Roseberys

DESIGN: DECORATIVE ARTS 1860 TO THE PRESENT DAY Tuesday 25 June 2019

DESIGN: DECORATIVE ARTS 1860 TO THE PRESENT DAY Tuesday 25 June 2019 Starting at 12 noon VIEWING

Friday 21 June 1pm-5pm Sunday 23 June 10am-2pm Monday 24 June 9.30am-5.30pm Tuesday 25 June 9.30am-11.30am Head of Department: Fiona Baker Department: Nigel Dawson-Ellis, Alex Tonkinson Please note the conditions of sale at the back of this catalogue Buyer’s Premium 25% + VAT (30% inclusive of VAT) Condition of items: a catalogue description does not state the condition of the item Catalogue Price £10 (£12 by post) Front Cover: Lots 252 & 305 Back Cover: Lot 54 Inside Front Cover: Lot 93 Inside Back Cover: Lots 140,142, 143 & 144

70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk

Online bidding available at:

RoseberysLive

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BUYING AT ROSEBERYS The following is intended to serve as a useful quick reference to buying at Roseberys.

Prior to bidding please familiarise yourself with our full conditions of sale which are applicable when bidding at one of our auctions. Our staff are available to assist you with any questions you may have.

Viewing Catalogues are available from reception and all lots are listed and illustrated at www.roseberys.co.uk Condition is not stated in the catalogue description and buyers are encouraged to view lots in person prior to bidding to satisfy themselves as to the accuracy of the description and condition of lots.

New Bidders New buyers are required to register before bidding. This can be done in person at reception, or via email to clientservices@roseberys.co.uk.

Photographic identification, full contact details and proof of address are required. Roseberys cannot accept bids from unregistered buyers. Once registered you will be provided with a paddle which states your bidding number for the auction.

New International Bidders

Alternatively, online bidding is available through www.thesaleroom.com and www.invaluable.com, successful online bidders are charged an additional premium of 5% + VAT. Bidders must register by 9am on the morning of the auction to be able to buy online. You will be asked to complete the registration process prior to approval.

• Telephone bidding: A limited number of phone lines for lots in the auction are available for bidders subject to a minimum threshold. A member of staff would telephone you during the auction and bid live on your behalf. Please contact reception if you would like to enquire about booking a phone line.

The number of lines is limited so we would urge serious telephone bidding only and ask that you be prepared to bid over the top estimate.

Buyer’s Premium The buyer shall pay the hammer price together with a premium thereon of:

In addition to providing proof of identity, new international bidders must leave a £500 deposit the first time they register and before bidding.

Successful bidders will be refunded their deposit once they have paid for their lots. Unsuccessful bidders will automatically be refunded within a week of the auction.

25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT)

Methods of bidding

VAT

• In person: at the auction room.

VAT is not charged on the hammer price unless it is stated that there is ‘VAT applicable on the hammer price’ at the end of the description. Buyer’s premium is subject to VAT.

• Commission bid: If you are unable to attend the auction, commission bids may be left indicating the maximum amount to be bid excluding the buyer’s premium. All bids must be received at reception at least one hour before the start of the auction. Clients are also able to leave a commission bid via our website on individual lot pages. These bids are actioned on your behalf by our in-house bidding software RoseberysLive, and are not visible to the auctioneer.

• Online bidding: You can follow all our auctions live online and bid via the internet using RoseberysLive, our in-house live bidding platform.

RoseberysLive is a secure online bidding platform provided by Roseberys to enable our clients to bid online from anywhere in the world. You can register to use the service or view the auction through our website www.roseberys.co.uk.

There is no charge to use this service.

The premium price is subject to VAT at the standard rate.

(ARR) – ARTIST’S RESALE RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with hammer value over €1,000 as follows: 0 to €50,000 - 4%, €50,000.01 to €200,000 - 3% €200,000.01 to €350,000 - 1%, €350,000.01 to €500,000 - 0.5% Exceeding €500,000 - 0.25% ARR is capped at €12,500 Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

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Payment Payment is required immediately after the auction and can be made in the following ways: • Cash: up to the sterling equivalent of 10,000 Euros on the day of the transaction.

• Debit and Credit cards: excluding American Express. To protect against card fraud we are unable to make ‘card not present’ transactions online or over the phone for amounts over £1000.

To make a payment of over £1000 please make a bank transfer or visit the auction house in person.

• Bank transfer: Payment is accepted via bank transfer to the following account, (International bank transfers are subject to a £25 administration fee.)

Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, Iban GB80NWBK60300636952613.

• Online via www.roseberys.co.uk (up to £1,000) Clearance of Goods Roseberys requests all lots are collected within five working days following the auction. After this, storage charges of £2 + VAT per lot will apply. Please contact our Client Services team should you be unable to collect your purchases within this time and we would be happy to discuss alternative arrangements.

Delivery Roseberys is unable to pack and ship items but can suggest the following companies: London/Surrey • Capital Fine Art Move: +44 (0) 7957 209523 • Bernard Thornton: +44 (0) 7970 118762 Nationwide/International • Mail Boxes Etc: +44 (0) 20 8649 9777 Specialist Packing • Pack and Send: +44 20 8392 6990 In order to release to a third party carrier you must inform Roseberys in writing of the lot number and carrier name. Please email clientservices@roseberys.co.uk Export of goods Buyers intending to export goods should ascertain whether an export licence is required before bidding.

Export licences are issued by Arts Council England and application forms can be obtained from its Export Licensing Unit. Details can be found on the ACE website www.artscouncil.org.uk or by phoning ACE on 020 7973 5188. The need for import licences varies from country to country and you should acquaint yourself with all relevant local requirements and provisions before bidding. The refusal of any such licences shall not permit the cancelling of any sale nor allow any delay in making full payment for the lot.

Lot 260

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1 Christopher Dresser (1834-1904), attributed a Hukin & Heath silver-plated and glass claret jug c.1880, mark of Hukin & Heath, lid stamped 2521 Oviform glass with plated collar, cover and handle 20cm high £300-500*

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2 An Art Nouveau ‘Japanesque’ silver and mahogany hinged double photograph frame Mark of E. Mander & Son, Birmingham hallmarks for 1907 The frame of asymmetric form, the silver embossed with waterlilies and leaves, having a textured ground, one aperture rectangular the other circular, personalised bottom right 22cm high, total width 27cm £500-700* 3 Lewis F. Day (British 1845-1910) in the manner of, an ebonised clock by J. W. Benson, London Late 19th century, signed case An ebonised Aesthetic Movement clock with painted ceramic dial in blues with designs of flowers to each corner section, together with a brass key Measuring 39cm high £100-200*

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4 Royal Doulton, an earthenware wall mask ‘Jester’, HN.1630, introduced 1936 withdrawn 1940, printed factory marks and number Depicting a jester with a ‘toothy smile’, wearing a green, yellow and red hat 28cm high approximately £80-120*

6 Kate Harris manner of, an Art Nouveau Silver & enamel chatelaine clip Mark of Alston’s & Hallam, London 1904 Shield shape, decorated in relief with an Art Nouveau lady, foliate motifs and enamelled halos, with hinged clip on the back, and loops on the edges 6.9cm x 6.5cm £200-300*

5 Moorcroft Macintyre, a pair of Florian ware ‘Poppy’ pattern ceramic and silvered metal salad servers Early 20th century, unsigned The handles tube-lined, coloured and glazed (2) 28.5cm long

7 Hutton & Sons, a pair of Art Nouveau silver, oak and enamel photograph frames Mark of Hutton & Sons Ltd, London hallmarks 1903, Rd.404507 Each silver corner embellished with stylised leaf motifs heightened with blue and green enamels 18.7cm. high, 17.7cm wide (2)

£100-200*

£2,500-3,000*

7 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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PROPeRTy Of a lady (lots 8 & 9) 8 Alphonse Mucha (1860-1939), a ceramic plate ‘L’Autumne’, 1897, published by Au Grand Depot, Paris and with their stamp on the reverse with address 21 Rue Drouot, Paris, printed ‘Mucha 97’ Printed and coloured 30.8cm diameter £300-500* 9 A large Art Nouveau silver and enamel photograph frame Mark of S & Co, Birmingham hallmarks 1908 Shaped frame and aperture, embossed with stylised plant forms, with hammered ground, the back with easel support covered with brown velvet 27.4cm high, 30.2cm wide Note: The design of this frame is usually seen as made by Hutton & Sons Ltd with the smaller version carrying the design number Rd.404509. This size and shape is a rarer model.

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£2,000-3,000*

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10 Arts & Crafts, a Cotswold School oak table Early 20th Century Rectangular top with canted corners, raised on square supports with notched embellishment, united by stretchers 75.5cm high, top 145cm x 108cm Notes: Purchased by the vendor from the Arts and Crafts Furniture Company in 2001 as Attributed to Stanley Davies. £300-500*

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11 Edward Barnsley (1900-1987), an oak and bog oak side table c.1970, top left drawer stamped ‘BARNSLEY’ The quarter veneered and line-inlaid serpentine top with canted front corners and short back rail, raised on tapered faceted supports united by straight and curved stretchers, having a central frieze drawer flanked to the left with two short drawers and the right with one deep drawer (presenting as two) with fixed compartments 75.5cm high, 132.5cm wide, 53.5cm deep Literature: Edward Barsnley - sixty years of furniture design and cabinet making, Exhibition catalogue for Fine Art Society, London & The Crafts Study Centre, Holburne of Menstrie Museum, University of Bath, 1982, p.50, cat.61, p.56 cat.74, and p.65 cat.91 (Lady’s writing table, a side table and a writing table illustrated respectively and showing the same use of stretchers but with different drawer configurations and tops). £1,500-2,500*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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12 An Art Nouveau Silver and mahogany photograph frame Mark of William Deakin, Birmingham hallmarks 1905 Shaped form, the silver of openwork and with embossed decoration of waterlilies and leaves, with bevelled glass and easel support 31.5cm high, 22.5cm wide £400-600*

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13 14 13 Quezal, a pair of American iridescent glass bell shaped shades c.1910, signed on the inside of the neck rim Quezal Each ribbed and opaque ‘Calcite’ shade with decorative band, having a ‘Gold Aurene’ iridescent interior 12.5cm high (2)

14 Gallé, a cameo glass vase with clematis c.1910, signed in cameo Gallé The yellow body overlaid and acid-etched with clematis flowers and leaves, short circular foot 13.5cm high £400-600*

£200-300*

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15 Daum, an enamelled glass vase c.1920. signed in relief Daum Nancy France with Cross of Lorraine The oviform acid-etched in relief and painted in coloured enamels with leafy branches and red flowers (possibly dog roses) against a textured ground 27.4cm high £1,000-1,500*

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16 16 Gallé, a double-overlay cameo glass ‘Daffodil’ vase c.1904-1906, signed in cameo Gallé with star preceding The tapering form of kidney section, the white frosted body overlaid and acid-etched with daffodils and leaves, the flowers and buds are polished 27.5cm high £1,000-1,500* 17 Daum, a vitrified cameo glass vase c.1910, signed in cameo Daum Nancy with Cross of Lorraine The streaked glass body with knopped stem and circular foot acid-etched in relief with flowers, buds and leaves, their surface vitrified 35cm high £1,500-2,000* 17 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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18 Vallérysthal, a glass vase with enamelled decoration c.1900, signed Vallérysthal in polished flower motif The pale greeny/blue and red body internally decorated with metallic foil specks, acid-etched in relief with trailing leafy branches, the main flower with red and gold enamelled petals centred with a small butterfly, with gilt highlights, the top with blue-dispersed patches on the dark red neck, the greeny/blue base acid textured with star shaped flowers 9.5cm high, approximately 15cm across £1,000-1,500* 19 Gallé, a cameo glass ‘dragonfly’ solifleur vase c.1910, signed in cameo Gallé Overlaid and acid-etched with a large dragonfly hovering over waterlilies on a pond 16.8cm high £500-700*

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20 Daum, a cameo glass landscape vase c.1910, signed in cameo Daum Nancy with Cross of Lorraine The orange mottled body with some areas of green overlaid in brown and acid-etched in relief with a watery landscape and trees in the foreground 23.3cm high £600-800*

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21 Loetz, an iridescent glass vase of shell form c.1900* The yellow body of the shell decorated with blue papillon, the clear base with rippled sides 26cm long £100-150* 22 Quezal, three American ‘Gold Aurene’ iridescent glass shades c.1910, signed ‘Quezal’ around the neck Each of ribbed bell shape with shaped rim 11cm high, 11.7cm diameter (3)

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£150-200* 23 Bohemian, an iridescent glass shade in the style of Loetz c.1900* Having a frilled rim, decorated with undulating lines and splashes of iridescence; together with a Steuben golden iridescent glass shade 11cm wide and 13cm wide respectively (2)

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£100-150*

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24 Gallé, a cameo glass landscape vase c.1910, signed in cameo Gallé The tapered form of elliptical section overlaid and acid-etched with a landscape, on a circular spreading foot 18.5cm high £400-600*

24 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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25 A Set of six silver menu/place holders Mark of Sampson Mordan & Co Ltd, Chester hallmarks 1906, Rd. No.402227 Each with two discs of different sizes angled on a circular base 3cm high, 3.1cm diameter (6) £120-180*

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26 Julien Caussé (1869-1909), a Belle Epoque cold-painted metal figure ‘Avril’, c.1895, applied tag ‘ Avril par J. Caussé’, also signed in the metal on the base Modelled and cast as the Moulin Rouge dancer Jane Avril sitting on a crescent moon and holding a rose, integral domed base and stepped marble plinth 58. 5cm high £800-1,200* 27 An Edwardian silver and oak photograph frame Mark of M. & C. Lister Ltd, Birmingham hallmarks 1906 Having an oval aperture, the silver embossed with a lady sitting in thought beside a pond, a city behind her and a gentleman in the distance top left, oak back and easel support 21.5cm high, 17.3cm wide £300-500*

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28 Shapland & Petter, an Art Nouveau Mahogany and leaded glass Gentleman’s Compactum c.1905, Stamped mark of Shapland & Petter Barnstaple Central open shelves over a frieze drawer, two short drawers, a writing slide and further drawers below, flanked on either side by a wardrobe enclosing brass rods and hooks, one door with leaded glass the other with a mirror, having copper hinges and brass pulls 213.5cm high, 203.5cm wide, 60cm deep approximately Provenance: Purchased by the vendor from Liberty, Regent Street, London, 15th October 2003. £500-800*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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30 29 Franz Barwig (1869-1931), a patinated bronze of a boy ‘Liegender Knabe’, early 20th Century, signed F. Barwig in the bronze base Modelled and cast as a naked young boy lying on his front, integral base 23.2cm long £200-300* 30 Hans Keck (1875-1941), a small bronze model of a girl with her hands in a muff c.1915, signed Keck Modelled and cast as a girl in winter clothes, lacking base 8.5cm high £60-80* 31 Constantin Emile Meunier (1831-1905), a patinated bronze relief ‘Head of a minor or iron worker’, late 19th century, signed C. Meunier Modelled and cast as the head of a worker wearing a leather helmet 18.7cm high x 10cm wide £300-400* 31 14

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PROPeRTy fROM a PRIVaTe COlleCTION (lots 32 – 70) 32 Villeroy & Boch, a large ceramic plate and three smaller plates printed with ‘erotic’ scenes c.1927, printed factory marks and signed ‘Bazin ‘27’ Each printed, coloured and glazed with couples engaged in amorous pursuits (two restored) 34.3cm and 25.2cm diameter respectively (4) £200-300* 33 Zsolnay, an Eosin glazed ceramic figure ‘Eve’, c.1900, Zsolnay Pecs raised seal to the underside Modelled as a naked woman eating an apple with a serpent around the base (restored) 50cm high £300-500*

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34 Pierre Lenoir (1879-1951/1953) and Andre Fau (1896-1982), a ceramic figure ‘La petite frileuse’, c.1920, impressed Pierre Lenoir, Andre Fau, Boulogne, Made in France Modelled as a naked young girl with her arms crossed, crackle glazes, rectangular base 55.5cm high £300-500* 35 Royal Copenhagen, a porcelain figural vide poche designed by Christian Thomsen c.1900, Printed maker’s marks (used 1889-1922), incised artists monogram Modelled as a water nymph seated between two lily pads with a lily in front of her, glazed in pastel colours; together with a Bing & Grondahl porcelain vide poche modelled with a naked woman, printed maker’s marks 20cm wide and 21cm long respectively (2) £100-150*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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36 Karl Tutter (1883-1969), a Hutchenreuther porcelain figure of a boy holding a football c.1948, signed in the base K. Tutter, printed factory marks and ‘US Zone’ Modelled as a young boy holding a football, square integral base 43cm high £100-150*

37 Bretby Art Pottery, a pair of glazed earthenware bookends c.1930, impressed Pottery marks, Made in England, 3072 Each modelled with children at the seashore, coloured and glazed 20.2cm high (2) £60-80* 38 Moorcroft, a large ‘Hazeldene’ pattern ceramic vase Early 20th century, signed in green W. Moorcroft Des Tube-lined, green, blue and yellow streaked colours, glazed (restoration to foot rim) 25.5cm high, 26.5cm wide

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£1,000-1,500* 39 Moorcroft, an ‘Orchid’ pattern ceramic vase c.1942, impressed Facsimile signature, Potter to HM the Queen, signed in blue W Moorcroft, dated 1942 Tube-lined, streaked pastel colours on a shaded pale green to blue ground, glazed 36cm high £400-800* 38

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40 Jørgen Jensen (1895-1966), a Georg Jensen silver cruet set Mark of Georg Jensen, Denmark Sterling, 793, designers JJ initials, .925s, London import marks for 1937 Comprising: a pepper pot, salt, and a mustard pot with glass liner and a spoon , each base embellished with zig-zag border Salt 12.5cm high (3) Notes: Jørgen Jensen was a silversmith and Georg Jensen’s second son. He worked at the Georg Jensen silver smithy from 1917 to 1923 when he left to open his own workshops in Sweden. He re-joined Jensen’s in 1936 and worked there until 1962.

