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Woo l le y & WA l lI s SA L I S B U R Y SA L E R O O M S

British Art Pottery Including Moorcroft Pottery from the collection of Ken Manley

Wednesday 30th November 2011


Specialist Departments Please dial 01722 followed by the number listed below

20TH CENTURY DESIGN Michael Jeffery

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ASIAN ART John Axford MRICS ASFAV — Sophie Lister — Clare Durham — Tim Wright (Consultant)

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BOOKS & MANUSCRIPTS Liz Merry (Consultant)

CLOCKS Will Hobbs — Richard Price (Consultant)

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GENERAL OFFICE Ruth Pike Pauline West Linda Garthwaite

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PRESS & PUBLICITY Kate Williams

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler

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SILVER Rupert Slingsby Lucy Grazier

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Members of The Society

ACCOUNTS & OFFICE MANAGER Janice Clift —

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 John Axford MRICS ASFAV — 424506 Sophie Lister — 424591 FURNITURE Will Hobbs Mark Richards Jim Gale Gemma Bush

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424510

BOARD OF DIRECTORS Paul Viney ASFAV Chairman and Managing Director John Axford MRICS ASFAV Willi Verdon-Smith FRICS COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA

of Fine Art Auctioneers

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

424526


BRITISH ART POTTERY Including Moorcroft Pottery from the collection of Ken Manley

Wednesday 30th November 2011 at 10.30am

Viewing Times Saturday 26th November Monday 28th November Tuesday 29th November Wednesday 30th November

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

Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge + VAT at the rate imposed on the hammer price.

ENQUIRIES Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk


Index British Art Pottery Including William De Morgan from the collection of Jon Catleugh Pilkington’s Lancastrian Pottery from the collection of Bill Coles Moorcroft from the collection of Ken Manley

Lots 1-512

93-150 168-193 194-272

Studio Pottery

387-512

20th Century Design Glass Ceramics Works on paper Furniture and Textiles Metal Ware

513-527 528-567 568-591 592-647 648-727


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1. Four Doulton Lambeth salt-glaze stoneware jugs, with applied stylised flower stems, another decorated with harvest scenes and a cruet set impressed marks, minor damages 19cm.high £150-250 2. ‘Queen Victoria 1837-1897’ a Doulton Lambeth commemorative jug, barrel form, printed with portrait panels impressed marks 19cm. high £80-120

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3. A Doulton Lambeth stoneware tyg by Elizabeth Fisher, dated 1883, cylindrical form with incised and applied floret decoration in blue and ochre on a tubelined ground, with applied metal rim, and a Doulton Lambeth stem cup by the same artist impressed and incised marks 15.5cm. high £80-120 4. A Royal Doulton stoneware vase by Francis Pope, pear shaped with applied beadwork floral panels, glazed green and brown on a blue ground impressed and incised marks 19.5cm. high £150-250 5. A Doulton Lambeth stoneware teapot, cover and sugar basin by Frances E. Lee, incised and applied with floret design in shades of blue, ochre and green between beadwork borders, a tall beaker by Louisa J Davis, and a biscuit barrel with electroplated cover impressed and incised marks, hairline to beaker teapot 12cm. high £80-120 6. A Doulton Lambeth Carrara Ware vase by Edith Lupton, pierced bottle form with twisted handles painted with foliage in shades of grey and pink, highlighted in gilt, and two other Carrara Ware vases by Frank Butler and Eliza Simmance impressed and incised marks 31cm. high £100-200 7. A Doulton Lambeth stoneware pedestal bowl by Frank Butler, dated 1883, with applied electroplated rim, applied with flowerheads, incised foliage in shades of blue, purple and ochre impressed and incised marks factory chips to base rim 26cm. diam. £80-120

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8. A Doulton Lambeth stoneware vase, dated 1879, ovoid with cylindrical neck, incised with a frieze of stylised scrolling foliage in brown between blue borders the neck with beadwork panel with incised ihs inscription impressed and incised marks 26cm. high £100-200 9. A pair of Doulton Lambeth stoneware baluster vases, by Margaret Aitken, dated 1883, incised with flower stems glazed blue and ochre on a buff, tubelined ground, a twin-handled vase by Martha Rogers, and two other items impressed and incised marks, 14cm. high £100-200 10. A large pair of Doulton Lambeth Silicon Ware vases, by Eliza Simmance, decorated with stylised foliate design in shades of white, pale blue and black on an ochre ground, highlighted in gilt impressed marks, incised monograms 36cm. high £500-600 10

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11. A Doulton Lambeth stoneware teapot and cover and sugar basin, by Frank Butler, dated 1879 incised and applied with flower and foliate decoration, glazed blue and ochre, with metal mounts, and a teapot and cover by Edith Lupton impressed and incised marks, damages 12.5cm. high £100-200

12. A Doulton Lambeth Carrara Ware ewer by Mark V Marshall, ovoid with scrolling serpent handle and vertical spout, painted with rose flowers and foliage in colours, highlighted in gilt on a pale blue ground impressed and incised marks 17cm. high £150-250

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13. A Doulton Lambeth stoneware jug by Mark V Marshall, incised and pushed out with a shield before wave motif, in shades of brown, green and blue, impressed and incised marks, re-stuck handle 18cm. high £80-120

13A. A Doulton Lambeth Impasto vase by Kate Rogers, dated 1881, bottle form painted with autumnal chestnut leaves, in colours on a pale blue ground impressed and incised marks, chip and glaze frits to base rim, 29cm. high £80-120

14. A Doulton Lambeth stoneware oil lamp, shouldered cylindrical body incised and painted with flower sprays in shades of blue and green on a buff ground, with patinated metal mounts marks concealed, artist mark LD dated 1877, small chip to top rim 49cm. high £300-500 16 15. A Royal Doulton stoneware font, octagonal form, modelled in low relief with a frieze of children’s heads and foliage, glazed green and brown, the bowl glazed green impressed W T L & S, 1931, no Doulton mark 14.5cm. high £250-350

16. ‘Don Quixote’ a stoneware bust by Charles Noke, on ebonised wood oval base, the base titled in gilt signed in gilt to the base C Noke Sc. 38cm. high £700-900

17. A Doulton Lambeth Persian stoneware garden seat by Bessie Newbery, octagonal form, modelled and pierced with panels, glazed mustard, turquoise and blue impressed mark, painted BN monogram, minor chips 47cm. high £400-600 17

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18. A pair of Doulton Lambeth stoneware vases, by Eliza Simmance, dated 1879, baluster form, pate sur pate decorated with country landscapes in shades of white and brown, inside brown painted foliate band impressed and incised marks, professionally restored top rims 27cm. high £400-600

19. A Doulton Lambeth stoneware ewer by Florence Barlow, pate sur pate decorated with two birds perched on a branch, on a slip decorated ground impressed and incised marks professionally restored handle 31cm. high £150-250 21

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20. A Doulton Lambeth stoneware ewer by Florence Barlow, slender form, decorated with a pate sur pate roundel of a red squirrel, inside scrolling foliate border by Eliza Simmance, in shades of blue green and brown impressed and incised marks 29.5cm. high £250-350

21. A Doulton Lambeth stoneware tankard by Florence Barlow, dated 1876, incised with a frieze of two deer in a woodland setting, glazed in ochre, with applied silver rim, and another Doulton tankard by Florence Barlow with deer roundel impressed and incised marks, damage to one 14cm. high £150-250 23 22. A Doulton Lambeth stoneware vase by Hannah Barlow, slender baluster form, incised with a scene of sheep and donkeys in a landscape between foliate bands, in shades of blue, ochre and green impressed and incised marks, chip and firing crack to base rim 31cm. high £200-300

23. A pair of Royal Doulton stoneware vases by Hannah Barlow, ovoid with collar rims, incised with a frieze of cattle grazing and resting, in ochre, the base incised with a band of stylised foliage impressed and incised marks 13.5cm. high £600-1,000

24. A pair of Royal Doulton stoneware vases by Eliza Simmance, baluster form, painted with lilac sprays in shades of purple, green and brown on a mottled green ground impressed and incised marks, professional restoration to chip on foot rim, 38cm. high £700-900 24

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25. A Martin Brothers stoneware jug, cylindrical form with collar neck, incised with a large Aesthetic Movement sunflower, in shades of ochre and brown on a buff ground, the neck incised with a poem inscription incised 25.3.51 (81) Martin London & Southall, minor professional restoration to top rim, 24cm. high £300-500

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26. A Martin Brothers stoneware jug, by Robert Wallace Martin, incised and painted with rose flowers, in ochre and green on a mottled ochre ground incised marks 28.2.82 R W Martin London & Southall, professionally restored top rim, 21.5cm. high £250-300

27. An early Martin Brothers stoneware Medieval vase, by Robert Wallace Martin, incised with boys fishing by a river, modelled in low relief with an owl mask, in shades of blue, green and brown incised E.32, R W Martin London 5-1875, professionally restored, 15.5cm. high £150-200 27

28. A Martin Brothers stoneware miniature Aquatic vase, square section, each side incised and painted with a jelly fish, in green and ochre on a blue ground incised 3-1913 Martin London & Southall, very minor professional restoration to top rim, 4.5cm. high £500-600

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30. A Martin Brothers stoneware miniature gourd vase, shouldered form with incised vertical ribs, glazed brown and green incised 9-98 Martin Bros London 10cm. high £300-500 29

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31. A Martin Brothers stoneware bird jar and cover, modelled with forward looking gaze and hooked beak, glazed in shades of ochre, green and blue, on ebonised wood base incised Martin Bros, London & Southall to head and base 17.5cm. high ÂŁ7,000-9,000

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32. An unusual Martin Brothers face vase, modelled to both sides with a smiling face, glazed brown and ochre incised 7-1889 Martin Bros London & Southall, firing crack to base 24cm. high £2,000-3,000

33 33. A Martin Brothers stoneware Aquatic vase, ovoid with everted rim, incised and painted with grotesque fish, eels, star fish and squid, in shades of green and ochre on a pale blue ground incised 9-1896 Martin Bros London & Southall, professionally restored base rim 17cm. high £1,500-2,000

34. A Martin Brothers stoneware vase, by Robert Wallace Martin, shouldered square section, incised with panels of wild flower sprays, in shades of green, blue and ochre on a buff ground incised 8-1889 R W Martin & Brothers London & Southall 31.5cm. high £1,200-1,800 34

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35. A Minton’s New Stone twin-handled platter, the design attributed to A W N Pugin, printed to the rim with foliage frieze and central foliate roundel, in puce and blue, highlighted in gilt impressed marks 38cm. wide £80-120 36. Four Wedgwood Aesthetic Movement plates, designed by Pierre Mallet and Leonce Goutard, for Borgen & Co, printed and painted in colours with water birds, frogs and dragonflies impressed marks, painted inscription, wear to well and small rim nick to one 25cm. diam. £100-200 Literature Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 93 plate 197 for comparable plates from the service 37. An encaustic bread plate designed by A W N Pugin, the rim inscribed unmarked 32.5cm. diam. £80-120 38. A watercolour on paper by M Delpratt-Harris, after a design by W S Coleman for Minton’s, signed M Delpratt-Harris image 11.5 x 9cm. £80-120 39. An oval plaque in the style of W S Coleman, printed and painted with cherubs in a garden setting inside floral border, in colours unsigned 33cm. wide £100-150 40. A Minton’s Art Pottery plate, painted with a portrait of woman in shades of blue impressed marks, painted signature B Tunmarn, flat chip to foot rim, 25.5cm. diam. £80-120 41. ‘Portrait of Russell Nadin - three and a half years’ a portrait charger by M Nadin, dated 1885 on Minton’s blank, painted in colours, impressed and painted marks 41cm. diam. £300-500 42. A set of four Minton’s plates designed by John Moyr Smith, printed in brown on a white ground, comprising ‘Sleeping Beauty’, ‘Beauty and the Beast’, ‘Golden Locks’ and ‘Jack and the Beanstalk’ impressed mark, painted monogram to design 21.5cm. diam. £50-150

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43. A pair of Minton’s Pottery moon flasks, flattened disk form, one painted with young figures fishing, the other with a young figure being served fruit from a tray in a palace setting, the reverse with flowers, in colours impressed marks 34cm. high £1,200-1,800 44. A Minton’s Pottery Aesthetic Movement jardiniere and stand, modelled in relief with elephant mask handles, and bamboo stems, glazed blue and purple, impressed marks, restored 23cm. high £200-400 45. A Minton’s tile planter, four English History tiles designed by John Moyr Smith, in brass mount cast marks to tiles 20cm. high £300-350 44

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46. Two large Minton’s Shakespeare Series tiles designed by John Moyr Smith, comprising ‘Midsummer Night’s Dream’ and ‘Romeo and Juliet’ glazed in ochre and black on a white ground, and seven other Minton’s tiles designed by John Moyr Smith impressed marks, damages 20.5cm. wide £100-200

47. Eight Minton’s Shakespeare Series tiles, designed by John Moyr Smith, printed in black and ochre on a white ground impressed marks, damages 15cm. square £100-200

48. A Minton’s encaustic tile designed by A W N Pugin for St Peter’s Church, Marlow in shades of red, green and yellow, framed 15cm. square £200-300 Provenance St Peter’s Catholic Church Lady chapel, until it was demolished in 1970. Private collection 50

49. Three Maw & Co tiles, designed by J P Seddon, decorated with medieval revival floral repeat in blue, ochre and brown impressed marks, each tile 15.5cm. square £80-120 Literature Jeremy Cooper Victorian and Edwardian Furniture and Interiors Thames and Hudson, page 184-185 plates 179-182 for this design reproduced

50. Eleven Minton’s Old Testament Series tiles, designed by John Moyr Smith, printed in ochre and black on a white ground impressed marks, minor damages 15.5cm. square £150-200

51. A set of six Minton’s encaustic tiles, the design attributed to A W N Pugin, each decorated with medieval figures or heraldic lions, framed each tile 15cm. square £200-300

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Literature Paul Atterbury & Clive Wainwright Pugin V&A/Yale, page 144 plate 261 for 4 tiles from this Old English series made by Minton from 1842.

