William De Morgan Early Fulham Period Persian three tile panel, painted with stylised flowers and foliage in blue, turquoise, aubergine and green on a white ground, framed, impressed factory marks, minor glaze loss, 15cm. square (tiles) Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 148 catalogue number 550 for the closely related Manchester original design illustrated. £400-600

16. Three William De Morgan Flower and Scroll tiles, on blanks, probably Chelsea Period, each painted in ruby on a cream ground, unsigned, chip to rim of one, edges reduced, 15.3cm. square (3) £300-500

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

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17. A William De Morgan Sands End Pottery Pineapple three tile panel, painted in shades of aubergine, blue and green on a white ground, impressed factory marks, 45 x 15cm. panel Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 46.

£500-1,000

18. A William De Morgan Pineapple three tile panel, painted with stylised Persian flowers in foliage, two in shades of blue, green and aubergine, one in shades of yellow, green and aubergine, on a white ground, framed impressed Sand’s End and Late Fulham marks, 15cm. square (tile) Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 160, catalogue number 527 for this design illustrated. £400-600 19. A William De Morgan Sands End Pottery Pineapple three tile panel, painted in shades of aubergine, blue and green on a white ground, impressed factory marks, 45 x 15cm. panel Provenance Literature Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 45.

£500-1,000

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20. A William De Morgan Chelsea Period Partridge tile, painted with a standing bird in shades of green on a white ground, indistinct impressed mark, 15cm. square

23. A William De Morgan Early Fulham Period Eagle and Snake tile, pattern no.968, painted in shades of green on a white ground, impressed factory mark, 15.5cm. square

Provenance Haslam & Whiteway.

Provenance Private collection of William De Morgan tiles.

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 130 catalogue number 969 for the original design on a scroll ground illustrated.

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page130 catalogue number 968 for the original design illustrated.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 117. £800-1,200

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 118. £800-1,200

21. A William De Morgan Merton Abbey Ostrich tile, painted with a running bird in green on a white ground, impressed factory mark, minor glaze chips, 15.5cm. square

24. An early William De Morgan Chelsea Period Grebe tile, pattern no. 1037, painted in shades of green on a white ground, impressed factory mark, 15cm. square

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 123. £1,000-2,000

Literature

22. A William De Morgan Early Fulham Period Bird and Snake tile, pattern no 974, painted in shades of green on a white ground, impressed factory mark, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page130 catalogue number 974 for the original design on a foliate ground.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 119. £800-1,200 25. A William De Morgan Merton Abbey Duck tile, painted in shades of green on a white ground, impressed factory mark, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 120. £800-1,200

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 121. £800-1,200

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

26. A William De Morgan Iles Passenger Owl and Mouse tile, painted with an owl perched on the back of a lying fox, in green on a white ground with green grass clumps, impressed DM mark, 15.5cm. square Provenance Decorative Arts from 1860, Bonhams, 19th November 2014, lot 32.

Private collection.

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 125 catalogue number 995 for the original design illustrated.

The John Scott Collection, Jackfield Tile Museum, page 232 for a comparable triple lustre tile illustrated. £1,000-2,000

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27. A William De Morgan Chelsea Period Lioness tile, pattern no. 1077, painted in shades of green on a white ground, impressed factory mark, minor glaze loss, 15.5cm. square Provenance Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 126. £800-1,200 27

28. A William De Morgan Early Fulham Period Strutting Peacock tile, pattern no. 1051, painted with the bird displaying, in shades of green on a white ground, impressed factory marks, chips, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 128 catalogue number 1051 for the original design illustrated.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 122. £1,000-2,000 28

29. A William De Morgan De Morgan Iles and Passenger Long-Clawed Bird tile, painted with a wading bird before grasses, in green on a white ground, impressed factory mark, minor glaze loss to edges, 15.3cm. square £800-1,200 29

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

30. An early William De Morgan Lioness probably Chelsea Period, painted in blue on a white ground, framed, unsigned, 15cm. square Provenance Haslam & Whiteway.

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 122 catalogue number 1077 for the original design.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 127. £800-1,200 30

31. A William De Morgan Late Fulham Period Bird tile, painted with the standing exotic bird in blue on a white ground, impressed DIP mark, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 124. £800-1,200 31

32. A William De Morgan Pelican tile, probably Chelsea Period, painted with a comical bird running with wings outstretched, in shades of blue on a white ground, unmarked, 15.5cm. square Provenance Jon Catleugh Collection.

Haslam & Whiteway.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 134. £1,000-2,000 32

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33. A large William De Morgan Sands End Pottery Persian tile, painted with a parrot amongst scrolling foliage in blue, green, aubergine and yellow on a white ground, impressed factory mark, 20.5cm. square Provenance A Private collection of William De Morgan tiles.

Ceramic Design from 1860, Bonhams, 16th March 2011 lot 27.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 159 plate 251 for four comparable tiles illustrated.

Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway, 2010, page 74 catalogue number 268 for a comparable tile illustrated.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 105. £1,000-2,000

34. A large William De Morgan Sands End Pottery Persian tile, painted with a parrot amongst scrolling foliage in blue, green, aubergine and yellow on a white ground, impressed factory mark, 20.5cm. square Provenance A Private collection of William De Morgan tiles.

