Kinghams Auctioneers

RICHARD DENNIS PROMOTING BRITISH CERAMICS 1971 - 2021

Saturday 17th April

RICHARD DENNIS PROMOTING BRITISH CERAMICS 1971 - 2021 To be held at: 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ SATURDAY 17TH APRIL Viewing Thursday 15th April – 10.00am to 5.00pm Friday 16th April – 10.00am to 7.00pm Saturday 17th April – 12.00pm to 2.00pm Day of the Sale Auction scheduled to start at 2pm with live bidding on internet bidding platforms; telephone bids and commission bids will also be accepted. You will need to be registered before the sale.

FACE MASKS ARE MANDATORY FOR VIEWING AND ROOM BIDDERS

SPECIALISTS

George Kingham

John Keightley

Allison White

Mark Oliver

Director

Senior Specialist and Cataloguer

Auctioneer, Valuer and Photographer

Consultant Decorative Arts Specialist

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

Catalogue £10.00 (£12.00 by post)

Kinghams Auctioneers Ltd (Collection Address) 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh GL56 0JQ NB. Please telephone to arrange collection.

Telephone: 01608 695695 Mobile: 07976 919836 Email: enquiries@kinghamsauctioneers.com Website: www.kinghamsauctioneers.com

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Richard Dennis OBE Celebrating Fifty Years of British Ceramics 1971-2021 Why a sale here at Kinghams in Moreton-in-Marsh, celebrating Richard Dennis’s involvement in British ceramics for half a century? In answer, and to explain why I am so proud that Richard has agreed to this sale, I need to go back to the start of my career in the antiques trade.

In the late eighties, I had a stall at Campden Town market selling anything and everything with a profit in, from costume jewellery to silver plate cruet sets, treasures found at car boot sales and other markets such as Hackney Marshes and Brick Lane. Around this time, my grandma bought a piece of Doulton Coaching Days Series Ware for my grandfather; in order to learn more, he bought a book on Doulton Series Ware

by Louise Irvine that was published by a certain Richard Dennis. And so this journey starts.

My partner at the time read the book and started collecting Doulton Dickens Series Ware. Whilst searching for these pieces for her, I decided I could sell this on my market stall and so I, in turn, bought more books on Royal Doulton. Starting with Doulton Lambeth stoneware, progressing to Doulton Burslem, Doulton figures, animals, character jugs etc, all published by Richard Dennis. I then started to explore other books published by Richard: Martin Brothers’ Pottery by Malcom Haslam being next. I read it cover to cover, fascinated by these strange group of brothers who, on the face of it, didn’t like each other much but produced this wonderous, fantastical pottery. This was followed by a book on Pilkington’s Royal Lancastrian

by Anthony Cross - I loved the lustres straight away. Here on in, I became a disciple of Richard Dennis from afar, becoming more and more interested in other British potteries on whom he had published books, particularly William De Morgan, Moorcroft and Ruskin pottery.

I well remember the first time we met. It was at a Doulton collectors’ fair on Park Lane. He was behind his stand piled high with books, the only piece of pottery on display was a George Tinworth group, the Playgoers, being passed around by interested collectors and way out of my league. I would have made little or no impression on Richard, of that I’m sure.

Years on and having sold all sorts of pottery and porcelain, British and continental, I decided I would concentrate on my first love - British art pottery. After a number of years exhibiting at antiques fairs the length and breadth of the country, I settled in the Cotswolds’ town of Chipping Campden where, many moons before, I had met and dealt with another dealer in Doulton, a Mr Terry Ball. By this time, I had decided I was spending far too much time away from home and would, instead, stage ceramics exhibitions, trying to emulate some of Richard’s exhibitions from the seventies and eighties. One day, I plucked up courage and called him to ask some advice. He was incredibly helpful and positive with his advice and encouragement.

Thus Court Barn Museum in Chipping Campden became the venue of several exhibitions selling potteries I had learned about from reading books published by Richard Dennis. I met with Richard and Sally to discuss creating a Dennis Chinaworks limited edition piece for the Court Barn Museum exhibitions and commissioned a piece called Head, Heart and Hand. This also involved the local silver smith at The Guild of Handicrafts in Chipping Campden (another passion of mine) and these all sold out within five minutes of the exhibition opening.

Since those days, I have kept in touch with Richard and have always found him to be very encouraging.

We started the auction house in 2016 and, through collectors that I had known from my days in the antiques trade, had the opportunity to sell a fabulous collection of Moorcroft pottery. Again, I asked Richard his advice and whether he would help me by doing an introductory talk. It was a great event and everyone was fascinated by Richard’s stories - as I have been for so many years now.

In 2006, Richard was awarded an OBE for Services to the Staffordshire Pottery Industry.

Richard Dennis has been promoting British pottery since 1971. This sale celebrates half a century of his work in this field at our new premises in Moreton-in-Marsh and includes a selection of good examples from most of the potteries on which he has published books.

I, and many others, owe him a great deal of thanks for his inspiration and devotion to British pottery.

George Kingham, April 2021

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Reflections from Richard Dennis I was demobbed from National Service in Germany in 1957. I had acquired a group of old cast-iron firebacks – yes, they were too heavy and the car collapsed on the way home. I then advertised “Young Man etc” and got a job working for an American Antique Dealer, exporting Victorian Art Glass to the USA from France. We handled a lot and learnt a lot, Emile Gallé was my hero, treasure was all around in the Paris markets and you could see the best in the Musée des Arts Decoratifs.

Then I spent a year living on my wits and trading in the London markets. Ben Weinreb, a celebrated book seller was a father figure, I lived in his mother’s basement collating periodicals – instead of rent. To quote Ben ‘Don’t just buy and sell an object, - justify a profit – add some knowledge or information – the least you could do is clean it’ and Ben pushed me in the direction of Sotheby’s.

After five years in Bond Street sweeping the floor, then cataloguing glass I found a passion for 19th/20th century ceramics. Jim Kiddell was my mentor He had arranged the auction of the Crittall Collection of Martinware in 1922 – a bird sold for £50 and the room applauded. R.W.M. attended and immortalized the phrase ‘My brothers and I worked for labourers wages all our lives’. I relish the memory that I shook hands with a man who shook hands with R.W.M. With a Sotheby’s contact and a friend we bought Edwardian silver and took several suitcases to Brazil on the Royal Mail steamship – Amazon. With the proceeds we travelled through South America and wherever the French had left their mark we tried to buy antique glass paperweights. Back in London I was able to finance a shop in Kensington Church Street. Antique dealing had a very different structure than it does today. To attend a sale in Devon you would have to drive through half a dozen town centres. Country sales by established auctioneers were few and usually house sales of proper antiques (pre 1820), catalogues were rare, we lived in a black and white world, colour printing was too expensive. You had to respect the local dealers if you didn’t want your tyres let down, you would need good contacts and much business took place in the London markets, where the active country dealers brought their new stock. Some London dealers developed weekly ‘runs’ away for three or four days visiting particular shops and warehouses throughout the country. In central London the smaller salerooms were very active – Frank Knight Rutley/Harrods/Debenham & Coe and Phillips etc.

1971 was a landmark year in the trade. No 1 of the ATG changed everything, dealers were, for once, united - by a newspaper. Fifty years that’s some 2,500 editions – I’ve read everyone ‘and between the lines’ for auctions and information to be shared and discussed, we might live in an internet world but we still need our fix on a Tuesday morning.

1975 saw the introduction of Buyers Premium, we laid our plans in Sotheby’s Belgravia and at Lot 1 we all walked out of the room, it was very dramatic and effective but the protest collapsed, dealers couldn’t resist and sent in their grannies to bid in the next sale.

With the encouragement of the I.R.A we moved home to Somerset in 1974. More storage space and support from Buster Andrews and family of Lyme Regis, gave us a base to operate and from the shop in Kensington Church Street, opened in 1967, we collected, catalogued, exhibited, printed and published some 100 extensively illustrated books and catalogues. Unloved Doulton Stoneware was the first in 1971, hundreds of pots squirreled away, researched, scrubbed and photographed. It worked, the sale of pots and catalogues was good and set a pattern to follow; choose a subject, assemble a team (of whom I’m forever indebted) spend 3-5 years collecting, researching, finding an author etc, each an adventure – meeting fanatics, designers, craftsmen and collectors. Introducing the Martin Bros cousins to each other. Washing and restoring over 700 Parian figures to fill a pantechnicon with tea chests and display stands for the journey to Chelsea Town Hall. Who was this W.M. on the base of a vase – could it be William Morris? Then breathless we discovered the Moorcroft archive of pots, trials and failures, black with coal dust and crammed onto shelves and in the basement of the works. Six editions of the book. The Burleigh archive in Middleport, so important, an amazing time warp rescued from the skip by the Dorlings and later The Prince of Wales Trust. A classic Stoke earthenware pottery had hoarded so much paper = information, since 1850. The Poole Pottery book launch, a reunion of generations of decorators and potters - an emotional gathering, – four editions of the book.

Each show has powerful memories and the failures – yes. A book of Toast Racks, I was seduced by enthusiastic and passionate collectors (does anyone want to buy 1,000 Toast Rack books?)

Collecting is not fashionable but the vagaries are legionary, you can’t sell your Doulton plate? But now you can sell your Aynsley cup and saucer for £100, what goes round, comes round. The whim of the collector is so unpredictable.

Today, I encourage enthusiasts to self publish.

Richard Dennis, April 2021

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CONTENTS Christopher Dresser

1–8

Della Robbia

9 – 10

Ruskin Pottery

11 – 32

Pilkington

33 – 37

Bernard Moore

38 – 40

Doulton Lambeth

39 – 71

Doulton Faience

72 – 82

Doulton Burslem

83 – 116

Martin Brothers

117 – 147

William De Morgan

148 – 152

Moorcroft

153 – 181

Wedgwood

182 – 191

Clarice Cliff

192 – 194

Dennis China Works

195 – 210

Contemporary Ceramics

211 – 220

David Burnham Smith

221 – 234

1.

Christopher Dresser for Minton, an Aesthetic Movement vase, 1864, Majolica glazed, bulbous amphora form with three twisted handles, impressed marks, 9.5cm high £80 - £120 2.