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52. Four W Godwin encaustic tiles, designed by J P Seddon, each decorated with a radial, geometric flower design in ochre on a black ground impressed marks to reverse 15cm. wide £250-350

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53. A Maw & Co three tile panel, designed by Walter Crane, printed in brown on a pale beige with birds inside scrolling flowers and foliage, framed impressed marks each tile 15cm square £300-500


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54. A Maw four tile panel, each tile dust pressed in low relief with acorn and oak leaf radiating design, glazed brown, a Minton’s four tile panel, a Minton’s Aesthetic tile printed with a flying crane and three other tiles various marks, acorn tile panel 30cm. square £80-120 Literature Fired Earth Dennis & TACS, page 109 catalogue number 237 for a comparable tile. 55. A J C Edwards tile, designed by Lewis F Day, rich ruby lustre with two carnation flower stems, in carved wood frame, 15.5cm. square £150-250

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56. A pair of Minton’s China Works tiles, the design attributed to Dr Christopher Dresser, printed in platinum on a blue ground with geometric flower design, framed impressed marks, 20.5cm. square £80-120 59 57. A Pilkington’s Lancastrian tile, designed by Lewis F Day, slip decorated with an Art Nouveau flower in shades of green and blue on a cream ground, framed impressed P mark 15.5cm. square £80-120

58. A Carter’s Poole Pottery tile, the design attributed to Edward Bawden, painted to the centre with a figure in a landscape, in shades of blue and aubergine on a cream ground, and a collection of tiles by various manufacturers impressed Carter’s mark 15cm. square £200-300 61

59. An unusual Adams & Cartlidge Pottery four tile panel designed by George Cartlidge, on Vine blanks, tubelined decorated with a Dutch boy playing a pipe, walking in a landscape, a windmill on the horizon, impressed marks, painted numbers, each tile 15cm. square £200-300

60. A pair of Minton’s & Hollins Pottery tiles, designed by Dr Christopher Dresser, printed with a stylised floral repeat, in colours on a black ground impressed marks 21cm. square £150-250

61. A Maw & Co four tile panel, the design attributed to J P Seddon, cast in low relief with panels of geometric flowers and foliage below flying birds, framed, each tile 20cm. square £300-500 62 62. An Alfred Meakin ten tile panel, in the manner of Charles Francis Annesley Voysey, slip decorated with calla lily in green and white on a pale green ground, framed, each tile 15.5cm. square £100-200

63. A Maw four tile panel, cast in low relief with a foliate roundel, in shades of blue, ochre, red and green, framed impressed marks to reverse 31cm. square £200-400 Literature J & B Austwick The Decorated Tile, An Illustrated History of English Tile Making and Design, page 32 plates 61-64 for this design 63

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64. A modern Minton model of a standing monkey, produced to celebrate the year of the monkey, 2004, covered in a textured gold finish printed factory marks 22cm.high £50-100 65. A large Wedgwood earthenware charger, painted with an exotic orchid, in colours impressed marks, painted title 38cm. diam. £200-300

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66. A large Wedgwood earthenware charger, painted with an exotic flower, in colours impressed marks, painted title 38cm. diam. £200-300 67. A Crown Derby ginger jar and cover, printed and painted with flowers, in the Imari palette, highlighted in gilt printed factory marks 16.5cm. high £250-300 68. A pair of Linthorpe Pottery vases designed by Dr Christopher Dresser, model no.337, twin-handled form cast in low relief with geometric panels, glazed streaked green and brown impressed factory marks, facsimile signature, glaze chip to top rim of one 20cm. high £250-350

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69. An Old Hall pottery vase, in the manner of Dr Christopher Dresser, slender, twin-handled urn form, painted with flowers and foliage in colours on a mottled pink ground, highlighted in gilt impressed marks, hairline to base 37cm. high £80-120 70. A Lear Pottery Aesthetic Movement mantle clock, cast in low relief with foliate designs and mask handles, glazed green, with enamelled face impressed marks, 27cm. high £150-250 71. A John Pearson pottery jug, shouldered form, painted with flowers and foliage in shades of blue, green and ruby lustre painted JP monogram 17.5cm. high £100-200

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72. A Sunflower Pottery jug by Sir Edmund Elton, ovoid with pinched neck, applied with a floral spray in brown and blue on a streaked blue and green glaze painted Elton mark 15.5cm. high £80-120 Provenance A W Coysh collection, illustrated in Art Pottery 1870-1940, page 152 Private collection 73. A large Sunflower Pottery vase by Sir Edmund Elton ovoid body with flaring, pinched rim applied with slip flowers and foliage in shades of red on a running red, green and blue ground unsigned,. sold with a letter of authentification by Patricia Elton, minor glaze nicks to top rim 30cm. high £80-120

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74. A pair of Leeds Fireclay Company Lefco Ware stoneware jardiniere on low stands, cast in low relief with a band of foliage, glazed oatmeal, on waisted square socle impressed factory marks, minor chips 54cm. diam. £600-1,000


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75. A Farnham Pottery vase, by B James, beaker form, decorated with flower stems under a green glaze incised marks, minor glaze chips 15cm. high £100-150

76. A large Burmantoft’s Faience Persian vase, model no.2123, wasted ovoid body with flaring cylindrical neck, decorated with dolphin amongst scrolling foliage in shades of green, blue and ochre impressed marks, re-stuck chip to top rim 53cm. high £300-500 78

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77. ‘The Cross of St Cross - Winchester’ a Ewenny pottery jug, dated 1908, incised and applied with cross motif, glazed green and ochre incised Ewenny Pottery to base, minor glaze loss 17cm. high £100-200

78. A pair of C H Brannam, Barnstaple vases, by William Baron, dated 1892, ovoid with cylindrical neck and pinched rim, incised and painted with scaly fish, in shades of brown and blue on a cream ground incised marks 22cm. high £300-400

79. A C H Brannam, Barnstaple vase, by William Baron, dated 1886, tapering flask form with everted rim, incised with a bird before flowering foliage, in shades if green, blue and ochre on a cream ground incised marks to base 22.5cm. high £220-280

80. A C H Brannam, Barum pottery candlestick, modelled as a rearing griffin, glazed in ochre and blue incised marks, dated 1895, chips 17cm. high £80-120

81. A Baron Pottery model of an Egyptian god, with applied glass eyes, glazed blue incised marks 18cm. high £450-550

82. A C H Brannam Pottery figural tazza, dated 1901, by Frank Thomas, modelled as a grotesque standing on hind legs, holding an oval tray glazed in shades of green, blue and brown incised marks, restored 27cm. high £900-1,100 Literature C H Brannam Barum Ware, New Century Gallery, page 15 plate 25 for a comparable figure 82

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83. A large Cantagalli Persian footed bowl, painted with flowers and foliage in shades of blue and green painted cockerel mark, small chips 35cm. diam. £800-1,200

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84. A small Cantagalli vase, ovoid decorated with scrolling foliate design in yellow and dark blue, and a pair of Regal pottery vases painted cockerel mark 12cm. high £60-100

WILLIaM de Morgan 85. A William De Morgan Late Fulham Period tile, painted with a kingfisher with a large fish speared by its beak, in shades of green, with iron frame impressed mark to reverse, hairline crack 15cm. square £100-200

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86. Four William De Morgan Sand’s End Pottery Persian tiles, painted with foliate panels in shades of blue, aubergine and green on a white ground impressed marks 15.5cm square £800-1,200 87. Four William De Morgan Merton Abbey border tiles, each painted with stylised foliate design in blue and white below green border impressed mark 15.5cm. wide £80-120 88. Seven William De Morgan Merton Abbey border tiles, each painted with yellow and aubergine flowers on a green ground impressed marks, 15.5cm. wide £180-220

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89. Four William De Morgan Sand’s End Pottery Persian border tiles, each painted with flowers in shades of blue, turquoise and purple on a white ground impressed Tudor Rose mark, chips 23cm. wide £150-250 90. A William De Morgan Sand’s End Pottery composite tile frame, painted with cartouche of flowers and foliage in shades of blue and aubergine on a lime green ground various impressed marks, damages largest tile 15.5cm. wide £200-300

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91. A William De Morgan Early Fulham eight tile frame, painted with aubergine flowers on green impressed marks, minor damages longest tiles 14cm. wide, frame 33.5cm. wide £150-200

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92. Nineteen William De Morgan Early Fulham Persian border tiles, each painted with blue carnations in shades of blue, green and aubergine impressed Tulip mark, minor chips 15cm. wide £800-1,200


William De morgan tiles from the ColleCtion of Jon Catleugh


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99 93. A William De Morgan Sand’s End Pottery The Curzon Rose Trellis tile, painted in shades of aubergine, green and blue impressed mark 15.5cm. square £100-200

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Provenance The Jon Catleugh Collection 94. A William De Morgan Sand’s End Pottery Tulip & Trellis tile, designed by William Morris, painted in shades of green and blue on a white ground, impressed marks, 15.5cm. square £150-250

98. A William De Morgan Fulham Pottery tile, painted with alternate panels of berries and leaves, in ruby lustre, and another decorated with foliate design painted marks 15.5cm. square £100-200

Provenance The Jon Catleugh Collection

Provenance The Jon Catleugh Collection

95. A William De Morgan Fulham Period Raised Lion tile, glazed in shades of gold and copper lustre on a blue, red and ochre background impressed marks, small chip to rim 15.5cm square £150-250 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 166 plate 259 this tile illustrated 96. A William De Morgan Fulham Period Raised Lion tile, glazed in shades of gold and copper lustre on a blue, red and white background, and a Raised Lion tile covered in a red lustre impressed marks, minor glaze loss 15.5cm square £150-250 Provenance The Jon Catleugh Collection

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100 97. A William De Morgan Merton Abbey period tile, modelled in low relief with alternate panels of birds and flowers, covered in a green glaze, and another glazed red impressed marks 15cm. square £100-200 Provenance The Jon Catleugh Collection

Literature Jon Catleugh William De Morgan Tiles Trefoil, page 197 colour plate IX this tile illustrated

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Literature Jon Catleugh William De Morgan Tiles Trefoil, page 166 plate 259 for a comparable tile illustrated

99. A William De Morgan Rose and Scroll tile, painted with panels of Tudor rose and scrolling foliage in red lustre on a white ground, another similar on Craven Dunnill & Co blank, and two other ruby lustre tiles various marks, minor rim chips 15.5cm. square £200-400 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 63 colour plate VII this panel illustrated 100. An unusual William De Morgan Sand’s End Pottery tile, rectangular section, painted with a frieze of cherub, in aubergine, yellow, brown and green on a white ground impressed mark, minor frits to corners, 20 x 16cm. £100-200 Provenance The Jon Catleugh Collection


101. A large William De Morgan BBB tile, painted in ruby lustre on a white ground blank tile, minor frits and scratches 20.5cm. square £200-400 Provenance The Jon Catleugh Collection

102. A William De Morgan Late Fulham Period tile, modelled in relief with two lions, glazed ruby lustre, and a large tile decorated in ruby lustre with scrolling foliage impressed mark, glaze frits 15cm. square £100-200 Provenance The Jon Catleugh Collection

103. Two William De Morgan Aster tiles on Carter’s Poole blanks, painted with flowers in shades of yellow, brown and green on a blue ground impressed marks 15.5cm. square £150-250 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 82 plate 99 this design reproduced

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104. Two William De Morgan Aster tiles on Poole Architectural blanks, painted in shades of yellow, ochre and green on a blue ground impressed marks 15cm. square £150-250 Provenance The Jon Catleugh Collection Literature Tiles by William De Morgan The Jon Catleugh Collection Haslam & Whiteway catalogue numbers 51 and 53, illustrated page 18

105. A William De Morgan Sand’s End Pottery tile, painted with carnation flowers in blue and green on a white ground, and another similar on Carter’s Poole tile impressed marks 15.5cm. square £100-200 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Trefoil, page 113 catalogue number 157 for a line drawing of this design

106. A William De Morgan two tile panel, on Carter’s Poole blank tiles, painted with stylised rose flowers on a trellis ground, in shades of blue, green and brown on a white ground impressed marks, minor glaze frits 15.5cm. square £100-200 Provenance The Jon Catleugh Collection

107. Two William De Morgan tiles on Carter’s Poole blanks, painted with blue flowers on scrolling green and yellow foliage, on a white ground impressed marks, minor glaze frits 15cm. square £100-200 Provenance The Jon Catleugh Collection

108. Two William De Morgan tiles on Carter’s Poole blanks, painted with flowers in shades of turquoise, blue and green on a white ground impressed marks, 15cm. square £150-250 Provenance The Jon Catleugh Collection

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109. A large William De Morgan Sand’s End Pottery Double Carnation tile, painted in shades of brown, yellow and green on a white ground impressed mark, restored 21cm. square £100-200 Provenance The Jon Catleugh Collection

110. A William De Morgan Merton Abbey tile, painted with three sunflowers in shades of green, yellow and brown on a white ground impressed factory marks, small chip to corner 15.5cm. square £80-120 Provenance The Jon Catleugh Collection

111. A large William De Morgan Merton Abbey Period Bedford Park Daisy tile, painted in shades of aubergine, green and blue on a white ground impressed marks, chips to corners 20.5cm. square£80-120 113

Provenance The Jon Catleugh Collection

112. Four William De Morgan Bedford Park Daisy tiles, painted with panels of flowers and foliage in shades of green, yellow and turquoise on a white ground impressed Merton Abbey and Carters marks, minor damages 15.5cm. square £300-500 Provenance The Jon Catleugh Collection

113. A William De Morgan Late Fulham Period Pineapple three tile panel, painted with scrolling flowers and foliage in shades of yellow, ochre, aubergine and green on a white ground impressed marks, chips, 46 x 15.5cm. £200-400 114

Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 91 plate 127 this panel design illustrated

114. Three William De Morgan BBB tiles, each painted with a flowerhead in shades of aubergine, yellow and green on a white ground impressed marks, 15.5cm. square £150-250 Provenance The Jon Catleugh Collection

115. A William De Morgan Merton Abbey tile, painted with five flower stems in shades of yellow, green and blue on a white ground, and two other foliate tiles impressed marks, glaze chips 15.5cm. square £100-200 Provenance The Jon Catleugh Collection 115

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116. Four William De Morgan Sand’s End Pottery tiles from an Owl panel, painted in shades of blue, green, aubergine and brown on a midnight blue ground impressed marks, each tile 20.5cm, square £200-400 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 137 colour plate XVII for a comparable full 6 tile Owl panel illustrated

116

117. A William De Morgan tile and spacer tile panel, painted with yellow wild flowers on a green grass background unsigned tile 15.5cm. square £100-200 Provenance The Jon Catleugh Collection

117

118. A William De Morgan Chelsea period three tile panel, decorated with a serpent climbing up a fruit tree growing in a vase, in colours on a white ground, with turquoise spacer end tiles impressed marks 45 x 15.5cm. £500-1,000 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 138 colour plate XVIII this panel illustrated

118

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119

123

120

124

121

125

126

127

119. A large William De Morgan Merton Abbey Period Bedford Park Daisy tile, painted in shades of aubergine, green and blue on a white ground impressed marks, minor chip to corner 20.5cm. square £100-200

123. A William De Morgan Merton Abbey Rose and Scroll tile, painted in shades of green on a white ground, and a Single Rose design tile impressed marks, chips to edges 15.5cm. square £100-200

Provenance The Jon Catleugh Collection

Provenance The Jon Catleugh Collection

120. A William De Morgan Sand’s End Pottery tile, painted with alternate flowers and foliage panels in shades of blue and green on a white ground, and three others similar impressed marks, chips 15.5cm. square £150-250 Provenance The Jon Catleugh Collection

128

122

121. A set of four William De Morgan Merton Abbey Period tiles, painted with a foliate repeat in green on a white ground impressed marks, minor glaze frits 15.5cm. square £100-200 Provenance The Jon Catleugh Collection 122. A set of Four William De Morgan Merton Abbey Period tiles, painted with forget-me-not flowers, in shades of blue and green on a white ground impressed marks, minor glaze chips 15.5cm. square £200-400 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 86 colour plate 105 this panel illustrated

Literature Jon Catleugh William De Morgan Tiles Trefoil, page 98 colour plate X this Single Rose tile illustrated 124. A large William De Morgan Sand’s End Pottery tile, painted with a foliate design in shades of green, blue and ochre on a turquoise ground, and another foliate design tile impressed marks, minor damages 21cm. square £100-200 Provenance The Jon Catleugh Collection 125. Two William De Morgan Merton Abbey tiles, painted with a flower and foliage in shades of aubergine and green on a white ground impressed marks, minor glaze chips 13cm. square £80-120 Provenance The Jon Catleugh Collection 126. A William De Morgan Sand’s End Pottery tile, painted with three flower stems, in shades of blue and green on a white ground, and another Merton Abbey tile impressed marks, minor glaze loss, 15.5cm. high £100-200 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 87 plate 109 this design illustrated

129

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130 127. A William De Morgan Large Carnation two tile panel on Wedgwood blanks, painted in shades of blue and green on a white ground, and a Sand’s End Pottery tile impressed Wedgwood urn, cracks 15.5cm. square £100-200 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 77 plate 83 this panel illustrated 128. A three tile panel designed by J F Bentley and painted by William De Morgan, for Carlton Towers, painted with a scrolling flower stem, in shades of copper lustre unmarked 46 x 15.5cm. £100-200 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 63 colour plate VII this panel illustrated 129. A William De Morgan Sand’s End Pottery tile, painted with a Tudor rose design in shades of pink, yellow and green on a white ground, and two other Sand’s End Pottery tiles impressed marks, minor glaze loss 15.5cm. square £150-250 Provenance The Jon Catleugh Collection

131

130. A William De Morgan Sand’s End Pottery two tile Galleon panel, painted in shades of blue, aubergine, brown and green impressed marks 31cm. wide £500-1,000 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 118 colour plate XIV this panel illustrated 131. Two William De Morgan Late Fulham Period tiles, painted with panels of fruiting foliage and foliage, in shades of yellow and green on a white ground, and another on Carter’s Poole blank tile impressed marks 15.5cm. square £150-250 Provenance The Jon Catleugh Collection 132. A William De Morgan three tile panel, decorated with two serpents before foliage, in shades of green and black on a blue ground on blanks, minor glaze frits 46 x 15.5cm. £500-1,000 Provenance The Jon Catleugh Collection 132