Ceramic Design from 1860, Bonhams, 16th March 2011 lot 30.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 159 plate 251 for four comparable tiles illustrated.

Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway, 2010, page 74 catalogue number 268 for a comparable tile illustrated.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 106. £1,000-2,000

35. A William De Morgan Sand’s End Pottery tile, painted with a finch flying past wild flowers, in green, yellow, aubergine and blue on a cream ground, impressed factory mark, 15.5cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 251 plate 340 this bird featured in the original design for a tile panel.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 103. £500-800 35

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

36. A rare William De Morgan Sand’s End Pottery Chameleon tile, pattern number 918, painted with two lizards climbing leafy boughs, in green and blue on a white ground, impressed factory mark, 15.5cm. square Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 126 catalogue number 918 for the original design illustrated. £3,000-5,000

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37. A William De Morgan Fulham Sunflower tile, painted with a large flower and foliage in ruby lustre on a white ground, painted William De Morgan & Co Fulham London, hairline to edge, 15 x 15cm.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 63 fig.51 for a comparable tile illustrated £200-400

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38. A William De Morgan Fulham Sunflower tile, painted with a large flower and foliage in ruby lustre on a white ground, painted William De Morgan & Co Fulham London, chipped edge, 15 x 14.5cm.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 63 fig.51 for a comparable tile illustrated. £200-400 39. A William De Morgan Fulham Sunflower tile, painted with a large flower and foliage in ruby lustre on a white ground, painted William De Morgan & Co Fulham London, chip to corner, 15 x 14.5cm.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 63 fig.51 for a comparable tile illustrated. £200-400

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40. A William De Morgan Fulham Sunflower tile, painted with a large flower and foliage in ruby lustre on a white ground, painted William De Morgan & Co Fulham London, chipped edge, 15 x 14.8cm.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 63 fig.51 for a comparable tile illustrated. £200-400 41. A William De Morgan Fulham Sunflower tile, painted with a large flower and foliage in ruby lustre on a white ground, painted William De Morgan & Co Fulham London, 15 x 15cm.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis, page 63 fig.51 for a comparable tile illustrated. £200-400

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

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42. A William De Morgan Fulham Period Berries and Leaves tile, painted with alternate panels of berries and foliate sprays in ruby lustre on a cream ground, painted W De Morgan & Co Fulham London, 15.3cm. square £150-200

43. A William De Morgan Fulham Period Berries and Leaves tile, painted with alternate panels of berries and foliate sprays in ruby lustre on a cream ground, painted W De Morgan & Co Fulham London, 15.3cm. square £150-200

44. A William De Morgan Fulham Period Birds and Foliage tile, painted with alternate panels of bird and foliage sprays in ruby lustre on a cream ground, painted W De Morgan & Co Fulham London, tiny glaze frits to edges, 15cm. square £300-400

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45. A William De Morgan Merton Abbey Sunflower tile, painted with a single flower stem amidst foliage, in shades of yellow, green and ochre, impressed factory mark, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 81 £200-300

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46. A William De Morgan Dragon tile, on Wedgwood blank, painted in ruby lustre on a white ground, unmarked, 15cm. square

48. A William De Morgan Fish tile, on Wedgwood blank, painted with two scaly fish on a scrolling foliate ground, in ruby lustre on a white ground, unmarked 15.5cm. square

51. A William De Morgan Great Curassow tile, number 930, painted with a large bird, in ruby lustre with silver highlights on a pink ground, unmarked, exhibition paper label, 15.3 x 15.3cm.

Provenance Private collection.

Provenance Yamato Transport (Fine Arts Division.)

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 112. £500-700

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 127 catalogue number 930 for a variation illustrated.

Provenance Private collection.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 116. £800-1,200 47. A William De Morgan Dragon and Foliage tile, on Wedgwood blank, pattern no.984, painted with a ferocious dragon on a scroll ground, in red lustre on cream, marks concealed, 15.5cm. square Provenance Haslam & Whiteway.

Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis, page 125 catalogue number 984 for the original design on a foliage ground.

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 115. £800-1,200

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49. A William De Morgan Grebe tile, on blank probably Wedgwood, painted with a bird before scrolling foliage in ruby lustre, unmarked, 15.5 x 15cm. £800-1,200

Exhibited The Liberty Style, catalogue number 18. £800-1,200

50. A William De Morgan Stork and Snake tile probably Chelsea Period, on Wedgwood blank, painted with a stork on a snake, the background clumps of grass in ruby lustre on a white ground, impressed 2 mark, 15cm. square £1,000-1,500

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

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52. A William De Morgan Antelope tile, on blank probably Wedgwood, painted standing, in ruby lustre on a cream ground, indistinct factory marks, 15.3cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 122 catalogue number 977 for the original design with a slightly different scroll ground illustrated. £500-1,000 53. A William De Morgan Sand’s End Pottery Ornate Bird tile, painted with a resting bird in ruby lustre on a white ground, impressed factory mark, flat chip to back of tile, minor rim frits, 15.5 x 15.3cm. £800-1,200 54. A large William De Morgan Merton Abbey Period Hippocamp tile, painted in red lustre on a white ground, framed impressed factory mark, 20cm. square Literature Jon Cateugh William De Morgan Tiles, Richard Dennis, page 165 colour plate XXIII for a comparable small tile painted with a green Hippocamp.