Christopher Dresser for Minton, an Aesthetic Movement butterfly dish, 1870, blue ground with central enamelled Cloisonne type butterfly, within a lobed border of X and jewelled dots, on three ball and claw feet, highlighted in gilt, impressed marks, 12cm diameter £150 - £250

1

2

9

3.

Christopher Dresser for Minton, an Aesthetic Movement Owl vase, circa 1870, conical baluster form, relief moulded with two owl mask handles, the base with the bird’s talons, painted in enamels with flowering and fruiting lychee, highlighted in gilt, 19.5cm high £400 - £600

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4.

Christopher Dresser for Minton, an Aesthetic Movement vase, circa 1869, ovoid bottle form on integrated Chinese bracket stand, blue turquoise Cloisonne ground painted with floral specimens below a gilt band with raised jewelled cabochons and geometric floral motifs, impressed marks, 22cm high £150 - £250

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.

5.

Christopher Dresser for Minton, an Aesthetic Movement Chinoiserie vase, 1876, the U shaped twin ended vessel with central loop basket handle, on a circular plinth base, relief moulded and enamelled in the Chinese Cloisonne style, pink ground with blue and red geometric key and floral motifs, highlighted in gilt, impressed marks, 17cm high £400 - £600

6.

Christopher Dresser for Old Hall, a graduated pair of Aesthetic Movement Persian jugs, circa 1884, tapered square section, painted and gilded transfer decorated panels of geometric and foliate arcades, between bands of repeating floral sprigs, painted marks 1675, 18cm and 16.5cm high (2) Note: the third and largest jug from this exact set is currently in the permanent collection of the Victoria and Albert Museum, London £200 - £400

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7.

Christopher Dresser for Ault, a large art pottery Peacock flower holder, circa 1896, modelled in relief as the bird to each side, with tail feathers spread, yellow green majolica glaze, raised and impressed marks, 41cm high, 35cm wide £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.

8.

Christopher Dresser for Linthorpe, an art pottery Peruvian vessel, circa 1880, modelled after a pre Columbian face jug, double spout and bridge form, incised and relief moulded with features, brown glazed with spotted green to the top, impressed Henry Tooth monogram, Dresser facsimile and Linthorpe marks, number 296, 20cm wide, 16.5cm high Note: see Whiteway, M. 2001, Christopher Dresser, 1834-1904, p.131, pl.137 for an example of this design £800 - £1,200

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9.

Cassandra Annie Walker for Della Robbia, an art pottery twin handled vase, 1905, cylindrical albarello form, painted with leaf fronds on a trailing foliated ground, the handles relief moulded with masks, incised marks, 38cm high £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.

10. Cassandra Annie Walker for Della Robbia, a large art pottery vase, 1897, ovoid shouldered form, sgraffito decorated with a central cartouche and foliate mask within a scrolling floral and zoomorphic ground of dragons’ heads and poppies, below a stylised tulip border, incised marks, 44cm high Provenance: Christie’s London, 4th May 2000, lot 68

£800 - £1,200

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11. Ruskin Pottery, a Lustre Lily vase, 1921, flared cylindrical form, lilac iridescent glaze, impressed marks, 29cm high £400 - £500

12. Ruskin Pottery, a Lustre Souffle lamp base, 1923, slender Meiping form with metal mounts, crushed pink strawberry glaze, impressed marks, 37cm high to fitting £400 - £600

13. Ruskin Pottery, a small Lustre reticulated ginger jar and cover, 1927, ovoid form, pierced with heart petal rosettes, pink mottled glaze, impressed marks, 11cm high £150 - £250

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14. Ruskin Pottery, a High Fired vase, 1910, flared cylindrical form, brown treacle and petrol glazed, impressed marks, 27cm high £200 - £300

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15. Ruskin Pottery, a Matt Crystalline vase, circa 1927, indented ovoid form, brown oatmeal over orange ochre glaze, impressed marks, 19cm high Note: see Atterbury, P and Henson, J, 1993, Ruskin Pottery, p.128, for an illustration of this vase £300 - £500

16. Ruskin Pottery, a Hare’s Fur Souffle jar, 1908, squat cushioned ovoid form with later silver lid, pink crushed strawberry glaze, impressed marks, shape 34, 13.5cm diameter £300 - £500

17. Ruskin Pottery, a Souffle vase, 1912, shouldered form, mottled blue with semi iridescent streaks, impressed marks, 24cm high £300 - £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.

18. Ruskin Pottery, a Crystalline jug, 1933, bulbous gourd form with angled handle, banded blue, orange and green glazes over cream, impressed marks, 22cm high

19. Ruskin Pottery, a Crystalline vase, circa 1932, ovoid shouldered form, mottled yellow glaze with fissured crystals and matt blue interior, shape 297, impressed marks, 17cm high

Note: see Atterbury, P and Henson, J, 1993, Ruskin Pottery, p.123, for an illustration of this jug £250 - £350

Note: see Atterbury, P and Henson, J, 1993, Ruskin Pottery, p.125, for an illustration of this vase Provenance: William Howson Taylor Collection; Ferneyhough Collection (474); Victoria and Albert Museum Exhibition of Ruskin Pottery, 1975, number 60; Birmingham Museum and Art Gallery (125) £500 - £800

20. Ruskin Pottery, a High Fired vase, 1915, shouldered form, crackled cream flambé glaze with fissure effect, impressed marks, 26.5cm high £400 - £600

21. Ruskin Pottery, a Crystalline vase, 1932, conical bulbous or gourd form, white hare’s fur streaks with speckled crystal spotting, impressed marks, 14.5cm high Provenance: William Howson Taylor Collection; Ferneyhough Collection (464); Victoria and Albert Museum Exhibition of Ruskin Pottery, 1975, number 68; Birmingham Museum and Art Gallery (116) £500 - £800

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22. Ruskin Pottery, a High Fired vase, 1913, ovoid shouldered form, electric blue and purple bands over green speckled cream flambé glaze, impressed marks, 25cm high £800 - £1,200

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23. Ruskin Pottery, a small High Fired vase, 1933, ovoid shouldered form, ox blood over cream with green spots, impressed marks, 10.5cm high £350 - £450

24. Ruskin Pottery, a High Fired scent bottle, circa 1920, rounded conical form, with screw thread and wooden stopper, ox blood and mottled grey flambé glaze, impressed marks, 13cm high £200 - £300

25. Ruskin Pottery, High Fired Lily vase, 1905, flared cylindrical form, blue and purple over ox blood flambé glaze, impressed marks and shape 68, 24cm high £900 - £1,300

26. Ruskin Pottery, a High Fired Melba cup, circa 1915, pedestal bowl form with everted rim, ox blood with purple and green speckles, impressed marks, 10.5cm diameter £350 - £450

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.

27. Ruskin Pottery, High Fired Lily vase, circa 1920, flared cylindrical form, ox blood flambé glaze over cream with spots, impressed marks, 24cm high £700 - £1,000

28. Ruskin Pottery, a High Fired vase, 1906, slender ovoid and footed form, bands of cream, ox blood and electric blue flambé glazes, impressed marks, 19.5cm high £1,700 - £2,000

29. Ruskin Pottery, a small High Fired bowl, circa 1915, rounded form, ox blood draining to purple glaze with green spotted foot and interior, impressed marks, 8.5cm diameter £250 - £350

30. Ruskin Pottery, a small High Fired pedestal bowl or cup, 1922, rounded conical form with inverted rim, mottled and textured green over ox blood flambé glaze, impressed marks, 9cm diameter £500 - £800

31. Ruskin Pottery, a High Fired vase, circa 1912, bulbous bottle form, purple and ox blood flambé glaze, impressed marks and paper label, 16cm high £200 - £400

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32. Ruskin Pottery, a High Fired bowl, 1926, rounded and footed, the exterior with a band of ox blood glaze over cream, the interior with red purple and green, impressed marks, 25cm diameter, on Oriental wooden stand £500 - £800

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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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33. Richard Joyce for Pilkington, a Royal Lancastrian lustre vase, circa 1925, ovoid form with relief moulded dimples, painted with a scrolling vine of flowers between rosettes and ribbon borders, impressed marks and painted monogram, 19.5cm high £200 - £400

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34. William S Mycock for Pilkington, a Royal Lancastrian lustre vase, 1920, footed and shouldered cylindrical drum form, painted with a band of foliate scrolls of alternating hearts and carnations, below a geometric border, impressed marks 3034, monogram and date, 16cm high £300 - £500

35. William S Mycock for Pilkington, a Royal Lancastrian lustre vase, 1925, ovoid shouldered form, painted with foliated heraldic emblems within vine wreath cartouches with fleur de lys trefoils, the neck with a geometric band above foliate sprigs and stylised bluebell fronds, impressed marks 3160, monogram and date, 18.5cm high £300 - £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.

36. Richard Joyce for Pilkington, a Royal Lancastrian relief moulded lustre vase, 1926, shouldered form, modelled with a band of leopards, in a reeded foliate ground, orange and green iridescent glaze, impressed marks and incised signature, 27cm high £800 - £1,200

37. Richard Joyce for Pilkington, a Royal Lancastrian lustre vase, circa 1920, shouldered ovoid form, painted with a band of polar bears in an icy landscape, between bronzed iridescent borders with wave bands, painted monogram,17cm high Provenance: Harriman Judd Collection; Sotheby’s, New York, 22nd January 2001, lot 408 Note: see Cross, A.J. 1980, Pilkington’s Royal Lancastrian Pottery and Tiles, p.62, pl.87 for an illustration of this vase £1,500 - £2,000

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38. Bernard Moore and the Duchess of Sutherland’s Cripples Guild, a silver mounted lustre pottery vase, 1910, bulbous bottle form, decorated with iridescent fish and aquatic plants, the domed lid embossed with a band of dolphins between waves and clouds, painted marks, 24.5cm high £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.