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133. A William De Morgan Sand’s End Pottery Flying Leaf tile, painted with foliage in shades of green and blue on a white ground and four other William De Morgan foliage tiles, various marks, chips 15.5cm. square £150-250 Provenance The Jon Catleugh Collection

134. A William De Morgan Merton Abbey tile, painted with foliage spray in shades of green and blue on a white ground, and two other William De Morgan tiles, impressed marks, 15.5cm. square £150-250 Provenance The Jon Catleugh Collection

133

134

135. A large William De Morgan Early Fulham Period tile, painted with a grape vine, in shades of red and green on a white ground, and another smaller impressed tulip mark, glaze chips to edges 20.5cm. square £100-200 Provenance The Jon Catleugh Collection Literature Simplicity or Splendour Cheltenham Museum page 51 cat no. 9 for a ruby lustre version

136. A William De Morgan Carnation tile on Carter’s Poole blank, painted in shades of blue on a white ground and five other William De Morgan tiles various marks, damages 15.5cm. square £150-200

135

136

Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 98 colour plate XI for variations of this design illustrated

137. A pair of William De Morgan Sand’s End Pottery tiles, painted with carnation flower stems in shades of yellow, pale blue and green on a white ground impressed marks, firing faults 20cm. square £200-400 Provenance The Jon Catleugh Collection

137

138

138. Two William De Morgan Berries and Leaves tiles, painted in shades of blue on a white ground, impressed Sand’s End and Merton Abbey marks, minor chips to corners 15.5cm. square £80-120 Provenance The Jon Catleugh Collection

139. Two William De Morgan Merton Abbey tiles, painted with flowers in shades of aubergine and green on a white ground impressed factory marks, minor chips and glaze frits to corners 15.5cm. square £100-200 Provenance The Jon Catleugh Collection

140. A William De Morgan Late Fulham Period KL Rose tile, painted with two flowers in shades of aubergine and green on a blue ground another similar and a ruby lustre version impressed marks, ruby tile repaired 15.5cm. square £150-250 Provenance The Jon Catleugh Collection

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140

Literature Jon Catleugh William De Morgan Tiles Trefoil, page 98 colour plate X this tile illustrated


141. A William De Morgan Guinea Fowl tile, painted in ruby lustre with a bird before foliage blank tile 15.5cm. square £200-400 Provenance The Jon Catleugh Collection

141

142. A William De Morgan Sand’s End Pottery Comic Bird tile, decorated with a bird eating from a broken egg shell, in blue on a celadon ground impressed mark 15.5cm. square £400-600 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 158 colour plate XXII this tile illustrated

142

143. A William De Morgan Sand’s End Pottery tile, painted in blue with a turtle, on a celadon green ground impressed mark, 15.5cm. square £300-500 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 158 colour plate XXII this tile illustrated

143

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144

145

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147

144. Three William De Morgan Merton Abbey tiles, each painted with birds amongst flowers and foliage in shades of manganese pink, yellow and green impressed marks, repairs to two tiles 21cm. square £200-400 Provenance The Jon Catleugh Collection

148

Literature Jon Catleugh William De Morgan Tiles Trefoil, page 163 plate 250 this panel illustrated 145. A William De Morgan Merton Abbey Fantastic Duck tile, painted in shades of green on a white ground, and two foliate design tiles impressed marks, losses 15.5cm. square £100-200 146. A William De Morgan Sand’s End Pottery Persian four tile panel, painted in shades of blue, aubergine, green and black on a white ground impressed marks, chips 31cm. square £150-250 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 123 plate 170 a line drawing of this design illustrated.

149

147. A William De Morgan late Fulham Period BBB tile, painted in shades of blue, aubergine and green on a white ground, and a Merton Abbey tile painted with carnations impressed marks 15.5cm. square £100-200 Provenance The Jon Catleugh Collection 148. A set of Four William De Morgan Fulham tiles, each painted with Bedford Park Daisy and Flying Leaf panels, in shades of blue and green on a white ground impressed tulip mark, 15.5 x 7.5cm. £200-400 Provenance The Jon Catleugh Collection Literature Jon Catleugh William De Morgan Tiles Trefoil, page 62 colour plate VI two of these tiles illustrated 149. A Golfe Juan Massier lustre tile, large, square form covered in splashed petrol lustre glaze painted Golfe Juan AM marks, chips to rims 20.5cm. square £80-120 Provenance The Jon Catleugh Collection 150. Two large Pilkington’s Lancastrian Persian tiles, painted with scrolling flowers in shades of blue, green and iron red on a white ground impressed marks 22.5cm. square £100-200 Provenance The Jon Catleugh Collection

150

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151

152

153

154

151. A small lustre stoneware vase possibly Richard Joyce, shouldered form with waisted neck, covered in a ruby lustre glaze, incised RJ monogram to foot 15cm. high £50-100

152. Two Pilkington’s Lancastrian tiles, each decorated with a simple holly leaf in copper lustre on a blue ground, and two other Pilkington’s Lancastrian tiles decorated with a stylised flowerhead design various impressed P marks, glaze loss to edges 7.5cm. high £80-120

153. A Pilkington’s Lancastrian tile, modelled in low relief with a rearing dragon, in copper lustre on a blue ground impressed P mark, minor glaze loss to edges 15.5cm. square £100-150

155

154. A Pilkington’s Lancastrian vase designed by Walter Crane, by William S Mycock, painted with a band of heraldic lions above Tudor rose and heart motif, in gold on a red lustre ground, painted inscription and monograms, two small hairlines to top rim 13cm. high £400-500

155. A Pilkington’s Lancastrian solifleur vase by Richard Joyce, date mark 1908, painted with fish amongst waterweed, in gold and ruby on a streaked blue ground impressed marks, painted date mark 20cm. high £700-1,000 156

156. A Pilkington’s Lancastrian vase by Jessie Jones, dated 1906, shouldered form with everted rim, painted with panels of climbing ivy foliage, in golden lustre on a red lustre ground impressed marks and painted artist cypher 12cm. high £400-600

157. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1911, shouldered form painted with a frieze of heraldic lions and cypress trees, in golden lustre on an orange ground impressed and painted marks, artist cypher and date mark 15cm. high £600-900 157

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158

159

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158. A Pilkington’s Royal Lancastrian flaring bowl, by William S Mycock, shape 3377, painted with a frieze of birds amongst foliage, in shades of blue, yellow and green on a silver grey ground impressed marks, painted artist cypher and datemark 36cm. diam. £100-150 159. A Pilkington’s Lancastrian vase, shape no.2096, dated mark 1911, ovoid with waisted neck and everted rim, covered in a matt olive glaze impressed marks 29.5cm. high £80-120

162

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160. A Pilkington’s Lancastrian vase, compressed ovoid form with everted rim, covered in a streaked light blue glaze printed bee mark for 1903-1904, impressed P, small glaze frit to top rim 15.5cm. high £80-120 161. A Pilkington’s Lancastrian vase, dated 1912, shape no.3064, ribbed form modelled in low relief with a grape vine design to shoulder, glazed green on a curdled green and ochre, a Pilkington’s vase with streaked blue glaze ground and five various Pilkington’s dishes impressed marks, some with damages 25cm. high £150-250 162. A Pilkington’s Lancastrian vase, shape no.2834, dated 1909, fluted. compressed form with everted rim, covered in a green aventurine glaze impressed marks, 18cm. high £100-200 163. A large Pilkington’s Lancastrian vase, shape no.2229, dated 1906, shouldered cylindrical form with collar neck, glazed with streaked green over purple and lavender impressed marks 42.5cm. high £150-200

164

165

164. A Pilkington’s Lancastrian vase, dated 1909, shape no.2806, waisted cylindrical form, modelled in low relief with foliage the stems forming four looped handles, covered in a ruby lustre glaze impressed marks, professional restoration to two handles 23cm. high £150-200 165. A Pilkington’s Lancastrian solifleur vase by Charles Cundall, dated 1909, ovoid with cylindrical neck, the modelled body painted with foliate panels in golden lustre on a yellow ground, the neck a streaked golden lustre impressed marks, painted artist cypher and datemark 19cm. high £400-600 166. An early, large Pilkington’s Lancastrian vase, tapering cylindrical form with everted rim, modelled in relief with mask frieze, glazed in streaked crystalline printed Bee mark for 1903-1904, impressed P, professionally restored top rim 38cm. high £700-1,000 167. A Pilkington’s Lancastrian solifleur vase by Gordon Forsyth, dated 1906, shape no.2222, hexagonal section, painted with bluebell stems, in shades of golden lustre on a yellow and gold ground impressed marks, painted artist cypher 27cm. high £400-600

166

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The BILL CoLes CoLLeCTIon of PILKIngTon’s LanCasTrIan PoTTery

168. A Pilkington’s Lancastrian tile, slip decorated with a galleon at full sail, glazed in colours, two Pilkington’s Lancastrian tiles slip decorated with cyclamen, seven Pilkington’s six inch tiles, a smaller tile and two spacer tiles impressed P mark, small glaze chip to rim 15.5cm. square £80-120 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 13 the galleon tile illustrated Provenance The Bill Coles Collection

168 part

169. ‘Sola Nobilitas Virtus - Virtue Alone is True Nobility’ a Pilkington’s Lancastrian wall plate, by William S Mycock shape no.3218, dated 1928, painted in copper lustre on a red ground impressed marks, artist cypher, painted datemark, wear to well 29cm. diam. £100-200 Provenance The Bill Coles Collection 169

170. A Pilkington’s Lancastrian vase, dated 1908, modelled in low relief with berried foliage in golden lustre on a graduated yellow to green ground impressed marks and datemark 19cm. high £300-500 Provenance The Bill Coles Collection

170

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171

172

173

174

171. An early Pilkington’s Lancastrian vase, shape no.2618, 1912 mark, ribbed gourd form covered in a mottled blue and green glaze, and another early vase, 1906 mark, covered in a curdled blue glaze impressed marks 17cm. high £100-150 Provenance The Bill Coles Collection

172. A Pilkington’s Lancastrian vase, shape no.2802, modelled in low relief with trees, glazed matt green, another vase shape no.2445 covered in an olive green pig muck glaze, and two smaller vase impressed marks 19cm. high £80-120

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Provenance The Bill Coles Collection

173. A Pilkington’s Royal Lancastrian vase, shape no.2821, ribbed, shouldered form with applied scroll handles, covered in a ruby glaze, three other vases, a posy vase and a matt cream wall pocket impressed marks, 13cm. high £80-120 Provenance The Bill Coles Collection

174. A Pilkington’s Lancastrian vase, ovoid with everted narrow neck, covered in a finely streaked brown glaze, the neck golden, a shouldered vase by Robert Tunnicliffe covered in a matt brown glaze, another waisted vase and a orange streaked vase printed bee mark, impressed P 13cm. high £100-200 176

Provenance The Bill Coles Collection

175. A Pilkington’s Lancastrian red flambe lustre vase, ovoid, fluted body with everted rim, glazed to the interior with a golden lustre, and another flambe vase shape no. 338 impressed marks 16cm. high £80-120 Provenance The Bill Coles Collection

176. An early Pilkington’s Lancastrian vase, datemark for 1904, covered in a yellow and green streaked glaze, and another shouldered vase covered in an orange and brown curdled and streaked glaze printed bee mark and impressed P, 26cm. high £80-120 177

Provenance The Bill Coles Collection

177. A Pilkington’s Lancastrian vase, compressed form with tall cylindrical neck, covered in a rust and orange aventurine glaze, and an early vase, datemark for 1904 with everted fluted rim covered in a running brown streaked glaze impressed and printed marks 14.5cm. high £80-120 Provenance The Bill Coles Collection

178. A Pilkington’s Lancastrian plate, modelled as a leaf, covered in a brown streaked aventurine glaze, two others one in fiery crystalline, the other pig-muck, and two plates shape no.2197 impressed marks 21.5cm. diam. £100-200 Provenance The Bill Coles Collection 178

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180 179 179. A Pilkington’s Lancastrian bowl by Gwladys Rodgers, flaring form, painted in gold lustre with linear triangular design to the exterior, the interior with golden hearts on a mottled red and orange ground impressed mark, painted artist monogram 10.5cm. diam. £100-200 Provenance The Bill Coles Collection

180. A small Pilkington Lancastrian box and cover by Gwladys Rodgers, dated 1907, circular form, painted to the cover with a heraldic shield, inside a border of foliage sprigs, in shades of ruby and gold lustre on a cream/yellow ground impressed marks and date mark, painted artist cypher, base restored 8cm. diam. £80-120 Provenance The Bill Coles Collection

181

181. A Pilkington’s Lancastrian vase by Richard Joyce, open baluster form cast in low relief with scroll frieze, covered in a golden red streaked glaze impressed mark, painted RJ monogram 19cm. high £150-250 Provenance The Bill Coles Collection

182 182. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1912, painted with pomegranate fruit sprays in green on a golden-yellow lustre ground impressed marks, painted artist cypher and dated 9th Jan 1912, 19.5cm. high £200-400 Provenance The Bill Coles Collection

183. A Pilkington’s Lancastrian vase by William S Mycock, dated 1913, ovoid with cylindrical neck painted with flowers inside scrolling foliage borders in blue on a streaked silver ground impressed marks, painted artist cypher and datemark 19cm. high £300-500 Provenance The Bill Coles Collection 183

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184. A Pilkington’s Lancastrian vase, impressed mark for 1906, bottle form with knopped neck, covered in a green glaze under curdled yellow, and another shape no.2013 covered in a streaked green and turquoise glaze impressed marks 31cm. high £100-200 Provenance The Bill Coles Collection 185. A Pilkington’s Lancastrian plate, modelled in low relief with a flower design, glazed pale blue, four bowls and two other plates impressed mark 21cm. diam. £80-120 Provenance The Bill Coles Collection 184

185 186. A Pilkington’s Royal Lancastrian vase, shape no.3191, covered in a mottled turquoise matt glaze, a vase decorated with bands in shades of matt blue and green, another vase shape no.3362 modelled with foliate design and four other vases covered in experimental matt glazes impressed marks 28cm. high £150-250 Provenance The Bill Coles Collection

186

187

187. A Pilkington’s Royal Lancastrian vase, by Richard Joyce, ovoid form modelled in low relief with a foliate design glazed matt grey, a matt green tray and candlestick four vases and two posy bowls various marks 13cm. high £100-200 Provenance The Bill Coles Collection 188. A tall Pilkington’s Royal Lancastrian vase, shape no 2822, covered in a matt blue glaze, and seven other Pilkington’s vases covered in various blue glazes various marks 24.5cm. high £150-250 Provenance The Bill Coles Collection

188

189

189. A Pilkington’s Lancastrian vase, shape no.2843, covered in a `high-fired’ speckled lavender glaze over blue, two pale blue streaked vases, a Peacock blue glaze vase and four other Pilkington’s vases with blue glazes impressed marks 19cm. high £150-250 Provenance The Bill Coles Collection 190. A Pilkington’s Royal Lancastrian wall plaque, modelled in low relief with a galleon at full sail, glazed matt ochre impressed marks, 27cm. diam. £80-120 Provenance The Bill Coles Collection 191. A Pilkingtons Royal Lancastrian vase by William S Mycock, dated 1932, shouldered form cast in low relief with geometric decoration glazed in brown and cream mottled glaze, and two similar vases by William S Mycock, impressed and incised marks and artist cypher 22cm. high £100-200 Provenance The Bill Coles Collection

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191

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192. A Pilkington’s Royal Lancastrian shallow bowl, by William S Mycock, dated 1936, incised with scrolling foliage sprays in turquoise and blue on a white ground, a vase shape no.3363 modelled in low relief with fish and a Lapis plate by Gwladys Rodgers impressed and incised marks, 26.5cm. diam. £100-200 Provenance The Bill Coles Collection 193. A Pilkington’s Royal Lancastrian vase, shape no.2833, modelled in low relief with flower stems, glazed mottled orange, a twinhandled tazza covered in a orange aventurine glaze, and three other orange glazed items impressed marks vase 11.5cm. high £80-120 Provenance The Bill Coles Collection