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Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 114. £1,000-1,500 55. A William De Morgan Pelican and Fish tile, number 895, painted with a large bird with beak slightly open, a small fish leaping to safety, joining two other fish, in ruby lustre on a cream ground, unmarked, 15.5 x 15.5cm.

Provenance Haslam & Whiteway.

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 129 catalogue number 895 for the original design illustrated. £800-1,200

55

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56. A William De Morgan Late Fulham Period Alarmed Bird and Formal Foliage triple lustre tile, painted with the bird standing amidst formal clumps, in blue, silver and ruby lustre on a white ground, framed, impressed factory mark, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 127 catalogue number 899 the original design illustrated. £3,000-5,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

57. A William De Morgan De Morgan Iles and Passenger Long Clawed Bird triple lustre tile, painted standing before stylised foliage sprays in blue, silver and red/copper lustre, on a white ground, framed impressed DIP mark, minor fill to edge, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 127 catalogue number 990 for the original design illustrated. £3,000-5,000

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58. A William De Morgan De Morgan Late Fulham Period Imaginary Beast triple lustre tile, painted with a beast lying on a ground of grass clumps, in blue, silver lustre and sand on a white ground, framed, impressed factory mark, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 122, catalogue number 1003 for the original design illustrated. £3,000-5,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

59. A William De Morgan De Morgan Iles and Passenger Imaginary Beast triple lustre tile, painted with a beast lying on a ground on grass clumps, in blue, silver and ruby lustre on a white ground, framed, impressed DIP mark, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 122, catalogue number 1003 for the original design illustrated. £3,000-5,000

27

60. A rare William De Morgan Pelican triple lustre tile, probably Late Fulham Period, painted with a standing pelican with a bird in its beak, in shades of blue, gold and ruby lustre on a white ground with blue grasses, framed, marks concealed, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 131 catalogue number 992 for the original design illustrated. £3,000-5,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

61. A fine William De Morgan Kingfisher triple lustre tile, probably late Fulham Period, painted with a kingfisher swooping down from a branch to catch a large fish, in ruby, blue and silver lustre on a white ground, framed unsigned, minor fill to rim, 15cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 130 catalogue number 991 for the original design illustrated. £3,000-5,000

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62. A William De Morgan Late Fulham Period Bird of Prey and Creature in Combat tile, painted with an eaglelike bird attacking a half-crocodile half-turtle creature, in blue, silver and ruby lustre on a white ground, framed, impressed factory mark, 15cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 128 catalogue number 998 for the original design illustrated. £2,000-3,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

63. A fine William De Morgan Gnu and Friend triple lustre tile, probably Late Fulham period, painted in shades of blue, silver and ruby on a white ground, framed, unsigned, 15cm. square Provenance Jon Catleugh Collection.

Haslam & Whiteway.

Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 123, catalogue number 1001 for the original design illustrated. £4,000-6,000

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64

67

65

66

64. A William De Morgan Sand’s End Pottery Two Lions tile, modelled in low relief with two lions, covered in a green glaze, impressed factory mark, glaze chip to corner, 15cm. square

67. A William De Morgan Sands End Pottery sgraffito Dog tile, decorated in low relief with a seated dog before a crescent moon motif, glazed green impressed factory mark, 15.5cm. square

Literature Tiles by William De Morgan the Jon Catleugh Collection, Haslam & Whiteway, page 51 for five colour variations of this tile illustrated. £150-200

Provenance Peter Creffield Collection.

65. A William De Morgan Late Fulham Period Two Lions moulded tile, moulded in low relief with two heraldic lions, glazed white, impressed DM 98 mark, minor rim frits, 15.2 x 15.5cm. £150-200 66. An unusual Persian press-moulded fish tile in the manner of William De Morgan, modelled in low relief with a large scaly fish swimming among waterweed, painted in shades of blue, turquoise, green and aubergine, unsigned, 14.2cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 167 figure 260 this actual tile illustrated.

Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 243, catalogue number 286 for a comparable, sightly larger relief moulded Persian tile with a dragon design illustrated.

Tiles by William De Morgan,the Jon Catleugh Collection, Haslam & Whiteway, page 26 catalogue number 91 for a comparable moulded tile decorated with birds in a tree. £150-200

Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 125.

Catalogue notes The Sgraffito technique of scratching the design into the surface of the tile was rarely experimented with by William De Morgan, this dog design being one of the few examples known. £300-500 68. A William De Morgan Late Fulham Period Fantastic Ducks tile, painted in shades of blue with silver lustre highlights on a white ground, impressed factory mark, 15.5cm. square Provenance 25th November 2003 lot 259.

£300-500

68

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

69

70

71

72

73

74

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69. A large William De Morgan Vine tile, probably Merton Abbey period, painted with bunches of grapes handing from entwined vines, in aubergine and green on a white ground, framed impressed tulip mark, 19.5cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 136 catalogue number 747 for the original design titled Vine.