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£1,000-1,500*

41 A set of twelve silver gilt ‘cockerel’ cocktail sticks c.1930, Stamped Sterling Each slender stick with cockerel terminal; together with a set six silver and enamel cocktail sticks with enamelled cockerel terminals, stamped Sterling Silver; and a set of six silver cocktail sticks with small enamelled cockerel terminals, mark of Adie Brothers Ltd, Birmingham hallmarks 1930; with two matched boxes 8.1cm, 8cm & 7.5cm long respectively (24) £80-120* 41

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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42 C.A Llewellyn Roberts, three brass Zodiac panels used for Selfridges lifts c.1928 Comprising: Cancer, Libra and Scorpio, each of openwork with figures and emblems symbolic of each zodiac sign, each supported in an iron frame 47cm x 35.5cm (3)

43 Arts & Crafts, an embossed pewter casket inset with glass cabochons, in the manner of Alfred Daguet c.1900, unmarked, remains of French paper label The wooden box and cover decorated with pewter panels embossed with foliage and with cut apertures decorated with coloured glass cabochons, with green velvet lined interior, on ball feet 16.5cm high, 27.4cm wide, 15.2cm deep

£600-800*

44 An enamelled copper bowl Possibly French, Late 19th Century, signed ‘M’ or ‘W’ on the base The hammered vessel centred with an enamelled en grisaille portrait of a Queen, possibly Eleanor of Aquitaine, with laurel border, the reverse of the bowl is enamelled 13cm diameter £100-150*

£100-150*

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45 A French Art Deco wrought-iron radiator grill c.1925 Openwork, with central sunburst and scroll motifs to the sides, with two brackets 81.5cm high x 105.5cm £500-800*

45 46 A French Art Deco wrought-iron radiator grill c.1925 Openwork decoration of circles and scrolls 82cm high x 100cm £400-600*

46 47 A French Art Deco wrought-iron radiator grill c.1925 Openwork, circular and curvilinear decoration, with two brackets 81.5cm high x 85cm £400-600*

47 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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48 French Art Deco, a Macassar dining table and eight dining chairs, c.1930, The rectangular top, with brass pulls to either end, on curved pedestal base, with downward curving and tapering legs, together with eight Art Deco macassar gondole chairs with red leather drop in seats, dining table : 75cm high, 251cm high, 111cm deep chairs : 85cm high, 50cm wide (9) ÂŁ1,500-2,500* 20

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49 French Art Deco, a pair of maccasar and leather upholstered elbow chairs, c.1940, with red, button-back leather upholstery, the tapering backrests above upholstered armrests, raised on front tapering legs (2) ÂŁ300-400* 50 A French Oak book case/cabinet c.1900* Shaped top with two doors below each inlaid in various woods with a Breton figure and a cat, with short shelves to the sides 95.5cm high, 62.6cm wide, 21.7cm deep ÂŁ100-150*

50 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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51 Edgar Brandt (1880-1960) and Daum, a set of four Art Deco wrought-iron and Daum glass wall appliques c.1925, stamped E. Brandt, Made in France Each shade of demi-lune form with openwork flowers and branches separated with ribbed elements, having two Daum glass shades with metallic-foil inclusions and acid-etched decoration of ribs and scrolls 36cm high and 41cm wide approximately (4) Literature: “Le Luminaire - Procédés D’Éclairages Nouveaux 1925-1937” par Guillaume Janneau & Gabriel Henriot, Editions d’Art Charles Moreau, Paris. 1992, p.41, (similar model illustrated) £7,000-9,000*

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52 Edgar Brandt (1880-1960), an Art Deco wrought-iron umbrella stand c.1925, Stamped E.Brandt Wall mounted and with curved sides, the banded open work front embellished with flowers on leafy stems with tendrils, three drip pans, mounted on a hardboard back with 1970’s composition textured panels Umbrella 55.5cm high, 100cm wide, 15cm deep; the wood back panel 73cm high, 162.5cm wide £1,500-2,000*

53 Edgar Brandt (1880-1960), an Art Deco wrought-iron and alabaster six branch chandelier c.1925, partial Brandt stamps Hexagonal form with open work leaves and scrolls with six long alabaster ‘U-shaped’ shades, having six satellite openwork hoops with drop-in alabaster uplighter shades, six rods for suspension with lobed ceiling rose, with some electrical elements 97cm across and 79.5cm drop approximately £6,000-8,000*

52 (detail) * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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54 Carlo Bugatti (1856-1940), a walnut, ebonized wood, pewter and brass inlaid and hammered brass cabinet c.1900* Twin doors enclosing small drawers, a central arched compartment, a carved frieze and shelves with inlaid pewter and brass geometric decoration, the doors and sides applied with ebonised stepped wood sections and inlaid borders, the doors with circular inlaid roundel, brass centre and turned wood pull, having brass hinges and mock hinges on the sides, raised on step-cut feet 96cm high, 62.5cm wide, 44cm deep (See back cover for further detail) ÂŁ8,000-12,000*

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* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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55 Louis Majorelle (1859-1926), an Art Nouveau marquetry and carved Coiffeuse c.1900* The mirror frame inlaid in various woods with narcissi and ferns and supported between uprights with seed pod terminals and having small shelves for candles with leaf-like supports, the top inlaid with ferns and bees, having a frieze drawer with bronze handles with rose terminals, raised on sinuous supports and united by a curved stretcher 125.5cm high, 70.5cm wide Literature: Alasdair Duncan, Louis Majorelle - Master of Art Nouveau Design, Thames & Hudson, London 1991, p.99 (similar model illustrated) ÂŁ3,000-5,000*

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56 An Art Nouveau walnut upright chair c.1900* The back with carved sinuous floral splat, upholstered seat, tapered supports 93.5cm high, 45cm wide (2) £100-150* 57 Emile Gallé (1846-1904), an Art Nouveau walnut and marquetry tray with carved handles c.1900, signed E. Gallé Shaped form with raised carved border, the handles carved with buds, inlaid with various woods with flowering foliage 53.3cm wide £250-350*

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57 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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58 58 Louis Majorelle (1859-1926), a matched pair of Art Nouveau Marquetry bedside tables c.1900, both signed L. Majorelle Nancy Having raised back and sides, the tops inlaid in various woods with ‘Lily of the valley’, with two drawers below, on tapered supports 85cm high, 49.5cm wide, 39.5cm deep (2) £800-1,200*

58 (signature)

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59 Emile Gallé (1846-1904), an Art Nouveau marquetry tiered side table c.1900 The top with framed edge inlaid in various woods with honeysuckle, with frieze drawer and two short drawers similarly inlaid, with side shelves and under-tier below, on tapered supports 78.5cm high, 52cm wide, 32.7cm deep Literature: Alasdair Duncan & Georges de Bartha, Gallé Furniture, ACC, Suffolk, 2012, p.186 (similar model illustrated but with different shaped top) £600-800*

59

59 (detail)

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60 60 Elio Martinelli, a ‘Serpente’ table lamp for Martinelli Luce, Italy c.1965, underside stamped with manufacturers mark With domed white plastic shade, on curved chromed swivel support, with dished base 50cm high £100-150* 61 A large contemporary glass desk c. 2000 Formed from one piece of curved glass, with rectangular top and square sides 73cm high, 125cm wide, 70cm deep

62 62 ‘The Judgement of Paris’, a watercolour 20th Century, unsigned Depicting stylised figures in a garden, the male figure holds a golden apple in his hand, framed by the Rowley gallery Image 51.5cm x 34.2cm

£300-500*

(See page 119 for close-up) £150-250*

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63 63 A wire work ‘Goat’ Late 20th Century Fashioned and woven using two gauges of wire 37cm high, 66cm long approximately £100-150* 64 Sue Ross (Scottish), a kaleidoscope 1989, signed and dated to base A triangular glass and metal multi coloured kaleidoscope with a spinning lattice wheel at the end Measuring 29.5cm long £100-200*

64 65 Simon Gate (1883-1945), an Orrefors Art Deco cut glass decanter and stopper c.1926, engraved Of, GA, 416/13 The baluster shape deeply cut with undulating bands , with black glass foot and stopper; together with a Paloma Picasso (b.1949) designed small glass ice pail made by Villeroy & Boch , signed 24cm high and 13.5cm high respectively (2) £100-150* 66 Gabriel Argy-Rousseau (1885-1953), a pâte-de-cristal ‘Lotus’ ashtray Designed 1924, signed in the mould G. Argy-Rousseau Moulded with a flower, in shades of yellow and amber 9.5cm wide £400-600*

65 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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67 René Lalique (1860-1945), an opalescent glass plate ‘Ondines’, No.3003, designed 1921, wheel engraved R. Lalique France, No.3003 Moulded with water nymphs 27.2cm diameter £1,000-1,500*

67

68 René Lalique (1860-1945), a set of four clear and frosted glass liqueur goblets ‘Enfants’, No.13-400, designed 1932, these post 1951, engraved Lalique France Each moulded with two figurative panels 4.5cm high (4) £80-120*

68 69 René Lalique (1860-1945), a set of eight clear and frosted glass cocktail sticks ‘Barr’, No.3893, designed 1932, each acid-stencilled R Lalique on the end of the stick Each moulded with a double sided smiling face, the sticks embellished with cross hatching, in fitted Lalique box, the silk printed Lalique Place Vendôme 24 Paris Varying in length from 12.2cm to 12.8cm (8) £600-800*

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70 70 René Lalique (1860-1945), an set of ten clear and frosted glass slender goblets with sepia staining ‘Six Figurines’, No.3400, designed 1911, engraved R. Lalique Each moulded with six classical figures in recessed panels 10cm high (10) £2,500-3,500*

71 René Lalique (1860-1945), an opalescent and cased glass vase ‘Formose’ No.934, Designed 1924, engraved R Lalique France, intaglio moulded R Lalique Moulded with fan-tailed fish, on short raised foot 17cm high £1,000-1,500* 72 No lot

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73 74 73 René Lalique (1860-1945), a small clear and frosted glass circular box and cover ‘Isabelle’, No. 64, Designed 1924, engraved R. Lalique France The cover moulded with three peacocks 8.3cm diameter £200-300* 74 René Lalique (1860-1945), a clear and frosted glass paper-weight/car mascot ‘Sainte-Christophe’, No. 1142, designed 1928, intaglio moulded R. Lalique France Intaglio moulded with the saint with a child on his shoulders and a staff in his hand 11.6cm high £500-700* 75 René Lalique (1860-1945), a clear and frosted glass paper-weight ‘Coq Nain’ No. 11-800, designed 1928, this version post 1951, engraved Lalique ® France, Cristal Lalique Paris label Moulded in the form of a cockerel 20.5cm high £100-150*

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76 René Lalique (1860-1945), a clear and frosted glass paper-weight ‘Coq Nain’ No. 11-800, designed 1928, this version post 1951, engraved Lalique ® France, and E21282, Cristal Lalique Paris label Moulded in the form of a cockerel 20.8cm high £100-150*

77 Lalique, a clear and frosted glass lighter with Ronson mechanism and a matching ashtray ‘Tete de Lion’, designed post-war, engraved Lalique ® France, Cristal Lalique Paris label The lighter moulded with two stylised lion heads, the ashtray with one, the latter with Cristal Lalique cardboard box, box labelled Cendrier 10743 Lighter 11.5cm high; ashtray 14.6cm diameter (2)

76

£100-150* 77

78 René Lalique (1860-1945), a clear and frosted glass bowl ‘Pinsons’ No. 11-016, designed 1933, this version post 1951, engraved Lalique ® France, Cristal Lalique Paris label Moulded with sparrows and foliage 23.5cm diameter £120-150*

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79 René Lalique (1860-1945), a clear and frosted glass scent bottle ‘Clairefontaine’, No.11-300, designed 1931, this version post 1951, engraved Lalique ® France The stopper moulded with lily of the valley; together with a modern Lalique ‘apple’ form scent bottle with leaf stopper and a ‘Vase deux Anemones’, No. 11-613, scent bottle, designed 1935, this version post 1951, both engraved Lalique ® France 11.5cm, 14cm and 15.5cm respectively (3) 79

£150-200* 80 Lalique, a clear and frosted glass vase ‘Dampierre’, designed post-war, engraved Lalique ® France Moulded with small birds and leafy bands; together with a Lalique clear and frosted stemmed bowl ‘Nogent’, the bowl supported on the back of four birds, engraved Lalique France; a modern Lalique vase with undulating rim and frosted exterior; and a modern Lalique vase with stylised tulips, both signed 12.3cm high, 13.8cm diameter, 15cm high, and 10.5cm high respectively (3)

80

£150-200* 81 Lalique, a clear and frosted ‘Love bird’ glass vase Modern Lalique, engraved Lalique France, E12373 Moulded as two love birds entwined, with separate ‘flower frog’; together with a modern Lalique ‘Dove’ cendrier, engraved Lalique ® France 21.5cm high and 9.8cm high respectively (2) £80-120*

81

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82 Marie-Claude Lalique (19352003), a clear and frosted glass scent bottle and stopper ‘Mirabel’, designed 1989, engraved Lalique ® France Moulded, the stopper inspired by a butterfly wing, in Lalique cardboard box; together with a modern Lalique scent bottle moulded with a flower and flower stopper; a modern Lalique scent bottle moulded with rosebuds and with plain stopper, and a small squat modern Lalique scent bottle and stopper, all signed 12.5cm high, 16.8cm high, 14.5cm high and 6.3cm high respectively (4) £100-150*

82

83 René Lalique (1860-1945), a clear and frosted glass crucifix with metal easel support ‘Petite Croix’, designed 1933, this version post-1951 either 12-005/12006, engraved Lalique ® France Moulded; together with a modern Lalique circular box the top moulded with a naked woman, gilt metal hinge; a Modern Lalique ashtray moulded in intaglio with a galleon; and two small modern Lalique pin-trays one moulded as a flower the other with small birds, all signed Croix 11.5cm high, ashtray 17.1cm diameter (5) £100-150* 83

84 Lalique, a frosted glass oval box Modern, engraved Lalique ® France, with Cristal Lalique Paris label Moulded with roses on the top and sides, with gilt metal mounts and hinge, with Lalique card board box; together with a modern Lalique ‘Coeur’ frosted box and cover, the top moulded with heart-shaped motifs, in Lalique box, signed 17.2cm wide, 10.8cm wide (2) £100-150*

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85 René Lalique (1860-1945), a clear and frosted glass clock face ‘Naiades’, No.764, designed 1926, engraved on the edge R.Lalique France Intaglio moulded with water nymphs, with rounded corners (without movement) 11.4cm square £800-1,200*

85 86 Lalique, two clear and frosted glass models of cats Modern, engraved Lalique France Naturalistically modelled; together with a pair of René Lalique ‘Naiade’, No.10-704, cendriers, designed 1930, these made post 1951, engraved marks; a Taureau, glass paperweight, No.11-805, designed by René Lalique in 1931, this version made post 1951, signed; and two pairs of clear and frosted glass scent bottles by an unknown maker Tallest cat 21cm high (9) £300-500* 87 87 Simon Gate (1883-1945), an Orrefors engraved smoky glass carafe c.1924, engraved Orrefors Gate 294.27 Shouldered form of rectangular section, engraved on one side with a figure in a decorated lozenge shaped cartouche; together with an Orrefors Glass Decanter and stopper by Vicke Lindstrand (1904-1983), engraved with a mermaid and bubbles, engraved Orrefors Lindstrand 1617 Of BSB (?)