MoorCrofT froM The CoLLeCTIon of Ken ManLey


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199 194. ‘Tulips’ a Moorcroft Pottery bowl with inverted rim, designed by William Moorcroft, painted in shades of yellow, green and blue on a celadon ground painted green signature, repaired rim 20cm. diam. £50-150

195. ‘Violets’ a pair of James Macintyre & Company plates, designed by William Moorcroft, painted in shades of blue, green and pink on a sand ground, the rim salmon pink and rust impressed marks, printed factory mark 18.5cm. diam. £500-800

196. ‘Violets’ a James Macintyre & Co tea set, designed by William Moorcroft, painted in blue, green and red on a sand ground, between brown and pink bands, comprising teapot and cover, hot-water jug and pewter cover and a trivet printed factory marks, small glaze frit to trivet hot-water 18cm. high £700-900

197. ‘Anemone’ a James Macintyre & Co trivet, designed by William Moorcroft, painted in shades of pink and blue on a sand ground printed factory mark, restored 13cm. diam. £80-120 200 198. ‘Eighteenth Century’ a James Macintyre & Co cup and saucer, designed by William Moorcroft, painted in shades of pink, blue and green on a white ground printed factory mark, painted green signature 8cm. high £200-250

199. ‘Rose Garland’ a James Macintyre & Co tea pot and coffee pot, designed by William Moorcroft, painted in colours on a white ground, highlighted in gilt, printed factory marks, restored spout to teapot, small nick to coffee pot, coffee pot 21cm.high £300-500

200. ‘Floral Panel’ a James Macintyre baluster vase, designed by William Moorcroft, painted in colours on a white ground, highlighted in gilt printed mark, painted green signature 23.5cm. high £1,500-2,000

201. ‘Macintyre Floral Swag’ an unusual James Macintyre baluster vase, designed by William Moorcroft, incised with roundels and foliage swags in shades of green and blue on a white ground printed Macintyre mark, painted green signature, small repaired chip to foot rim 23.5cm. high £700-900 201

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202 202. ‘Floral Panel’ a James Macintyre & Co three piece tea set, designed by William Moorcroft, painted with panels of anemone flowers in pink, ochre and green on a mottled green ground, comprising teapot and cover, tall jug and a milk-jug printed factory marks teapot 13.5cm. high £1,500-2,000

203. ‘Alhambra’ a James Macintyre coupe, designed by William Moorcroft, painted in shades blue and coral red on a salmon pink ground, highlighted in gilt printed factory mark, small chip to foot rim 15cm. high £700-900 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 51 plate 5 for a comparable example.

203

204. ‘Poppy’ a Large James Macintyre & Co Florian Ware jardiniere, designed by William Moorcroft, painted in shades of yellow, green and blue on a blue ground printed Florian Ware mark, painted green signature 32cm. high £2,500-3,000 204

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205. A James Macintyre & Co baluster vase, designed by William Moorcroft, printed in blue with panels and sprays of cornflowers, on a white ground printed factory mark, 30cm. high £200-300

206. A pair of James Macintyre & Co Aurelian Ware twin-handled vases, octagonal section, printed with panels of flower in shades of blue and coral red, highlighted in gilt on a white ground printed factory marks 17cm.high £500-800

206

205

207. ‘Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, solifleur neck and ovoid body, painted in shades of blue and green on a celadon ground painted green signature, professionally restored top rim, 34cm. high £700-1,000

208. ‘Cornflower’ a James Macintyre & Co slender vase, designed by William Moorcroft, painted in shades of yellow, blue and green on a white ground printed factory mark, painted green signature, professionally restored top rim 31cm. high £1,200-1,800

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208

209. ‘Cornflower’ a James Macintyre & Co Florian Ware twin-handled vase, designed by William Moorcroft, tapering cylindrical form with applied handles, tubelined with cornflowers below a band of butterflies, in blue on a pale blue ground printed factory mark, painted green signature, hairline to top rim, 21cm. high £300-500

210. ‘Cornflower’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in shades of blue, purple, green and yellow on a white ground impressed marks, painted green signature, re-stuck chip to top and base rims 23cm. high £200-300 209

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210


211. ‘Iris’ a good Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in shades of blue and green painted green signature, minor stress firing lines to rims 22.5cm. high £2,000-3,000

211

212. ‘Peacock Feather’ a tall James Macintyre Florian ware vase, designed by William Moorcroft, glazed in shades of yellow, green and blue on a mottled blue ground printed mark, painted green signature, professionally restored top rim 26cm. high £2,000-3,000

212

213. ‘Pansy’ a rare pair of James Macintyre & Co Florian Ware vases, designed by William Moorcroft, painted in shades of green and red on a salmon pink ground printed factory mark, painted green signature 21.5cm. high £3,000-5,000

213

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214

215

214. ‘Iris’ a Moorcroft Pottery tazza designed by William Moorcroft, painted in shades of blue and green on a celadon ground painted green signature 20cm. diam. £500-800

215. ‘Claremont’ a Moorcroft Pottery bowl, designed by William Moorcroft, painted in shades of red, purple, blue and ochre on a green ground impressed marks, painted green signature, dated 10-1913, minor firing lines to base rim, professional restoration 19cm. diam. £1,500-2,000

216. ‘Claremont’ a Moorcroft Pottery plate, designed by William Moorcroft, painted in shades of red, purple, yellow and ochre on a pale green ground impressed marks, painted blue signature, paper labels, in half and re-stuck 18.5cm. diam £100-200 Provenance W Moorcroft Richard Dennis at the Fine Art Society, 1973 catalogue number 299 Albert Wade Collection, Sotheby’s 2002

216

Literature Paul Atterbury Moorcroft Richard Dennis Publications, page 84 plate 1 this plate illustrated

217. ‘Landscape’ an unusual Moorcroft Pottery bowl, designed by William Moorcroft, painted with trees on the horizon before a flock of flying birds, the foreground a winding path, painted in shades of green, blue and yellow on a celadon green ground impressed marks, painted green signature, tiny glaze frit to rim 26cm. diam. £2,000-3,000

217

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218

218 detail

218. ‘Cornflower’ a large Moorcroft Pottery twin-handled coupe, designed by William Moorcroft, painted in shades of pink, purple, ochre and blue on a green ground impressed marks, painted green signature 20cm. high, 30cm. wide £1,500-2,000

219. ‘Revived Cornflower’ a Moorcroft Pottery slender baluster vase, designed by William Moorcroft, dated XI 1913, painted in shades of green, purple and pink painted green signature and date, professionally restored 18.5cm. high £800-1,200 Provenance Christie’s South Kensington lot 266 indistinct date 1990s

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220

220. ‘Cornflower’ a Moorcroft Pottery vase, designed by William Moorcroft, dated 1913, waisted cylindrical form, painted in shades of pink, ochre, purple and green impressed marks, painted green signature and date XI 1913, 15.5cm. high £1,500-2,000

221. ‘Spanish’ a Moorcroft Pottery baluster vase, designed by William Moorcroft, painted in shades of pink, ochre and purple on a mottled green ground impressed marks, painted green signature, tiny glaze frit to top rim, 23.5cm. high £2,000-2,500

221

37


222

223

224

225

222. ‘Silver Jubilee King George V’ a Moorcroft Pottery commemorative tankard, designed by William Moorcroft, glazed mottled green and orange, and another tankard inscribed Norman, impressed factory marks, indistinct inscription to base 12cm. high £80-120 223. A Moorcroft Pottery tyg, cylindrical form, tubeline decorated with a basket of fruit, on a sand ground, and a Moorcroft Pottery coffee pot and cover, milk-jug and sugar basin, glazed pale orange painted blue signature 17cm. high £80-120 226

227

224. ‘Yacht’ a Moorcroft Pottery covered bowl, designed by William Moorcroft, painted with a simple sail design in shades of green and red on a sand ground, impressed and painted marks, repaired cover 13cm.high £80-120 225. A Moorcroft Pottery vase, pear shaped, decorated with a band of flowers under a mint green glaze impressed marks, painted blue signature 18.5cm. high £100-150

228

229

226. ‘Wisteria’ a Moorcroft Pottery bowl, designed by William Moorcroft, with everted rim, painted in shades of pink, purple, yellow and green on a blue ground impressed factory marks, painted blue signature, professionally restored rim, 28cm. diam. £300-500 227. ‘Wisteria’ a Moorcroft Pottery plate, designed by William Moorcroft, painted in shades of yellow, blue, pink and green on a blue ground impressed marks, painted blue signature 22cm. diam. £150-200 228. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, compressed form, painted in shades of red, ochre and green on a blue ground impressed marks, painted green signature, small glaze nick to base rim, 9cm. high £200-300 229. ‘Pomegranate Panel’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in colours inside a celadon ground border impressed marks, painted green signature 13.5cm. high £200-300 Paul Atterbury Moorcroft Richard Dennis Publications, page 91 plate 3 for some comparable vases 230. ‘Pomegranate’ a Moorcroft Pottery box and cover, designed by William Moorcroft, painted in shades of pink, purple, ochre and green on a blue ground impressed marks, painted green signature to base 18cm. high £1,200-1,800

230

38


231. ‘Landscape’ a large James Macintyre & Co Florian Ware vase, designed by William Moorcroft, painted in shades of blue on a pale blue ground printed factory mark, painted green signature, professional restoration to top rim, 25cm. high £1,800-2,200 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 58 plate 1 for a comparable example.

231

232. ‘Dawn’ a large Moorcroft Pottery baluster vase, designed by William Moorcroft, painted in shades of blue with a salt-glaze matt finish impressed marks, painted blue signature 37cm. high £3,000-5,000 Literature Paul Atterbury Moorcroft Pottery page 96 for comparable examples illustrated

232

233. ‘Eventide’ a Moorcroft Pottery plate designed by William Moorcroft, painted in colours impressed mark, painted blue signature 18.5cm. diam. £400-600

233

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234

234. ‘African Lily’ a good pair of Moorcroft Pottery vases, designed by Walter Moorcroft, twin-handled form, each painted to the reverse painted with freesia, in shades of yellow, purple, pink and blue on a pale green to blue ground impressed marks, painted blue monogram 19cm. high £1,000-2,000

235. ‘Freesia’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in shades of pink, yellow and green on a graduated green to blue ground impressed mark, painted green signature 24cm. high £1,200-1,800

235

236. ‘Cornflower’ a Moorcroft Pottery footed vase, designed by William Moorcroft, painted in shades of pink, and blue on a graduated green to blue ground impressed marks, painted blue signature 19cm. high £1,500-2,200

237. ‘Bamboo and Orchids’ a unique Moorcroft Pottery vase, by William Moorcroft, baluster form, painted in shades of purple, blue and green on a celadon ground impressed marks, painted green signature dated 1914 32cm. high £10,000-15,000 Literature Paul Atterbury Moorcroft Pottery Richard Dennis & Hugh Edwards, page 110 this vase illustrated. It is believed this unique vase was inspired by Thomas Moorcroft’s watercolour that received a silver medal from the Department of Art and Science in 1875. 236

40


Lot 237

41


238

239 240 241 238. ‘Waving Corn’ a Moorcroft Pottery vase, designed by William Moorcroft, footed form, painted in shades of pink and green on a pale green ground impressed factory mark, painted blue signature 15.5cm. high £600-1,000

239. ‘Fish’ a Moorcroft Pottery salt-glaze vase, designed by William Moorcroft, baluster form, painted with a blue angel fish on a matt white ground impressed marks, painted blue signature 18.5cm. high £700-900

240. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery salt-glazed bowl, painted in colours on a white ground painted blue signature 30cm. diam. £400-600

242

241. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, ovoid with cylindrical neck, slip decorated with sprays of fruit and foliage in green on a cream ground impressed factory marks 31cm. high £300-500 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis and Hugh Edwards page 145 plate 1 this design illustrated

242. ‘Wisteria’ a Moorcroft Pottery solifleur vase designed by William Moorcroft, painted in shades of green, yellow, purple and blue on a blue ground impressed marks, painted blue signature 20.5cm. high £400-600

243. ‘Moonlit Blue’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of blue and green on a blue ground impressed marks, 9.5cm. high £700-1,000

244. ‘Frilled Orchids’ a Moorcroft Pottery twin-handled bowl, painted in colours on a sand ground to the interior, the exterior blue impressed factory marks, painted blue signature, one handle professionally restored £200-400 243

244

42


245

246

245. ‘Flambe Panel’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in colours under a flambe ground with cartouche of flowers impressed and painted marks 9cm. high £600-900 Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 106 plate 1 for a comparable example.

246. ‘Leaf and Berry’ a Moorcroft Pottery plate, designed by William Moorcroft, painted in colours under a flambe glaze impressed marks, painted blue signature, applied paper label 29.5cm. diam. £500-800

247

247. ‘Leaf and Blackberry’ a large Moorcroft Pottery flambe vase, designed by William Moorcroft, glazed in colours under a rich flambe glaze impressed mark, painted green signature 26cm. high £700-900

248. ‘Big Poppy’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in shades of red, ochre and green on a blue ground impressed marks painted blue signature, 19cm. high £1,000-2,000 Provenance Waddington’s lot 176 248

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249

250

251

252

255 253

254

256 249. ‘Leaf and Berry’ a Moorcroft Pottery plate, painted in colours on a green ground impressed mark, painted green signature, hairline to rim, 22cm. diam. £80-120 250. ‘Anemone’ a Moorcroft Pottery dish with inverted rim, painted in shades of pink, green and blue on a blue ground impressed factory marks, original paper label 11cm. diam. £60-100 251. ‘Anemone’ a Moorcroft Pottery bowl, designed by Walter Moorcroft, painted in colours on a pale blue ground impressed marks, painted blue signature 27cm. diam. £80-120 252. ‘Leaf and Berry’ a Moorcroft Pottery dish with inverted rim, painted in colours on a green ground impressed marks, painted signature, remains of paper label 11.5cm. diam. £60-100

257

253. ‘Springflowers’ a Moorcroft Pottery box and cover, originally designed by William Moorcroft, rectangular form, painted in colours, and a ‘Coral Hibiscus’ and a ‘Pansy’ box and cover similar impressed factory marks, small chip to corner of springflowers box, 12.5cm. wide £80-120 254. ‘Anemone’ a pair of Moorcroft Pottery vases, designed by Walter Moorcroft, baluster form, painted in shades of pink, purple and green on a blue ground impressed marks, painted green monogram 26cm. high £300-500 255. ‘Hibiscus’ a Moorcroft Pottery vase, designed by Walter Moorcroft, painted in shades of yellow, red and green on a white ground, and a Clematis pattern plate applied paper label 17cm. wide £80-120 256. ‘Columbine’ a small baluster vase designed by Walter Moorcroft, painted in colours on a blue ground impressed factory marks, small chip to base rim 9.5cm. high £60-100 257. ‘Pansy’ a Moorcroft Pottery bowl with inverted rim, designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted blue signature 26cm. diam. £300-500 258. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery bowl, painted in colours on a pale blue/green ground impressed marks, painted blue signature, hairline to rim 19cm. diam. £100-200

258

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Modern MasTers

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259

260

261

262

259. ‘Rose’ a unique Moorcroft Collector’s Club vase 1994, designed by Rachel Bishop, painted in colours with a single rose stem, on a pink ground painted marks 16cm. high £120-180

260. ‘Coral Reef’ a pair of Moorcroft Pottery vases, designed by Jeanne McDougall, painted in colours on a pale blue ground impressed and painted marks, 13.5cm. high £200-300 Provenance This shape was produced specifically for the Moorcroft Centenary dinner 1997. Literature Fraser Street Moorcroft Winds of Change, WM Publications, page 55 for a comparable vase illustrated.