William De Morgan, Blackwell The Arts and Crafts House, 17th July-22nd December 2002, page 8, catalogue number 1 for a comparable example illustrated. This tile has a Merton Abbey Period mark. £150-250 70. A large William De Morgan Merton Abbey Period Bedford Park Daisy tile, painted with alternate panels of flowers and foliage in shades of yellow, aubergine and green on a cream ground, framed impressed Merton Abbey mark, 20cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 135 catalogue number 677 for the smaller four square Bedford Park Daisy original design illustrated. £200-300 71. A William De Morgan Chelsea Period Bedford Park Daisy tile, painted with panels of flowers and foliage in yellow, green and turquoise on a white ground, impressed factory mark, 15.3cm. square £150-200 72. A William De Morgan Sand’s End Pottery Carnations tile, painted in shades of aubergine and green on a white ground, impressed factory marks, 15.3cm. square £100-200

74. A William De Morgan Chelsea Period Sunflowers and Foliage tile, painted with three flower stems in aubergine and green on a white ground, impressed factory mark, museum restoration to two corners, 15.5cm. square

75. A William De Morgan Chelsea Period Sunflowers and Foliage tile, painted with three flower stems in aubergine and green on a white ground, impressed factory mark, museum restoration to two corners, 15.5cm. square

73. A William De Morgan Sand’s End Pottery Carnations tile, painted in shades of aubergine and green on a white ground, impressed factory marks, 15.3cm. square £100-200

Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 69 plate 62 for a line drawing of this design. £150-200

Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 69 plate 62 for a line drawing of this design. £150-200

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76. A William De Morgan Late Fulham Period Carnations tile, painted with two flower stems in yellow and green on a cream ground, impressed factory mark, 15.5cm. square £150-200 77. A William De Morgan Sand’s End Pottery Carnations tile, painted with two flower stems in yellow and green on a cream ground, impressed factory mark, 15.3cm. square £150-200

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77

78. A William De Morgan Merton Abbey Period K L Rose tile, painted with flowers in aubergine and green on a white ground, impressed factory mark, 15.5cm. square £150-200 79. A William De Morgan Late Fulham Period Tudor Rose tile, painted in shades of green on a white ground, impressed factory mark, painted HCM, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 73.

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79

Catalogue notes The unusual painted HCM mark probably refers to H.C. Mariller managing director of Morris & Co. £200-300 80. An early William De Morgan Chelsea Period Carnation tile, painted with two flowers in shades of blue and green on a white ground, impressed factory mark, chip to one corner, 15.5cm. square £150-200

80

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81. A William De Morgan Merton Abbey Period Carnations tile, painted with two flower stems in blue and green on a white ground, impressed factory mark, chips to corners, 15.5cm. square £150-200 82. A William De Morgan Merton Abbey Period Cavendish tile, painted with a flower in blue and green on a white ground, impressed factory mark, manufacturing chip to back, 15.3cm. square Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 135 catalogue number 679 for the original design illustrated. £150-200

82

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

83

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83. A William De Morgan Chelsea Period Persian tile, painted with two stylised flowers in blue, turquoise and green on a white ground, impressed factory mark, 15.5cm square. £100-150

84. A William De Morgan Chelsea Period Sunflowers and Foliage tile, painted with three flower stems in blue and green on a white ground, impressed factory mark, 15.5cm. square Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 69 plate 62 for a line drawing of this design. £150-200 85

85. A William De Morgan Sand’s End Pottery New Pineapple tile, painted with a large flower inside a foliate border, in blue, aubergine and green on a cream ground, impressed factory mark, glaze loss to corner, 15.5cm. square Literature Martin Greenwood, The Designs of William De Morgan, Richard Dennis Publications, page 160 catalogue number 527 for the original designs showing six variations. £150-200

86. A large William De Morgan Sands End Pottery Sunflower tile, painted in shades of green, aubergine and blue, framed, impressed Sand’s End mark, 23.8cm. square (frame) £300-500

86

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87. A rare William De Morgan Galleon tile panel, three mythical sailing ships on a rough sea with leaping scaly fish, above three vessels at full sail on a calm sea, in green on a white ground, inside green spacer tile border, framed, marks concealed, 65 x 50cm. (frame) £5,000-8,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

88. Three early William De Morgan Sand’s End Pottery Galleon tiles, each painted in green on a white ground, comprising; central Pilgrim’s Galleon sailing on a calm sea, flanked by two sailing boats on calm sea with large fish, framed, impressed factory marks, 15cm. square (each tile), 50 x 19.5cm. (frame) Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 95.

Provenance Private collection of William De Morgan tiles. £2,000-4,000

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89. Three William De Morgan Sand’s End Pottery Galleon tiles, each painted in shades of green on a cream ground, framed, impressed factory marks, 15cm. square (each tile), 50 x 19.5cm. (frame) Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 90. £2,000-4,000

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90. A William De Morgan Galleon three tile panel, each tile painted with a galleon at sail on a calm sea with leaping fish, in shades of green on a white ground, inside green border tiles, framed marks concealed, 64 x 34cm. (frame) £2,000-4,000

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91. A pair of William De Morgan Sand’s End Pottery Galleon tiles, mirror image, each painted with a ship at full sail at sea, in green on a white ground, framed, impressed factory mark, 15cm. square (each tile) £1,500-2,000

92

92. A William De Morgan Early Fulham Period Galleon tile, painted at full sail on a rough sea, with two swimming fish, in green on a white ground, impressed factory mark, glaze chips, 15.3cm. square £500-800