39. John Adams for Bernard Moore, a large Flambé Three Fates vase, 1910, cylindrical shouldered form, painted with three Classical figures, below a band of text, the neck decorated with honeysuckle motifs, in the style of Walter Crane, painted marks, 52.5cm high £1,800 - £2,200

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40. Edward R Wilkes for Bernard Moore, a large Flambé Phoenix temple vase, circa 1900, shouldered form with flared neck, painted with two fire birds in flight over clouds, below a band of flying cranes, painted marks and monogram, 52cm high £1,200 - £1,500

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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.

41. A Royal Doulton stoneware boar hunting jug, silver mounts dated 1876, relief moulded with dogs attacking stag and boar, the handle modelled as an oak branch, impressed mark, 24cm high Note: see Eyles, D. and Irvine, L. 2002, Doulton Lambeth Wares, Richard Dennis, p.22 for an illustrated example of this design £150 - £200

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42. Hannah Barlow for Royal Doulton, a pair of stoneware vases, 1904, inverse baluster form with cupped necks, sgraffito decorated with farmers and cattle, sheep and dogs, between tubelined foliate scroll and relief moulded bead borders, impressed and incised marks, 28cm high (2) £1,000 - £1,500

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43. Hannah Barlow for Doulton Lambeth, a stoneware vase, 1877, sgraffito decorated with swans and cygnets in a watery landscape, between relief moulded rosette bands, below a seaweed shoulder and neck, impressed marks, 23.5cm high £750 - £850

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.

44. Hannah Barlow for Doulton Lambeth, a stoneware jug, 1881, ovoid shouldered form, sgraffito decorated with geese and puppy in an open landscape, between relief moulded rosettes, the shoulder with majolica fan motifs, silver mounted, impressed and incised marks, 18cm high £800 - £1,200

45. Hannah Barlow for Royal Doulton, a pair of stoneware vases, 1906, shouldered form with flat broad rims, sgraffito decorated with goats and donkeys in open landscapes, between tubelined floral and foliate borders and beaded bands, impressed and incised marks, 35.5cm high (2) £1,000 - £1,500

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46. Hannah Barlow for Doulton Lambeth, a stoneware sugar bowl, 1885, squat rounded conical form, sgraffito decorated with a band of deer, between borders of interlocking foliate tendrils and geometric lappets, impressed and incised marks, 9.5cm diameter £250 - £350 47. Hannah Barlow for Doulton Lambeth, a stoneware biscuit barrel, 1883, cylindrical form, sgraffito decorated with stalking lions, between relief moulded and glazed bands, silver plated mount and lid, impressed and incised marks, additional monogram to the body, 23cm high including handle £1,500 - £1,800 48. Hannah Barlow for Doulton Lambeth, a stoneware biscuit barrel, 1880, cylindrical form, sgraffito decorated with resting lions, between relief moulded bands of rosettes, above a lappet border, silver plated mounts and lid, impressed marks, monogram to body, 23.5cm high including handle £1,800 - £2,200

48

47

46

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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.

49. Hannah Barlow for Doulton Lambeth, a stoneware vase, circa 1880, footed and shouldered ovoid form, sgraffito decorated with lions and gazelles, between pellet borders, below a carved shell and foliate tendril cartouche shoulder, the neck and foot with horseshoe lappets, impressed and incised marks, 27cm high £800 - £1,200

50. Hannah Barlow for Doulton Lambeth, a pair of stoneware vases, circa 1890, inverse baluster form, sgraffito and slip decorated with lions on a textured ground, between tubelined foliate scroll borders, impressed and incised marks, 35.5cm high (2) £4,000 - £6,000

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51. Hannah Barlow for Doulton Lambeth, a stoneware three tile panel, sgraffito decorated with a hunting scene of horses, dogs and fox, charging into a farmyard with sheep and donkey, incised monograms to each, 22cm x 68cm, framed £2,000 - £3,000

52. Hannah Barlow for Doulton Lambeth, a stoneware and pewter lidded jug, 1875, conical form, sgraffito decorated with storks in wetlands, between tooled geometric borders, impressed and incised marks, 25cm high £400 - £600

53. Hannah Barlow for Doulton Lambeth, a stoneware jug, 1877, footed and shouldered form, sgraffito decorated with donkeys, between relief moulded fleur de lys borders, the neck with lappets, impressed and incised marks, 18cm high £400 - £600

54. Hannah Barlow for Doulton Lambeth, a stoneware jug, 1877, bulbous conical form, sgraffito decorated with dogs and puppies, between relief moulded beaded and spear borders, above a band of interlocking foliate motifs, impressed and incised marks, 19.5cm high £1,000 - £1,500

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55. Florence Barlow for Doulton Lambeth, a stoneware oil lamp base, 1883, footed ovoid form, decorated with panels of pate sur pate peacocks on sgraffito foliate grounds, above a lappet foot, the reservoir with scrolling fronds, gilt metal handles and mounts, incised and impressed marks, 51cm high £1,500 - £2,000 56. Florence Barlow for Doulton Lambeth, a stoneware pate sur pate vase, circa 1883, footed and shouldered conical form, decorated with a band of flamingos, between tooled and sgraffito incised foliated borders, 29.5cm high £1,500 - £2,000

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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. Florence Barlow and Frank Butler for Doulton Lambeth, a large stoneware vase, bulb necked shouldered ovoid form with splayed foot and crimped rim, three pate sur pate roundels of birds and wild flowers, within a sgraffito and carved foliate scroll ground, incised and impressed marks, 58cm high £2,000 - £3,000

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58. Eliza Simmance for Royal Doulton, a large stoneware vase, 1909, footed shouldered form with ogee neck, tubelined and decorated with stylised water lily leaves and tendrils in the Secessionist manner, below a band of interlocking closed flower heads, impressed and incised marks, 43cm high £400 - £600

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59. Francis Pope for Royal Doulton, a pair of stoneware vases, 1905, slender baluster form, sgraffito decorated with symmetrical interlocking foliate tendrils, pink ground with green and beige, impressed marks and incised monogram, 39cm high (2) £350 - £450

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.

60. Eliza Simmance for Doulton Lambeth, a pair of stoneware vases, footed shouldered form, sgraffito decorated and tubelined with a band of Aesthetic roundels of flying cranes, on a scrolling slip ground, beaded, between relief moulded foliate fronds and floral motifs, denticulated sleeve to the feet, impressed marks and incised monograms, 35.5cm high (2) £200 - £400

61. Eliza Simmance for Doulton Lambeth, a stoneware vase, circa 1880, footed and shouldered form, incised and relief moulded with majolica glazed foliate scrolls on a rusticated ground, below a beaded knotted arcade, and a band of pate sur pate floral decoration to the neck, the base and foot with square bordered lappets, impressed and incised marks, 30.5cm high £250 - £350

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62. Mark V Marshall for Doulton Lambeth, a stoneware oil lamp base, 1882, ovoid egg form, carved and applied decoration, the body with zoomorphic foliate scroll roundels in cross hatch ground, below tubelined honeysuckle bands, the reservoir with bat and smiling moon motifs under rounded arcades, held within a tubular brass stand, Hinks Duplex burner, incised and impressed mark, MVM and Alice Budden monogram, 42cm high £500 - £800 63. Mark V Marshall for Doulton Lambeth, a stoneware jug, 1905, ovoid form, relief moulded and carved with a zoomorphic foliate frond mask to the spout and to the handle, scrolling tendrils in majolica glazes, irregular denticulated rim, incised and impressed marks, 18.5cm high £300 - £400

42

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.

64. Edgar Wilson for Doulton Lambeth, a stoneware jug, circa 1881, conical form, sgraffito decorated with a panel of sailing ships at sea, within a raised pellet frame, on an aquatic ground of seaweed, grotesque fish and nautical rigged masts and bollard, two further roundels with light house and lobster pot, impressed marks and monogram, 24cm high

65. Harry Simeon for Royal Doulton, a stoneware figure of a duck, model 539, polychrome glazed, incised and stamped marks, 13.5cm high £400 - £600

Note: similar examples illustrated on p.94, Doulton Lambeth Wares £200 - £300

43

44

66. George Tinworth for Doulton Lambeth, a stoneware jug, 1879, conical form, sgraffito decorated and relief moulded with foliate seaweed design, silver mounted, impressed marks, incised monogram to the foot, 24.5cm high £200 - £300

67. George Tinworth for Doulton Lambeth, a stoneware plate, circa 1885, crimped circular form, sgraffito and relief moulded with beaded foliate seaweed design, impressed marks, incised monogram, 22cm diameter £250 - £350

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.

45

68. George Tinworth for Doulton Lambeth, a stoneware figural clock, circa 1875, pediment form, the 3.5 inch black dial flanked by two musical mice playing the trumpet, surmounted to the stepped finial by a cellist, treacle glazed with four balls to the corners, impressed marks, 25cm high, 32.5cm long £4,000 - £5,000

46

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.

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.

47

69. George Tinworth for Doulton Lambeth, a stoneware Guy Fawkes mouse figure group, circa 1885, incised ‘I see no reason why gunpowder treason should ever be forgot’, modelled as three mice, the central figure with hat, lantern and stick, flanked by mouse children, on mound base, incised monogram and impressed mark, 12cm high £4,000 - £6,000

48

70. George Tinworth for Doulton Lambeth, a stoneware mouse figural vase, Electricity, circa 1885, pink and blue glazed crimped trumpet vessel, modelled with two mice, incised monogram and impressed marks, 13.5cm high Note: see Richard Dennis exhibition Doulton Pottery from the Lambeth and Burslem Studios, Part II, June - July 1975, number 302, for an illustration of this vase £3,000 - £3,500

71. George Tinworth for Doulton Lambeth, a stoneware Merry Musicians figural menu holder, circa 1895, modelled as a tambourine player, seated in a plinth, polychrome glazed, incised monogram and impressed marks, 11.5cm high £600 - £800

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.

49

72. Florence Barlow for Doulton Lambeth, a faience plaque, Macaw and Manakins, signed with monogram, painted and printed marks, 38cm x 25cm, framed £3,000 - £4,000

73. Esther Lewis for Doulton Lambeth, a faience plaque, Fjord in Norway, rectangular, painted marks and monogram verso, 20cm x 40cm, framed £600 - £800 72

73

50

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.