263

261. ‘Inula’ a Moorcroft Pottery limited edition ginger jar and cover, designed by Rachel Bishop, retailed by Liberty & Co, painted in colours on a deep blue ground, and a ‘Finch’ dish designed by Sally Tuffin, printed and painted marks, artist signature, limited to 200 16cm. high £100-200

262. ‘Phoenix’ a Moorcroft Pottery solifleur vase, designed by Rachel Bishop, painted in colours on an ochre ground impressed and painted marks, painted signature, dated 1996 21cm. high £80-120

263. ‘Vereley - New Forest Series’ a Moorcroft Pottery vase, designed by Rachel Bishop, painted in colours impressed and painted marks, dated 1997 19cm. high £80-120 264

Literature Fraser Street Moorcroft Winds of Change, WM publications, page 90 for a comparable vase illustrated.

264. ‘Carousel’ a Moorcroft Pottery charger, designed by Rachel Bishop, dated 1997, painted with a floral border in colours on a blue ground impressed and painted marks, painted signature 35cm. diam. £300-500

265. ‘Windsor Carnation’ a Moorcroft Pottery limited edition vase, designed by Sally Tuffin, produced for Talents of Windsor, 1993, painted in colours on a blue ground printed and painted marks, painted 17-4-93 green WM monogram and painted gold John Moorcroft signature 28cm. high £150-200 265

46


266. ‘After The Storm’ a Moorcroft Pottery Trial vase, designed by John Moorcroft, dated 1996, painted in colours on a blue ground impressed and painted marks, 31.5cm. high £300-500

266

267. ‘Queens Choice’ a large modern Moorcroft vase, designed by Emma Bossons, painted in colours on a deep blue ground impressed and painted marks, dated 2001, dedicated to The Global Group PLC Frigoscandia Equipment, 43cm. high £500-800

267

267A. ‘Tigris’ a Moorcroft Pottery limited edition vase, designed by Rachel Bishop, dated 1993, painted in colours on a blue ground, with paper certificate, painted marks, J Moorcroft signature, dated 22.9.93, 75/150 40cm. high £600-1,000 Provenance Purchased from Talents of Windsor

267A

268. ‘Sunflower’ a large Moorcroft Pottery vase, designed by Sally Tuffin, painted with yellow, green and brown sunflowers on a vivid blue ground impressed marks, painted marks ST Design, dated 9.5.89, 68cm. high £750-850 Literature Paul Atterbury Moorcroft Pottery Richard Dennis & Hugh Edwards, page 210 plate 2 for a comparable vase

268

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269

269. A massive Bernard Moore bowl, with patinated metal mount and foot, painted to the interior with a dragon inside star motif, the exterior with similar ferocious dragons, in a flambe glaze impressed Minton’s blank mark, painted Bernard Moore mark 45cm. diam. £1,000-2,000

270

270. An Emile Galle marquetry occasional table, slender rectangular section inlaid with a dragonfly resting on water lily flowers, on shaped legs signed Galle in the marquetry 76cm. high, 56cm. wide £500-800

271. An Emile Galle Art Nouveau marquetry nest of four tables, each rectangular section, inlaid with a butterfly flying past flowers and foliage signed in the marquetry Emile Galle 73cm. high, 58cm wide £3,000-5,000

271

271 details

48


272. An Art Nouveau marquetry four tier vitrine by Emile Galle, shaped section with carved legs, the shelves inlaid with flag iris and wild flower panels, with two extending shelves, inlaid signature Galle 150cm. high, 67cm. wide ÂŁ5,000-7,000

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273 273. ‘Anemone’ a pair of James Macintyre and Son electroplated servers, painted in shades of blue and green on a pale celadon ground stamped marks to metalwork 28.5cm. long £180-220

274. A pair of James Macintyre Florian Ware solifleur vases, designed by William Moorcroft, painted with cornflower cartouche, in shades of blue on a pale blue ground printed mark, painted green signature, minor damages to both 27.5cm. high £300-500

275. ‘Dawn’ a Moorcroft Pottery dish designed by William Moorcroft, circular with inverted rim, salt-glazed in shade s of blue, highlighted in a light pink flambe glaze impressed factory marks 9cm. diam. £250-350

274

276. ‘Dawn’ a Moorcroft Pottery salt-glaze stoneware ginger jar and cover, painted in shades of blue on a pale blue ground between chevron and arch borders, with light flambe highlights impressed marks, painted blue signature 20cm. high £2,500-3,500 275

276

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277. ‘Landscape’ a fine pair of James Macintyre Florian Ware vases by William Moorcroft, painted with tall trees in a country landscape, in shades of green and blue on a white ground printed factory mark, painted green signature, repaired damages to both 25.5cm. high £2,000-4,000

51


278. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, baluster form, painted in shades of red, purple, ochre and green on a blue ground impressed marks, painted green signature 21cm. high £150-250

278

279

279. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, slender baluster form, painted in shades of pink, ochre, green and purple on a blue ground impressed marks, painted green signature 26.5cm. high £500-700

280. ‘Pomegranate’ a small Moorcroft Pottery vase designed by William Moorcroft, compressed form with collar neck, painted in shades of pink, ochre, green and purple on a blue ground impressed marks, painted blue signature 7cm. high £200-250 280

281

281. ‘Pomegranate’ a Moorcroft Pottery vase, designed by William Moorcroft, painted in shades of red, green, ochre and purple on a blue ground impressed marks, painted green, restored top rim, signature 29cm. high £150-250

282

282. ‘Peacock Feathers’ a large Moorcroft Pottery jardiniere, designed by William Moorcroft, painted in green, white and blue on a midnight black ground impressed marks, restored 22cm. high £1,000-2,000

283. ‘Leaf and Blackberry’ a Moorcroft Pottery vase, designed by William Moorcroft, slender baluster form, painted in colours on a green ground impressed mark, painted signature 18cm. high £700-1,000 283

52


284. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft and made for Liberty & Co, ovoid with collar neck, painted in shades of red and blue on a streaked green ground printed Liberty mark, painted green signature 17cm. high £4,000-5,000

284

285. ‘Claremont’ a tall Moorcroft Pottery vase designed by William Moorcroft, dated 1914, swollen cylindrical form, painted in shades of red, purple and yellow on a streaked green ground impressed marks, painted green signature and date 1914 30cm. high £2,000-3,000

285

286. ‘Flambe Landscape’ a rare Moorcroft Pottery vase designed by William Moorcroft, painted with tall trees in a hill landscape, in shades of yellow, green and blue under red flambe impressed marks, painted blue signature, two fine hairlines to top rim 22cm. high £2,500-3,500

286

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287

288

291

292

289

293

290

294

287. ‘Coral Hibiscus’ a Moorcroft Pottery vase, designed by Walter Moorcroft, painted in shades of pink and green on a green ground, a Magnolia plate and a vase impressed mark, painted green signature 21cm. high £100-200 288. ‘Orchid’ a Moorcroft Pottery box and cover designed by Walter Moorcroft, rectangular section, painted in colours on a blue ground impressed factory marks, 13cm. wide £160-180 289. ‘Alhambra’ a James Macintyre Pottery vase, designed by William Moorcroft, printed in shades of blue and salmon pink, highlighted in gilt printed factory mark, regilded top rim 17cm. high £400-600 290. A Moorcroft Pottery vase, designed by William Moorcroft, compressed form with cylindrical neck, covered in a green lustre glaze, and two Poole Pottery items impressed marks 12cm. high £60-100 291. ‘Arum Lily’ a Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours on a pale yellow to green ground applied paper label 13cm. high £250-300 292. ‘Orchid’ a Moorcroft Pottery salt-glazed vase, designed by William Moorcroft, beaker form, glazed in colours on a white ground impressed marks, painted blue signature 9cm. high £180-200

295

293. ‘Anemone’ a Moorcroft Pottery jug, designed by Walter Moorcroft, painted in colours on a green to blue graduated ground impressed factory marks, 16cm. high £250-300 294. ‘Magnolia’ a Moorcroft Pottery ginger jar and cover, designed by Walter Moorcroft, painted in colours, and two bowls impressed marks, painted green monogram, bruise to rim of cover 17cm. high £100-200 295. ‘Iris’ a Moorcroft Pottery baluster lamp, designed by William Moorcroft, painted in shades of pink, purple, and green on a graduated blue ground, with patinated metal fittings, vase 32cm. high £1,200-1,800 296. ‘Late Florian Persian’ a Moorcroft Pottery vase, designed by William Moorcroft, dated 1918, compressed ovoid form with everted rim, painted in shades of blue, yellow and green on a green ground impressed marks, painted green signature and 1918 12cm. high £800-1,200

296

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297

301

298

302

299

303

300

304

297. ‘Fuchsia’ a Moorcroft Collector’s Club solifleur vase, designed by Rachel Bishop, painted in colours, and a ‘Morello’ pattern bowl impressed and painted marks, vase 17cm. high £100-200 298. ‘Victoriana’ a Moorcroft Collector’s Club vase, designed by Emma Bossons, painted in colours on a sand ground impressed and painted marks 21cm. high £100-200 299. ‘Daisy’ a Moorcroft Collector’s Club vase designed by Sally Tuffin, painted in shades of pink and purple on an ivory ground printed and painted marks 21cm. high £80-120 300. ‘Rose’ a Moorcroft Collector’s Club jug, designed by Sally Tuffin, painted in pink and green on a blue ground impressed and painted marks to base 14.5cm. high £80-120 301. ‘Sweet Pea’ a Moorcroft Collector’s Club vase, designed by Sally Tuffin, 1991, painted in colours on a cream ground impressed and painted marks 28cm. high £80-120 302. ‘Iris’ a Moorcroft Collector’s Club jug, designed by Rachel Bishop, painted in colours on an ivory ground impressed and painted marks 25cm. high £100-200

305

303. ‘Amberwood’ a Moorcroft Pottery limited edition jug, designed by Rachel Bishop, dated 2002, decorated with foxgloves in colours on a cream ground impressed and painted marks, painted signature, numbered and dated 24cm. high £80-120 304. ‘Nasturtium’ a Moorcroft Collector’s Club ginger jar and cover, designed by Sally Tuffin, 1992, painted in colours on a pale green ground impressed marks painted green WM monogram 16cm. high £100-200 305. ‘Arctic Tundra’ a Moorcroft Collector’s Club ginger jar and cover, designed by Sian Leeper, 2006, painted in colours impressed and painted marks 16cm. high £100-200 306. ‘Noah’s Ark’ a Moorcroft’s Collector’s Club ginger jar and cover, designed by Rachel Bishop, painted in colours on a blue/green ground impressed and painted marks 15cm. high £150-250 306

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307

308

312

313

309

314

310

311

315

307. ‘Symphony’ a Moorcroft Collector’s Club bonbonniere and cover, designed by Emma Bossons, painted in colours impressed and painted marks 21cm. high £100-200 308. ‘Blue Rhapsody’ a Moorcroft Collector’s Club vase, designed by Philip Gibson, dated 2001, painted in colours on a blue ground impressed and printed marks 26cm. high £150-250 309. ‘Cloths of Heaven’ a modern Moorcroft Collectors Club vase, designed by Nicola Slaney, dated 2004, slender baluster form, glazed in colours impressed and painted marks, 31.5cm. high £200-300 310. ‘Debden Lane’ a Moorcroft pottery vase designed by Emma Bossons, dated 2009, painted in colours on a blue ground impressed and painted marks 21cm. high £100-200 316

311. ‘Grapevine’ a Moorcroft Collector’s Club vase designed by Sally Tuffin, painted in colours on an ivory ground impressed and painted marks 19cm. high £80-120 312. ‘Queen of the Night’ a Moorcroft Collector’s Club vase, designed by Angela Davenport, painted in colours on a blue ground impressed and painted marks 12cm. high £100-200 313. ‘Angels Trumpets’ a Moorcroft Collector’s Club vase designed by Angela Davenport, painted in colours impressed and painted marks, 18.5cm. high £100-200 314. ‘Anatolia’ a Moorcroft Collector’s Club vase, designed by Rachel Bishop, dated 2003, painted in colours on a blue ground impressed and painted marks, 22cm. high £150-250 315. ‘Snowdrop’ a Moorcroft Collector’s Club twin-handled coupe designed by Rachel Bishop, painted in colours on a blue ground, and a ‘Wisteria’ pattern vase designed by Philip Gibson impressed and painted marks, 15cm. high £100-200

317 316. ‘Antheia’ a Moorcroft Collector’s Club vase designed by Nicola Slaney, painted in colours on a cream ground, and a ‘Centaurea’ vase impressed and painted marks 21cm. high £150-250

317. ‘Persephone’ a Moorcroft Collector’s Club vase designed by Nicola Slaney, painted in colours, and a ‘Demeter’ Moorcroft Collector’s Club vase impressed and painted marks, 21cm. high £150-250

318. ‘Indigo’ a Moorcroft Pottery solifleur vase, designed by Emma Bossons, painted in colours, a Trial plate and a Triple dish impressed and painted marks vase 17cm. high £80-120 318

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a PrIvaTe CoLLeCTIon of dennIs ChInaWorKs PoTTery


319. ‘Sunflower’ a Dennis Chinaworks plate, designed by Sally Tuffin, dated 1993, painted by Vanessa Whitemore in shades of brown and yellow on a white ground impressed and painted marks 16.5cm. diam. £60-100

320. ‘Fishnet’ a Dennis Chinaworks pot and cover designed by Sally Tuffin, dated 2002, painted by Cherly Lucas, in shades of blue and green impressed and painted marks, no.12, 10cm. high £60-100 319

320

321. ‘Penguin’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted by Susie Stone, in colours impressed and painted marks, no.255, 14cm. high £80-120

321

322

322. ‘Bee’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 2001, painted by Susie Stone in shades of yellow and brown, impressed and painted marks, no.36 13.5cm. high £60-100

323. ‘Dragonfly’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted by Cheryl Lucas in colours on a graduated blue ground impressed and painted marks 28cm. high £100-200

323

324

324. ‘Polar Bear’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 1999, painted by Louise Norris, painted in shades of black and white impressed and painted marks, no.2 18.5cm. high £250-350

325. ‘Zebra’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 1998, painted by Vanessa Whitemore, in shades of black and white painted marks, no.5 24cm. high £250-350

326. ‘Panther’ a Dennis Chinaworks vase, designed by Sally Tuffin dated 2000, painted by Catherine Mellor, in shades of black, orange and red impressed and painted marks, no.1, 23.5cm. high £300-400 325

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326


327. ‘Parrot’ a Dennis Chinaworks trial vase designed by Sally Tuffin, dated 2001, painted by Heidi Warr in colours impressed and painted marks, painted Trial 5, 33cm. high £300-500

328. ‘Toucan’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2000, painted by Theresa Brooker in colours impressed and painted marks, no.20, 33cm. high £250-450

327

328

329. ‘Sea Bream’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 2000, painted by Vanessa Whitemore, in colours impressed and painted marks, no.76 21cm. high £200-300

330. ‘Giraffe’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 2000, painted by Catherine Mellor in shades of blue on a brown ground impressed and painted marks 33.5cm. high £300-400

329 330 331. ‘Rhino’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted by Theresa Brooker in colours impressed and painted marks, no.71, 18.5cm. high £350-450

332. ‘Blue Leopard’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 1998, painted by Vanessa Whitemore in shades of blue impressed and painted marks, no.6 23.5cm. high £350-450 331

332

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333. ‘Eagle’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted by Catherine Mellor in shades of brown, yellow and white impressed and painted marks, no.8 39.5cm. high £500-700

333

334. ‘Geometric Fish’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 2002, painted by Vanessa Thompson, in colours impressed and painted marks, no.11, 32cm. high £250-350 Literature Paul Atterbury Dennis Chinaworks, page 56 for a comparable vase illustrated.