93. A William De Morgan Early Fulham Period Galleon tile, painted at full sail on a rough sea, with two leaping fish, in green on a white ground, impressed factory mark, glaze chips, 15.3cm. square £500-800

93

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

94. A William De Morgan Sand’s End Pottery Galleon tile, painted at full sail with two dolphin swimming in the foreground, in shades of blue on a white ground, impressed factory mark, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 92. £800-1,200 94

95. A William De Morgan Sand’s End Pottery Galleon tile, painted with a galleon at full sail on a calm sea, two dolphin swimming in the foreground, in shades of blue on a white ground, impressed factory mark, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 93. £800-1,200

95

96. A William De Morgan Sand’s End Pottery Galleon tile, painted with a galleon at full sail, a dolphin swimming in the foreground, in shades of blue on a white ground, impressed factory mark, 15.5cm. square Exhibited William De Morgan Master Potter, Kinghams Auctioneer’s, 26th-29th May 2026, catalogue number 94. £800-1,200 96

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97. A William De Morgan Galley tile, on blank probably Wedgwood, the galley being rowed, sails down on a rough sea, in ruby on a cream ground, indistinct impressed mark, 15.3cm. square £500-1,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

98. A rare William De Morgan three large tile Galleon panel, painted with a large manned galley on calm waters, a musician playing a harp before a king seated on a thrown, a monkey perched on the bough of the vessel, the sun rising over the horizon, as scaly fish leap in the water, in ruby lustre on a white ground, framed, marks concealed, 20.5cm. square (tiles), 67 x 26cm. (frame) Provenance Jon Catleugh Collection.

Haslam & Whiteway.

Literature Jon Catleugh William De Morgan Tiles, Richard Dennis Publications, page 150 colour plate XX for a related polychrome three tile panel of Sinbad and his crew firing arrows at the giant Roc. £1,500-2,000

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99. A William De Morgan Galleon six tile panel, each painted with a galleon at sail in ruby lustre on a white ground, inside ruby lustre spacer tiles, framed, marks concealed, 107 x 32cm.

Provenance Haslam & Whiteway.

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£5,000-6,000

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

100. A William De Morgan Galleon six tile panel, each painted with a galleon at sail in ruby lustre on a white ground, inside ruby lustre spacer tiles, framed, marks concealed, 107 x 32cm.

Provenance Haslam & Whiteway.

£5,000-6,000

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VICTORIAN PAINTINGS AND DRAWINGS SIMEON SOLOMON AND THE PRE-RAPHAELITE BROTHERHOOD The Pre-Raphaelite Brotherhood emerged in London in 1848 with a shared vision of luminous beauty in reaction to the rather staid art of their times. Founding members included painters Dante Gabriel Rossetti, William Holman Hunt and John Everett Millais, and writer and art critic William Michael Rossetti.

The Pre-Raphaelites rejected both the dominant ‘academic’ style of painting and the influence of the High-Renaissance master Raphael, preferring to return to the glowing colours and perceived naturalism of late-Medieval art. They laid out their manifesto in The Germ, a short-lived arts review, avowing to express ‘genuine ideas’ and ‘study nature attentively’. Paintings and drawings frequently depicted subjects taken from medieval ballads or scenes from Shakespeare, rendered in exquisite detail. They tackled Biblical subjects with frank naturalism, and painted allegorical scenes exploring contemporary morality, which frequently alienating contemporary critics.

The movement continued to expand and accrue new members in the latter years of the nineteenth century. Younger artists including William Morris, Edward Burne-Jones and Simeon Solomon fell under the sway of the Pre-Raphaelite vision, often particularly encouraged and mentored by Rossetti.

Simeon Solomon was born in London on the 9th of October 1840, the youngest of eight children in an affluent and cultured Jewish family. His father, Meyer Solomon, was a manufacturer of millinery; his mother, Catherine Solomon, (née Levy) was an amateur painter of miniatures. The family resided in Bishopsgate-Meyer Solomon’s success in business allowed the family to navigate London’s beau monde whilst remaining integrated in middle-class East London Jewish life. Simeon’s older brother Abraham and older sister Rebecca were both successful painters, exhibiting (and in Abraham’s case studying) at the Royal Academy of Art. Rebecca was employed in Millais’ studio and socialised with Rossetti and Burne-Jones, forming the family’s initial connection to the Pre-Raphaelite movement.

From the age of ten Simeon received painting lessons from Abraham, then attended Carey’s Art Academy from 1853. At the age of fifteen he entered the Royal Academy, studying from 1856-1860. He proved to be a precocious talent: at eighteen, one of the youngest artists to exhibit at the Royal Academy, he showed his debut work- a drawing entitled Isaac Offered. His early work showed the influence of Rossetti, whom he admired: they probably first met around this time.

His abilities as a draftsman caught the attention of Burne-Jones, who would later describe Solomon as ‘the greatest artist of us all, we are mere schoolboys compared to you’. He formed connections with other members of the Pre-Raphaelites including Rossetti, Millais and Holman Hunt, who welcomed him into the movement. He also formed a close friendship with poet Algernon Charles Swinburne, illustrating several of his works.