74. Hannah Barlow for Doulton Lambeth, a faience painted plaque, hound in a barn, signed with monogram, printed and painted marks verso, 24cm x 38cm, framed £2,500 - £3,000

51

52

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.

53

75. Kathryn Sturgeon for Doulton Lambeth, a faience painted plaque, decorated with a woman in forest glade, signed with monogram, 26.5cm diameter £200 - £300 76. Esther Lewis for Doulton Lambeth, a faience painted plaque, On the Mountains, decorated with a log cabin on hillside landscape, monogram, signed and titled verso, 26cm diameter £200 - £300 77. Esther Lewis for Doulton Lambeth, a faience painted plaque, Rural Scenery, circular, decorated with a woodland bridge and woman, impressed Pinder Bourne marks and printed Doulton, signed, 35cm diameter £600 - £800 78. John McLennan for Doulton Lambeth, a faience relief moulded and painted charger, the central portrait of a spinner within a border of coiled roses, signed and printed mark, 31.5cm diameter Note: see Richard Dennis exhibition Doulton Pottery, Part II, 1975, lot 28, for an illustration of the companion plaque to this lot £250 - £350

79. John McLennan for Doulton Lambeth, a faience broad rimmed charger, 1880, the central well painted with an allegorical depiction of Cupid astride a swan, within a foliate scroll and raised rosette border, signed, painted marks, 34.5cm diameter £2,500 - £3,000 80. George Woolliscroft Rhead for Doulton Lambeth, a faience painted charger, 1879, decorated with an allegorical scene of putto with helmet, possibly David with the helmet of Goliath, within a border of alternating fishscale and foliate scroll panels, impressed Pinder Bourne marks, painted monogram, 44.5cm diameter Note: see Eyles, D. and Irvine, L. 2002, Doulton Lambeth Wares, Richard Dennis, p.151 for an illustration of this plaque £2,500 - £3,000 81. John McLennan for Doulton Lambeth, a faience charger, circa 1885, the centre painted with a winged putto fishing, beside a lake with tree stump, within a lappet scale and chevron panel border, impressed Pinder Bourne and printed marks, 44cm diameter Provenance: Richard Dennis exhibition Doulton Pottery, Part II, 1975, lot 12 £2,500 - £3,000

77

76

79

81

75

54

78

80

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.

82. Margaret Thompson for Doulton Lambeth, a faience painted vase, 1887, rounded conical form, decorated with a woman and doves in a countryside landscape, monogram, 25.5cm high £450 - £550

55

83. Leslie Johnson for Royal Doulton, a painted vase, Flora, cylindrical form, decorated with a chiffon clad woman amongst poppies, below a tooled gilt rim, signed, printed marks and paper labels, 21.5cm high £550 - £650

56

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.

84. Harry Allen for Royal Doulton, a Titanian Kingfisher vase, circa 1917, cylindrical form, painted with a bird on a branch, signed, printed and painted marks, 26cm high £500 - £800

85. Harry Tittensore (attributed) for Royal Doulton, a Titanian ware vase, circa 1915, hexagonal section tubular form, painted with a maiden beneath Chinese lanterns to the interior and exterior rims, printed marks, 26.5cm high £300 - £500

86. F Henri for Royal Doulton, a Titanian vase, shouldered form, circa 1918, painted with swan and cygnet in a watery landscape, printed marks, signed, 15cm high £500 - £800

87. Harry Allen for Royal Doulton, a Titanian Kingfisher vase, circa 1918, barrel form, painted with a bird on a branch, signed, printed and painted marks, 21cm high £400 - £600

88. Harry Allen for Royal Doulton, a Titanian Young Mavis vase, circa 1919, painted with a thrush on prunus branch, signed, printed and painted marks, 26cm high £500 - £800

57

89. W Brown for Royal Doulton, a Flambé vase, ovoid baluster form, painted with workers in a hay field, signed, printed marks, 37cm high £250 - £350

58

90. Charles Noke for Royal Doulton, a Sung vase, ovoid bulbous form, painted with an Arabic man on a carpet under a tree, signed and printed marks, 22.5cm high £200 - £300

91. Arthur Eaton and Charles Noke for Royal Doulton, a Sung Flambé vase, shouldered form, painted with a firebird in flight with scrolling tail, painted and printed marks, 23cm high £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.

92. Arthur Eaton for Royal Doulton, a Flambé Sung ginger jar and cover, circa 1928, ovoid shouldered form, printed and impressed marks, painted in the round with an extensive Romantic landscape of lake, trees and mountains, printed marks, 32cm high £4,000 - £5,000

59

93. Charles Noke and Fred Moore for Royal Doulton, a Sung Flambé jar and cover, ogee bulbous form, the lid with elephant finial, printed and painted marks, 16.5cm high £400 - £600

60

94. Charles Noke for Royal Doulton, a Sung cockerel figure, modelled in squat position, printed mark, 15cm long £500 - £600

95. Charles Noke for Royal Doulton, a Sung elephant figure, modelled with trunk raised, painted marks, 17cm high £600 - £800

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.

96. Charles Noke for Royal Doulton, Flambé figure group of polar bears on ice caps, designed circa 1912, printed mark, 8.5cm high £1,000 - £1,200

61

62

97. Charles Noke and Harry Nixon for Royal Doulton, a large Chang vase, circa 1925, rounded cylinder form, layered heavy drip craquelure glaze over sang de boeuf and turquoise ground, painted marks, 44cm high £3,000 - £5,000

98. Charles Noke and Harry Nixon for Royal Doulton, a Chang vase, circa 1925, ovoid form, white and red mottled heavy glaze over marbled iridescent ground, painted marks, 19cm high £2,000 - £3,000

99. Charles Noke and Harry Nixon for Royal Doulton, a Chang vase, circa 1925, ovoid form, white, copper lustre and red mottled heavy glaze over marbled iridescent ground, painted marks, 19cm high £2,000 - £3,000

63

100. Fred Allen, Charles Noke and Harry Nixon for Royal Doulton, a Chang beaker vase, circa 1925, waisted cylindrical form, craquelure drip glaze, painted marks, 8cm high £400 - £600

64

101. Charles Noke and Harry Nixon for Royal Doulton, a Chang vase, circa 1925, shouldered form, painted marks, 18.5cm high £1,000 - £1,200

102. Charles Noke and Harry Nixon for Royal Doulton, a Chang vase, circa 1925, shouldered form, heavy blue fissured drip glaze, painted marks, 15.5cm high £400 - £600

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.

103. Charles Noke and Fred Moore for Royal Doulton, a small Chang vase, circa 1925, Meiping form, craquelure heavy dripped glaze, painted marks, 9cm high £500 - £800

65

104. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Village Blacksmith jug, relief moulded with various characters, printed marks and number 262 of 600, 20.5cm high £80 - £120

66

105. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Drake Jug, Westward Ho, relief moulded with various characters and verse, printed marks and numbered 2, 27.5cm high £100 - £150

106. Charles Noke for Royal Doulton, a limited edition Master Fox Hounds Presentation Jug, circa 1930, relief moulded with dogs and fox, the spout as a cockerel mask, crop handle, printed marks and numbered 457 of 500, 32.5cm high £100 - £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.

107. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Three Musketeers loving cup, circa 1935, twin handled bulbous form, relief moulded with the characters from the Great Romance of Louis XIII’s Reign, printed marks and number 48 of 600, 26cm high £80 - £120

108. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Coronation Loving Cup for George VI and Elizabeth, 1937, twin handled flared form, relief moulded with portraits and emblems to each side, printed marks and numbered 168 of 200, with original certificate, 16.5cm high £60 - £80

109. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Coronation Loving Cup for Edward VIII, 1937, twin handled flared form, relief moulded with St George to one side and the King to the other, printed marks and number 109 of 2000, with original certificate, 26.5cm high £100 - £200

110. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Apothecary loving cup, circa 1935, twin handled ogee form , relief moulded with figures and steaming pipe handles, printed marks and numbered 46 of 600, 15.5cm £80 - £120

67

111. Charles Noke and Harry Fenton for Royal Doulton, a limited edition Nelson loving cup, circa 1935, twin handled cylindrical form, modelled in relief with Nelson and the Victory, the handles in the form of ropes, printed marks and numbered 100 of 600, 26cm high £100 - £150

112. A Royal Doulton Guinness advertising jug, circa 1930s, Robert Porter and Co., Bull Dog Guinness, lozenge section angled form, transfer printed, Acknowledged the Finest Stout in the World, printed mark, 11cm high £150 - £250

68

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.

113. Leslie Harradine for Royal Doulton, a Grossmith’s Tsang Ihang perfume advertising figure, HN582, circa 1923, modelled as a woman on plinth base, perfume of Thibet, printed mark, 30cm high £150 - £250

114. Peggy Davies (attributed) for Royal Doulton, a prototype figure of a nude woman with starfish, circa 1980, impressed model number 1373, printed green mark, 32cm high £1,500 - £2,000

70

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.

115. Charles Noke for Royal Doulton, a Jester figure, circa 1915, second version, model 171, in a prototype colourway, painted and printed marks, 24.5cm high £300 - £500

71

116. Charles Noke for Royal Doulton, a Double Jester figure with marotte, ‘Two heads are better than one’, HN365 variation, designed 1920, modelled with the reverse figure holding a Mr Punch headed marotte stick, painted marks, 42.5cm high Note: a rare version of the Double Jester figure, with the unusual addition of the marotte, which is absent from most figures of this number £7,000 - £10,000

72

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 verso

73

74

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.

117. A collection of ephemera from the Richard Dennis Exhibition on the Martin Brothers Potters, Sotheby’s Belgravia, 1978, including the original catalogue and posters £40 - £70

118. Ian Gregory, a salt glazed stoneware figural invitation, 1978, modelled in relief as the Martin Brothers shop, for the Richard Dennis exhibition of the Martin Brothers Potters, Sotheby’s Belgravia, September 25th 1978, 25.5cm high Provenance: given to Bert and Joan Bennett £200 - £300

75

119. Robert Wallace Martin for Martin Brothers, a stoneware sculptural bird jar, circa 1884, modelled as a characterful figure, rounded belly and open beak with long tail, on ebonised base, incised marks to the lid R W Martin & Bros, London & Southall and Martin London to the base, 30cm high Provenance: David Rago and Philip Chasen, The Martin Brothers, New York September-October 1995, number 86

76

£35,000 - £45,000

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.