17.7cm high and 28.5cm high respectively (2) 86 38

£150-200*

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88 88 Gabriel Argy-Rousseau (1885-1953), a pâte-de-verre ‘Medallion’ ashtray 1923, signed G. Argy-Rousseau Elliptical form, the centre moulded with a head in profile, raised on a short foot 15.4cm wide

89 A set of four Magnum sized glass champagne coupes c.1960, possibly Czech Each large bowl cut with a band elliptical leaf shapes on a straight stem, raised on a hollow faceted stem and circular spreading foot (each glass holds a magnum of champagne) 27.5cm high (4)

£700-1,000*

£200-300*

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90

91

90 Edouard Cazaux (1889-1974), a ceramic vase Second quarter 20th Century, signed Cazaux Flared form, the bulbous base decorated in relief with two naked female figures and two putti, coloured and glazed 22.5cm high £200-300*

91 Lenci, an earthenware ‘Madonna and Child’ plaque designed by Otto Maraini Second quarter 20th Century, signed Lenci Italia, with Lenci paper label, Turin, 438, Made in Italy, artists name on the front bottom left Modelled and cast as the head of the Madonna and child, with halo behind, blue ground 34cm high £150-200* 92 Lenci, an earthenware figure of the Madonna and Child designed by Sandro Vacchetti Signed Lenci, IVA, Made in Italy, 31-10-1936 Modelled as the Madonna cradling her child in her lap, she sits on grass surrounded by flowers 22cm. high £200-300*

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93

93 Daisy Makeig-Jones (1881-1941), a Wedgwood Fairyland lustre ‘Roc Centre’ Daventry bowl c.1925, Portland vase mark, Wedgwood Made in England, Z5443 The middle decorated with ‘Roc Centre’ and enclosed by a deep ‘Ghostly Wood’ pinecone and poinsettia foliate border, the exterior with a central blue lustre band of elves from ‘Dana’, with a bronze lustre ground above and below, heightened with gilt 32.7cm diameter (See inside front cover for further image) £5,000-7,000* 93 (interior)

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94 94 Carter Stabler Adams, a pair of three-branch candelabra, the design by John Adams c.1931, impressed Carter Stabler Adams, Poole England Model number 249, each cast with grapes, vine and leaves and having three sconces, green glaze 22cm high, 20.5cm wide Literature: Lesley Hayward, Poole Pottery, Richard Dennis Somerset, 2002, p.51 a similar model illustrated and photograph caption reads “A similar candelabra was shown at the British Industries Fair, 1931.”

96 Katzhutte, a ceramic ‘Ballet Russes’ figure c.1920, printed maker’s marks, impressed Germany Modelled and cast as a dancer wearing an exotic costume 22.2cm high £100-150*

£100-200* 95 Fraureuth, a porcelain box and cover by Carl Nacke c.1920, printed factory marks, signed Nacke The cover modelled with a sleeping woman forming the handle, her blanket painted with gilt stars 19cm. long £200-300*

95

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97 Carter Stabler Adams, a Poole glazed red earthenware vase c.1921-1934, impressed maker’s rectangular mark, incised 700 X, painted /YR over two short lines Possibly designed by Truda Carter, decorated in colours with foliage and unusual black and mauve stylised tulips, against an off-white ground 23.5cm high £200-400* 98 Shelley, an ‘Ideal China’ Oxford shape part tea set Shape introduced 1934, printed maker’s marks, England, Ideal China, Rd. No.795072, C.S.054 Comprising: 6 cups, 6 saucers, 6 tea plates and a milk jug, each piece printed and painted with a stylised leaf/sprig design on a white ground Plate 16.1cm across (19) £80-120*

97

98

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99 99 Susie Cooper (1902-1995), a ‘Kestrel’ shape bachelor breakfast set in blue ‘Printemps’ pattern Kestrel shape introduced 1932, printed marks, Crown Works Burslem England Comprising, teapot, coffee pot, hot water pot, covered warming dish, cup and saucer, lemon plate, tea plate, sugar bowl, milk jug, cereal bowl, egg cup, toast rack and pair of cruets Warming dish 23.1cm diameter (15) Provenance: From a Surrey convent £120-180* 100 Art Deco, a pair of American attributed enamelled bath taps c.1930, each stamped ‘Sterling Silver Mounted’ on the spout side The taps decorated with yellow guilloche enamels, with plaster set brass screw and washer 14.5cm wide (2) Note: A similar pair, and a plug release tap, in pale green enamel sold at Sotheby’s London, Mark Birley: The Private Collection, 21 March 2013, lot 485 for £2625. £300-500*

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101 101 Boucheron Paris, a five piece silver, silver gilt and gem set vanity set and a matched card case c.1940, all signed Boucheron Paris, with French poincons Comprising: a minaudiere enclosing three compartments, a comb, two lipstick holders and a mirror; a cigarette case, a compact, a lipstick holder and a lighter all with cross hatched border and back; together with a matched card case with linear border and back, all six with pierced decoration depicting birds amidst flowering foliage Minaudiere 13cm long x 8.6cm (6)

102 Keith Murray Attributed, a Mappin & Webb Ltd silver plated sugar shaker c.1930s, mark of Mappin & Webb Ltd, Mappin Plate London & Sheffield, W27685, M387 Tapered and stepped form with geometric pierced top; together with a Mappin & Webb silver-plated bowl, a plate and two smaller bowls, stamped maker’s marks Shaker 17cm high (5) £100-150*

£3,000-5,000*

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103

104 103 Benno Elkan OBE (1877-1960), a patinated bronze head ‘Head of a child’, signed B.E. Modelled and cast as the head of a young child, mounted on a slate base 27.5cm high Note: Benno Elkan, was a German born sculptor who left Germany in 1933 and became naturalised British citizen in 1946. He was awarded the OBE. £200-300*

104 Benno Elkan OBE (1877-1960), a patinated bronze figural candelabra ‘Samuel’, c.1930, signed B.E Modelled and cast as the biblical figure standing with one arm raised, with two curved branches terminating with sconces, integral stepped base 45cm high Note: Benno Elkan, was a German born sculptor who left Germany in 1933 and became naturalised British citizen in 1946. He was awarded the OBE £800-1,200* 105 Hagenauer Werkatatte, a carved wood and ebonised figural clock c.1930, impressed maker’s roundel, Atelier Hagenauer Wien, Made in Vienna Austria Carved with an African figure with brass spear sitting beside the elliptical walnut cased clock (no hands) 16cm high, approximately 26.5cm wide £300-500*

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106

106 C. Daris, an Art Deco patinated bronze group ‘Picador with bull’, c.1930, signed on base C. Daris Modelled and cast in two-dimensions as a Picador on a rearing horse and a bull, black slate base 27cm high, 57.7cm wide £900-1,200* 107 Bergman, an Austrian patinated and cold-painted bronze car mascot ‘Angel of Victory’, c.1920, signed NamGreb, with Urn mark Modelled and cast as the winged classical female figure holding a laurel crown in one hand, integral base, traces of colour 18.5cm high £500-800*

107

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108 109 108 Dunhill, a silver-plated lighter with integral compact Signed Dunhill on the arm, stamped on base Prov. Pat 14444728, Regd. No.737179 Rectangular form with rounded ends, the compact opens on one side to reveal powder reservoir and cloth, the hinged cover with mirror 5.7cm high, 6cm wide £120-180* 109 Christofle, a silver-plated four branch electric candelabrum, the design attributed to Süe et Mare Shield mark of Christofle, used 1900-1937, 5832 The four scroll arms supporting the sconce, octagonal base, with electric fitments 23.5cm high £100-150* 110 Moroccan, a handwoven long pile wool rug Second quarter 20th century Woven in red and orange with a geometric pattern with lozenge shaped motifs 171cm x 83cm £300-400* 110

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111 111 Pierre Le Faguays (1892-1962), an Art Deco dark green patinated bronze ‘The Lock’, c.1930, signed P. Le Faguays, stamped Bronze and with indistinct foundry seal Modelled and cast as an athletic young man leaning on a canal gate balance-beam, integral bronze base 28cm high, 47.5cm wide £1,800-2,200* 112 French Art Deco, a giltwood upholstered bergère c.1930* The curved top rail and apron carved with stylised roses, with upholstered sides, loose seat cushions, reeded and tapered front supports 85cm high, 62cm wide £300-500*

112

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113 113 Maurice Guiraud-Rivière (1881-1947), an Art Deco silvered-bronze group on a marble plinth ‘Girl with Hind’, c.1930, engraved on plinth Guiraud-Rivière Modelled and cast as a naked young woman with a deer and holding a staff, mounted on a marble plinth 49cm high, 41.5cm wide Literature: Bryan Catley, ‘Art Deco and other Figures’, Antique Collectors Club, Suffolk, 1978, p.170 (similar figure illustrated) £1,800-2,200* 114 Moroccan, a handwoven long pile wool rug Second quarter 20th century Woven with irregular lozenge decoration in red, black, orange and pink on a red ground 257 x 143cm £300-500*

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115

115 Art Deco, a cold-painted bronze group ‘Diana with birds’, c.1930, probably French, stamped Bronze Modelled and cast as a naked Diana with bow and two birds amidst stylised clouds, the lower bird hit with the arrow, on stepped black slate base 28. 5cm high, 50.2cm wide, 11.2cm deep £1,000-1,500* 116 French Art Deco, a Macassar Bibliothèque c.1930* The central pair of doors enclosing shelves, flanked by slender glazed doors enclosing shelves, with cupboard below, chromium plated pulls and hinges 214cm high, 166cm wide, 44cm deep £500-700*

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117

118 117 Janle, a pair of Art Deco cold-painted metal table lamps ‘Juggling cats’, c.1930, each signed ‘Janle’ and attributed to the Le Verrier foundry Each modelled and cast as a cat lying on its back with a crackle-glass globe shade balancing on it’s paws, marble base, electrical elements 21cm high (2)

118 Gaillard, a French Art Deco cold-painted table light ‘Balancing Cat’, c.1930, stamped ‘Gaillard’ on top of tail, attributed to the Le Verrier foundry Modelled and cast as a cat lying over the white globe glass shade, black marble plinth, with electrical fitments 19cm high, 15.8cm wide

£600-800*

£300-500* 119 Quentin Bell (1910-1996) a ceramic portrait plate Signed on the back Quentin Bell, Fulham Pottery, impressed marks Painted in colours with an Edwardian lady wearing a large hat 22cm diameter £80-120*

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121

120 Wedgwood, a 1953 Elizabeth II Commemorative ceramic Coronation Mug from the design by Eric Ravilious (1903-1942) Printed maker’s marks and artists name Cylindrical form printed with the Royal crest, fireworks and date 10.4cm high £80-120* 121 Charles Graffart (1893-1967), a Val St Lambert cut glass vase Mid-20th Century, ‘Bolero’, signed Val St Lambert The flared form deeply cut and having cranberry flashing 20.5cm high £100-150* 122 John Hutton (1906-1978), a full length engraved figurative glass window ‘Pomona’, 1961, signed Engraved glass, full length figure, title engraved around the head, framed, 210cm x 89cm (cracked) One of three windows originally made for Fisons Building Ipswich (only two of the three known to exist).

Provenance: Family of John Hutton Sold with a letter of authentication by Mrs Marigold Hutton £300-500*

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124 Scandinavian, a flat weave mixed wool and jute carpet Mid-20th Century Woven with leaf motifs 3.23cm high x 2.36cm wide 123 123 A.E. Jones, a pair of silver candlesticks Mark of A.E. Jones, Birmingham 1972 Each flared sconce centred in a rounded square dish 4.5cm high, 8cm wide (2) £250-300*

£250-350* 125 Swedish, a handwoven carpet in red, green and cream 3rd quarter 20th century Small repeated motifs, with tasselled ends 340cm x 301cm £900-1,200* 126 Hartman, a patinated bronze nude 20th Century, signed in the bronze ‘Hartman’ Modelled and cast as a woman taking her chemise off, black and green patination, on pale green marble/stone base 26cm high £200-300*

124

126

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127 John W Mills (b.1933) PPRBS ARCA FRSA, a patinated bronze bust of Sir Thomas Sopwith c.1988, signed Modelled and cast as the pioneering aviator, the young man wears a leather helmet with googles, on wood plinth 63cm high Note: Possibly a bronze proof for Sir Thomas Sopwith, a commission for Brooklands Museum, Weybridge, Surrey, UK. £1,500-2,500*

127

128 John W Mills (b.1933) PPRBS ARCA FRSA, a patinated resin and MDF maquette ‘Monument to the Women of World War II’, signed on the side Modelled and cast with suits of clothing, uniforms and hats symbolising the many roles and duties undertaken by women in World War II, with painted MDF base and top, inscribed ‘To the women of World War II’ on the side of the base 41.5cm high, 23.6cm wide, 11.8cm deep Note: Monument to the Women of World War II was dedicated by HM Queen Elizabeth II on 11th July 2005. This national monument is now in Whitehall not far from the Cenotaph. £400-600* 128 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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129 John W Mills (b.1933) PPRBS ARCA FRSA, a patinated bronze group ‘Blitz’, signed monogram and ‘96 A Bronze maquette for the Fire-fighters Memorial, modelled and cast as three uniformed WWII fire-fighters, raised on an octagonal MDF black painted base 36.5cm high Note: The National Fire-fighters Memorial ‘BLITZ’ was unveiled by Her Majesty Queen Elizabeth The Queen Mother on the 4 May 1991. £500-800*

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131

130 130 Turkish, a Kilim ‘pour Elspeth’ c.1990, signed ‘pour Elspeth’ Geometric abstract pattern in pale shades, with tasselled ends 338cm x 195cm £150-250*

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131 Moroccan, a wool rug Third quarter 20th Century Woven with alternating brown and off-white bands and coloured lozenge shaped motifs in longer strands of wool at the sides 335cm x 135cm £200-300* www.roseberys.co.uk

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PROPeRTy fROM a PRIVaTe COlleCTION Of BRITISH STUdIO CeRaMICS (lots 132-200)

132 132 Charles Vyse (1882-1971), a shallow bowl c.1926, initialled and dated to base A celadon glazed stoneware bowl with incised decoration to the rim, the exterior with a written dedication ‘Charles Henry McLeod from George Offley Whitehead the seventh of November Nineteen-twenty-Four’ Diameter 15.5cm (ARR)

133 133 William Staite-Murray (1881-1962), a flared bowl c.1930, impressed seal to side of foot A stoneware bowl with abstract brushed and resist decoration to the interior and exterior in off white, black and blue Height 9.5cm, diameter 20.5cm (ARR) £100-200*

£80-120*

134

135

134 William Staite-Murray (1881-1962), a deep bowl c.1930, impressed seal to side of foot and various marks to base A stoneware bowl with a rust brown and grey glaze together with a small stoneware vase by the same potter with a tea dust glaze Height of bowl 12cm (ARR)

135 William Staite-Murray (1881-1962), a globular vase c.1930-40, impressed seal to base and other marks A globular vase covered in a green ash glaze with slip and incised decoration in the form of foliate motifs and flowerheads Height 18cm (ARR)

£150-200*

£200-300*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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138 Alfred G. Hopkins (1884-1940), a grotesque beaker c. 1932-40, signed to base An unusual salt glazed stoneware beaker modelled as two smiling faces which when turned upside down turn into downcast faces Height 8.5cm (ARR) Note: Alfred G. Hopkins was London born and worked at Doulton before setting up with his brother in Lambeth Road. Their work was collected extensively by Sydney K. Greenslade of the Arts & Crafts Museum at the University of Aberystwyth and he exhibited at the Fine Art Society in 1927 and 1928. He relocated to Broadstairs in Kent where this beaker was made £80-120*

136 136 William Staite-Murray (1881-1962), a stoneware vase c.1930-40, impressed seal to side of foot A globular vase with flared neck covered in a shiny grey and pale blue glaze Height 16.5cm (ARR) £150-200* 137 William Staite-Murray (1881-1962) and James Dring (1910-1985) attributed, a stoneware vase c.1930’s, various marks to base A lugged vase with narrow chimney neck and everted rim, with linear bands of combed decoration and a green ash and splashed white glaze Height 17.5cm (ARR)

139 Katherine Pleydell-Bouverie (1895-1985), a small stoneware bowl c.1929, impressed seal to side and glaze code XLIII to base A fine early bowl of pentagonal form covered with a cedar ash glaze Height 5.5cm (ARR) Note: In her glaze notes Katherine PleydellBouverie states ‘Chamber 1 - this is Lebanon cedar, silvery running to brownish, very matt and inclined to crystallize. Short period of correct fire (round 1260C) and consequently difficult as it runs if overfired. But can be very good.’ £80-120*

Note: This vase bears an impressed Staite-Murray seal and also an impressed JD seal to the foot, alongside other incised codes. James Dring was an artist who trained at the Royal Academy of Art under Staite-Murray between 1927-30 and rumour has it that if Staite-Murray liked a pupils pot he would sometimes impress his own mark on to it.