Solomon’s early works often portrayed Jewish Biblical subjects, depicted with intense emotional intimacy and freshness of vision. His painting The Mother of Moses (1860), produced when he was just nineteen, caused consternation at the Royal Academy when it was exhibited. Critics were confounded by the naturalism of the scene, and that the model for the painting, Fanny Eaton, was a mixed-race Jamaican woman. Despite this controversy his work won considerable critical and commercial success which would peak during the 1860s.

Solomon occupied a unique position both within the Pre-Raphaelite Brotherhood and in the wider world of late Victorian art. An outsider through religious and cultural heritage, he embraced this ‘otherness’, donning eastern garb for photographic portraits by David Wilkie Wynfield (1837-1887).

His homosexuality was also obliquely expressed through his work. He explored themes of same sex love, particularly in portrayals of Sappho.

Sappho and Erinna in the Garden at Mytilene (1864) showed the poet and her companion embracing; it was acquired by the Tate in 1980.

Solomon’s work moved away from the Pre-Raphaelite style to embrace Classicism during this period, in part inspired by several visits to Italy. He also produced paintings of beautiful and androgynous male figures including Bacchus (1867).

Solomon’s flourishing career was abruptly curtailed in 1873, when he was arrested for (at the time criminal) homosexual activities in London.

A second arrest occurred in Paris the following year. Although he continued to produce work up until his death in 1905, he never exhibited in the capital again, and in his later years fell into poverty and alcoholism.

Despite this adversity Solomon continued to produce art and develop his practice. He was increasingly drawn to the Symbolist movement, producing exquisitely realised chalk drawings and watercolours of heads of allegorical figures, including works The Angel of Light (1885) and Sanguine (Portrait of a Woman) (1892) included in this sale.

Solomon’s work and legacy was rightly reappraised in the more liberal mores of the 20th Century, and his reputation restored. His paintings and drawings are included in the collections of institutions including the Tate, the Victoria and Albert Museum, Ben Uri Gallery and Museum, the Ashmolean, Birmingham Museum and Art Gallery, and internationally in the Metropolitan Museum of Art, National Gallery of Art (Washington, D.C.) and the Art Institute of Chicago. Solomon’s artistic reputation continues to grow with the upcoming exhibition Simeon Solomon: Queer and Jewish in Victorian London, opening at the Delaware Art Museum in 2027.

Sarah Kingham.

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101. Charles Frederick Lowcock (active 1878-1922) Portrait of a Lady (Lady with a Fan) oil on board, framed signed C F Lowcock, bottom right, applied title Ready for the Ball 44 x 21cm. (image) 54 x 31cm. (frame) £300-500

102. Charles Frederick Lowcock (1878-1922) Portrait of a Woman (Woman by Red Urn) oil on board, framed signed lower left corner, paper label 8360 46 x 20.5cm. £200-400 101

102

103. Charles Frederick Lowcock (1878-1922) Portrait of a Woman (Woman with a Fan) oil on board, framed signed lower left, paper labels to reverse 45.5 x 19cm. £200-400

104. Charles Frederick Lowcock (active 1878-1922) Afternoon Tea oil on board, framed signed C F Lowcock, applied title 45 x 20cm. (image) 55 x 30cm. (frame) £300-500 103

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104

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

105

105. Charles Cattermole (1832-1900) Study of four figures watercolour on paper, framed signed with monogram lower right 22 x 17cm. (image) 49 x 41cm. (frame)

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£100-200

106. Percy Thomas Macquoid (1852-1925) Young Lady with Sword, (Marjorie Cope), 1895 watercolour on paper, framed signed and dated lower left 47 x 28cm. (image) 63 x 44cm. (frame) Provenance Guarisco Gallery, Washington DC.

£300-500

107. Charles Compton (1828-1884) Portrait of a Man with a Red Headscarf oil on canvas, framed unsigned 55 x 45cm. (image) 68 x 58cm. (frame)

£200-400

107

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108. Edward Killingworth Johnson (1825-1896) The Love Letter, 1876 watercolour on paper, framed signed and dated lower left 54.5 x 36cm. (image) 81 x 63cm. (frame) Provenance Helen Arthur Studio International Art, Waddingtons Auctioneers, 21st November 2006 lot 81. £500-1,000

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108

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109. George Gray (1880-1910 active) Figures and Boats by Cliffs oil on canvas, framed signed G Gray lower right 29 x 23.5cm. (image) 52.5 x 47.5cm. (frame) £200-300

110. George Gray (1880-1910 active) Figure on a Rocky Coast oil on canvas, framed unsigned 29 x 23.5cm. (image) 53 x 47cm. (frame) £200-400

111. Sir Alfred East (1949-1913) Gathering Fagots watercolour on paper, in gilt frame, unsigned, applied title plaque, 68 x 53cm. (image) 90 x 75cm. (frame) £100-200 111

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

112. Sir Edward Coley Burne-Jones (1833-1898) The Gates of Gaza pencil with white highlighter on brown paper, annotated by Georgina Burne-Jones, framed 15.5cm x 11cm. (image) 34 x 31cm. (frame) Catalogue notes This drawing by Burne-Jones is annotated ‘The Gates of Gaza’ by his wife Georgina and was used to illustrate The Beginning of the World a book to be published by Kelmscott Press. The book remained unpublished because of William Morris’s death in 1896 however, eventually the book was published in 1902, supervised by Burne-Jones’s widow Georgiana whose writing annotates the illustration.