77

120. Robert Wallace Martin for Martin Brothers, an aquatic stoneware cache pot, 1900, lobed and relief moulded with grotesque sea creatures in a watery ground, brown and celadon glazed, incised marks 11-1900, Martin Bros, London & Southall, 12cm high

121. Edwin Martin for Martin Brothers, a stoneware and silver mounted inkwell, 1909, rounded with marbled blue and ochre glaze, with hinged lid, incised marks 3-1909 Martin Bros London & Southall, in a later wooden stand, 5.5cm diameter £60 - £100

122. Edwin Martin for Martin Brothers, an earthenware aquatic jug, circa 1885, conical form with tricorn lipped rim, sgraffito decorated with sea creatures and urchins, green and brown glaze, incised marks B, Martin Bros, London & Southall, 20cm high £1,800 - £2,000

Provenance: Ernest Marsh Collection £1,000 - £2,000

78

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.

79

123. Robert Wallace Martin for Martin Brothers, a grotesque rodent jug, circa 1880, modelled as a mouse, on hind legs, mouth raised and open, the tail forming the handle, impressed marks RW Martin Southall, incised 544, 17cm high £10,000 - £15,000

80

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. Robert Wallace Martin for Martin Brothers, a stoneware bed warmer, 1880, modelled in relief as an angry tortoise, glazed in blues, greens and browns, incised marks, R W Martin, London & Southall, 5.1880, 30cm long Provenance: Bonhams London, 12th June 2012, lot 54

£40,000 - £50,000

81

125. Robert Wallace Martin for Martin Brothers, a stoneware sculptural spoon warmer, circa 1882, modelled as a head, bearded and scaled, mouth open, glazed in greens and browns, on four prunt feet, incised marks R W Martin, London & Southall, 42, 14cm high Provenance: Phillips, London, 21st March 1985, lot 476

82

£15,000 - £20,000

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. Robert Wallace Martin for Martin Brothers, a miniature stoneware sculptural bird jar or scent bottle, 1896, modelled as a characterful grotesque bird, the head with cork insert, brown and ochre glazed, incised to the head R W Martin, and to the base Martin 96 London, 5.5cm high Provenance: Phillips, London, 23rd February 1993, lot 154

£1,500 - £2,500

83

84

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.

127. Robert Wallace Martin for Martin Brothers, a stoneware sculptural bird jar, 1898, modelled as a characterful figure, green and brown glazed with blue bands to the wings, incised marks to the head R W Martin & Bros, London & Southall, 9-1898 and to the base Martin & Bros..., 36cm high Provenance: David Rago and Philip Chasen, The Martin Brothers, New York September-October 1995, number 68 £20,000 - £30,000

85

128. Robert Wallace Martin for Martin Brothers, a stoneware sculptural bird jar and cover, 1884/1885, modelled in relief as a characterful figure, the head with long closed beak, one eye closed, green and beige glazed body, on wooden base, incised marks 4-84, R W Martin & Bros, London & Southall, the base R W Martin Sc., London + Southall 1895, 36.5cm high £35,000 - £45,000

86

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.

87

129. Robert Wallace Martin for Martin Brothers, a stoneware musical imp figure, 1892, modelled playing a horn trumpet, salt glazed, on wooden base, incised marks Martin Bros London, Southall 1892, 14.5cm high £2,000 - £3,000

88

130. Robert Wallace Martin for Martin Brothers, a stoneware musical imp figure, 1893, modelled playing the cello, white bisque, on wooden base, incised marks R W Martin + B, London , 1893, Southall, 14.5cm high £2,000 - £3,000

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.

131. Robert Wallace Martin for Martin Brothers, a stoneware musical imp figure, circa 1893, modelled playing the harp, speckled cream glaze, on wooden base, incised marks and original paper label to base, 14cm high £800 - £1,200

132. Robert Wallace Martin for Martin Brothers, a stoneware musical imp figure, 1893, modelled playing the tambourine, bisque texture on wooden base, incised mark Martin, London, 1893, 11.5cm high £3,000 - £4,000

89

133. Robert Wallace Martin for Martin Brothers, a stoneware mantle shelf, circa 1890, cornice form, modelled in high relief with trailing and fruiting vine, from a central Bacchus mask, in three sections, incised marks R W Martin London, 172cm long, 25.5cm deep, 13.4cm high £9,000 - £12,000

90

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.

91

134. Robert Wallace Martin for Martin Brothers, a stoneware characterful Barrister face jug, 1910, modelled to each side with quizzical expressions and curled wig, incised marks, R W Martin + Bros, London + Southall, 8.5.1910, 17.5cm high Note: see Haslam, M. 1978, Martin Brothers Potters, p.131, fig.200 for an illustration of this design

92

£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.

135. Robert Wallace Martin for Martin Brothers, a miniature stoneware Barrister bird sculpture, 1913, modelled in a characterful pose, beak open and wings clasped behind, with wig, incised marks, 2.12.13. R W Martin & Bro Southall, 10.5cm high including base Note: see Haslam, M. 1978, Martin Brothers Potters, p.154, fig.247 for an illustration of this design

£6,000 - £8,000

93

136. Robert Wallace Martin for Martin Brothers, a stoneware sculptural Judge bird jar, 1882, modelled in relief as a characterful figure, on wooden base, incised marks to head R W Martin London & Southall, 8.12.1882, and to the body, 30cm high Provenance: Skinner, Boston, 10th January 2015, lot 218 £30,000 - £50,000

94

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.

137. Robert Wallace Martin for Martin Brothers, a stoneware vase, 1886, ovoid shouldered form with conical neck, sgraffito decorated with encircled pairs of foliate dragons within a foliated tendril ground, incised marks 1-1886, RW Martin & Bros, London & Southall, 27.5cm high £2,000 - £3,000

138. Edwin Martin for Martin Brothers, a stoneware vase, 1898, spherical shouldered form with cylindrical flared neck, sgraffito decorated with three dragons, salt glazed ground, incised marks, 6-1898, Martin Brothers, London + Southall, 23cm high £4,000 - £5,000

139. Robert Wallace Martin for Martin Brothers, a stoneware jardinière, circa 1880, flat topped pyramidal form, carved and sgraffito decorated with pairs of entwined zoomorphic scrollling beasts, incised marks Martin London, 11cm square, 8cm high £300 - £500

95

96

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.

140. Robert Wallace Martin for Martin Brothers, a stoneware sculptural bird jar, 1898, modelled as a characterful figure with webbed feet, salt glazed with bands of blue to the wings, half winking, with a gunmetal effect beak, incised marks to the head Martin Bros, 9-1898, London & Southall, and to the body R W Martin & Brothers 9-1898, 37.5cm high Provenance: Phillips, London, 30th June 1988, lot 575; Princess Catherine Yourievsky of Russia, daughter of Tsar Alexander II £40,000 - £60,000

97

98

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.

141. Robert Wallace Martin for Martin Brothers, a stoneware sculptural bird jar, 1884, modelled in relief as a characterful figure, with long beak and moustache, frowning stern expression, glazed in black, brown and cream with blue splashes, on wooden base, incised marks to lid R W Martin & Bros, London + Southall, and to the body with the addition of 3.84, 33.5cm high Provenance: David Rago and Philip Chasen, The Martin Brothers, New York September-October 1995, number 88; H E Williss Collection (photographed in the archives of Ealing Central Library) £35,000 - £45,000

99

100

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.

142. Robert Wallace Martin for Martin Brothers, a stoneware sculptural monk jar, 1900, modelled as a seated figure with elongated fingers and nails grasping his chest, mouth open, olive green glazed, on wooden base, incised marks, R W Martin & Bros, London & Southall, 10-1900, 17cm high £50,000 - £70,000

101

143. Robert Wallace Martin for Martin Brothers, an earthenware sculptural bird jar, 1898, modelled in relief as a characterful monk, rotating head with wide beak, matte glazed in green and yellow with brown wings, on wooden base, incised marks to lid Martin Bros, London & Southall, 1-1898 and to the base, 26.5cm high £25,000 - £30,000

102

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.

144. Robert Wallace Martin for Martin Brothers, a stoneware face jug, 1911, each side modelled in relief as a characterful man, incised marks RW Martin & Bros, London & Southall 8-1911, 22.5cm high Provenance: Christie’s South Kensington, 10th March 1995, lot 82; Woolley and Wallis, Martin Brothers Potters, 31st October 2005, lot 37 £6,000 - £8,000

103

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.

145. Robert Wallace Martin for Martin Brothers, a stoneware sculptural jar, circa 1882, modelled as a characterful monkey, sitting upright, one arm folded over his body, brown and green glazed, incised marks to the lid, R W Martin & Bros, London & Southall, lozenge to the back R W Martin & Bros, London (indistinct date), 26cm high Provenance: Christie’s, South Kensington, 16th September 1993, lot 384

£35,000 - £45,000

105

146. Robert Wallace Martin for Martin Brothers, a stoneware sculptural dog jar, 1885, modelled as a characterful canine figure, tongue out, incised marks to the lid, R W Martin & Bros, London & Southall, 5-1885, 13cm high £40,000 - £50,000

106

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.

147. Robert Wallace Martin for Martin Brothers, a stoneware sculptural bird jar, 1880, modelled as a characterful spoon billed duck or penguin, with webbed feet, brown, green and blue glazed, incised marks to the head R W Martin, London + Southall, 17.3.80 and to the base, R W Martin, Southall, 17.3.80, 30.5cm high Provenance: Christie’s, South Kensington, 16th September 1993, lot 385

£25,000 - £35,000

107

108

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.