James Dring’s tiles and plates are held in the permanent collection at the V&A. £80-120* 139

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140 Katherine Pleydell-Bouverie (1895-1985), a good stoneware vase c. 1930-40, impressed seal to side and glaze codes to base A slender vase with vertical indentations to the body, glazed in dark browns and greens with black runs in between each indentation Height 18cm (ARR) £150-200* 141 Katherine Pleydell-Bouverie (1895-1985), a stoneware vase c. 1940-60, impressed seal to side A globular vase covered in a green ash glaze with dark green brushwork motifs around the body Height 13.75cm (ARR) £100-150* 142 Katherine Pleydell-Bouverie attributed (1895-1985), a tall stoneware vase c. 1940-60, unmarked A tall stoneware vase with a pale ash glaze and blue foliate decoration Height 21.5cm (ARR) £100-200*

140

141

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146 Katherine Pleydell-Bouverie (1895-1985), a small earthenware vase c.1940-60, impressed seal to side and various glaze codes A small globular earthenware vase with a dark ash glaze together with seven further small examples of her work to include jugs, dishes and a vase Height of earthenware vase 6cm (8) (ARR) £80-120*

145 143 Katherine Pleydell-Bouverie (1895-1985), a stoneware vase c. 1940-60, impressed seal to side A squat vase with angled incised lines all around the body covered with a green ash glaze gathering round the foot together with another squat vase by the same potter with vertical incised lines covered in a matt off white glaze Green vase height 9.25cm (2) (ARR) (See inside back cover for illustration) £100-200* 144 Katherine Pleydell-Bouverie (1895-1985), a small stoneware vase c. 1940-60, impressed seal to side A small globular vase with vertical incised lines glazed with alternate bands of off white and dark blue with an unglazed bottom third, together with a slender stoneware vase by the same potter glazed pale blue/celadon with vertical fluting Small vase height 6.5cm (2) (ARR)

147 Katherine Pleydell-Bouverie, A Potter’s Life 1895-1985 Crafts Council 1986, together with Katherine Pleydell-Bouverie, an exhibition catalogue published by Bath University Press, 1980 (2) £20-30* 148 Michael Cardew attributed (1901-1983), a slipware jug c.1930, Winchcombe Pottery mark to base A good honey glazed earthenware jug with slip trailed motifs around the body and a scroll handle Height 22cm (ARR) £100-200*

Note: These small vases were primarily glaze testers and for similar examples with thorn ash and manganese oxide glazes see Katherine PleydellBouverie: A Potter’s Life 1895-1985, Crafts Council, p.42-43 (See inside back cover for illustration) £80-120* 145 Katherine Pleydell-Bouverie (1895-1985), a flared stoneware bowl c. 1940-60, impressed seal to side A green ash glazed bowl with cut flame decoration together with a vase by the same potter with dark green ash glaze Height of bowl 9.5cm (2) (ARR) Note: For similar bowls with cut flame decoration see Katherine Pleydell-Bouverie: A Potter’s Life 1895-1985, Crafts Council, p.45

148

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149 Michael Cardew (1901-1983), an earthenware wall pocket c.1930-40, impressed seals to base An early Winchcombe Pottery wall vase or pocket decorated with a bright galena glaze and incised seed pod motifs Height 22.5cm (ARR) £100-200* 150 Winchcombe Pottery (1926-), a slipware butter dome c. 1930-40, impressed pottery seal to base An earthenware butter dish and cover with slip trailed decoration together with fourteen items of Winchcombe Pottery slipware by Pat Groom, Charles Tustin and Sidney Tustin dating from the mid 20th century, to include lidded bakers, plates, wall pockets, jam pots and bowls Height of butter dish 12cm (15) (ARR)

149

£50-80*

152 Bernard Leach attributed (1887-1979), a large slipware dish c.1930, impressed pottery seal underside A large earthenware dish decorated with a slip trailed ‘Boney Pie’ motif Diameter of dish 34cm (ARR)

151 Michael Cardew: A Pioneer Potter, An Autobiography Collins 1988, together with seven other books on Michael Cardew, Winchcombe Pottery and associated potters (8) £50-80*

£150-200*

152 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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155 Bernard Leach attributed (18871979), a porcelain bud vase c. late 1940’s, impressed pottery seal and glaze obscured marks A small tenmoku glazed bud vase with spotted iron decoration, together with a Bernard Leach lidded marmalade pot with cobalt and iron decoration and painted BL mark to base (professional restoration to lidded jar) Height of vase 7.5cm (2) (ARR) Note: This lot comes with a signed letter from Janet Leach on Leach Pottery paper stating that she believes it is ‘most definitely a Bernard Leach decorated bottle vase’. £80-120*

154

153 Bernard Leach (1887-1979), an early vase c.1930’s, impressed pottery and personal script seal A small green glazed stoneware vase together with a stoneware brush pot of slightly waisted form with banded tenmoku decoration Vase height 7.5cm (2) (ARR) £100-200* 154 Bernard Leach attributed (1887-1979), a framed stoneware tile c.1930-40, impressed pottery seals to reverse and painted pottery seal to front A small stoneware tile decorated with a snail on a branch together with two other early Leach Pottery tiles, one framed one with combed slip decoration and the other with blue foliate decoration around the edge Diameter of snail tile 10.5cm (3) (ARR) £80-120*

156 Bernard Leach (1887-1979), a shallow bowl c.1945, impressed pottery and personal seal A shallow porcelain bowl of slightly compressed form with a central incised crossed motif possibly of a bird in flight Height 5cm, diameter 13.5 maximum (ARR) £80-120* 157 Bernard Leach (1887-1979), a deep porcelain bowl c.1950’s, impressed pottery, personal and ENGLAND seals A fine large fluted porcelain bowl with finely combed decoration to the interior (gold lacquer restoration to rim) Height of bowl 11cm, diameter 19.5cm (ARR) Notes: For a similar bowl see Bonhams - The Art and Influence of Asia, 16 September 1998, Lot 520, a copy of this catalogue is included with the lot £300-500*

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162 David Leach (1911-2005), an earthenware vase c. 1933, stamped D mark to foot A scarce vase made by David Leach at Dartington Hall, Devon, of bulbous form with a dark brown treacle glaze together with an earthenware jug with sprig decoration also made during his time at Dartington Hall Height of vase 23cm (3) (ARR)

158 Bernard Leach interest, a group of photographs c.1952, unsigned An interesting group of photographs depicting both Bernard Leach and Shoji Hamada on their tour of the US, showing them decorating pots by dipping and slip trailing at the St Paul Gallery, together with a small group of exhibition catalogues relating to Bernard Leach including a talk carried out at the Berkeley Galleries at a Japanese Arts exhibition, a Penwith Society of Arts 80th birthday exhibition and other items

Provenance: This vase was in the David Leach touring exhibition of 2003 and is pictured in the catalogue as item no. 9. A copy of the exhibition book is included with this lot

£50-80*

£80-120*

159 Bernard Leach, sixteen assorted volumes to include A Potter in Japan, The Art of Bernard Leach, Japanese exhibition catalogues and various other books (16)

163 David Leach (1911-2005), a porcelain bowl c.1990, impressed seal to base A porcelain celadon glazed fluted bowl together with a similar example with a copper red glaze, a smaller octagonal porcelain bowl with celadon glaze and an unusual collaborative porcelain vase

by Marianne de Trey and David Leach Height of celadon fluted bowl 7cm (4) (ARR)

£50-80* 160 Kenneth Quick (1931-1963), a Leach Pottery chawan c. 1950-55, impressed marks to foot A good stoneware chawan decorated with a band to the centre and glazed with a rich metallic looking tenmoku glaze Height 9.25cm (ARR)

£80-120* 164 William ‘Bill’ Marshall (1923-2007), a large tea bowl c. 1970-90, impressed personal seal to base A large hakeme glazed stoneware tea bowl decorated with mountainous scenes and trees, together with a small porcelain saki beaker (restoration to rim of tea bowl) Diameter of tea bowl 14cm (2) (ARR)

£80-120* 161 Paul Barron (1917-83), a stoneware vase c.1950, impressed seal to foot edge A globular vase with a pale ash glaze and foliate iron brushwork together with two stoneware beakers and one porcelain one with ribbed chamfered corners and of a square section, the stoneware beakers with a painted initial and the porcelain one with an impressed seal Height of vase 13.25cm (4) (ARR)

Note: Both items were gifted directly to the vendor

by Bill Marshall. The tea bowl was in Bill’s personal collection for many years and had been restored by Bill as he thought it too good to throw away £80-120*

£80-120*

160 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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165 Geoffrey Whiting (1919-88), a tea bowl c. third quarter C20th, pottery seal to foot A stoneware tea bowl made at Avoncroft Pottery with matt iron foliate brushwork over a brown ground with oatmeal interior together with eight items of Leach Pottery wares to include a yunomi with indistinct personal seal, a chawan with indistinct personal seal, a ‘z’ bowl, large jug, milk jug and part mead set Diameter of Avoncroft 12cm (9) (ARR) £50-80* 166 Trevor Corser (1938-2015), a large jug c. late 20th century, impressed seals to base edge A huge stoneware jug glazed in a rich tenmoku glaze with a bulbous body leading up to a narrow neck with a long strap handle Height 39cm (ARR) £50-80*

167 Denise Wren (1891-1979), a small lidded canister c.mid 20th century, signed to base A small lidded container made at Oxshott Pottery together with two other items of Oxshott pottery, a jug by Deborah Harding, an exhibition book for the V&A with examples by Deborah Harding, a group of eight items by Donald Mills, four Muchelney beakers, a Winchcombe oil bottle and a Dorothy Kemp mug Denise Wren lidded canister 10cm high (19) (ARR) £50-80* 168 Agnete Hoy (1914-2000), a porcelain vase c.1940-52, marks to base A squat vase glazed brown with resist decoration designed by Agnete Hoy for Bullers, together with eleven other items of Bullers porcelain to include mugs, vases and bowls Height of vase 9cm (12) (ARR) £80-120* 169 Janet Leach (1918-1997), a large handbuilt vase c. 1980’s, impressed seals to side An impressive handbuilt stoneware vase of organic form with a glazed rim, the form having open cracks, multiple incisions and marks Height 29cm (ARR) Note: By repute this was the funerary jar which Janet Leach made to commemorate the life of her husband Bernard Leach £150-200* 170 Warren MacKenzie (American 1924-2018), a stoneware yunomi c. late 20th century, impressed seal to side A stoneware yunomi glazed with an off white band to the exterior rim and an ash glaze to the rest of the body, decorated with a repeat impressed pattern around the centre of the body, together with a copy of Warren MacKenzie: An American Potter by David Lewis (Kodansha 1995) Height of yunomi 9cm (2) (ARR) £50-80*

169

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171

171 Beatrice Wood attributed (American 1893-1998), an earthenware vase c.1985, painted BEATO to base A large textured vase standing on four feet, the vase having five rectangular panels of applied decoration each containing a central applied roundel, glazed black and orange Height 18.25cm (ARR) Notes: Beatrice ‘Beato’ Wood was an American artist who was part of the Dada movement and friends with Marcel Duchamp and Henri-Pierre Roche.

For a very similar example of the roundel with dots decoration see Waddington’s, Toronto, December 5, 2016, Lot 277 £80-120* 172 Mike Dodd (1943-), a chawan c. late 20th century, impressed MJD seal to foot A stoneware chawan glazed in a pale green glaze with applied and trailed slip decoration together with an organic formed blue tea bowl by Ian Gregory, a Chuck Schwartz chawan and large Charles Bound yunomi Diameter of Mike Dodd 12.25cm (4) (ARR)

173 Kenji Funaki (1927-), a large stoneware bowl c. late 20th century, unsigned A large stoneware bowl decorated with running areas of glaze over a tenmoku ground, together with a Japanese boxed teabowl and a large collection of studio ceramics by various makers Funaki bowl measuring 41cm diameter (17) (ARR) Provenance: Funaki bowl was part of the Henry Sandon collection sold at Mallams, Oxford 23/05/2012 £80-120* 174 ‘Hamada Potter’ by Bernard Leach 1990 revised edition (Kodansha International), together with eight other books on Shoji Hamada and Japanese studio ceramics to include a 1969 Japanese exhibition catalogue on Hamada and a slip cased book on Japanese arts which was owned

by Janet Leach £50-80*

£50-80*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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175 175 Dame Lucie Rie (1902-95), a stoneware cup and saucer c.1960, impressed seal to base of each item A cup and saucer glazed white with bronzed rim and edge together with another black glazed cup and saucer by Dame Lucie Rie and Hans Coper and also a tall manganese glazed coffee cup by Dame Lucie Rie White cup and saucer 8.25cm high (5) (ARR) £150-200*

176 176 Dame Lucie Rie (1902-95), a stoneware pourer c. 1950-60, impressed seal to base A cylindrical pourer with long pulled handle glazed off white together with a smaller pourer made by Dame Lucie Rie and Hans Coper, glazed black with an off white rim (restoration) Height of large pourer 12.5cm, small pourer 7cm (2) (ARR) £100-200* 177 Dame Lucie Rie (1902-95), a tall stoneware vase c.mid 1960’s, impressed seal to base A tall vase of cylindrical hipped form glazed off white with blue hues coming through Height 21cm (ARR) Note: The form and glaze of this vase are very reminiscent of vases Lucie Rie made for the exhibition at the Boijmans Museum, Rotterdam, in 1967 £200-300* 178 Dame Lucie Rie (1902-95), a stoneware bowl c. 1950’s, impressed seal to base An olive green glazed bowl with a delicate bronzed rim (restoration) Height 7.5cm, diameter 15cm (ARR) £150-200*

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179 Dame Lucie Rie (1902-95), a Rijsttafel stoneware bowl c.1956, impressed seal to base A stoneware bowl glazed in a off white glaze with delicately bronzed rim and painted characters to the interior Height 7cm, diameter 13.5cm (ARR) Provenance: Bonhams, Contemporary Ceramics, 30 January 2006, Lot 18 (part) £200-300*

179

180 Dame Lucie Rie (1902-95), a large stoneware bowl c. 1950-60, impressed seal to base A large stoneware bowl of slightly compressed form with a wide white glazed band around the rim, the rest of the bowl glazed in a rich black Height 17cm max, diameter 32.5 x 29cm (ARR)

181 Lucie Rie and Hans Coper, eight reference books to include Lucie Rie (Crafts Council 1981), Lucie Rie (Tony Birks 1987), Hans Coper (Tony Birks 2005) together with five other books and catalogues (8) £30-50*

Provenance: Woolley and Wallis, British Art Pottery, 28 November 2012, Lot 553 By repute originally came from the Berkeley Gallery £700-900*