Kinghams would like to thank William Waters for his help cataloguing this lot which has been included in the Burne-Jones catalogue raisonné. £5,000-10,000

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113. Sir Edward John Poynter GCVO PRA RWS (1836-1919) The Festival watercolour on paper, framed painted monogram and date 1870 44.5 x 14cm. (image) Provenance Charles and Lavinia Handley-Read.

Paintings, Drawings and Watercolours From the Handley Read Collection, Fine Art Society, London, (1974) catalogue number 63 (D149).

Victorian Romantics, Macmillan Perrin Gallery, Toronto, 1979, catalogue number 15.

Exhibited Victorian and Edwardian Decorative Art, The Handley-Read Collection, Royal Academy of Art, London, March-April 1972 (D.149) as a pair titled Summer and Autumn.

Catalogue notes This study dated 1870 relates to the oil painting by Poynter in the collection of the Art Institute of Chicago, painted in 1875 and exhibited at the Royal Academy Summer Exhibition the same year (catalogue number 233). £6,000-10,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

114. Sir Edward John Poynter GCVO PRA RWS (1836-1919) The Golden Age, 1870 watercolour on paper, framed painted monogram and date 1870 44 x 14cm. (image) Provenance Charles and Lavinia Handley-Read.

Paintings, Drawings and Watercolours From the Handley Read Collection, Fine Art Society, London, (1974) catalogue number 63 (D150).

Victorian Romantics, Macmillan Perrin Gallery, Toronto, 1979, catalogue number 15.

Exhibited Victorian and Edwardian Decorative Art, The Handley-Read Collection, Royal Academy of Art, London, March-April 1972 (D.150) as a pair titled Summer and Autumn.

Catalogue notes This study dated 1870 relates to the oil painting by Poynter in the collection of the Art Institute of Chicago, painted in 1875 and exhibited at the Royal Academy Summer Exhibition the same year (catalogue number 233). £6,000-10,000

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115. Sir Edward John Poynter GCVO PRA RWS (1836-1919) The Water Carriers of the Nile, 1862 watercolour, gouache and pencil on paper, framed signed EJP monogram, dated 1862 lower right, paper label to reverse 32 x 23.5cm. (image) 49 x 40.5cm. (frame) Provenance Nineteenth Century European Paintings, Drawings and Sculpture Part I, Sotheby’s London, 26th November 1986, lot 35.

The Collecting Eye of Seymour Stein, Sotheby’s New York 11th December 2003 lot 89. £6,000-10,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

116. Henry Ryland (1856-1924) La Pensierosa, 1897 watercolour on paper, in gilt frame signed Henry Ryland, 1897, applied label and paper labels to reverse 89 x 47cm. (image) 113 x 73cm. (frame) Provenance W Scott & Co Montreal.

Waddington’s Canada June 16th 2005 lot 1169.

Exhibited Royal Institute of Painters in Watercolour.

£3,000-5,000

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SIMEON SOLOMON

117. Simeon Solomon (1840-1905) Study of Three Heads, 1885 pencil on paper, framed signed SS, dated 1885 39.5 x 30cm. (image)

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£800-1,200

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

118. Simeon Solomon (1840-1905) Head of a Young Man, 1897 watercolour and gouache on paper, framed signed SS 1897 in ink 26 x 21.5cm. (image) 43 x 39cm. (frame)

£2,000-4,000

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119. Simeon Solomon (1840-1905) Study of a Child, 1887 red chalk on paper, framed signed with SS monogram, dated 1887, applied plaque 41 x 20cm. (image) 65 x 42cm. (frame)

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£800-1,200

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

120. Simeon Solomon (1840-1905) Sanguine, (Portrait of a Woman), 1892 red chalk on paper, framed signed with monogram, dated 1892 bottom left 34.5 x 26cm. (image) 53 x 41.5cm. (frame) Provenance Symbolist Paintings, Drawing and Watercolours, Christies London, 1st December 1989, lot 1087. £4,000-6,000

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121. Simeon Solomon (1840-1905) L’Esprit De La Poesie, 1895 red chalk on paper, framed signed Simeon Solomon, dated 1895, titled L’Esprit De La Poesie 43 x 30cm. (image) 55 x 42cm. (frame) Provenance Leo Spik, Berlin 24th March 2011, lot 163.

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£5,000-8,000

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

122. Simeon Solomon (1845-1905) The Angel of Light, 1885 coloured chalk on paper, framed signed with SS monogram, dated 1885 42 x 32cm.

Provenance Victorian Pictures, Sotheby’s London, 19th Dcember 2001, lot 93. £10,000-15,000

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123. Simeon Solomon (1845-1905) Melancholy pencil and red chalk on paper, framed signed with monogram SS, paper gallery labels to reverse 35 x 15.5cm. (image) 55 x 35.5cm. (frame) Provenance Herbert Horne.

L G Duke CBE. Christie’s King Street, 20.7.78 lot 63.

The Maas Gallery, Allan and Sondra Gotlieb purchased 2007.