109

148. Charles Passenger for William De Morgan, a double lustre Antelope and Fruiting Tree with Lizards dish, circa 1890, painted with an antelope behind an orange tree, two lizards climbing the trunk highlighted in gold lustre, decorated in gold and red, with yellow highlights, alternating concentric rings to the reverse, monogram, 34cm diameter Note: the original design appears in Greenwood, M, 1989, Designs of William De Morgan, number 1210, p.37; another similar example of this dish is in the De Morgan Foundation Collection £1,500 - £2,000

149. Charles Passenger for William De Morgan, a red lustre charger or dish, circa 1890, painted with Harpy motifs in the Mannerist style within a zoomorphic foliate scroll and spiral ground, the reverse with concentric rings within a band of spiral waves, monogram, 37cm diameter £1,000 - £1,500

110

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.

150. William De Morgan, a pair of Galleon tiles, circa 1885, green painted ships in sail, each tile 15cm square, framed as one £200 - £400

111

151. William De Morgan, a lustre vase, circa 1890, bulbous necked shouldered form, painted in red over white with panels of honeysuckle and entwined daisies between chrysanthemum and pinecone motifs, below a denticulated rim and rose border, 22cm high £1,000 - £1,500

112

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.

152. Fred Passenger for William De Morgan, a large Persian flowering foliage twin handled vase, Merton Abbey circa 1885, twin handled amphora form, turquoise rim and handles, impressed and painted marks FP, 33cm high £15,000 - £20,000

113

153. William Moorcroft, a collection of ceramic designs, circa 1891-1894, watercolour on paper, including plates and vase, including honeysuckle and snowdrop border designs, school board paper labels to some, 50cm x 34cm, framed (4) £100 - £200

114

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.

154. William Moorcroft for James MacIntyre, a yellow Tulip and Forget Me Not Panel vase, circa 1908, footed and flared cylindrical form, printed mark and underglaze green signature, 30cm high £800 - £1,200

116

155. William Moorcroft for James MacIntyre, a yellow Daisy vase, circa 1902, twin handled inverse baluster form, printed Florian mark and underglaze green signature, 26cm high £300 - £500

156. William Moorcroft for James MacIntyre, a Pansy on White vase, circa 1911, twin handled inverse baluster bottle form, printed marks and underglaze green signature, 23cm high £1,500 - £2,000

157. William Moorcroft for James MacIntyre, a Florian Ware Violet vase, circa 1902, waisted gourd form, printed mark and underglaze green signature, 30cm high £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.

158. William Moorcroft for James MacIntyre, a Florian Poppy egg cruet, circa 1901, including four pedestal egg cups, blue on blue, printed marks and underglaze green monograms, in a silver plated stand with spoons, each cup 6cm high £300 - £500

117

159. William Moorcroft for James MacIntyre, a large green and gold Florian vase, circa 1903, slender baluster form, printed mark and underglaze green monogram, 41.5cm high £500 - £700

118

160. William Moorcroft, a large Late Florian vase, circa 1916, baluster form, impressed Burslem marks and underglaze green signature, 36cm high £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.

161. William Moorcroft, a large Windswept or Waving Corn Landscape vase, circa 1935, inverse baluster form, impressed marks and facsimile, underglaze teal signature, 33cm high £400 - £600

162. William Moorcroft, a salt glazed Fish vase, circa 1928, baluster form, impressed marks and underglaze taupe monogram, 18cm high £1,200 - £1,500

163. William Moorcroft, a salt glazed Claremont vase, circa 1930, squat baluster form, blue and green glaze, impressed marks and facsimile, underglaze blue monogram, 13cm high £600 - £800

119

164. William Moorcroft, a Claremont vase, circa 1925, cylindrical ogee form, impressed marks and underglaze blue signature, 18.5cm high £800 - £1,200

120

165. William Moorcroft, a Claremont vase, circa 1915, ovoid gourd form with inverted rim, impressed Burslem marks and underglaze green signature, 19.5cm high £1,500 - £2,000

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.

166. William Moorcroft, a Claremont vase, 1914, baluster form, impressed Burslem marks and underglaze green signature and date, 16cm high £1,000 - £1,500

167. William Moorcroft, a Claremont vase, circa 1920, bulbous form, impressed marks and underglaze green monogram, 13cm high £800 - £1,200

168. William Moorcroft, a small Claremont vase, circa 1925, shouldered ovoid form, impressed marks and underglaze blue monogram, 8.5cm high £300 - £500

121

169. William Moorcroft, a large Claremont vase, circa 1915, ovoid spherical form, impressed Burslem marks and underglaze green signature, 28cm high £2,000 - £2,500

122

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.

170. William Moorcroft, a Claremont three piece tea set, 1914, squat ovoid form with loop handles, impressed Burslem marks and date, underglaze green signatures and dates, teapot 19.5cm long £2,000 - £2,500

123

171. Rachel Bishop for Moorcroft, a large Ryden Lane limited edition floor vase, circa 1997, baluster form, number 67 of 100, impressed marks and signatures, 68cm high £1,000 - £1,500

124

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.

172. William Moorcroft for Liberty and Co., a small Hazledene vase, circa 1903, squat ovoid form, printed marks and underglaze green signature, 8cm high £1,500 - £2,000

173. William Moorcroft, a small Powder Blue Cornflower vase, circa 1920, squat baluster form, impressed marks and underglaze blue monogram, 6.5cm high £150 - £250

174. William Moorcroft, a small Pansy on Celadon vase, circa 1915, twin handled amphora form, impressed marks and underglaze green signature, 8.5cm high £250 - £350

175. William Moorcroft, a small Pomegranate and Rope vase, circa 1928, inverse baluster form, impressed marks, 9.5cm high £150 - £250

125

176. William Moorcroft, a large Wisteria on blue vase, circa 1928, ovoid shouldered form, impressed marks and underglaze blue signature, 26.5cm high £500 - £800

177. William Moorcroft, a large Flambé Big Poppy vase, circa 1928, twin handled amphora form, impressed marks and underglaze blue signature, 27cm high £1,200 - £1,500

126

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.

178. William Moorcroft, a Cornflower variation on white lamp base, circa 1914, ginger jar form, with removable lid and central glazed apertures, impressed Burslem marks and underglaze green signature, paper labels, 22cm high £2,000 - £3,000

127

179. William Moorcroft, a Flambé Fish vase, circa 1935, baluster form, impressed marks and facsimile, underglaze teal monogram, 15.5cm high £2,000 - £3,000

128

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.

129

180. William Moorcroft, a large Flambé Landscape vase, 1926, shouldered form, iridescent lustre glaze, impressed marks, underglaze signature and date, 47.5cm high £5,000 - £8,000

130

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.

131

181. Francis Arthur Edwardes and William Moorcroft, a Flambé bear figure, circa 1925, modelled striding, on integrated plinth base, underglaze blue monogram, 17cm long £4,000 - £6,000

132

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.

133

134

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.

182. Daisy Makeig Jones for Wedgwood, a Fairyland lustre brooch, Fairy with a Large Hat, circa 1920, circular form, mounted in silver, printed mark, 5cm diameter £400 - £500

135

183. Daisy Makeig Jones for Wedgwood, a Fairyland lustre vase, Candlemas pattern, circa 1920, inverse baluster form, pattern Z5154, incised 2351, gilt mark, 23cm high £2,500 - £3,000

136

184. Daisy Makeig Jones for Wedgwood, a Fairyland lustre bowl, Fairy with a Large Hat and Poplar Trees, circa 1920, footed and rounded form, gilt mark, Z4968, 29cm diameter £2,000 - £2,500

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.

185. Daisy Makeig Jones for Wedgwood, a Fairyland lustre octagonal bowl, circa 1920, the interior with Fairy in a Cage, the exterior in Woodland Elves VII, Toadstools pattern, gilt marks, Z4968, 25cm diameter £1,000 - £1,500

186. Daisy Makeig Jones for Wedgwood, a Fairyland lustre vase, Flambé Pillar pattern, circa 1920, rouleau form, gilt Portland mark, Z5360, 36cm high £1,500 - £2,500

137

187. Wedgwood, an Aesthetic Movement vase, circa 1874, baluster form, experimental brown glaze over matte, with enamelled concentric bands, impressed Wedgwood and date code, painted M 1709 I, 25cm high Note: similar examples were used by students at the South Kensington School of Art (Victoria and Albert Museum) as design blanks £80 - £120

138

188. Wedgwood, an Aesthetic Movement vase, circa 1860, baluster form, sang de boeuf glaze with yellow rim, impressed Wedgwood twice, painted M 1707 I, 25cm high Note: with the opening of China and the Far East to foreign trade in the 1850s, British companies and designers began to copy and develop Oriental designs and elements of design in domestic objects; this is Wedgwood’s attempt at a Chinese sang de boeuf glaze and baluster design; for a near identical example see the Victoria and Albert Museum collection £100 - £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.

189. Norman Wilson for Wedgwood, a Unique Ware bowl, cream glazed, conical form with wavy rim, on a cylindrical foot, printed mark and hand incised NW monogram, 25.5cm diameter £100 - £200

139

190. Keith Murray for Wedgwood, an Art Deco beer set, circa 1934, including jug and six mugs or tankards, matt grey glazed, facsimile signature and impressed marks, 21cm and 12cm high (7) £200 - £400

140

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.

191. Norman Wilson for Wedgwood, a Unique Ware dish, circa 1930s, shallow circular form with incised conical foot, iridescent green glazed with concentric spiral, impressed Wedgwood NW, 24cm diameter £150 - £250

141

192. Clarice Cliff for Newport Pottery, a Delecia Citrus vase, circa 1930, concentric stepped cylindrical form, shape 511, printed Delecia Bizarre and Patent marks, 18cm high £200 - £400

142

193. Clarice Cliff for Newport Pottery, a Pastel Autumn plate, circa 1932, octagonal with concentric ring border, Fantasque Bizarre marks, 25.5cm diameter £120 - £180

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.

194. Clarice Cliff for Newport Pottery, a Windbells, Stamford tea for two set, including teapot, sugar, jug, two Conical cups, saucers and plates, Bizarre marks (9) £500 - £800

143

144

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.