180

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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182 Ruth Duckworth attributed (1919-2009), a porcelain vase c.1961, apparently unsigned An organic porcelain vase with large flared upper section on a small tapered foot (restoration to foot), together with two beaker vases, a pebble form vase on stand, a volcanic glazed teabowl and two signed catalogues from exhibitions of her work Height of porcelain vase 7cm (7) (ARR) Provenance: Purchased by the current vendor from the great nephew of Ruth Duckworth when her studio was cleared Note: For a similar form vase see plate b on p.11 of Ruth Duckworth and Alice Westphal, Exhibit A, Gallery of American Ceramics, 1977 (included in this lot) £100-200*

183 Ruth Duckworth (1919-2009), a tall vase c.1960’s, incised RWD to base A tall stoneware vase of tapering form with bulbous rim section, the top glazed in a matt green glaze and the rest of the vase unglazed with a textured finish Height 27cm (ARR) Provenance: Purchased by the current vendor from the great nephew of Ruth Duckworth when her studio was cleared £100-200* 184 Bryan Newman (1935-), an early stoneware vase c.1960’s, stamped mark to side A stoneware vase of squared form with linear decoration and applied roundels together with a large abstract stoneware sculpture, a tall bottle vase glazed blue and a stoneware vase of squat waisted form attributed to David Leach Bryan Newman measuring 24cm high (4) (ARR) £50-80* 185 Alan Wallwork (1931-), a spherical form c. late 20th century, initialled to base A spherical wasps nest form with multiple perforations and a segment cut out the top section together with another vase of similar form Height of vase 13.25cm (2) (ARR) £80-120* 186 Alan Wallwork (1931-), a tall vase c. late 20th century, original potters label and price label to base A tall flattened form vase of disc form with incised decoration together with three other vases by the same potter Height of tall vase 21.25cm (4) (ARR) £50-80* 187 Alan Wallwork (1931-), a stoneware bowl c. late 20th century, initialled to base AW A deep textured bowl the interior glazed with a running glaze to a clear green glazed well together with three other bowls by the same potter of varying forms Height of deep bowl 11cm (4) (ARR) £80-120*

183

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188 Alan Wallwork (1931-), a gourd shaped vase c. late 20th century, initialled to base AW A delicately glazed green vase with everted rim together with three other vases by the same potter Height of gourd vase 13.5cm (4) (ARR) £80-120* 189 Alan Wallwork (1931-), a tall cylinder vase c. late 20th century, initialled to base W A tall textured cylinder vase glazed in greys, blues and browns together with two other vases and a lamp base by the same potter Height of cylinder vase 27cm (4) (ARR)

191

£80-120* 190 Alan Wallwork (1931-), a rectangular vase c. late 20th century, initialled to base W A stoneware vase of rectangular form with an applied hourglass panel of abstract decoration to each side together with three other similar rectangular vases by the same potter Height of vase 22cm (4) (ARR) £80-120* 191 Guy Sydenham (1916-2005), a trio of ‘Rock Pool’ vases c. 1995-2000, all stamped to base A group of three high fired terracotta vases with impressed decoration and white glazed interiors together with the books A Potters Life and A Potters Life II Largest vase measuring 9cm high (5) (ARR) Notes: For a group of three near identical vases see A Potters Life - Guy Sydenham 1999, plate 36, page 141 £80-120* 192 Robin Welch (1936-), a tall unusual vase c. 1986, stamped marks to base An unusual figurative stoneware vase depicting a nude female torso together with a Chris Carter stoneware vase, two sculptural forms by Eileen Lewenstein and a miniature bowl in the manner of Dorothy Feibleman Robin Welch measuring 35cm high (5) (ARR) Notes: By repute this was a private commission by the previous owner to Robin Welch

193 Adrian Lewis-Evans (1927-), a flared stoneware vase c.mid to late 20th century, impressed seal to base A flared stoneware vase decorated with a running ash glaze with vertical incisions together with a large quantity of work by the same potter to include mugs, bowls, vases, planters and a Bonhams Contemporary Ceramics catalogue from 1989 which included examples of his work Flared vase measuring 20cm high (qty) (ARR) Notes: Adrian Lewis-Evans trained under Norah Braden at Camberwell before setting up at Lychett Matravers in Dorset where he has potted since £100-200* 194 Studio Pottery and Contemporary Ceramics A large collection of approximately 50 auction catalogues relating to studio ceramics over the past 25 years, together with tray boxes of books on studio ceramics (a large quantity) £50-80* 195 Nic Collins (1958-), a globular vase c. late 20th / early 21st century, unsigned A globular woodfired vase together with a handled vase and a bowl Vase measuring 23cm high (3) (ARR) Provenance: Purchased directly from the potter by the current vendor £50-80*

£50-80*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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199 Andrew Davidson (British Contemporary), a porcelain vase c. 21st century, seal to base A cylindrical vase with slightly broader neck decorated with bands of painted lines together with four other porcelain items to include a small shard like sculpture, two bowls and a vase with marbled decoration Height of painted vase 19cm (5) (ARR) £50-80*

196 196 Nic Collins (1958-), a monumental jar c.late 20th / early 21st century, signed to base A large woodfired globular jar with three lugged handles to the collar Measuring 50cm high (ARR) £100-200*

200 Andrew Davidson (British Contemporary), a tall vase c. 21st century, seal to base A tall stoneware vase with a slightly pitted glaze and marbled bands of decoration together with a tall lidded canister with lugged handles also decorated in a marbled volcanic glaze in blues and pinks Height of vase 25cm (2) (ARR) £50-80*

197 Jeff Oestreich (American 1947-), a yunomi c.2000, impressed seal to foot A cut sided yunomi decorated with alternate panels of brushed brown and pale blue together with a heavily grogged stoneware chawan by Jay Strommen, a raku tea bowl and a French chawan by Thierry Basile Height of Oestreich 10.5cm (4) (ARR) £50-80* 198 Andrew Davidson (British Contemporary), a faceted vase c. 21st century, seal to base A slender porcelain faceted vase glazed with a subtle purple and green glaze together with a small porcelain faceted bowl and a small stoneware beaker with diagonal decoration Height of vase 14.25cm (3) (ARR)

200

£50-80*

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201 201 Charles Vyse (1882-1971), a large stoneware vase c.1930, incised initials and date to base A large vase decorated with Chinese influenced foliate brushwork on a celadon ground, together with a set of four studio pottery bowls with abstract decoration and an indistinctly signed vase Vyse measuring 24cm high (ARR) £80-120* 202 Charles Vyse (1882-1971), a stoneware vase c.1933, painted initials and date to base A small globular vase with lugged handles to the shoulder covered in a sancai (three colours) glaze Measuring 10cm high (ARR)

202 203 Michael Cardew (1901-1983), a slipware inkwell c.1933, impressed personal and pottery seal to base A small Winchcombe Pottery earthenware inkwell with slip trailed galena coloured decoration to the body and the lid, together with a small early Leach Pottery honey glazed earthenware plate with an incised bird to the centre, c.1930 Inkwell measuring 7cm high (ARR) Notes: For a near identical example of this inkwell see Aberystwyth Ceramics Collection catalogue number c270 for one lidded and one unlidded example which were originally bought from The Little Gallery in 1933 £100-200*

Notes: Charles and Nell Vyse were hugely appreciative of Chinese glazes and through their neighbour at Cheyne Walk who had an extensive collection of Chinese ceramics, Mr George Eumorfopoulos, they experimented and perfected many glazes and forms of which this is a particularly good example £100-200*

203

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204

205

204 Geoffrey Whiting (British 1919-1988), a stoneware jug c. mid 20th century, impressed marks A stoneware jug made at Avoncroft Pottery with brushed decoration over a tenmoku ground Measuring 21cm high (ARR) £100-150*

205 Clement Kofi Athey (1922-?, Nigerian), a Jos Pottery coffee pot c. mid 20th century, stamped personal and pottery seals A scarce lidded coffee pot made at Jos Pottery, Nigeria, decorated with typical iron brushwork motifs Measuring 24.5cm high (ARR) Notes: After working at both Abuja and Vume potteries in Nigeria, Clement Kofi Athey was left in charge of the pottery at Jos Museum which had been set up by his close friend Michael Cardew. Jos Pottery examples are relatively unusual to come across and examples with the personal seal of Kofi Athey even more so £100-200* 206 George Owen-Jones (British 1916-1997), a large vase c. mid 20th century, signed to base A large stoneware vase of globular form standing on a slightly flared foot with pronounced rings around the main body and glazed in an off white / blue glaze Measuring 26.5cm high (ARR)

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207 208 207 Derek Davis (1926-2008), a tall vase c.mid to late 20th century, signed to base A tall porcelain cylinder vase with flared neck, glazed light green with a vivid band of light blue near the top with other glazed running through it, together with a globular vase by the same potter with a crackled celadon glaze and an aquamarine band near the rim with red and pink running glaze around it Tall vase measuring 33.5cm high (ARR)

209 Mary Rich (1940-), a porcelain vase c.late 20th century, impressed seal to side A slender vase with flared neck decorated with bands of colour with knitted gold brushwork to the centre, together with a studio pottery goblet with a lustre glaze initialled PNL Rich measuring 16.5cm high ÂŁ80-120*

ÂŁ120-150* 208 Mike Dodd (1943-), a porcelain vase c.1981-86, incised monogram to base An unusual tall porcelain vase with iron brushwork and resist decoration with a small everted neck Measuring 29.5cm high (ARR) Provenance: Purchased directly from the potter. ÂŁ80-120*

209 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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210 Kyra Cane (British), ‘Tall Vessel I’ c.late 20th century, signed and labelled to base A huge cylindrical stoneware vase, cream glazed with a central band of dark blue / grey decoration Measuring 75.5cm high (ARR) Provenance: Originally purchased from Roseberys Auctioneers 24/06/2014 £200-300* 211 Ursula Stroh-Rubens (1938-), a large bowl c.late 20th century, signed to base A large raku fired bowl decorated with abstract panels of colour to exterior and interior on a charcoal black background Measuring 19.5cm high (ARR) £80-120* 212 John Hudson (1946-), a huge slipware dish c. late 20th century, impressed H to underside A huge slipware dish after Thomas Toft depicting the Royal Arms of Charles II flanked by a lion and unicorn Measuring 51.5cm diameter and 10cm deep (ARR) Notes: John Hudson has been potting over 50 years and creates faithful reproductions of traditional country pottery, this being a copy of the Dorfold Hall charger by Thomas Toft c.1660 which was sold at Christies in 2016 £100-200*

210

211 74

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213

213 Edmund de Waal (British b.1964), a large lidded porcelain jar c.1998, impressed marks to top edge and side A large celadon glazed porcelain jar with impressed and applied decoration and marks to the main body, covered all over with a fine crackle glaze and mounted on a wooden base (lid restored) Height 31cm (ARR) ÂŁ1,500-2,000*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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214 Susan Parkinson (1925-2012), a ‘Woman Knitter’ figure c.early 1960’s, impressed marks to feet An early figure of a seated woman knitting, model No.110, made of slip cast porcelain and decorated in dark blue brushwork Measuring 19cm high Notes: These slightly larger figures from the early 1960’s were ‘made for a more discerning market’ according to Carol Cashmore’s 2004 book. A similar figure can be seen illustrated on p.75 of this book £300-500* 215 Fulham Pottery, a two handled planter c.mid 20th century, printed marks to base A cream glaze two handled mantel planter Measuring 42.5cm long £80-120*

214

215

76

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216

216 (top) 216 Conran, a two tier coffee table, with design attributed to John Piper, c.1950s, the Formica top with printed scenes of London, above undertier, raised on black steel legs, 35cm high, 114cm wide, 38cm deep

217 Ernest Race (1913-1964), a pair of model ‘DA2’ armchairs, c.1950s, with rounded button backs, upholstered in green velvet fabric, raised on tapering beech legs, each 76cm high, 68cm wide (2)

£120-180*

£1,200-1,500*

217

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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218

218 Robert Heritage (1927-?), a walnut and copper inlaid sideboard for Archie Shine Ltd, c.1960, with four frieze drawers inset with copper plaques incised with feather motifs, above four cupboard doors, raised on cylindrical tapering legs, 78cm high, 229cm wide, 51cm deep

219 Robert Heritage (1927-?), a teak ‘Knightsbridge’ sideboard for Archie Shine Ltd, c.1960, with four drawers and two cupboard doors, each enclosing one shelf, raised on cylindrical feet, 82cm high, 244cm wide, 46cm deep £800-1,200*

£700-900*

219

78

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220 A beech coffee table, with glass top,

c.1950s, stamped to legs - ‘Bath’, the circular, bevelled glass top, on folding cross section base, with tapered legs, 54.5cm high, 76cm diameter £80-120* 221 A laminated beech metamorphic side table / cabinet, c.1950, of cylindrical form, with white Formica top, consisting of three hinged sections, opening to reveal storage space and shelves, 43cm high, 60.5cm diameter

220

£100-200* 222 After Charles Rennie Mackintosh (18681928), a set of eight ‘Hill House’ chairs, c.1980, with ebonised slatted and square pierced backrests, with drop in seats, on conforming square legs, 113cm high, 41cm wide (8) £800-1,000*

221

221 (open)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

79

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225

223

223 John and Sylvia Reid, a standard lamp for Rotaflex Lighting Ltd, c.1956, a scarce model, the adjustable perforated shade on steel, square-section stand, 152cm high Literature: ‘Austerity to Affluence: British Art & Design 1945-1962’, The Fine Art Society, London, 1997, PD38, page 101 (see similar illustrated) (It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £500-800* 224 John Piper (1903-1992), ‘Stones of Bath’ curtains c.1960’s, titled to selvedge A large pair of John Piper designed curtains with the ‘Stones of Bath’ pattern in green colour way, printed

by Arthur Sanderson & Sons Ltd Both curtains drop 200cm and width 225cm £400-500* 225 David Gregson (born 1952), a modern Arts and Crafts walnut framed wall mirror,

c.1990, stamped to back - ‘David Gregson 1990’, of arched form, the walnut frame with applied ebony and fruitwood moulding to each corner, 122cm high x 61cm wide £80-120* 224 (detail) 80

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PROPeRTy fROM a PRIVaTe COlleCTION Of POST WaR deSIGN (lots 226-254) 226 Maison Arlus (French), a brass and opaline glass desk lamp, c.1950s, the tapering shade, with curved brass handle support, on black powder coated steel base, 39.5cm high (It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £100-200*

227 Italian, a set of six ebonised dining chairs, in the manner of Ico Parisi, Second half 20th Century with ebonised frames, upholstered in white fabric, with brass fittings and sabots, together with two ebonised side chairs, upholstered in matching white fabric, with steel sabots (8)

226

£400-600*

227

227

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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228

228 Italian, a birch and ebony inlaid dining table, on black lacquered legs, c.1950, The rounded rectangular top inlaid with abstract, geometric shapes, on curved and tapering ebonised legs, with brass sabots, 78cm high, 150cm wide, 95cm deep ÂŁ400-600* 229 Italian, a low stool on ebonised legs, Second half 20th Century, the white upholstered fabric cushion, on splayed and tapering, ebonised legs, 48cm high, 132cm wide, 45cm deep

228 (detail)

ÂŁ300-500*

229 82

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230

230 Osvaldo Borsani (1911-1985) Attributed, a mahogany and glazed bookcase, c.1940, with two glazed sliding doors, enclosing three glass shelves, on stylised brass leaf bracket supports, raised on lappet carved plinth, on cream marble base, 190cm high, 171cm wide, 29.5cm deep ÂŁ2,000-3,000*

230 (detail)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

83

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231 231 Italian, an ebonised, oak and parchment sideboard, c.1940s, the rectangular top above four drawers, flanked by two oak and parchment inset doors, on splayed, and tapering legs with brass sabots, 89cm high, 150cm wide, 46.5cm deep

232 Harvey Probber Attributed, a large three seater sofa, c.1950s, of curved form, upholstered in red and white vinyl material, with loose seat cushion, on cylindrical stained wood legs, 63cm high, 265cm wide, approx. 100cm deep

ÂŁ600-1,000*

ÂŁ800-1,200*

232

84

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233 (part) 233 Italian, a stained mahogany three section bar, c.1950, with curved glazed shelf, on brass supports, above three panelled sections, enclosing two drawers, one shelf and storage space, raised on splayed, tapering brass legs, together with a matching bar cabinet, of square form, with mirrored interior and one shelf, above glazed undertier, raised on tapering brass supports, three section bar : 113.5cm high, approx 140cm wide, 34cm deep, bar cabinet : 197cm high, 86cm wide, 27cm deep (2) ÂŁ600-1,000*

233 (part)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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234 Salvi & Reggiani (Italian), a model ‘468’ stainless steel sculptural wall light, c.1970, of square form, consisting of flat and raised interwoven steel sheet sections, with five lights, 58cm high, 58cm wide (It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £600-1,000*

234

235 Curtis Jere Attributed, a copper and patinated ‘Sunburst’ wall sculpture, c.1970, constructed with three graduated layers of copper rods, emanating from a gilt and red patinated central disc, 97cm diameter £600-1,000*

235 236 Italian, a pair of textured glass and brass wall appliques, in the manner of Stilnovo, c.1950, the curved and tapering textured glass shades, on brass supports, 38cm high, 20cm wide (2) (It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £1,000-1,500* 236 86

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237

237 (label)

237 Ico Parisi (1916-1996), a set of four walnut model ‘814’ armchairs for Cassina,

238 Italian, a rosewood framed stool, in the manner of Ico Parisi, c.1960, of rectangular form, with white upholstered seat cushion, on cross section base, with off-set, tapering legs, 51cm high, 138cm wide, 72cm deep

Literature : R. Lietti, Ico Parisi. Design. Catalogo ragionato 1936-1960, Silvana Editoriale, Cinisello Balsamo, 2017, page 548 (see similar illustrated).