Literature Some Pre-Raphaelite Works, The Stone Gallery, 1971 Simon Reynolds The Vision of Simeon Solomon, plate 55 illustrated. £4,000-6,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

124. Simeon Solomon (1840-1905) Mary, 1903 pencil on paper, framed signed with SS monogram, dated 1903 and titled Mary 29 x 24cm. (image) 54.5 x 64.5cm. (frame)

£2,000-4,000

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125. Simeon Solomon (1840-1905) Flammetta, 1880 pastel on paper, framed signed SS 1880 in pencil with title scroll 33 x 26cm. (sheet) 58 x 48cm. (frame)

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£2,000-4,000

For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

126. Simeon Solomon (1840-1905) Summer, 1895 watercolour on paper, framed signed SS, titled and dated 1895 26 x 18.5cm. (image) 56.5 x 49cm. (frame) Provenance Old Masters and 19th century European Art, Sotheby’s New York, 28th January 2006 lot 319. £3,000-5,000

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127. Simeon Solomon (1840-1905) The Woman in Blue, 1881 pencil, pastel,oil pastel and watercolour on paper, framed signed SS and dated 1881 bottom right 44 x 19.5cm. (image) 60.5 x 35.5cm. (frame) Provenance Victorian Paintings, Watercolours and Drawings, Bonhams, London, 20th March 2007 lot 112.

Victorian and Edwardian Art, including Masterpieces, Sotheby’s London, 16th December 2010, lot 26. £4,000-6,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

128. Simeon Solomon (1840-1905) Love and Memory (a female figure with a child), 1886 pastel on paper, framed signed, titled, dated and annotated in pencil, gallery labels to reverse 33.5 x 24.5cm. (image) 47 x 37.5cm. (frame) Provenance The Fine Art Society, March 1974, catalogue number 66.

The Maas Gallery. £3,000-5,000

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JEWELLERY

129. A Lamb of God gold mounted micro mosaic pendant and earrings set, in Civilotti fitted case, the oval pendant with micro mosaic Lamb of God panel, inside fine border of enamelled stars, with three micro mosaic drops, the earrings with central oval micro mosaic white Holy Dove and three drops, below a circular panel of flowers, in silk lined fitted case, unsigned, case signed C Civilotti Roma, 6.5cm. long (3) £3,000-5,000

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

130. A Carlo & Arthur Guiliano gold, enamel and pearl necklace, the pierced foliate pendant enamelled in yellow and red, set with large abalone shell, with three link drops enamelled with red flowers, set with peridot, and pearl terminals, the link chain with red enamelled flowers and panels and peridots, set with three abalone shell panels, in fitted S J Phillips case, stamped C & A G Mark, 6cm. drop £10,000-20,000

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131. A gold and enamel Chi Rho brooch manner of Castellani, circular cast in low relief, enamelled in pale blue inside chased borders,with locket back, unsigned, 3.8cm. diam. £500-1,000

132. A Liberty & Co Cymric silver and enamel cigarette or card case designed by Archibald Knox, rectangular, cast with Art Nouveau Celtic entrelac panel, enamelled in blue and green stamped marks, London 1898, 8 x 7cm., 87grammes total weight

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Literature Archibald Knox: Beauty and Modernity, a Designer Ahead of His Time, The Archibald Knox Society, Olympia 5-15th June 2015 catalogue number 62 to 64 for comparable cases. £150-200

133. ‘Serpent’ no. 1367 a Lalique clear and frosted glass brooch designed by Rene Lalique, with blue staining, the metal mount stamped Lalique, 4cm. diam. £500-1,000

133 132

END OF SALE

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For details of the charges payable in addition to the final Hammer Price of each lot please refer to paragraphs 5 to 9 of the Buyer’s terms at the back of the catalogue.

FINE DECORATIVE ARTS AND DESIGN 14 & 15 OCTOBER 2026 Entries invited until 16 September

Dr Christopher Dresser for Elkington, an important electroplated conical sugar bowl, Model No.247, dated 1878.

EST. £10,000 - £20,000

CONTACT Adrian Rathbone, John Keightley & Michael Jeffery

TERMS & CONDITIONS OF SALE AND BUSINESS 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’.

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.

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.

English law applies to the interpretation of these Conditions.

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.

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.

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.

TERMS OF CONSIGNMENT FOR SELLERS

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).

(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.

Insurance is charged at 1.5% (+ VAT) of hammer price or bottom estimate if unsold.

(d) The term ‘Bears signature’ indicates that in the opinion of Kinghams this is not the signature of the artist.

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.

(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.

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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.

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.

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.

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.

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.

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.

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.

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.

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.

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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)

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.

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.

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)

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.

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.

9. LIVE INTERNET BIDDING Live online auctions are in conjunction with the-saleroom.com, invaluable.com and easyliveauction.com

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.

We ask that you register for the sale a minimum of 24 hours before the auction.

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.

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.

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.

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.

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.

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.

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:

Items marked with the † symbol in the catalogue will potentially incur royalty payments.

11. COMMISSION BIDS If instructed, Kinghams will execute bids and advise prospective buyers. This service is free.

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.

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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.

CONTACT US KINGHAMS AUCTIONEERS CALL ON 01608 695695 OR EMAIL enquiries@kinghamsauctioneers.com WWW.KINGHAMSAUCTIONEERS.COM