195. Sally Tuffin for Dennis China Works, a Tumbling Clowns lustre lidded box, 2012, modelled as a circus Big Top tent, decorated with figures, after drawings by Michael Stuart, enhanced with lustre, impressed and painted marks, thrown by Rory McLeod and decorated by Adam White, numbered B205, 31cm high Provenance: Bonhams, London, 16th October 2012, lot 291

£1,500 - £2,000

145

196. Sally Tuffin for Dennis China Works, a unique Lustre Peacock vase and cover, 2007, baluster form with flat lid, multicoloured iridescent glazes, impressed marks and monogram, thrown by Chris Wright and painted by Theresa Blackmoor, numbered B111, 31.5cm high Provenance: Bonhams, London, 24th September 2008, lot 738 £2,000 - £2,500

146

197. Sally Tuffin for Dennis China Works, a large Lustre Parakeet unique vase, 2008, shouldered form, tubelined with birds with iridescent wings, impressed marks and monograms, painted by Theresa Blackmoor, thrown by Rory McLeod, numbered B132, 37cm high Provenance: Bonhams, London, 24th September 2008, lot 755 £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.

198. Sally Tuffin for Dennis China Works, a unique Phoenix vase, 2011, footed tapered beaker form, decorated with an Art Deco style woman and bird, impressed and painted marks, thrown by Rory McLeod and decorated by Heidi Warr, numbered B183, 37cm high Provenance: Bonhams, London, 21st September 2011, lot 353

£2,000 - £2,500

147

199. Sally Tuffin for Dennis China Works, a large unique Butterfly Metamorphosing into a Leopard vase, 2009, shouldered form, impressed and painted marks, thrown by Rory McLeod and decorated by Heidi Warr, numbered B138, 35.5cm high

200. Sally Tuffin for Dennis China Works, a large Bat Tower trial vase, 2005, square section tapering form, impressed and painted marks, Trial 1, 40.5cm high £1,200 - £1,600

Provenance: Bonhams, London, 23rd September 2009, lot 360 £2,000 - £2,500

148

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.

201. Buchan Dennis for Dennis China Works, a large Tumbling Blocks vase, 2013, shouldered form with broad rim, decorated with geometric stacked blocks in gold lustre, black and red, impressed marks and monogram, thrown by Rory McLeod, numbered 2 of 10, 42cm high £800 - £1,200

202. Sally Tuffin for Dennis China Works, a limited edition vase after William De Morgan Antelope, 2000, shouldered form with broad rim, gold lustre on a red ground, impressed and painted marks, number 8 of 25, thrown by Rory McLeod and painted by Heidi Warr, 35cm high £400 - £600

149

203. Sally Tuffin for Dennis China Works, a large unique Poiret’s Deco Fashion vase, 2010, footed tapered beaker form, decorated with female figures in 1913 costume after illustrations by Georges Lepape, impressed and painted marks, thrown by Rory McLeod and decorated

by Heidi Warr, numbered B175, 39cm high Provenance: Bonhams, London, 21st September 2010, lot 416

150

£2,000 - £3,000

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.

204. Sally Tuffin for Dennis China Works, a large Kingfisher vase, 2003, shouldered ovoid form, impressed marks and numbered 12 of 20, 48cm high £300 - £500

151

205. Sally Tuffin and Alan Pepper for Dennis China Works, a limited edition owl vase, 2005, shouldered form, the circular dish base with six relief moulded figures of owls, brown and yellow glazed, impressed marks and number 14 of 20, Pascoe and Co., 22.5cm high £200 - £400

152

206. Sally Tuffin and Alan Pepper for Dennis China Works, a limited edition owl vase, 2007, shouldered form with wide brim, the circular dish base with four relief moulded figures of owls, green glazed, impressed marks and number 16 of 20, 23.5cm high £200 - £400

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.

207. Sally Tuffin for Dennis China Works, a large Lion Pride limited edition vase, 2010, footed rounded tumbler form, tubelined with lion, lioness and cubs, impressed and painted marks, number 2 of 10, thrown by Rory McLeod and painted by Theresa Brooker, 29.5cm high £800 - £1,200

153

208. Buchan Dennis for Dennis China Works, a large Metropolis unique bottle vase, 2011, bulbous form, decorated with geometric stacked blocks, impressed marks and monogram, thrown by Rory McLeod, decorated by Adam White, numbered B190, 38cm high Provenance: Bonhams, London, 21st September 2011, lot 366

154

£2,000 - £2,500

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.

155

209. Sally Tuffin for Dennis China Works, Red Square sculptural group, 2009, modelled after St Basil’s Cathedral, Moscow, three graduated towers with removable onion domed lids, on a circular tray, painted in geometric patterns, impressed marks and monograms, thrown

by Rory McLeod and painted by Heidi Warr, numbered B153, 39cm high Provenance: Bonhams, London, 23rd September 2009, lot 352

156

£3,000 - £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.

157

210. Roger Michell for Dennis China Works, a figure of Yohji Yamamoto, 1985, modelled as a catwalk model in pose on a sponged base, printed marks, 31cm high £100 - £150

158

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.

159

211. Amanda Popham, Ida’s Last Dance, a studio ceramic figure group, 2021, modelled in relief as a crowned woman with a fox, painted and gilded, signed, 38cm high £300 - £400

160

212. Amanda Popham, Four Maidens, a studio ceramic jardinière, 2009, modelled in relief as four women joining hands to form a square, their long dressed overlapping, painted with playful dogs and a landscape beyond, signed, 28cm high £250 - £350

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.

213. Amanda Popham, Life in Trees, a studio ceramic vase, 2020, relief moulded cylindrical form, modelled with clothed walking bird figures, between trees, painted marks, 38.5cm high £350 - £450

214. Roger Cockram, a stoneware fish vase, coiled conical form, with open ended hollow tubular rim, modelled with a fish to the interior, signed and impressed marks, 27.5cm high £100 - £200

162

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.

215. Roger Cockram, a large leaping salmon vase, circa 1998, conical beaker form, sgraffito decorated and modelled in relief with a large fish and a band of open reticulated smaller fish, impressed marks, 49cm high £300 - £500

163

164

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.

216. Laurence McGowan, a large studio pottery Magpie bowl, 1993, tin glazed and painted with two magpies within borders of foliage and multicoloured birds, with a motto band, 42cm diameter Provenance: Richard Dennis Exhibition September 1996, illustrated on the back cover of the catalogue

£250 - £350

165

217. Jonathan Chiswell Jones, a lustre pottery charger, painted with a central Japanese thrush and clematis in copper, gold and silver, within quatrefoil blue ground band, painted marks, 5124, 43.5cm diameter £250 - £350

166

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.

218. Jonathan Chiswell Jones, a lustre pottery charger, painted with three Angel fish on a blue and red foliate ground, painted marks 7208, 37cm diameter £250 - £350

167

219. Jonathan Chiswell Jones, a lustre pottery vase, spherical form, painted with copper and silver bindweed and cow parsley on a blue ground, signed and incised TSD/BB, 23cm high £250 - £350

168

220. Jonathan Chiswell Jones, a lustre pottery vase, ovoid form with flared neck, painted with two red roundels of a hare and chicken amongst foliate scrolls, on a bronzed ground, signed, incised LR/B5, 34.5cm high £250 - £350

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.

221. David Burnham Smith, Oriental Cat, a modelled porcelain wall sculpture, 1997, relief moulded and painted with a cat emerging from grass, on a rusticated driftwood backing board, 54cm x 27cm, framed Note: illustrated in the Richard Dennis exhibition catalogue for David Burnham Smith, May 1998, page 2

£1,500 - £2,000

169

222. David Burnham Smith, Winter and Summer, a modelled porcelain two sided face pot and lid, with protruding female faces, hand painted in blue, black, green, red and yellow, enhanced with applied beading and gold and silver lustre, the lid in the form of a witch’s hat, artist monogram, 28cm high £1,200 - £1,800

170

223. David Burnham Smith, Young Person of the 90s, No.2, a modelled figural porcelain study of a young woman in wide brimmed hat and Doc Martin boots, hand painted in green, orange and brown on a rectangular base, artist monogram and plaque to base and dated 1994, 38cm high £1,200 - £1,800

224. David Burnham Smith, Bisbee Vase, a modelled porcelain figural vase depicting a female face emerging from a woodland setting, hand painted in green, blue, yellow and orange, enhanced with applied beading, artist monogram to base ‘completed Feb 2008’, 30.5cm high £2,000 - £2,500

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.

225. David Burnham Smith, Bayeux Tapestry Building, a modelled porcelain study of a domed building, hand painted in green, blue, yellow and orange, enhanced with beading, on a shaped base, artist monogram and dated 2005, 33cm high £1,500 - £2,000

226. David Burnham Smith, Green Man, a modelled porcelain vase with moustached male face emerging from woodland, hand painted in green, blue, brown and orange, enhanced with beading, artist monogram and dated 09-07, 23.5cm high £800 - £1,200

171

227. David Burnham Smith, No 6 Amy Flyer, a modelled porcelain face mask, 1990, in the form of Amy Johnson, painted with a plane in flight to one cheek, 24cm high Provenance: Richard Dennis Exhibition May 1998, illustrated

172

£1,500 - £2,000

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.

228. David Burnham Smith, Made Not Begotten, a modelled porcelain three dimensional sculpture, fashioned as a head with partial lattice work design, encased in two intaglio moulded detachable blocks, similarly decorated, artist monogram and dated 1997, 30cm high Provenance: Richard Dennis Exhibition, May 1998, number 12

£2,000 - £3,000

173

229. David Burnham Smith, Ice Man, a modelled porcelain three dimensional sculpture, fashioned as a bisque fired head encased within three detachable glazed blocks, incised artist monogram, 29cm high Provenance: Richard Dennis Exhibition, May 1998, number 14

174

£2,000 - £3,000

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.