334

335. ‘Cockerel’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2003, painted by Heidi Warr in colours impressed and painted marks, no.78 39cm. high £400-600

335

336. ‘Elephant’ a Dennis Chinaworks vase, designed by Sally Tuffin, dated 2000, painted by Catherine Mellor in shades of brown, black and red impressed and painted mark, no.62 27.5cm. high £350-450

336

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337. A pair of Wood & Sons Pate Sur Pate vases, designed by Frederick Rhead, shouldered form, decorated with foliate stems in shades of blue and green on a white ground impressed marks, painted F Rhead signature 22cm. high £80-120

338. A pair of Woods & Sons Persian vases, designed by Frederick Rhead, tubeline decorated in shades of blue, green and black, highlighted in gilt one printed mark 33cm. high £300-500

337

338

339

340

339. A Woods Pottery Mikado charger, by Frederick Rhead, printed in blue with a scene of storks flying past water lily flowers, the rim geometric panels impressed and printed marks 41cm. diam. £80-120

340. A Wood & Sons Mikado charger, designed by Frederick Rhead, printed and painted with cranes flying past giant water lily stems. the rim with oriental panels printed marks, 41cm. diam. £500-700

341. A Foley Pottery Intarsio coffee pot and cover, designed by Frederick Rhead, model no.3052, printed and painted in colours printed factory marks, small chip to inside rim of cover, 24cm. high £450-500

342. A pair of tubelined tiles by Charlotte Rhead, each decorated with a young child in medieval dress, in colours, in oak frame 15 x 7.5cm. £300-500

341

342

343. A set of seven Wedgwood earthenware Playing Cards plates, designed by Augustus Jansson, each plate printed and enamelled with court cards, impressed and printed marks, printed monogram to design 26.5cm. diam. £300-350

343

344

344. A Bernard Moore figure of a seated monkey, with applied glass eyes, covered in a yellow glaze impressed Moore to foot rim 7.5cm. high £100-200 Literature Aileen Dawson Bernard Moore, Richard Dennis Publications, page 42 this example illustrated in a flambe glaze

345. A Howson’s pottery flambe vase, with electroplated brass mounts, dated 1912 etched Howsons 1912 mark to base, minor glaze nicks, 24cm. high £500-700

346. A Crown Ducal Spectria figure of a pierrot, covered in a rich flambe glaze printed marks 20.5cm. high £80-120 345

346

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347

351

348

352

349

353

350

354

347. A Ruskin Pottery pot pourri ginger jar and cover, dated 1914, covered in a lavender lustre glaze, another smaller covered in a pale pink/white lustre glaze, a smaller ginger jar and a footed bowl impressed marks, repair to cover of smallest ginger jar 15cm. high £200-400 348. A small Ruskin Pottery pot pourri ginger jar and cover, dated 1927, with pierced body, covered in a lavender lustre glaze, and a Ruskin bowl impressed marks 13.5cm. high £80-120 349. A Ruskin Pottery shouldered vase, dated 1910, with everted rim, covered in an orange lustre glaze, and another Ruskin carafe shape vase impressed marks, wear to lustre 20cm. high £80-120

355

350. A Ruskin Pottery vase, dated 1922, shouldered form, covered in a sand lustre glaze impressed marks to base 25cm. high £120-180 351. A Ruskin Pottery vase, compressed form with collar neck, painted with waterlily pads in purple on a streaked blue glaze painted scissor mark 16cm. high £150-200 352. A Ruskin Pottery stoneware lamp base, dated 1930, modelled as a ginger jar and cover on a stand, covered in a yellow graduating to orange crystalline glaze impressed marks, 27cm. high £150-250 353. A Ruskin Pottery bowl, dated 1927, covered in a mottled blue glaze, two eggshell bowls, a lustre vase and a plate impressed marks 23cm. diam. £150-200

356

354. A Ruskin Pottery vase, shouldered cylindrical form with everted rim, covered in a yellow lustre glaze, the top rim with grape vine design impressed marks and date 1908 19cm. high £150-200 355. A Ruskin Pottery ginger jar and cover, dated 1918, covered in a purple lustre glaze impressed marks 22cm. high £200-300 356. A Ruskin Pottery stoneware vase, dated 1905, shouldered form with narrow solifleur rim, covered in a streaked blue and lavender glaze with crystalline decoration to the neck, impressed marks, 16cm. high £400-600 357. A Ruskin Pottery stoneware vase, compressed form with tapering neck and everted rim, covered in a kingfisher lustre glaze impressed mark and date for 1914 21cm. high £300-500

357

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358. ‘The Lavender Girl’ a Charles Vyse Pottery figure, dated 1921, painted in colours painted marks, professionally restored wrist and lavender stems 23cm. high £400-600

358

359. ‘The Shawl’ a Charles Vyse Pottery figure, dated 1926, painted in colours painted mark and date to base, minor losses to flowers and frit to base, 27cm. high £1,000-1,500

359

360. ‘The Young Bacchus’ a Charles Vyse Pottery figure, dated 1921, painted in colours painted marks and date, restuck headdress to goat 28.5cm. high £1,500-2,000

360

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361

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365

361. ‘Faun’ a stoneware figure by Michael Bradbury, glazed in colours pencil signature and title to base 17cm. high £120-180 362. A pottery lampbase, circular form, cast in low relief with a stylised mask, painted in grey over ochre, on wooden base, chips, 29cm. high £80-120 363. A Wedgwood earthenware vase, by Louise Powell, shouldered form, painted in silver lustre on a black ground impressed marks, painted monogram 11cm. high £80-120 364. A Wedgwood Matt Green bowl designed by Keith Murray, with everted, fluted rim impressed and printed marks 30cm. diam. £80-120

366

365. ‘Willow’ a Wedgwood Fairyland lustre box and cover, designed by Daisy Makeig-Jones, rectangular, printed and enamelled in coral red, black and gilt on a blue lustre ground printed and painted marks, stress cracks to box 18.5 x 10.5cm. £800-1,200 Literature Una des Fontaines Wedgwood Fairyland Lustre page 201 plate 88 for an example of this box and cover in the Coral and Bronze colour version. 366. A Wedgwood Pottery Rhodian charger designed by Millicent Taplin, pattern C.K.H 5720, painted with scrolling flowers and foliage in shades of blue, green, pink and blue on a white ground impressed and painted marks 42.5cm. diam. £600-800 367. A Shelley Pottery wash basin and ewer set, pattern 8512, printed and enamelled in black and colours with peacock feather scroll design and chequered border printed and painted marks ewer 29cm. high £250-350

367

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368

369

372

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374

368. A Fulham Pottery flower vase, the design attributed to Constance Spry, flaring flowerhead form, glazed matt white, and two others similar printed Fulham Pottery mark 36cm. wide £50-100

369. A pair of Crown Devon Art Deco vases, shouldered cylindrical form, pattern A84, painted with red, orange, yellow and grey diamond bands printed and painted marks, hairlines 22cm. high £100-200

370. A Crown Devon Art Deco vase, footed, flaring form, pattern A84, painted with red, orange, yellow and grey diamonds printed and painted marks, hairline to top rim 24cm. high £100-150

371. A pair of Art Deco Crown Devon plates, model A20, painted with abstract geometric design in shades of orange, yellow, blue and green printed and painted marks 19cm. wide £100-200

372. ‘Crocus’ a Clarice Cliff Conical sugar sifter, painted in colours between yellow and brown bands printed factory mark 14.5cm. high £200-300

373. ‘Coral Firs’ a Clarice Cliff Bizarre Biarritz plate, painted to the shoulder in colours printed factory mark 23cm. wide £80-120

374. ‘Coral Firs’ a Clarice Cliff Bizarre Biarritz plate, painted to the shoulder in colours printed factory mark 26.5cm. wide £100-200

375. ‘Mountain’ a rare Clarice Cliff Bizarre Stamford teapot and cover, painted in colours printed factory marks, professional restoration 13cm. high £600-1,000 375

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376

377

378

379 376. A white stoneware ovoid vase with broad flaring neck, attributed to Carter’s Poole Pottery, glazed blue streaked lustre incised 116 to base, minor glaze loss to rims 21cm. high £80-120 377. A Carter, Stabler & Adams, Poole Pottery plate, by Marian Heath, pattern GU, painted to the well with a bunch of flowers and a Poole Pottery bowl impressed mark, painted cypher 27.5cm. diam. £50-150 378. A Poole Pottery Bluebird pattern vase, shouldered barrel form, painted in colours on a white ground, and a pair of Carter, Stabler & Adams Poole Pottery Bluebird vases one painted by Ann Hatchard impressed and painted marks, 26cm. high £150-250 379. A Carter, Stabler & Adams, Poole Pottery vase, pattern DX, shape no. 923, painted with geometric flowers and foliage on a white ground, and another Poole Pottery vase pattern DO impressed, incised and painted marks 14cm. high £100-150

380

380. A Carter’s Poole Pottery Farmyard series four tile panel, designed by E E Stickland, printed in colours with three chickens, framed, 34cm. square £150-250

381

382

381. A Poole Pottery Freeform vase, pattern X/PS, painted with vertical columns of geometric design in ice mint, yellow and purple, a Hornsea Summertime cruet and a collection of Hornsea various marks, 15cm. high £80-120 382. A Poole Pottery Atlantis vase by Carol Kellett, incised decoration glazed speckled blue impressed and incised marks, minor restoration to top rim, 18.5cm. high £80-120

383

383. A Poole Pottery Atlantis vase by Catherine Connett, ovoid with narrow neck, glazed with a dripping mint green drip design, another Poole Pottery egg form, four Delphis items and a plate painted with flowers impressed and painted marks, 11cm. high £80-120

384

384. A Poole Pottery Atlantis pebble vase, by Susan Dipple, incised band of decoration, glazed blue and white on terracotta, a Delphis bowl, and an Aegean charger painted in resist with a sailing ship various factory marks pebble 10cm diam. £80-120 385. A Poole Pottery Delphis Studio plate painted with an abstract geometric design in shades of orange, black and white printed mark painted II artist cypher 20.5cm. diam. £80-120 386. A Poole Pottery Eclipse vase, designed by Alan Clarke and thrown by Alan White, glazed red and orange impressed and painted marks, paper certificate 33.5cm. high £80-120 385

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sTudIo PoTTery


387

388

390

391

389

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393

387. ‘Fifteen Craftsmen on Their Crafts’ a book by John Farleigh, and seven other books on studio pottery £50-60 388. Charles Vyse (1882-1971) an ovoid earthenware vase with collar rim, covered in a green and ochre Tang glaze painted Vyse mark, hairlines 11cm. high £80-120 389. Charles Vyse (1882-1971) a stoneware vase dated 1932, ovoid form with everted rim, covered in a tenmoku glaze painted CV dated 1932 11.5cm. high £100-200 390. Leach Pottery a stoneware pot and cover, decorated in resist with a simple brush stroke form, under tenmoku glaze impressed seal marks 13cm. high £80-120 391. Bernard Leach (1897-1979) a Leach Pottery stoneware tea canister and cover, the body decorated with impressed seal motif, covered to the foot in a tan glaze impressed seal marks 12cm. high £250-350 394

Provenance George Wilkinson, gallery assistant to Barbara Hepworth. This jar was purchased from the daughter of George Wilkinson. 392. Leach Pottery a stoneware vase, shouldered cylindrical form, covered to the foot with a running ash and green glaze impressed seal mark 10cm. high £80-120 393. Bernard Leach (1897-1979) attributed a Leach Pottery stoneware lamp base, waisted square section, glazed in tenmoku with resist motif impressed seal mark, repaired 30cm. high £80-120 394. Shoji Hamada (1894-1978) a Leach Pottery stoneware vase, flattened form with everted collar neck, covered to the foot with tenmoku lustre glaze with simple brush decoration impressed seal marks 18.5cm. high £3000-4000 395. Bernard Leach (1897-1979) attributed a Leach Pottery slip decorated earthenware Boney Pie pattern large dish impressed Leach Pottery seal mark. firing faults 34.5cm. diam. £600-800

395

68

Literature Bernard Leach The Potter’s Challenge, Souvenir Press, page 108-109 for eighteenth or nineteenth century version illustrated.


396. William ‘Bill’ Marshall (1923-2007) a stoneware cylindrical vase with impressed roundel, covered to the foot with an ash glaze, decorated with green drip columns, impressed seal mark 30cm. high £200-300

397. William ‘Bill’ Marshall (1923-2007) a stoneware vase, cylindrical form with inverted top rim, impressed with flower roundel design, partially glazed silver-grey incised WM mark 26cm. high £100-200

396

397

398. David Leach (1911-2005) a Lowerdown Pottery cylindrical vase, squared section, incised with combed trail, glazed sand impressed seal mark 24.5cm. high £80-120

399. David Leach (1911-2005) a set of six Leach Pottery stoneware cups and saucers, covered in an ash glaze impressed seal marks, minor chips 9cm. high £100-200

398

399

400. David Leach (1911-2005) a Lowerdown Pottery cut sided porcelain teapot and cover, covered in a reduced copper red glaze, with wicker handle impressed DL seal mark 15cm. high £200-300 Literature Emmanuel Cooper and Kathy Niblett David Leach, Richard Dennis Publications, page 87 plate 41 for an identical stoneware version of this pot 400

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Brian Smith

401

The BrIan sMITh CoLLeCTIon 401. David Leach (1911-2005) a compressed ovoid earthenware vase with collar rim, decorated with sgraffito band of foliage under a dolomite white glaze, and a collection of studio pottery including Leach Pottery, Ara Cardew and Trevor Corser impressed DL mark, damages to main vase 18cm. high £180-220 Provenance The Brian Smith Collection Brian Smith was born and bred in St Ives and resided literally ‘a pots throw’ from the Leach Pottery for the last 50 years. a long time supporter of the local arts movement and a capable painter he listed Bernard and Janet Leach, Trevor Corser and Barbara Hepworth amongst his acquaintances, and amassed a modest collection of some of their and other local artists works. Brian Smith passed away earlier this year at the age of 80. 402. Bernard Leach (1897-1979) a Leach Pottery stoneware vase, ovoid form with flaring short neck, incised combed column decoration glazed to the foot in tenmoku impressed seal marks, wax fill to side 26cm. high £800-1,200 Provenance The Brian Smith Collection

402

403. Janet Leach (1918-1997) a large Leach Pottery stoneware vase, the compressed body with pushed in decoration, glazed with running dolomite and brown glaze impressed seal marks 15cm. high £200-300 Provenance The Brian Smith Collection 404. Janet Leach (1918-1997) a leach Pottery stoneware unomi, with brushed dolomite and brown glaze impressed seal mark 8.5cm. high £80-120

403

Provenance The Brian Smith Collection 405. Janet Leach (1918-1997) a Leach Pottery stoneware bottle vase, with impressed decoration, with splashed and dripping partial green glaze impressed seal marks, 15cm. high £150-200 Provenance The Brian Smith Collection 404

405

406. Trevor Corser (born 1938) a large stoneware footed vase with four pierced handles, covered in a dolomite dripping glaze over tenmoku impressed seal marks 31cm. high £100-200 Provenance The Brian Smith Collection 407. John Bedding (born 1947) a Leach Pottery stoneware vase, shouldered cut sided form, tenmoku glaze to foot with ash brushed decoration impressed seal marks 29cm. high £150-200 Provenance The Brian Smith Collection

406

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407


408. Janet Leach (1918-1997) a Leach Pottery porcelain bottle vase, with everted rim and pinched handles, painted in tenmoku to the body and rim under a ice white glaze impressed seal marks 16cm. high ÂŁ200-300 Provenance The Brian Smith Collection

408

409. Janet Leach (1918-1997) a Leach Pottery stoneware bottle vase with lug handles, with everted rim, simple brushed glaze decoration to the rim, handles and body impressed seal marks 15.5cm. high ÂŁ150-200 Provenance The Brian Smith Collection

409

410. Janet Leach (1918-1997) a Leach Pottery stoneware vase, shouldered form with waisted neck and pinched, pierced handles, partially covered in a brown glaze impressed seal marks 24cm. high ÂŁ200-300 Provenance The Brian Smith Collection

410

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411

415

412

416

413

414

417

418

411. Reginald Marlow (active 1942-1958) a stoneware footed bowl, glazed to the foot in ash with a simple brushed foliate design, inside and out, impressed seal mark and painted monogram 14.5cm. diam. £50-100 Reginald Marlow studied under the esteemed potter William Staite Murray and lectured in Pottery at the Central School of Arts and Crafts. He was also a principal at The Stoke on Trent College of Art from 1948. 419