NOTE: This lot comes together with Article 10 paperwork.

c.1961, paper label to underside - ‘Figi di Amadeo Cassina, 20036 (Milano) Italy’ the walnut frames with exposed boxwood joints to armrests, upholstered in white fabric, on chamfered legs, each 77cm high, 56.5cm wide (4)

£200-400*

£1,500-2,500*

238

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

87

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239 239 Ico Parisi (1916-1996), a ‘Urio’ rosewood wall system for M.I.M,

c.1958, three cabinets with applied steel manufacturers labels - ‘M.I.M Roma’, comprising four cabinets with sliding doors, two glazed cabinets, and three shelves, 239cm high, 300cm wide, 45cm deep Literature : R. Lietti, Ico Parisi. Design. Catalogo ragionato 1936-1960, Silvana Editoriale, Cinisello Balsamo, 2017, page 565 (see similar model illustrated) NOTE: This lot comes together with Article 10 paperwork. £2,500-3,500*

239 (label) 88

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240 Pierro Fornasetti (1913-1988), a transfer printed and brass bound umbrella stand, c.1950s, printed mark to base ‘Fornasetti Milano, Made in Italy’, Transfer printed with “Losanghe” pattern on cream ground, with brass trim to top and raised on brass feet, 57.5cm high Literature: Barnaba Fornasetti, Fornasetti, The Complete Universe, Rizzoli, New York, 2010), page 474, (see similar example illustrated). £600-1,000*

240

241 240 (mark) 241 Scuola di Cantu (Italian), an ash and ebonised desk, c.1948, the shaped floating top, surmount with reverse painted glass surface, above single frieze drawer, over kneehole compartment and bank of two drawers, raised on tapering and ebonised legs, 79cm high, 110cm wide, 70cm deep Literature : Domus no. 228, September 1948, page 31 (see similar desk illustrated with different configuration of drawers)

242

£600-1,000* 242 Gilardi & Barzaghi Attributed, a two light floor lamp, c.1950, with uplighter and reading light, on double stem support, with white marble base, 184cm high (It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £800-1,200*

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

89

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243

243 Italian, a fourteen light chandelier, in the manner of Fontana Arte, c.1950, the central support with fourteen brass arms, terminating in rectangular and curved, smoky glass shades, 51cm high, approx. 87cm diameter,

244 Italian, a three piece sofa suite in the manner of Ico Parisi, c.1950s, comprising a two seater sofa and two armchairs, with curved backs, upholstered in white fabric, raised on tapering, splayed brass legs (3) £800-1,200*

(It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £2,000-3,000*

244

90

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245

245 Louis Christian Kalff (1897-1976), a pair of black lacquered and brass desk lamps, c.1950s, the pierced black lacquered shade on angled brass support, 38cm high (2)

246 Stilnovo Attributed (Italian), a brass and opaline glass eighteen light chandelier, c.1950, with eighteen curved brass arms, terminating in tapering white glass shades, 51cm high, approx. 106cm wide

(It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use)

(It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use)

£600-1,000*

£2,000-3,000*

246

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

91

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247

247 Italian, a two seater sofa, c.1950s, with curved armrests, upholstered in white fabric, on tapering, splayed, brass legs, 101cm high, 139cm wide, 85cm deep £600-800* 248 Stilnovo Attributed (Italian), a standard lamp, c.1950, the cylindrical opaline shade, with outer perforated shade, on black enamelled stem, with circular green marble base, 179cm high (It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) £600-1,000*

248 92

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249

249 Gio Ponti and Carlo de Carli, a two seater sofa, designed for the Hotel Parco dei Principi, Sorrento, produced by Cassina, Milano, c.1960-62, upholstered in green and white vinyl material, on splayed, tapering and ebonised legs, 75cm high, 133cm wide, 73cm deep Note - designed by Carlo de Carli and Gio Ponti, this sofa and matching armchairs (see lot 250) were created c.1960 for the interior of the Hotel Parco dei Principi, Sorrento. Engineer Roberto Fernandez originally purchased the site in 1959, commissioning architect Gio Ponti to create a modern luxury hotel there. Gio Ponti collaborated with several major architects and designers of the day to furnish and decorate the hotel interior. This included Carlo de Carli, Ico Parisi, Fausto Melotti and Max Ingrand, to name but a few.

250 Gio Ponti and Carlo de Carli, a pair of armchairs designed for the Hotel Parco dei Principi, Sorrento, produced by Cassina, Milano, c.1960-62, upholstered in green and white vinyl material, on splayed, tapering and ebonised legs, each 77cm high, 72cm wide (2) ÂŁ4,000-6,000*

ÂŁ3,000-5,000*

250

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

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251 Italian, a maple bookcase / console, in the manner of Gio Ponti, c.1950s, with single glazed shelf, above an arrangement of two further shelves, a single drawer and fall front cupboard door, enclosing one shelf, raised on tapering legs, with brass sabots, 88cm high, 141cm wide, 31cm deep £600-1,000*

251

251 (detail)

252 Max Ingrand (1908-1969), a model ‘1819’ floor lamp for Fontana Arte, c.1950, the tapering white glass shade, on brass twin stem support to oval base, 180cm high Literature: Franco Deboni, Fontana Arte, Torino 2012, page 387 (see similar illustrated).

(It is the buyer’s responsibility to ensure that electrical items are professionally checked and rewired for use) (See front cover) £2,500-3,500*

94

252

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253 Italian, a glass, brass and black lacquered coffee table in the manner of Cesare Lacca, c.1950s, the circular glass top with bevelled edge, on four curved solid brass supports, joined by circular ebonised stretcher, 65cm high, 90cm diameter £400-800*

253

254 254 Italian, a large glass, brass and black lacquered coffee table in the manner of Cesare Lacca, c.1950s, the octagonal glass top on four curved solid brass supports, joined by oval ebonised stretcher, 52cm high, 219cm wide, 84cm deep £600-1,000*

255 Percival Lafer (b.1936), a rosewood and leather easy chair, c.1970, partial label to underside 'Lafer Sao Paolo, Brazil', with tan leather upholstery on rosewood frame, 88cm high, 81cm wide NOTE : This lot comes together with article 10 paperwork £300-500*

255

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

95

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256 256 Piero Fornasetti (1913-1988), a set of twelve plates c.1960-70, marks to base A complete set of twelve Specialità Milanese plates designed by Piero Fornasetti.

Each plate is transfer printed with a traditional recipe and has a gold band to the rim 24.5cm diameter each £700-900*

257 Piero Fornasetti (1913-1988), a dinner plate c.1960’s, printed marks to base A large Fornasetti plate from the ‘Le Oceanidi’ series decorated with a girls head emerging from a shell with a river landscape in the background Measuring 26.5cm diameter

258 Piero Fornasetti (1913-1988), three large plates c.1960’s, stamped marks to reverse Three ‘Astronomici’ dinner plates depicting various maps and star charts in black with gold highlighting Measuring 26.5cm diameter each

£100-200*

£200-300*

257 258 96

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259

259 Versace for Venini (Italian), a glass vase c.2010, signed and dated to base A globular glass vase with alternating panels of red, mauve and white glass separated with vertical black lines Measuring 20.5cm high

260

£200-300* 260 Alessandro Pianon (1931-1984), a ‘Pulcino’ Murano bird c. 1960’s, unsigned A Vistosi glass bird of globular form, dark orange in colour and textured with applied glass eyes standing on copper legs Measuring 22cm high (See close-up on page 3) £600-1,000* 261 Murano (Italian), a monumental vase c. 2004, signed and numbered to base A huge Murano glass vase with long applied vertical sections around the body, decorated with gold inclusions throughout, indistinctly signed to the base and also marked COLLECTION 2004 / MURANO 49/100* Height 55cm Provenance: Purchased in 2005 from Artemis, Kensington Church Street, London (receipt included with sale) £500-800* * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

261

97

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262 Sabattini (Italian), a chrome dish c.late 20th century, stamped marks to base A large swirl dish with scalloped edge standing on a small circular foot Measuring 24cm diameter £120-150* 262

263

263 Gio Ponti (1891-1979), a pair of plated candelabrum c. after 1983, stamped marks to side A pair of silver plated two branch candelabrum of curved form, the original designed in the 1920’s by Gio Ponti Measuring 20.75cm high each £800-1,200* 264 Christofle (French), a cantilever silver plated box c. after 1983, impressed marks to base A silver plated cylindrical three tier box by K & T for Christofle, made up of three compartments with a sliding lid across the top one Measuring 10cm high 264

98

£200-300*

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265 Martine Bedin (born 1957), a ‘Charleston’ standard lamp, for Memphis, Milan,

c.1984, with applied label - ‘Memphis Milano, M. Bedin, 1984, Made in Italy’, the blue, black and white, lacquered aluminium frame, with spotlight on rotating arm, 197cm high £800-1,200*

266

265 (label)

266 Memphis Milano, a promotional brochure c.1982 A ten fold brochure designed and produced by The Conran Foundation for promoting Memphis Milano in London Measuring 34.5cm x 10cm folded £50-80*

265 267 Ettore Sottsass (1917-2007), a framed print L’Altare c.1974, signed and labelled to reverse A Rotoflexograph printed on a sheet then mounted on metal, signed and numbered 7/500 to the reverse, published by Edizioni Jabik Arte Moltiplicata, Milan, March 1974, together with a photocopy of the original information sheet about the print by Edizioni Jabik Measuring 56 x 76cm Notes: This print was a personal gift from Ettore Sottsass to the vendor when living in Milan in the 1970’s £200-300* 267 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

99

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268 Dal Vera (Italian), a bamboo and rattan desk,

c.1960, applied label to drawer - ‘Dal Vera Made in Italy’, the bamboo frame with woven rattan panels, with two drawers, 75cm high, 121cm wide, 60cm deep £300-500*

269 Italian, a maple and mirrored glass sideboard, c. 1950, the rectangular top surmount with smoky mirrored glass, above four drawers with geometric inlay and brass handles, on tapering legs to brass feet, 74cm high, 181cm wide, 51cm deep

268

£500-800*

269

270

270 Achille & Pier Giacomo Castiglioni, an ‘Arco’ floor lamp for Flos, c.1990, applied ‘Flos’ label to inner shade, the domed and pierced steel shade, on adjustable arm to white Carrera marble base, approx. 220cm high (It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use) £200-400*

100

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271

271 Cristal Arte, attributed (Italian), a pair of wall lights c.late 20th century, unsigned A pair of chrome and glass wall lights, made up of three blue oval glass sections with flat ends mounted at an angle on a chrome fitting Measuring 28cm long each

272

£150-200* 272 Gaetano Sciolari (1927-1994) Attributed, c.1970, a steel pendant light, of rectangular form, with pierced rectangular shade, 102cm high x 60cm wide x 26cm deep £100-150* 273 Reggiani (Italian), a white opaline glass and brass lamp base, c.1950, with applied label - ‘Reggiani Lampadini’, of cylindrical form, on stepped, circular brass base, 37cm high (It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use) £100-200* 273 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

101

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274 Tito Agnoli (1931-2012), a brass wall light for O-Luce, Italy, c.1950, the adjustable brass arm, with cream fabric shade, approx. 68cm long (It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use) £300-400* 275 After Osvaldo Borsani (1911-1985), a set of three ‘LT8’ standing lamps, designed 1954,

Late 20th Century, the electrical box of each with manufacturer’s label - ‘Rega Lux, Milano’, with white powder coated aluminium shades on adjustable brass supports, 322cm high (3) £1,000-2,000* 274

275 102

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276 Osvaldo Borsani (1911-1985), a rosewood bar / cabinet, c.1950, the upper section with three folding panels, enclosing a maple veneered and mirror backed interior, with two shelves and two drawers, the lower section with central fall-front storage compartment, enclosing one shelf, flanked by four drawers, raised on tapering legs with brass sabots, 145cm high, 178cm wide, 44cm deep NOTE: This lot comes together with Article 10 paperwork. £600-800*

276

277 French, a brass standard lamp, c.1950, The adjustable, circular, red lacquered shade, on tubular brass stand, 169cm high (It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use) £300-500*

278 French, a three light standard lamp, c.1950, With three curved brass arms, terminating in green enamelled shades, on circular base, approx 155cm high (It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use) £150-250* 277

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

278

103

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279 French, an ebonised and brass standard lamp, c.1950, with tapering cylindrical shade, on brass and ebonised support, with circular black glass shelf, on conforming base, approx. 134cm high

280 Jacques Quinet (1918-1992) Attributed, a pair of black leather armchairs, c.1960, with buttoned backrest and seat, having curved arms, on leather upholstered legs with brass sabots, each 76cm high, 78cm wide

(It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use)

Literature : Guitemie Maldonado, Jacques Quinet, Les Editions d’amateur, 2000, page 88 (see similar example illustrated).