230. David Burnham Smith, Finch, a modelled porcelain bird jar and cover, depicting a smiling bird with hand painted feathering in tones of orange, blue, yellow, green and brown, emanating from a mound base, artist monogram and date Jan 2007 to head and body, 24cm high £1,200 - £1,800

231. David Burnham Smith, Stork Man, a modelled porcelain bird jar, hand painted in tailored jacked, waistcoat and trousers, standing against a wall, hands in pockets, artist monogram and dated March 2010, 25.5cm high £1,200 - £1,800

175

232. David Burnham Smith, a modelled porcelain bird jar and cover, depicting a long billed bird with hollowed eyes, hand painted in red, blue, green and yellow, enhanced with applied beading, raised off a mound base, artist monogram to the base and dated July 2011 £2,000 - £2,500

176

233. David Burnham Smith, Woodpecker, a modelled porcelain bird jar and cover, depicting a yellow billed figure, hand painted in tones of brown, blue, yellow and black, emanating from a mound base, artist monogram and date 2006 to head and body, 24cm high £1,500 - £2,000

234. David Burnham Smith, Don’t Laugh at Your Own Jokes, a modelled porcelain bird jar and cover, fashioned with extended bill and elongated eyes, hand painted in blue, yellow and orange, talons clasping a mound base, artist monogram to both head and body, 07 2009, 31cm high £2,000 - £3,000

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.

NOTES

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 Ltd is referred to as ‘K & O.’ The K & O representative conducting the auction is referred to as the ‘auctioneer’.

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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.

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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.

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TERMS OF CONSIGNMENT FOR SELLERS 1. INTERPRETATION In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’ etc. refer to Kinghams Auctioneers Ltd. 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 £2.50 plus VAT per lot.

4. REMOVAL COSTS Items for sale must be consigned to the saleroom by and stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

5. LOSS AND DAMAGE OF GOODS a) Loss and Damage Warranty – K & O is not authorised by the FSA to provide insurance to its clients and does not do so. However, K & O for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until the hammer falls. To justify accepting liability, K & O makes a charge of 1.5% of the hammer price plus VAT. The liability assumed by K & O 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.

Additional information can be found at www.kinghamsauctioneers.com

8. RESERVES a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold.

Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to unreasonably high reserves {in which case goods carry the storage (Condition 17) and loss damage warranty (Condition 5(a) charges as stipulated in these Terms of Consignment}. b) A reserve once set cannot be changed except with our consent. c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally. d) Reserves are not usually accepted for lots expected to realise below £50.

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

10. SOFT FURNISHINGS The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.The rights of disposal referred to in clauses 9 and 10 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection upon request.

11. DESCRIPTIONS Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 4 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds.

12. UNSOLD ITEMS If an item is unsold it may at our discretion be re-offered at a future sale.

Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred.

13. WITHDRAWN AND BOUGHT IN ITEMS These are liable to incur charges on being bought in or withdrawn after being catalogued.

14. CONDITIONS OF SALE You agree that all goods will be sold subject to our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses, liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

15. AUTHORITY TO DEDUCT COMMISSION AND EXPENSES AND RETAIN PREMIUM AND INTEREST You authorise us to deduct commission at the stated rate and all expenses incurred from your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. You authorise us at our discretion to negotiate a sale by private treaty not later than the close of business 48 hours after the day of sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

17. STORAGE We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make storage charges.

18. SETTLEMENT Subject to funds having cleared in our account we aim to pay you no later than four weeks following the sale. If the buyer has not paid for the goods no settlement will be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. Please note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 11 above and you should therefore bear this in mind before parting with the proceeds of sale.

INFORMATION FOR BUYERS 1. INTRODUCTION The following notes are intended to assist buyers particularly those who may be inexperienced or new to our saleroom. All sales are conducted in accordance with our Conditions of Sale. Our staff will be happy to help you with anything you do not fully understand.

2. AGENCY As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly, if you buy your primary contract is with the seller.

3. THE BUYER The highest bidder acknowledged as such by the auctioneer will be the buyer. If any dispute arises, the auctioneer has absolute discretion to settle the matter. The auctioneer rules the bidding and bids cannot be retracted.

The auctioneer reserves the right to refuse any bid.

The successful bidder, whether bidding for himself or for a third party, is entirely responsible for paying for the lots they have bought in accordance with K & O’s Conditions of Sale and Business. The auctioneer reserves the right to bid on behalf of the sellers for any lot and to withdraw, consolidate or divide any lot or lots.

4. REGISTRATION Unless registered already on a bidding platform, it is essential that all prospective buyers register with us, giving their full name, address, contact telephone number(s) and email address. First time buyers will be required to provide proof of identity (i.e. driving licence/passport), a valid debit or credit card and a copy of a utility bill confirming their name and address. 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.

5. BUYER’S PREMIUM - COMMISSION CHARGES There is a buyer’s premium of 23 per cent plus VAT on the hammer price of each lot up to and including £200,000. The buyer’s premium is 18% plus VAT on the hammer price of each lot on the excess of £200,001 up to and including £1,000,000. The buyer’s premium is 15% plus VAT on the hammer price of each lot on the excess of £1,000,001.

6. VALUE ADDED TAX Lots on which the buyer may have to pay VAT on the ‘hammer price’ are indicated in the catalogue with the following symbol *. The buyer must pay this VAT at the rates that apply on the day of the auction in addition to the buyer’s premium and VAT thereon.

7. AUCTIONEERS MARGIN SCHEME This scheme allows auctioneers to sell items without VAT on the hammer price. The buyer then pays an amount equivalent to VAT. This amount cannot be refunded and is not shown separately on the invoice.

8. PAYMENT Buyers must pay in full before items can be removed from the premises (please see “payment methods” below).

Invoices will be issued from the day of the sale. Buyers must pay their invoice in full within 24 hours and advise when they will be collecting their item(s). Any invoices which remain unpaid after seven days will incur interest at 5% above the base rate, charged from the date of the sale. If buyers are unknown to us, we cannot hand over purchases unless we have adequate references or payment is cleared.

Additional information can be found at www.kinghamsauctioneers.com

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

Cheques – bankers draft, cashiers cheque, personal cheques and travellers cheques are all accepted.

Credit cards – Visa or Mastercard (American Express or Diners Club not accepted).

Debit cards – Visa, Delta, Switch, Connect Please note that we are unable to accept any card payments where the cardholder is not present.

Bank transfer to: HSBC Bank, 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 payment.

9. LIVE INTERNET BIDDING Live online auctions are in conjunction with the-saleroom.com, invaluable.com and easyliveauction.com We ask that you register for the sale a minimum of 24 hours before the auction.

When you have registered, you can watch the auction in real time; simply click the bid button to place a bid.

If your bid is successful we will notify you after the sale for payment.

Charges will be made for internet bidding dependent on the auction platform. See their terms and conditions for details.

10. TRANSFER OF RISK Each lot is the buyer’s sole responsibility from the fall of the hammer.

11. COMMISSION BIDS If instructed, K & O will execute bids and advise prospective buyers.

This service is free.

Buyers who cannot come to a sale may leave their bid with our staff after/during viewing, or make their bid in advance by telephone or email (enquiries@kinghamandormeauctioneers.com). Such bids are placed at the buyer’s own risk.

Bids must be made at least one hour before the sale starts, but we advise buyers to make bids at the earliest possible opportunity. When making bids, buyers must provide: Their full name Address Email address Contact telephone numbers The number of the lot they wish to buy Their maximum bid amount – excluding commission which will be added to the invoice afterwards Buyers must state what their maximum bid would be. We cannot accept an instruction to ‘buy’ or unlimited bid.

We will ensure that lots are bought as cheaply as possible depending on the bids made and other reserves. If identical bids are placed, they will be dealt with on a “first come first served” basis.

12. TELEPHONE BIDS Lines for telephone bidding should 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 K & O will use information provided by its clients or obtained by K & O relating to its clients for the provision of auction services or as required by law. K & O may need to record telephone conversations for security or legal reasons or as necessary to provide a higher quality of service. Clients agree that K & O may use sensitive information that they supply to K & O. Unless permitted by law, K & O will not otherwise process sensitive personal data without express consent. By agreeing to the Conditions of Sale and Business, clients agree to the processing of their personal information.

14. STORAGE AND COLLECTION Please note all items after the auction will be removed to store.

Arrangements for collection can be made with the office.

15. ELECTRICAL GOODS AND SOFT FURNISHINGS These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations.

16. EXPORT OF GOODS Buyers intending to export goods should check whether an export licence is required and whether there is any specific prohibition on importing goods of that character because e.g. they may contain prohibited materials such as ivory. Ask us if you need help.

17. PACKING AND DESPATCH We offer a packing and despatch service for smaller lots. We also use national and local carriers. Further details can be obtained from our office.

18. DROIT DE SUITE ROYALTY CHARGES A work of art by a living artist, or those who have died within the last 70 years, which costs more than the UK sterling equivalent of €1,000 will incur a royalty charge. We pass this payment onto the Design and Artists Copyright Society (DACS), and do not charge a handling fee. Buyers can calculate royalty charges on the DACS website.

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

We use the euro to UK sterling exchange rate which applies on the day of the sale. It is the buyer’s responsibility to check the relevant exchange rate.

The actual qualifying threshold is calculated by the Artist’s Resale Right Service Hub based on the European Central Bank reference rate published at 2.15pm on the day of the sale, and can be found on the DACS website.

The royalty charge for pictures which achieve a hammer price of more than the UK sterling equivalent of €1,000, but less that the UK sterling equivalent of €50,000 is 4%. On works of art that achieve a hammer price of more than the UK sterling equivalent of €50,000 a sliding scale of royalty charges applies. For a complete list of the royalty charges and threshold levels please download more information from the DACS website.

The royalty charge is added to invoices, and must be paid before purchases are removed. VAT is not paid on royalty charges.

19. CITES LICENSE - IMPORTANT NOTICE RELATING TO SPORTING AND NATURAL HISTORY Clients intending to import/export any item derived from natural history specimens into/from a non-European country should first check for any Import/Export and possession restrictions prior to bidding/selling.

Certain species (λ) are also subject to CITES regulations when exporting/ importing these items out of the EU. CITES regulations are given on www.ukcites.gov.uk or maybe obtained from Animal Health, Wildlife Licensing and Registration Service, Zone 1/17, Temple Quay House, 2 The Square, Bristol BS1 6EB. Those species that are covered by the US Endangered Species Act (USESA) or The Migratory Bird Treaty Act (MBTA): potential US bidders should check with USF&W (US Fish and Wildlife Services) for trade/possession restrictions in the US prior to bidding.

Additional information can be found at www.kinghamsauctioneers.com

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