420 412. Percy Brown (1911-1996) a stoneware footed vase, painted with simple brush stroke foliate design in tenmoku over mottled ground incised mark 18cm. high £50-100 413. Ray Finch (born 1914) a Winchcombe Pottery rounded, rectangular platter, with combed decoration unsigned 36cm wide £50-100 414. A Cinque Ports, Rye coffee set, painted in pink and black, a Phil Rogers stoneware vase and a Briglin vase printed marks coffee pot 22cm. high £50-100 415. Trevor Corser (born 1938) a Leach Pottery stoneware vase, covered in a running green glaze from the shoulder impressed seal marks 26cm. high £120-180

421

422 416. Tim Sloper a slip decorated jug with applied handle, decorated with a rigged sailing ship, between borders of stylised flower stems Tim Sloper 1998, 25cm. high £80-120 417. Rupert Spira (born 1960) a stoneware jar and cover, with lug handles, partially covered in a red flambe glaze impressed seal mark, small chip to underside of cover 25cm. high £80-120 418. David Lloyd Jones (1928-1994) a stoneware ovoid vase with everted rim, decorated with a geometric band in celadon under speckled brown, and a small bowl impressed marks 24.5cm. high £80-100

423

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424


419. Mary Rich (born 1940) a small porcelain bottle vase, gilt geometric decoration over purple bands, a Robin Welch tankard and a collection of studio pottery including John Leach, Lowerdown various marks, small nick to main item 10.5cm. high £50-150 420. Michael Leach (1913-1985) a Yelland Pottery dish, with incised combed decoration, an ovoid pot and cover and a mounted photograph of Michael Cardew impressed seal marks, 28cm. wide £120-180 421. Mike Dodd (born 1943) a shouldered stoneware vase, with incised combed decoration covered in a streaked ochre glaze impressed MD seal mark 23.5cm. high £60-100

425

422. Richard Batterham (born 1936) a stoneware platter, circular section with impressed border, glazed to the foot in a celadon ash glaze, and a bowl unsigned 41cm. diam. £100-200 423. James McKinnell (1919-2005) a stoneware vase, shouldered form with everted rim, resist decorated in rust over a silver-grey ground incised mark, numbered 202 24cm. high £80-120 424. Katharine Pleydell Bouverie (1895-1985) a stoneware bowl, with incised wavy comb band, covered to the foot with an ash glaze, and a studio vase dated 1939 impressed seal mark, painted glaze code 60.77.60 11cm. high £100-200

426

425. Henry Hammond (1914-1989) ‘The Cuillins’ Isle of Skye a watercolour on paper, dated 1949, framed signed, dated and titled image 48 x 36cm. £200-300 Provenance Margaret Bide collection 426. Henry Hammond (1914-1989) a stoneware bowl, glazed to the foot in ochre over rust, impressed seal mark 10cm. diam. £100-200 Provenance Henry Hammond (1914-1989), Bonhams Auctioneers 5th April 1990 lot 2 Margaret Bide collection 427. Henry Hammond (1914-1989) a tile, painted with simple fern leaves and grasses in brown on an oatmeal ground painted H362 to reverse 10cm. square £80-120 Provenance Henry Hammond (1914-1989), Bonhams Auctioneers 5th April 1990 lot 160

427

Margaret Bide collection 428. Henry Hammond (1914-1989) a stoneware six tile panel, painted with a bird eating a worm, in blue on a celadon ground painted marks to back, original paper price label each tile 14.5cm. square £400-600 Provenance Henry Hammond (1914-1989), Bonhams Auctioneers 5th April 1990 lot 163 Margaret Bide collection The panel carries the original price label for £4,10 428

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429

430

431 432 429. Henry Hammond (1914-1989) a stoneware unomi, with impressed potters seal decoration glazed to the foot in tenmoku impressed seal mark 7.5cm. high £100-200 Provenance Margaret Bide collection 430. Henry Hammond (1914-1989) a stoneware unomi, impressed seal decoration glazed to the foot in sand over rust impressed seal mark, fine line to interior 6cm. high £100-150 Provenance

433

Margaret Bide collection 431. Henry Hammond (1914-1989) a stoneware unomi, with impressed potters seal decoration glazed to the foot in ochre over rust impressed seal mark 7.5cm. high £100-200 Provenance Margaret Bide collection 432. Henry Hammond (1914-1989) a stoneware unomi, glazed to the foot in tenmoku impressed seal mark 8cm. high £100-200 Provenance Margaret Bide collection 433. Henry Hammond (1914-1989) a stoneware bowl, painted to the interior with a roundel of two fish, the exterior with simple brush stroke grasses in rust on a celadon ground impressed seal mark, painted mark, hairline to rim 21.5cm. diam. £100-150 Provenance

434

Margaret Bide collection, purchased in 1956 from Henry Hammond 434. David Leach, attributed (1911-2005) a Lowerdown Pottery porcelain miniature vase, incised decoration, covered to the foot with a celadon glaze, and a stoneware bowl impressed Lowerdown Cross mark 6.5cm. high £60-100 Provenance Margaret Bide collection 435 435. Paul Barron (1917-1983) an earthenware vase, flaring form with pinched, squared rim, glazed to the foot in green impressed seal mark 10cm. high £60-100 Provenance Margaret Bide collection 436. Katharine Pleydell-Bouverie (1895-1985) three miniature stoneware glaze test vases, impressed seal marks, painted glaze details tallest 5cm. high £100-200 436

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437

438

439

437. Lindsay Taylor a layered and inlaid porcelain plate, the central inlaid roundel with incised broad border applied paper label 29cm. diam. £100-200 Provenance Margaret Bide collection, purchased from the artist directly in 1986

438. Terry Moores a stoneware bowl with inverted rim, inlaid to the well, glazed matt black impressed TM marks 31cm. diam. £80-120 Provenance Margaret Bide collection

439. Andrew McGarva (born 1956) a stoneware plate, painted to the well with a cat, the rim with flower sprays impressed seal mark 23.5cm.diam. £60-100

440

Provenance Margaret Bide collection

440. Joanna Constantinidis (1927-2000) a stoneware vase, glazed matt white over terracotta impressed seal mark 9.5cm. wide £200-300 Provenance Margaret Bide collection

441 441. Lucie Rie (1902-1995) a stoneware tea cup and saucer, glazed dark brown with a silver grey rim impressed seal mark, minor restored frit to rim of cup 7cm. high £150-200 Provenance Margaret Bide collection Heal’s, purchased circa 1960 for £2.50

442. Lucie Rie (1902-1995) a small porcelain bowl, wavy rim glazed to the foot in mustard yellow, with bronzed rim impressed seal mark, fine hairline to top rim 10cm. wide £400-600 Provenance Margaret Bide collection 442

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443. Bernard Leach (1897-1979) a Leach Pottery stoneware vase, faceted, shouldered form, glazed to the foot in tenmoku impressed seal marks to base 19cm. high £500-800 Provenance Ella McLeod Private collection 444. William ‘Bill’ Marshall (1923-2007) a Leach Pottery vase, shouldered square section, covered to the foot with a tenmoku glaze incised and impressed seal marks 10.5cm. high £80-120 Provenance Ella McLeod Private collection 443

444

445. Helen Pincombe, attributed. (1908-2004) a stoneware footed bowl, glazed to the foot with a speckled ash glaze, with brushed bird design in tenmoku impressed seal mark 11.5cm. diam. £80-120 Provenance Ella McLeod Private collection 446. Henry Hammond (1914-1989) a stoneware unomi, flaring, footed form painted with a dragonfly motif in resist impressed seal mark, painted number 3, 7cm. high £100-200

445

446

Provenance Ella McLeod Private collection 447. Henry Hammond (1914-1989) a stoneware shallow bowl, glazed to the foot in tenmoku impressed seal mark, painted mark to base 17cm. high £100-200 Provenance Ella McLeod Private collection 448. Katharine Pleydell-Bouverie (1895-1985) a stoneware cut-sided footed bowl, dated 1931, glazed to the foot with a cedar ash glaze impressed seal mark, painted date, faint hairline 11cm. diam. £120-180

447

448

Provenance Ella McLeod Private collection Literature Katharine Pleydell-Bouverie: A Potters Life, Crafts Council, 1986, page 34 this bowl illustrated. 449. Katharine Pleydell-Bouverie (1895-1985) a stoneware ovoid vase with everted rim, glazed to the foot in Thorn ash with manganese oxide columns, a miniature vase, a miniature jug and a small dish impressed seal mark, indistinct painted glaze details, flat glaze frits to top rim of vase and chip to rim of dish and miniature jug,, 13cm. high £100-200

449

450

Provenance Ella McLeod Private collection 450. Katharine Pleydell-Bouverie (1895-1985) a cut sided stoneware bowl, glazed to the foot with pale ash glaze impressed seal mark, incised and painted glaze details 11.5cm. diam. £80-120 Provenance Private collection 451. Henry Hammond (1914-1989) four porcelain miniature glaze-test vases, impressed seal marks, painted glaze details, firing chip to base of one, tallest 4.5cm. high £100-200

451

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Provenance Ella McLeod Private collection


452

453

456

454

455

457

458

452. Alan Caiger-Smith (born 1930) an Aldermaston Pottery vase and cover, ovoid form, painted with swirl motif in brown on a blue-grey ground, and an Aldermaston Pottery ovoid vase and a bowl painted monogram, minor chips 35cm. high £100-200 453. Alan Caiger-Smith (born 1930) a pair of Aldermaston Pottery egg cups, covered in a tin-glaze painted marks 13cm. high £100-200 454. Alan Caiger-Smith (born 1930) an Aldermaston Pottery goblet form candlestick, covered in a tin glaze, and two tin-glazed bowls painted marks, AM artist monogram 20cm. high £150-200 455. Edgar Campden an Aldermaston Pottery ovoid vase covered in a tin glaze painted marks to base 15cm. high £80-120 456. Alan Caiger-Smith (born 1930) an Aldermarston Pottery platter painted with abstract design in shades of brown on a grey ground painted marks 52cm. wide £150-250 457. Alan Caiger-Smith (born 1930) a large Aldermaston Pottery tin-glazed bowl, decorated to the interior with a red and copper geometric design painted marks 42cm. diam. £300-500 459 458. Alan Caiger-Smith (born 1930) an Aldermaston Pottery tin-glaze chalice, painted with golden star and foliate design on a red band painted marks to base 15cm. high £150-200 459. Alan Caiger-Smith (born 1930) an Aldermaston Pottery metal crucifix with tin-glazed ceramic roundels and stepped base painted marks to base 64cm. high £1,500-2,000 460. Alan Caiger-Smith (born 1930) an Aldermaston Pottery twin-handled goblet, painted in shades of blue on a silver-grey ground impressed J mark 16.5cm. high £100-200 460

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461

462

465

463

466

464

467

468

461. Philip Sutton (born 1928) a Fulham Pottery bowl, painted to the well with a peacock, in colours painted marks to base dated 1987 31cm. diam. £50-150 462. Quentin Bell (1910-1996) a Fulham Pottery cup and saucer, painted with a flower posy in shades of blue, red, white and black, impressed and incised marks to saucer 9cm. high £150-250 463. Eric James Mellon (born 1925) a stoneware footed vase, dated 1974, painted to the interior with fish in an ash glaze painted marks to base 11cm. high £120-180

469

464. Bryan & Julie Newman an Aller Pottery flaring stoneware bowl, resist decorated to the well with an owl design, on ochre and blue bands impressed A seal mark 37cm. diam. £50-80 465. Derek Davis (1926-2008) a stoneware bowl, covered to the foot with a partial sang de boeuf glaze painted Davis 26cm. diam. £60-100 466. Christa Maria Herrmann (potting 1985-1997) a raku ovoid vase, dated 1985, incised initials dated 85 22cm. high 467. John Dunn (born 1944) a shallow Raku bowl, internally glazed in pink lustre painted monogram 32cm. diam.

470

£100-200

£30-50

468. Sheila Fournier (born 1930) a stoneware vase, flattened elliptical form with splash white glaze impressed seal mark 33cm. high £80-120 469. Geoffrey Eastop (born 1921) ‘Red Wall’ a hand-built stoneware vessel, painted monogram 27cm. high

£100-200

Provenance Geoffrey Eastop: The Hollow Dimension, Berkeley Square Gallery London, December 2001-January 2002 470. Gas Kimishima a stoneware unomi, covered to the foot in a rich pitted tenmoku glaze unsigned 9cm. high £60-100

471

78

471. Munemaro Ishiguro a Chawan (tea bowl) open summer form, glazed tenmoku to the foot, in original wood box impressed seal mark, 16.5cm. diam. £500-700


474

475

472 473

472. John Maltby (born 1936) ‘Wind Fresh To Strong..’ a swinging boat sculpture signed John Maltby England to reverse, 32cm. high £250-350

473. John Maltby (born 1936) ‘Hero’ a swinging boat sculpture signed John Maltby to reverse 33cm. high

476

£250-350

474. John Maltby (born 1936) ‘Gardening Angel’ a stoneware plaque, framed signed and titled to reverse, impressed seal mark to the front, panel 31cm square £200-300 477 475. John Maltby (born 1936) ‘4 Yachts Racing’ a stoneware plaque, framed signed and titled to reverse, impressed seal mark to front panel 31cm square £200-300

476. John Maltby (born 1936) a stoneware dish, resist decorated with flower design painted Maltby17cm. diam.

£80-120

477. John Maltby (born 1936) ‘Figures and Trees’ a stoneware sculpture, on wooden base painted title, signature and date 2008, impressed seal mark to back 25cm. wide £200-300

478. John Maltby (born 1936) ‘Crusader’, a stoneware mask, 2007, on metal mount, signed, titled and dated to base 46cm. high £250-350 Provenance Godfrey & Watt, Harrogate, catalogue number 13 Private collection 478

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479. Sir Terry Frost RA (1915-2003) ‘Trewellard Yellow’ a Poole Pottery Studio charger, painted by Sir Terry Frost RA, with yellow and blue radiating design, printed mark, painted TF monogram 35cm. diam. £300-500 Provenance David Queensberry. This charger was a prototype painted by Terry Frost on a blank charger designed by the Queensberry Hunt Design partnership 479

480. Sir Terry Frost RA (1915-2003) ‘Trewellard Red’ a Poole Pottery Studio charger, painted by Sir Terry Frost RA, with red and black radiating design, painted TF monogram 35cm. diam. £300-500 Provenance David Queensberry. This charger was a prototype painted by Terry Frost on a blank charger designed by the Queensberry Hunt Design partnership

480 481. Margi Hine (1927-1987) an earthenware charger, painted with a figure on horseback in white, yellow and black on a grey ground painted Margi Hine, small frit chip to rim 34cm. diam. £300-500 Provenance La Ronde coffee house, Baker Street London Private collection

481 La Ronde coffee house

482. Margi Hine, attributed. (1927-1987) an earthenware plate, with pierced rim, painted in shades of yellow, black and orange on a blue ground with two figures holding balloons, another similar decorated with a clown figure and five other pierced plates with similar decoration all unsigned 21cm. diam. £80-120 Provenance La Ronde coffee house, Baker Street London Private collection

482

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483

487

484

488

485

486

489

490

483. Tony Laverick (born 1961) a porcelain vase form, glazed with geometric design in colours and gilt unsigned 10.5cm. high £60-100 484. Virginia Graham (born 1978) a slab built teapot and cover, with applied metal mount and bird feather decoration, transfer printed rose panels impressed seal marks dated 2009 22cm. high £50-100 485. Walter Keeler (born 1942) a creamware jug form on floating base with crabstock handle, impressed artist cypher 13.5cm. high £80-120 Provenance Walter Keeler one man show, Contemporary Applied Arts 1999

491

486. Walter Keeler (born 1942) a stoneware cup, covered in a mottled blue salt glazed impressed seal mark as decoration 8.5cm. high 487. Ian Godfrey (1942-1992) a stoneware birdhouse sculpture, glazed in shades of brown unsigned 21.5cm. high