£200-300*

£500-800*

279

280

104

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281 Walter Gropius (1883-1969), a dated signature and photo c.1963, signed and dated A reproduction photo with separately mounted blue pen signature on white paper ‘Walter Gropius, Cambridge / Mass, 1963’, together with a reverse painted glass picture of a horse and foal indistinctly monogrammed HH? Framed size of Gropius signature 26 x 35.5cm £100-200*

281

282 Philippe Starck for Baccarat, a cased set of 6 Harcourt Darkside ‘Imparfait’ glasses c.2008, signed and labelled in original box A complete set of Baccarat crystal glasses in plexiglass case with separate stand, each glass labelled and signed Each glass measuring 13.5cm high £800-1,200* 283 Philippe Starck (1949- ), a set of six ‘Ed Archer’ chairs for Aleph, c.1980, each chair stamped ‘Aleph by Starck’, the black leather upholstered tubular steel frame, with single rear tapering aluminium leg (6)

282

£1,000-2,000*

283 * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

105

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284 284 Pierre Paulin (1927-2009), a ‘Globe’ chair and ottoman for Artifort,

c.1980, chair and ottoman stamped to underside ‘Artifort’, each upholstered in sky blue fabric, on chromed steel swivel bases (2) £400-600*

285 After Charles and Ray Eames, a ‘ 670’ lounge chair and ‘671’ ottoman for Vitra, c.1980, applied Vitra labels to underside of chair and ottoman, the tulipwood shells, with black leather upholstery, on aluminium swivel bases chair : 80cm high, 83cm wide ottoman : 42cm high, 64cm wide (2) £1,500-2,000*

285 (label)

285

106

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286

287

286 After Charles and Ray Eames, a model ‘EA 108’ office chair for ICF Spa, Milan,

c.1970-1980, applied label to underside - ‘Made according to the original Design of Charles Eames, ICF’, with black fabric upholstered seat, on aluminium swivel base, 83cm high, 56.5cm wide £150-200* 287 After Charles and Ray Eames, a model ‘EA 108’ office chair for ICF Spa, Milan,

c.1970-1980, applied label to underside - ‘Made according to the original Design of Charles Eames, ICF’, with black fabric upholstered seat, on aluminium swivel base, 83cm high, 56.5cm wide £150-200* 288 Charles & Ray Eames (American), an Evans Products moulded plywood leg splint originally produced for the US Army circa 1941, impressed marks A rare example of an intact leg splint, the Eames very first moulded plywood product, which paved the way for a lot of their furniture designs Measuring 106cm long £300-500*

288 (mark) * plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

288 107

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289

289 Terence Harold Robsjohn-Gibbings (1905-1976), a walnut dining table, for Widdicomb, USA, c.1950, stamped to underside - ‘1625 12/51’, a scarce model, the rectangular extending top, on x-shaped supports, joined by tapered stretcher, 74.5cm high, 184cm wide, 101.5cm deep £2,000-3,000*

290 Terence Harold Robsjohn-Gibbings (1905-1976), a set of eight walnut dining chairs, for Widdicomb, USA, c.1950, a scarce set of chairs, with slatted backrests, above white fabric upholstered seats, on cylindrical legs, to include two armchairs and six side chairs (8) £3,000-5,000*

290 108

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291 291 Norman Cherner (1920-1987), a laminated plywood and walnut Cherner armchair and two Cherner chairs for Plycraft, c.1960, one chair with applied paper label ‘Manufactured by Plycraft Inc, Lawrence, Mass. designed by Norman Cherner’ with bent plywood construction, the tapering backrest and rounded seat on curved, tapering legs, Cherner armchair : 79cm high, 64cm wide Cherner chairs : 79cm high, 43cm wide (3) £600-800* 292 Cedric Hartman (1929-?) a ‘1H’ brass floor lamp,

c.1960s, stamped marks to base - ‘Cedric Hartman, 820179’, a scarce model, the adjustable domed shade, with lucite switch, on adjustable tubular brass stem, 92cm high £500-800*

292 (mark)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

292

109

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293

293 Philip and Kelvin Laverne, a pair of ‘Chan’ Chinoiserie side tables,

c.1970s, each signed to side panel in relief - ‘Philip Kelvin Laverne’, of hexagonal form, with acid etched and patinated brass on wooden frame, depicting continuous figural court scene to circumference, 56cm high, 46cm wide, 25.5cm deep £1,500-2,500*

293 (signature) 110

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294

294 Alvar Aalto (1898-1976), a model ‘A803’ birch cabinet, for Finmar,

c.1935, applied label to back - ‘Finmar Ltd, Design Reg. 787811-19, Made in Finland’, a scarce early model, of bow front form, with birch veneered plywood construction and ebonised handles, having two frieze drawers, above two cupboard doors, enclosing two shelves, 92cm high, 122cm wide, 46cm deep Literature : Eva B. Ottillinger ed, Alvar Aalto Möbel - Die Sammlung Kossdorff, Wien, 2002, page 44 (for illustration of this model) £4,000-6,000*

294 (label)

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

111

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295 Tapio Wirkkala (1915-1985), a large Stellaria bowl c.1960’s, signed to base A large serving bowl designed by Tapio Wirkkala and manufactured by Iittala, Finland Measuring 29cm diameter £100-200*

295

296

296 Yrjö Kukkapuro (born 1933), a pair of ‘Ateljee’ lounge chairs for Haimi, c.1970, with loose black leather cushions and armrests, on oak frame, raised on cylindrical steel legs (2) £150-250* 297 Hans J. Wegner (1914-2007), a beech model ‘J16’ rocking chair, c.1980, the spindle back with curved arms, above woven cord seat, with tapered legs joined by stretchers, on rocker rails, 104cm high, 64cm wide £400-600* 297

112

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298 298 After Arne Jacobsen (19021971), a ‘Swan’ chair, Late 20th Century, the seat upholstered in tan leather, on chromed steel swivel base, 77cm high, 73cm wide £300-500*

300 299 After Arne Jacobsen (1902 1971), a set of four model ‘7403’ or ‘Oxford’ chairs, for Fritz Hansen,

c.1975, applied label to support - ‘FH Made in Denmark 7108 by Fritz Hansen’, each chair with shaped high back, upholstered in black leather, on aluminium swivel base, each 128cm high, 47cm wide (4)

300 Jørgen Kastholm and Preben Fabricius, a model ‘Fk 6727’ Tulip swivel armchair for Alfred Kill International, c.1960, The brown leather upholstered seat, on steel, swivel base with tripod legs, 87cm high, 71cm wide £500-800*

£800-1,200*

299

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

113

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301 Verner Panton (1926-1998), An ‘SP2’ ceiling light, manufactured by J Lüber AG, Basel, Switzerland, c.1969, in silvered plastic, the circular ceiling mount, with hanging spiral droplets, suspended on nylon cord, 146cm high, 46cm wide £1,000-1,500*

302 Verner Panton (1926-1928), a ‘Pantonova’ seating system, for Fritz Hansen, c.1971, comprising eight chairs, in three shapes, having steel rod construction, with blue fabric upholstered seats, each chair approx. 75cm high, 75cm wide (8) Literature: Verner Panton: The Collected Works, Remmele, page 260, 263 (see similar illustrated) £1,500-2,500* 301

302

302 (detai)

114

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303 Jens Risom (1916-2016), a walnut and leather upholstered armchair,

c.1960, applied label to underside ‘Jens Risom Design Ltd’, the close nailed brown leather upholstery, with loose seat cushion, on square tapering walnut legs, 87cm high, 68cm wide £350-450* 304 Johannes Andersen (1903-1995), a rosewood coffee table for CFC Silkeborg, c. 1960, the rectangular top with drawer to one end and opposing slide, on tapering legs, 52cm high, 160cm wide, 63cm deep

303

NOTE: This lot comes together with Article 10 paperwork. £400-500* 304

305 Jules Wabbes (1919-1974), a wengé low table, c.1970, the rectangular table top consisting of laminated wengé wood blocks, raised on ebonised base, with square supports, terminating in brass sabots, 38cm high, 288cm long, 62cm deep (See background of the front cover as this is a detail of the top) £2,000-4,000* 305 (detail)

305

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

115

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306 306 Guido van Besouw (South African 1951-), a teardrop vase c.21st century, signed and numbered to base A large blown glass vase of teardrop form in whites, ochres and greens with a narrow neck Measuring 52cm high £100-150* 307 Studio Pottery, a contemporary porcelain bowl c.2016, signed and dated to base A finely made contemporary porcelain bowl of gentle organic form and delicately textured finish Measuring 15cm high

308 A Mid-Century style standard lamp, c.2000, the black powder coated steel adjustable double cone light shade, on tubular stand, with oval base, approx. 162cm high (It is the buyer’s responsibility to ensure that electrical items are professionally rewired for use) £100-200*

£100-150*

308

116

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309

309 A marble and bronzed two tier coffee table, c.1980, with two graduated rectangular grey and brown veined marble tiers, on bronzed frame, with square supports, (VAT charged on hammer price) 42cm high, 122.5cm wide, 61cm deep

310 A pair of marble and steel coffee tables, c.1980, The rectangular orange marble tops, on square brushed steel legs, 36cm high, 150cm wide, 40cm deep (2) (VAT charged on hammer price)

ÂŁ800-1,200*

ÂŁ500-800*

310

* plus Buyers Premium 25% + VAT (30% inclusive of VAT) ARR - indicates an additional charge may apply, see information on page 2.

117

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EXPLANATION OF CATALOGUING TERMS Any statement as to authorship, attribution, origin, date, provenance and condition is a statement of opinion and is not to be taken as a statement or representation of fact. Roseberys reserve the right, in forming their opinion, to consult and rely upon an expert or authority considered by them to be reliable.

1.

‘Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by the artist.

2.

‘Attributed to Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, probably a work by the artist.

3.

‘Studio of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work likely to come from the studio of the artist or closely associated with the artist.

4.

‘Circle of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style and during the period of the artist’s life.

5.

‘Follower of Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary.

6

‘School of Peter Paul Rubens, Flemish 17th century’ * In our opinion, a work executed during this period and in the style associated with that artist.

7.

‘Flemish School, 17th century’ * In our opinion, a work executed during this period and in the style associated with that location.

8.

‘Manner of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution.

9.

‘Style of Peter Paul Rubens’ * In our opinion, a work by an unidentified artist working in the artist’s style and of recent execution.

10.

‘After Peter Paul Rubens, Flemish 1577-1640’ * In our opinion, a copy by an unidentified artist of a named work by the artist.

11.

A picture catalogued with accompanying dates e.g. 1577-1640 relates to the identification of the particular artist and is not proof of attribution or indicative of authenticity.

12.

The terms ‘signed’, ‘dated’, ‘inscribed’ means that in our opinion these are by the artist’s hand.

13.

The terms ‘bears signature’, ‘bears date’, ‘bears inscription’ means that in our opinion that these have been added by another hand other than the artist.

14.

All references to signature, inscriptions and dates refer to the present state of the work.

15.

Dimensions are given in centimetres, height before width and are measured from the edges of the work if these are visible and if not, from the front.

16.

All pictures are framed, unless otherwise stated in the catalogue.

17.

Catalogue and website images may not be a true representation of an item due to printing or photographing processes.

18.

(aRR) – aRTIST’S ReSale RIGHT Qualifying living artists and the descendants of artists deceased within the last 70 years are entitled to receive a re-sale royalty each time their work is bought through an auction house or art market professional.

It applies to lots with a hammer value over €1,000 as follows: 0 to €50,000 - 4% €50,001 to €200,000 - 3% €200,001 to €350,000 - 1% €350,001 to €500,000 - 0.5% Exceeding €500,000 - 0.25% aRR is capped at €12,500.

Please note ARR is calculated in euros.

Auctioneers will apply current exchange rates.

Lot 265

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SPECIALIST TEAM Ian A. Cadzow Chairman & Joint Managing Director Rugs, Furniture & Works of Art iancadzow@roseberys.co.uk Vicki Wonfor Joint Managing Director Head of Corporate Collections vickiwonfor@roseberys.co.uk Peter Greenway Director Head of Professional Services petergreenway@roseberys.co.uk Marcus Grey Director Head of Paintings & Prints marcusgrey@roseberys.co.uk Helena Anderson Associate Specialist Modern & Contemporary British Art helenaanderson@roseberys.co.uk Luke Axford Junior Cataloguer Paintings, Prints & Frames lukeaxford@roseberys.co.uk Alice Bailey Head of Department Islamic & Indian Arts alicebailey@roseberys.co.uk Sam Howard Administrator Asian, Islamic & Indian Arts samhoward@roseberys.co.uk Fiona Baker Head of Department 20th Century & Decorative Arts helenaanderson@roseberys.co.uk Mark Bowis Head of Department Jewellery & Watches markbowis@roseberys.co.uk Nigel Dawson-Ellis Junior Cataloguer Furniture & 20th Century Design nigeldawsonellis@roseberys.co.uk

Roseberys London Main London Saleroom 70/76 Knights Hill London, SE27 0JD Complimentary valuations Monday to Friday: 9.30am to 5.00pm +44 (0) 20 8761 2522 clientservices@roseberys.co.uk Central London Office Valuations by appointment.

Please call us on +44 (0) 20 8761 2522 or email our Professional Services department at valuations@roseberys.co.uk to book your complimentary valuation.

Lot 62

Anna Evans Consultant Specialist Works of Art annaevans@roseberys.co.uk Bill Forrest Head of Department Asian Arts billforrest@roseberys.co.uk Richard Gibbon Specialist Jewellery, Silver, Fashion, Textiles & Luxury Accessories richardgibbon@roseberys.co.uk Mark Longley Specialist Ceramics & Glass, Works of Art & Collectables marklongley@roseberys.co.uk Tess O’Brien Fine Art & Pictures Consultant tessobrien@roseberys.co.uk Kate Pritchard Cataloguer & Valuer Paintings & Prints, Modern & Contemporary Art katepritchard@roseberys.co.uk Alex Tonkinson Consultant Specialist Modern Design alextonkinson@roseberys.co.uk Shane Xu Head of Department Modern & Contemporary Prints & Multiples shanexu@roseberys.co.uk

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TERMS OF CONSIGNMENT FOR SELLERS These terms apply to Rosebery Fine Art Ltd trading as Roseberys and Roseberys London.

1. Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract.

Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2. Commission and Entry Fee. (a) Entry Fee: A charge of £20 is made to each lot sold in addition to vendor’s commission. This charge covers our specialist research, catalogue description, website illustration, marketing on our website and other third party sites as well as live or timed bidding on various internet platforms. (b) Vendors Commission: Is charged on each lot at 15%.

3. Catalogue Illustration Fee. The cost of any illustration is borne by you. Lots may be illustrated in a catalogue and thus a charge of between £20-60 per illustration is applicable, dependent on size. For example a quarter page illustration £20, half page £40, three quarter/full page £60. The copyright in respect of such illustrations shall be the property of the auctioneers, as is the text of the catalogue; any persons to be found to have reproduced such illustrations or text without prior written approval will be deemed as being in breach of copyright law and appropriate legal action may be taken.

4. Loss and Damage of Goods (a) Roseberys is not authorised by the FSA to provide insurance to its clients, and does not so do. However Roseberys, for its own protection, assumes liability for property consigned to it at the lower pre-sale estimate until title passes to the buyer. To justify accepting liability, Roseberys makes a charge of 1.75% of the hammer price plus VAT. The liability assumed by Roseberys shall be limited to the lower pre-sale estimate or to the reserve if the lot was unsold.

Settlement in any claim arising shall be subject to commission as if the lot had sold in the normal manner. (b) If the owner of goods consigned instructs us in writing not to take such action, the goods then remain entirely at the owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4(a) is inapplicable. (c) Roseberys will not be liable for the loss or damage to frames or glass covering prints, paintings or other works. Old frames are often fragile or subject to deterioration and whilst Roseberys will do their

upmost to ensure the safety and care of frames and glass we will not compensate for loss or damage to property caused by changes in humidity or temperature, normal wear and tear, gradual deterioration, inherent defect or errors in processing.

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

6. Minimum Bids and our Discretion. Goods will normally be offered subject to a reserve agreed between us before the sale in accordance with clause 7. We may sell Lots below the reserve provided we account to you for the same sale proceeds that 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 approximately 15% below the low estimate and “wide discretion” allows to use accept a bid of up to approximately 30% below the low estimate.

7. Reserves. (a) Prior to the auction you are entitled to place a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve. If we are unable to offer goods they may be subject to storage charges if uncollected. (b) A reserve once set cannot be changed except with our consent, and confirmed by you in writing. (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.

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

9. Soft Furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request

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TERMS OF CONSIGNMENT FOR SELLERS 10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery or where we are or ought to have been aware of it.

11. Unsold Items. Unsold lots will be automatically reoffered into the next appropriate live or online auction with the low estimate reduced by 40% and if the revised estimate is £200 or below it will be offered without reserve. Alternatively, we may contact you to request that you collect the items. If you do not wish to re-enter the lots please notify Roseberys in writing with collection instructions. Please note storage charges will be incurred if lots are not collected within one week, storage charges will be applied of £2 + VAT per lot per day. If a lot remains uncollected two months after the date of the auction, Roseberys shall have the right to sell the lot at auction without reserve and to deduct from the ‘hammer price’ any sum owing to Roseberys as well as expenses arising from all auctions in which the lot has been included, plus storage and loss and damage warranty charges.

12. Withdrawn Items. (a) If an item is withdrawn prior to the publication of the catalogue a minimum charge of £20 + VAT per lot is applicable. This fee covers administration, handling, storage and loss & damage of the lot whilst in our care. (b) If an item is withdrawn after the online or offline publication of the lots they will incur charges where applicable comprising the sum of the vendor’s commission, the entry fee, the illustration cost, the loss and damage warranty, the buyer’s premium, the marketing fees and other expenses in relation to the item. VAT is applicable on all charges. These commission and premium charges will be calculated upon Roseberys published mid estimate. (c) In the cases of 12 (a) and (b) Roseberys will store the withdrawn item for a period of five days with no charge, after this a storage charge will be applicable at a daily rate of £2 per item per day plus VAT for items that remain uncollected.

13. Conditions of Sale. You agree that all goods will be sold according 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.

14. Authority to Deduct Commission and Expenses and Retain Premium and Interest. (a) You authorise us to deduct commission from the hammer price at the stated rate plus all applicable expenses incurred on your account and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement. (b) You authorise us at our discretion to negotiate a sale by private treaty not later than five working days from the date of the auction in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these Terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient written sale instructions, client contact details or without our prior written agreement to take delivery and reserve the right to either refuse to receive such goods or to make a minimum warehousing charge of £2 per item per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within twenty one days we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Settlement of the net sum due to you normally takes place 28 days after the sale (by crossed cheque or bank transfer to the seller) unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

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INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers of Roseberys London particularly those inexperienced or new to our salerooms or online only bidding platform. All sales are conducted according to our printed Conditions of Sale which are readily available for inspection in person, on our website and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot.

The lower estimate may represent the reserve price or may be above the reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. Buyer’s Premium. The Conditions of Sale oblige buyers to pay a buyer’s premium of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000-500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT) The premium price is subject to VAT at the standard rate.

5. VAT. The addition of (*) or (VAT applied on hammer price) to the lot description indicates that VAT is payable by the purchaser at the standard rate, presently 20%, on the hammer price as well as being payable on the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the premium is not recoverable as input tax.

6. Artist’s Resale Rights/Droit de Suite. Lots as indicated in the catalogue and if sold for the equivalent of 1000 euros or more on the day of the auction will be subject to a further percentage of the hammer price as follows: From 0 to 50,000 euros subject to 4% From 50,001 to 200,000 euros subject to 3% From 200,001 to 350,000 euros subject to 1% From 350,001 to 500,000 euros subject to 0.5% Exceeding 500,000 euros subject to 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to maximum royalty payable of 12,500 euros for any single work each time it is sold. Calculations of the artist’s resale right will be based on the pound sterling/Euro reference exchange rate quoted on the date of sale by the European Central Bank.

7. Agents. We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested.

Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. Additionally, in specified circumstances lots mis-described because they are ‘deliberate forgeries’ may be returned and repayment made. There is a three week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

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

9. Coloured gems. It is common practice for gemstones to be treated in order to enhance colour and clarity. Unless stated buyers should presume coloured stones may well have been exposed to some sort of treatment.

10. Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required and (b) whether there is any specific prohibition on importing goods of that character because, e.g. they may contain prohibited materials such as ivory.

11. Bidding. Bidders are required to register with us before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification may be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

12. Commission bidding (i)

Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding the buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received.

Please enquire in advance about our arrangements for leaving commission bids by telephone, email or fax. Please ensure bids are left at least one hour prior to the start of the auction.

(ii) Commission bids may also be left via the Roseberys website.

These bids are executed via the RoseberysLive software and there is no surcharge.

13. Live Online bidding (a) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites the buyer is agreeing to Roseberys conditions of sale. (b) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (c) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding.

Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price. (d) Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (i) any loss of connection to the auction being conducted online; (ii) a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any internet connection, computer, mobile device or system. (e) By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our website. Please ensure you familiarise yourself with these prior to accessing our website.

14. Methods of Payment. Payment can be made by cash (maximum 10,000 euros), debit and credit cards (maximum £1,000 online or over the phone) or bank transfer. For international bank transfers an administration fee of £25 is payable. Any cheques tendered will need to allow 10 days to be cleared before removal of lots purchased is permitted. Please note that regulation of money laundering means we are limited to receiving the equivalent of 10,000 euros in cash payment.

15. Collection and storage (a) Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. All lots must be collected within five working days following auction. Storage charges of £2 per lot per day + VAT will be strictly enforced thereafter. (b) Roseberys are unable to pack, post or deliver any items purchased through public or online auction, a list of suggested companies is supplied upon issuing of invoices, upon request or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies.

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CONDITIONS OF SALE Rosebery Fine Art Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1.

Definitions

In these Conditions: (a) “auctioneer” means the firm of Rosebery Fine Art Ltd or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Rosebery Fine Art Ltd accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising; (g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2. (h) The singular includes the plural and vice versa as appropriate.

2.

Bidding Procedures and Conduct of the Auction

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid. Any bidder who refuses to provide the requested identification may be refused permission to bid. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if they believe there may be error or dispute, and take such action as they reasonably think fit. (c) Subject to condition 2(b) the contract between the buyer and seller is concluded on the striking of the auctioneer’s hammer, whereupon the buyer becomes liable to pay the purchase price. (d) Any post-auction sale of lots offered at auction shall incorporate these conditions as if sold in the auction. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3.

Increments. Bidding increments shall be at the auctioneer’s sole discretion.

4.

The Purchase Price. The buyer shall pay the hammer price together with a premium thereon of 25% up to £250,000 (30% inclusive of VAT), 20% from £250,000500,000 (24% inclusive of VAT), 12% from £500,000 onwards (14.4% inclusive of VAT). The premium price is subject to VAT at the standard rate.

5.

Value Added Tax. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged

at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant Lots.

(Please refer to “Information for Buyers” for a brief explanation of the VAT position).

6.

(1) (a) (b) (2)

Payment Immediately a Lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in cash, debit, credit card or bank transfer or in such other way as is agreed by us.

Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

7.

Title and Collection of Purchases. The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (a)(i) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 5 working days following the day of the auction. (ii) Roseberys are unable to pack, post or deliver any items purchased through public or online auction.

A list of suggested companies is supplied upon issuing of invoices, upon request, or on the company website. These are suggestions only and are not the recommendation of Roseberys or affiliated with Roseberys in anyway and as such Roseberys cannot be held responsible for the individual performance of these companies. (b) No purchase can be claimed or removed until it has been paid for and payment has cleared. (c) Invoices will not be split or title transferred to another person(s). Invoices must be paid in full before any lots can be removed. (d) Purchased lots must be collected within the allocated time as stated in the Information for Buyers section 13, storage charges are applicable thereafter. Purchased lots are at the Buyer’s risk (and therefore their sole responsibility for insurance) from the earliest of the collection or the 21st calendar day after the auction.

Until risk passes Roseberys will compensate the buyer for any loss or damage to the lot up to a maximum of the purchase price paid.

8.

(1)

(a) (b) (c)

(d) (e)

Remedies for Non-Payment or Failure to Collect Purchases If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: to proceed against you for damages for breach of contract; to rescind the sale of that Lot and/or any other Lots sold by us to you; to resell the Lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). to remove, store and insure the Lot at your expense and, in the case of storage, either at our premises or elsewhere; to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

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CONDITIONS OF SALE (f)

to retain that or any other Lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

(2) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

Third Party Liability. All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. Commission, Telephone Bids and Live Online Bidding. Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular Lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. (a) Lots will be purchased by the Auctioneer on behalf of the commission bidder for the lowest price allowed by other bids and/or reserves if any, up to and including their maximum bid amount recorded. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute commission bids whether through the auctioneer or through any online bidding software, or where a bidding slip has been completed incorrectly. We urge commission bidders, to ensure that the correct lot number(s) and price(s) are recorded on their bidding forms. (b) Where two or more commission bids at the same level are recorded we reserve the right at our absolute discretion to prefer the first bid so made. (c) Telephone Bids. Any person unable to attend the auction may request to bid on a specific lot by telephone. This facility is only available by prior arrangement with the Auctioneers and not available for online only auctions. The Auctioneers cannot accept responsibility for any neglect or default in executing or failing to execute telephone bids. (d) Live Online bidding. (i) An online bidding service is offered via RoseberysLive, thesaleroom.com and invaluable.com. In completing the bidder registration on these sites, the buyer is agreeing to Roseberys conditions of sale. (ii) In the case where a debit or credit card has been used to register the buyer also agrees to authorise Roseberys, if they so wish, to charge the debit or credit card given in part or full payment, including all fees, for items successfully purchased in the auction via the online bidding platforms. (iii) Please note there is no additional surcharge for any lots purchased via RoseberysLive, whether live bidding or commission bidding. Any lots purchased via thesaleroom.com or invaluable.com will be subject to an additional 5% commission charge + VAT at the rate imposed on the hammer price.

(iv)

(v)

Roseberys offers online bidding services as a convenience to its clients, but neither Roseberys nor the seller will be responsible to you for errors during or after the sale or failures to execute bids, either live bids or commission bids, placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: (aa) any loss of connection to the auction being conducted online; (bb) a breakdown or problems with the online bidding software or the web site service provider; and/or (cc) a breakdown or problems with any internet connection, computer, mobile device or system.

By accessing RoseberysLive and using the software provided you are agreeing to the Website Terms and Conditions governing use of our websites. Please ensure you familiarise yourself with these prior to accessing our websites.

11.

Warranty of Title and Availability. The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

No representation or warranties are made by Roseberys or the seller as to whether any lots is subject to copyright or whether they buyer acquires copyright in any lot.

12.

Agency. The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13.

Terms of Sale. The seller acknowledges that Lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the Lot.

14. (a)

Description and Conditions Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description of a lot. Buyers are welcome to make an appointment to view any lots listed on an online only auction. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers�.

Condition Reports. Reports on the condition of any lot are offered by the Auctioneers as a statement of opinion only, and not of fact. Rosebery Fine Art Ltd are not liable for any errors or omissions contained therein. The buyer must satisfy themselves to the condition of any given lot prior to bidding. Roseberys will not be held responsible for any damage or defect that has not been notified to the buyer. Catalogue illustrations are for guidance only and will not convey full information as to the actual condition of lots.

(b)

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CONDITIONS OF SALE (c)

(d)

Where the term (a/f) is used this refers to a lot being ‘as found’, it is used for guidance only and indicates in our opinion there is significant damage or repair to an item, the omission of this term does not indicate there is not significant damage or repair to an item and Roseberys are not liable for the omission of this term.

Private treaty sales made on these premises under these Conditions are deemed to be sales by auction for the purposes of consumer legislation.

15. Forgeries. Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. Roseberys may require the buyer to obtain at the buyer’s cost the reports of two independent and recognised experts in the field, mutually acceptable to Roseberys and the buyer. If we are satisfied from the evidence presented that the Lot is a deliberate forgery we shall refund the money paid by you for the Lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) if you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

16. Online Only Timed Auctions These following terms are applicable only to sales conducted online only and are to be used in addition to the conditions of sale. (a) (i)

Right to Cancel If you are a consumer resident in the European Union you have the right to cancel the contract for the purchase of a lot within 14 calendar days without giving any reason. (ii) The cancellation period will expire after 14 calendar days from the day on which you acquire (or a party nominated by you and is not the shipper) physical possession of the lot. (iii) To exercise the right to cancel, you must inform us of your decision to cancel this contract by a clear written statement (e.g. a letter sent by post, fax or email), or you may use the cancellation form which can be found on our website or by contacting a member of staff. The communication must be received within 14 calendar days from the day on which you acquire the lot. (iv) If you cancel the contract, we will reimburse all payments received from you. As Roseberys are unable to provide a postage or packing service the cost of the initial delivery or collection is not returnable. In addition the cost of returning the item if you choose to cancel the contract is payable by you. (v) We may make a deduction from the reimbursement for loss in value of any goods supplied, if the loss is the result of damaged caused by unnecessary handling whilst in your possession. We will make the reimbursement without undue delay, and not later than (aa) 14 calendar days after the day we receive back from you any goods supplied, or (bb) (if earlier) 14 calendar days after the day you provide evidence that you have returned the goods.

(vi) We will make the reimbursement using the same means of payment as you used for the initial transaction, unless you have expressly agreed otherwise; in any event, you will not incur any fees as a result of the reimbursement.

We may withhold reimbursement until we have received the goods back or you have supplied evidence of having sent back the goods, whichever is earliest. (b) Liability Roseberys nor the seller will be responsible to you for errors during or after the online only timed auction or failures to execute bids placed on the internet or on your mobile device, including, without limitation, errors or failures caused by: any loss of connection to the auction being conducted online; a breakdown or problems with the online bidding software or the website service provider; and/or (iii) a breakdown or problems with any connection, computer, mobile device or system.

General

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

18. Where a member of the public causes damage to a lot (or part thereof) the Auctioneers reserve the right to: (a) sell the aforementioned without reserve and to hold that specific individual liable for the amount of any difference between the hammer price and the reserve or low estimate; (b) hold that specific individual liable for the cost of restoration where appropriate; (c) hold that specific individual liable for the full amount of the reserve price or lower estimate as applicable.

19 (a) any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

20. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or email if provided in which case it shall be deemed to have been received by the addressee 48 hours after posting.

21. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing at the commencement of the catalogue.

22. Any indulgence extended to bidders, buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

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

These terms and conditions are based upon recommended conditions of sale by SOFAA (the Society of Fine Art Auctioneers) and RICS (the Royal Institute of Chartered Surveyors)

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

CATALOGUE SUBSCRIPTION FORM FULL NAME: ADDRESS: TELEPHONE:

EMAIL:

SUBSCRIPTION OPTIONS Auction Title

Number of auctions annually

Cost of annual Subscription including UK postage

Cost of annual Subscription including Europe postage

Cost of annual Subscription including rest of world postage

Design: Decorative Arts 1860 to Present Day

3

£37.50

£45

£52.50

Chinese, Japanese & South East Asian Art

2

£25

£30

£35

Impressionist, Modern, Post-War & Contemporary Art

2

£25

£30

£35

Fine & Decorative

3

£37.50

£45

£52.50

Islamic & Indian Arts/ Art of India

3

£37.50

£45

£52.50

Jewellery & Watches

3

£37.50

£45

£52.50

Modern & Contemporary British Art

2

£25

£30

£35

Modern & Contemporary Prints

2

£25

£30

£35

Print & Multiples

2

£25

£30

£35

Old Master, 18th & 19th Century Pictures

3

£37.50

£45

£52.50

Tick to subscribe

Subscription Offer: Buy 2 or more subscriptions save 20% on prices listed Total cost of subscription: Method of Payment: Payment can be made by credit or debit card over the phone or in person, alternatively by bank transfer or cash in person. Payment is accepted via bank transfer to the following account (International bank transfers are subject to a £25 administration fee.): Natwest Bank plc, Bloomsbury Parr’s branch, Sort Code 60-30-06, Account number 36952613, Swift code NWBKGB2L, IBAN GB80NWBK60300636952613.

I would/would not like to receive online catalogues and notifications of the sales that I am interested in as indicated on this form (delete as appropriate).

Signed:

Date:

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70/76 Knights Hill London, SE27 0JD +44 (0)20 8761 2522 +44 (0)20 8761 2524 clientservices@roseberys.co.uk

ABSENTEE BID FORM PLEASE COMPLETE THE FORM IN FULL IN CAPITAL LETTERS AND PLACE YOUR BIDS AT LEAST ONE HOUR PRIOR TO THE START OF THE RELEVANT SECTION OF THE AUCTION

FULL NAME: ADDRESS: POSTCODE:

EMAIL:

BIDDER NUMBER: TELEPHONE:

Lot number

GBP £ bid price excluding premium

Lot number

GBP £ bid price excluding premium

All bids are entered subject to Roseberys standard terms and conditions of sale and to any special terms stated by the auctioneers to apply to lot(s) which the prospective purchaser hereby acknowledges and accepts.

Please see catalogue or website for important information for buyers and our full conditions of sale or ask a member of staff for a copy.

I authorise Roseberys to bid on my behalf for the above mentioned lot(s) up to the price(s) stated. I confirm I have read and agree to the buyer’s terms of sale with special attention to the buyer’s premium, additional charges and storage.

Signed:

Date:

ROS-006 Listing 2nd text.qxp_Layout 1 24/05/2019 15:32 Page 128

AUCTION CALENDAR 2019 June Prints & Multiples in Assocaition with Artsy Online Only Auction Monday 3rd June Tuesday 18th June Modern & Contemporary British Art Tuesday 11th June Arts of India Wednesday 12th June Design: Decorative Arts 1860 to the present day Tuesday 25th June July Impressionist, Modern, Post War & Contemporary Art Wednesday 3rd July Prints & Multiples Online Only Auction Monday 8th July Jewellery & Watches Tuesday 16th July Old Master, 18th & 19th Century Pictures Wednesday 17th July Fine & Decorative Thursday 18th July

70/76 Knights Hill, London SE27 0JD +44 (0) 20 8761 2522 clientservices@roseberys.co.uk

www.roseberys.co.uk

Lot 180

Lot 142

Lot 140

Lot 144 Lot 143

Lot 143 Lot 144

70/76 Knights Hill London SE27 0JD +44 (0) 20 8761 2522 auctions@roseberys.co.uk www.roseberys.co.uk