£80-120

£150-250

Provenance Purchased from the Craftsman Potters shop, circa 1975 488. Eileen Lewenstein (born 1925) a porcelain vase, ovoid with everted rim and applied abstract handles, glazed to the foot matt blue with green speckling impressed seal mark 10cm. high £60-100 489. Colin Pearson (1923-2007) a porcelain winged vase, flaring form glazed celadon with sang de boeuf splashes impressed seal, restored top rim, 12.5cm. high

£150-200

490. Colin Pearson (1923-2007) a porcelain winged vase, covered in a celadon glaze impressed seal mark 23cm. high £400-500 491. Lucie Rie (1902-1995) a stoneware bowl, elliptical form with silver-grey glaze and bronze rim, impressed seal mark 13cm. wide £600-700 492. Lucie Rie (1902-1995) a stoneware sgraffito bowl, elliptical form glazed to the inside bronze with sgraffito lines impressed seal marks 10cm. wide £800-1,200

492

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493

494

496

495

497

498

499

493. Alan Wallwork (born 1931) a tall, slender ovoid vase with incised chevron design, glazed oatmeal incised AW mark 35cm. high £300-500 494. Julian Stair (born 1955) a large terracotta platter with simple swirl design to the well, impressed seal mark to base 46cm. diam. £50-100 495. Peter Smith (born 1974) a slip decorated twin-handled bowl, another similar and a mixed media sculpture impressed seal marks to one bowl, 29cm. diam. £50-100 496. A large studio pottery vase, flaring bucket form with everted rim, painted decoration painted monogram to base 34cm. high £80-120 497. Abdo Nagi (1941-2001) a large stoneware vase, shouldered form, glazed in blue impressed seal mark 43cm. high £200-300 500

498. A pair of studio pottery vases, by Mathew Harrison, abstract form spray glazed ochre and black, unsigned 36cm. high £50-100 Mathew Harrison was head of Design at Wedgwood Pottery

501

499. Sandy Brown (born 1946) a stoneware plate, painted with simple brushed design in colours signed to the front 27.5cm. wide £60-100 500. Carol McNicoll (born 1943) a pair of earthenware candlesticks, zig-zag form with applied flowers painted signature 26.5cm. high £100-200 501. Victor Margrie (1929-) a porcelain cut and pierced vase, shouldered form, glazed pale blue, two cut and applied bowls and a stem cup impressed seal marks 7.5cm. high £100-200 Literature Oliver Watson, Studio Pottery, V&A/Phaidon, page 217 catalogue number 420 and 421 for comparable examples. 502. Rupert Spira (born 1960) a stoneware solifleur covered in a silver white glaze to the foot, another cylindrical glazed celadon, another with a red glaze and a Chinese double gourd vase impressed seal marks 30cm. high £150-250

502

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503. Tessa Fuchs (born 1936) a flying pig sculpture, glazed pink impressed seal mark, chip to tip of tail 18cm. high £80-120

503

504. Roger Law & Pablo Bach a stoneware crocodile jug, covered in a silver grey salt-glaze by Jim Gladwin impressed seal marks 18cm. high £50-150 Literature Modern Pots Richard Dennis Gallery, 1996 illustrated page 4

504

505. Paul Young ‘Mermaid Figure Group’ a ceramic sculpture glazed in colours impressed seal mark 23cm. high £150-250

505

506. Paul Young ‘Tree and Sheep’ (pastoral scene) a ceramic sculpture, glazed in colours impressed artist seal mark 34cm. high £150-250

506

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507

508

509

507. Sotis Filippides (born 1963) a large black stoneware bowl with crystal inclusions, the interior with a crackled golden glaze impressed seal mark to base 35cm. diam. £250-300

508. Sotis Filippides (born 1963) a small black stoneware bowl with crystal inclusions, the interior with platinum crackled glaze impressed seal mark 21cm. wide £100-200

510

509. Sotis Filippides (born 1963) a small black stoneware bowl with crystal inclusions, impressed seal mark 20cm. wide £80-120

510. Sotis Filippides (born 1963) a small stoneware bowl , covered in a dry cobalt glaze impressed seal mark 20cm. wide £80-120

511. Peter Hayes (born 1946) a ceramic plaque with copper nails, mounted on perspex incised Peter Hayes 2010, 55 x 40cm £400-500

512 ‡. Gordon Baldwin (born 1932) a stoneware pedestal bowl form, glazed to interior blue with bronzed rim and foot impressed Gordon Baldwin seal 42cm. diam. £800-1,200 Provenance given as a gift to the present vendor circa 1970 511

512

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518

515

516

519

520

20Th CenTury desIgn 513. A Schott & Gen Jena glass teapot and cover, with six en suite Schott & Gen Jena glass cups with chromed metal mounts acid etched marks teapot 25cm. wide £50-100 514. A Dis enamelled glass box and cover, circular section enamelled with a butterfly, an amber flashed glass dish probably Moser, enamelled signature DIS 8cm. diam . £50-100 515. A Murano glass vase, faceted form blue glass cased in clear, a green flashed glass vase and another glass vase unsigned 22.5cm. high £80-120 516. A Loetz glass vase, slender, swollen form with everted rim, opaque glass with green iridescent finish unsigned 25.5cm. high £300-400 517. A pair of Austrian iridescent glass vases, probably Palme Koenig, compressed form with tall cylindrical neck, applied snake decoration, unsigned 25cm. high £80-120 518. A small black Savoy glass vase, designed by Alvar Aalto, acid etched signature to base 12.5cm. high £50-60

521

519. An engraved glass by Josephine Harris, Christmas 1990, engraved with Bacchanalian portrait etched signature and date 17cm. high £60-100 520. A set of four glass decanters and stoppers designed by Edmond Lachenal, the ball stoppers modelled with mistletoe berries, enamelled in green and white highlighted in gilt with stems of mistletoe facsimile E Lachenal signature to foot rim tallest 32.5cm. high £500-800 521. A Muller Freres footed glass vase, flaring cylindrical form, pale pink frosted and polished glass, modelled in relief with a boar hunt, with ebonised wood foot signed in the cast Muller Freres Luneville 22.5cm. high £800-1200 522. An Art Deco Daum Nancy glass bowl, cylindrical form with inverted rim on applied foot, mottled green glass graduating to dark, cased in clear etched Daum & Nancy France to foot rim 23cm. diam. £200-300 522

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525

526 523. A Svaja glass charger, streaked green and opaque glass cased in clear etched Svaja 47cm. diam. £80-120 524. A large Svaja glass vase, streaked green and opaque glass cased in clear etched Svaja 44.5cm. high £80-120 525. An Iittala glass vase designed by Tapio Wirkkala model no 3750, cast in relief, remains of paper label, etched signature to base 26cm. diam. £200-300

527

526. A Venini glass pedestal bowl, the pale yellow glass bowl on applied white glass foot acid etched Venini, Murano Italy to base 25.5cm. diam. £150-200

528

527. A Mdina glass Fish vase, mottled green and ochre striped glass cased in clear with pulled solifleur neck, angled surface etched Mdina 19cm. high £60-100 528. A Royal Doulton Nightwatchman Kingsware flask, designed by Charles Noke, modelled in relief and painted in colours, and another similar impressed marks, one with facsimile Noke signature, chips 27.5cm. high £150-250 529

530

529. ‘Charles Dickens’ a set of twenty four Royal Doulton figures, originally designed by Leslie Harradine, painted in colours printed marks, minor damages 10cm. high £200-300 530. ‘The Young Miss Nightingale’ HN.2010 a Royal Doulton figure, painted in colours printed factory marks 24cm. high £200-300 531. ‘Lavender Seller’ a Royal Doulton advertising figure group, painted in colours, the base over painted black printed mark 23cm. high £80-120

531

532

532. Nine Royal Doulton figures, painted in colours printed factory marks £200-300 533. A Clarice Cliff vase, modelled in relief with foliage boughs, glazed in colours on a cream ground, another similar, a Wade model of a Budgerigar and two Royal Staffordshire bird groups printed marks 20cm. high £80-120

533

534

534. ‘Autumn Breezes’ HN1911 and ‘Rose’ HN1368, two Royal Doulton figures, painted in colours printed and painted marks £80-120 535. ‘Festival of Britain’ a Wedgwood Pottery mug designed by Norman Makinson, printed with scenes from the 1851 Crystal Palace and the Skylon and the Dome, the front with Abram Games’ festival logo printed marks, handle re-stuck 7.5cm. high £50-100 536. ‘Snow White and the Seven Dwarfs’ a Wade Porcelain set of figures, painted in colours, printed factory marks Snow White 12cm. wide £400-600

535

86

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537

541

538

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540

543

544

537. ‘Susie Cooper’ a Kevin Francis limited edition character jug, modelled seated on a Kestrel teapot drinking a cup of tea, painted in colours printed factory marks, numbered 46/350 23cm. high £50-100 538. A Shelley BooBoo milk jug, designed by Mabel Lucie Attwell, painted in colours printed factory marks and facsimile signature 15.5cm. high £80-120 539. A Palissy chintz coffee set for six, model no.2910, printed in colours with dense floral transfers, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed marks coffee pot 16cm. high £80-120 540. A large double gourd vase, tubeline decorated with flowers and foliage, in pink on a mauve ground unsigned 40cm. high £50-100 541. A pottery figure of a woman kneeling holding her hair, in the style of Ashtead, glazed cream and streaked blue, and another continental pottery figure incised M mark 31cm. high £80-120

545

546

542. A Herend porcelain figure of a boy riding a goose, glazed in colours, and a Wilhelmsfeld porcelain figure group impressed and printed marks 21cm. high £100-200 543. A German porcelain group of two playing borzoi, glazed in colours printed marks 20cm. wide £150-200 544. An Art Deco egg cup set on a tray, in the manner of Robj, comprising six egg cups each modelled with a chick stem, on a circular tray with central figural handle impressed Germany to base 18cm. high £80-120

547

545. A Longwy twin handled bowl, enamelled with prunus blossom to the well, and a Longwy box and cover decorated with flowers and foliage printed factory marks 28cm. wide £150-200 546. A Royal Copenhagen porcelain vase, painted with a sailing vessel, printed and painted marks 17cm. high £80-120 547. A pair of modern Longwy pottery cats, each modelled seated, enamelled in colours on a blue and cream ground printed marks 29cm. high £200-300 548. A Van Briggle pottery model of a big cat, seated on its haunches, covered in a matt brown glaze incised marks to base, minor glaze frits to base rim 26cm. high £80-120 548

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549

550

553

551

554

552

555

556

549. A Rorstrand Pottery flambe dish designed by Gunnar Nyland, model no.7084, decorated with a resting deer, highlighted in gilt on an ochre and brown ground printed and painted marks 31cm. diam. £80-120 550. A Gustavsberg stoneware vase designed by Stig Lindberg, footed cup form with saturn ring, glazed ochre applied paper labels, incised hand cypher for Stig Lindberg £300-500 551. An Amphora Pottery Secessionist vase, twin-handled form with applied metal rim, decorated with a stylised bird enamelled in shades of brown, yellow, green and blue on a brown ground impressed marks and Stellmacher 20cm. high £200-250 552. A pair of continental pate sur pate vases, carafe form with everted rim, decorated with narcissi in colours on a blue ground printed factory marks 25cm. high £150-250 557

558

553. A pottery slender ewer, in the style of Pablo Picasso, incised and painted with a stylised female portrait to both sides, in colours incised marks to base 29cm. high £80-120 554. A Gustavsberg table centrepiece modelled as a pig, designed by Lisa Larson, glazed blue impressed marks 32cm. wide £60-100 555. A Gustavsberg Argenta vase, designed by Wilhelm Kage, beaker form decorated with a silver scaly fish on a mottled green ground, a porcelain box and cover with a butterfly finial and five other continental items printed marks 13cm. high £50-100

559

560

556. A Gustavsberg Surrea vase, designed by Wilhelm Kage, split bottle form, glazed matt white printed marks to base 33cm. high £100-150 557. A Lachenal Pottery vase, shouldered cylindrical form, covered in blue crackled glaze painted Lachenal to base, small glaze frit to top rim, 28.5cm. high £100-200 558. A Fantoni earthenware vase swollen cylindrical form with spiralling grove decoration, glazed in Yves Klein blue painted marks to base 32cm. high £50-100 559. A Sevres Pottery vase, ovoid with cylindrical neck, by Paul Millet, covered in a streaked blue glaze, highlighted in yellow, and a Sevres low bowl printed mark MP artist cypher, minor hairline and over painting to top rim of vase, 11.5cm. high £80-120

561

88

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563

564

565

560. A large Amphora Pottery model of an elephant, glazed in colours impressed marks 40cm. high £120-180 561. A pair of continental terracotta figures, in the manner of Goldscheider, modelled as Arab market traders, glazed in colours impressed JM 6429, chips, restuck head, 60cm. high £200-300 562. An Art Nouveau WMF metal mounted ceramic tray, rectangular, cast in low relief with flower stems, glazed pink, green and white printed and impressed marks 57cm. wide £80-120

567 marks

566

563. A continental pottery vase probably Clement Massier, shouldered form applied with four fish handles, glazed blue unsigned, glaze chips 21cm. high £80-120 564. A Karau Pottery figure designed by Willy Russ, model no.477, the nude holding a flaming heart and mythical bird, glazed silver grey impressed marks, signed to the base, head re-stuck 35cm. high £100-200 565. A Zsolnay Pecs lustre vase, ovoid form glazed in a blue and green spotted lustre glaze impressed seal mark, 8699, hairline to top rim 14cm. high £300-500 566. A Goldscheider Pottery wall mask, model no. 6288, modelled as a woman holding a mask to her face, in colours incised 6288 mark, 34cm. high £700-900 567. A rare Art Nouveau Rozenburg Den Haag eggshell porcelain vase, by Samuel Schellink, solifleur form with four looped handles, painted with pink carnation stems, in colours painted marks, painted $ artist cypher, original paper retailers label, professional restoration to one handle, order number 1013, 29cm. high £3,000-5,000 Literature Dutch Modernism, Sotheby’s Amsterdam 5th February 2008 lot 131 for a comparable vase by Schellink and lot 143 for an illustration of Sam Schellink’s cypher. 567

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569

570

ORIGINAL ARTWORK BY ERN SHAW 571

572 568. ‘Happy Families’ four panels of original artwork by Ern Shaw, depicting the Happy Families characters for the card game, and a panel of designs for the card game packaging annotated in pencil, unsigned each board 45 x 38cm. £100-200 This and the following six lots formed part of the Hull cartoonist Ern Shaw’s archive of work from a private collection. They were included in an exhibition of at Ern Shaw’s work at the Ferens Art Gallery in Hull in 2010. The exhibition was called The Boy Who Would Not Grow Up. 569. ‘The Saucy Skipper’ and ‘The Bathing Pool’ two original artwork panels by Ern Shaw unsigned each board 38.5 x 27cm. £100-200

573

570. ‘Swimming’ and ‘Golf’ two original artwork boards by Ern Shaw, from the Colouring Book production, painted with animals playing sports, Tennis, a half page panel and three black and white line drawings for colouring in, and the Hints on How to Colour page main two panels signed 30.5 x 24cm. £100-200 571. ‘Goldilocks and the Three Bears’ two original designs on board by Ern Shaw, painted in colours, a half page colour design and two black and white line drawings for colouring in unsigned 35.5 x 25.5cm. £100-200 572. ‘Snap’ a large original artwork on board by Ern Shaw, depicting sixteen character cards, in colours and three sheets of designs for the Snap box unsigned image 54 x 38cm. £80-120 573. ‘Forfeits’ six original artwork boards by Ern Shaw, for the Forfeits card game, a panel for the design of the box lid and a copy of the produced card game unsigned boards 31 x 26cm. £80-120 574. ‘Old Maid’ two original designs on boards by Ern Shaw, for the card game Old Maid, and the designs for the games box unsigned panels 40 x 18cm. £80-120

574

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579

576

580

577

578

581

582

575. Eleven books on Jewellery design, including ‘The Jewels of The Duchess of Windsor’, Designer Jewellery’ and ‘The New Jewellery’ £50-100 576. A collection of design auction catalogues, including Christie’s, Woolley and Wallis, Phillips de Pury, Bonhams and Sotheby’s, some including prices realised £50-150 577. Nine books on design, including ‘The Hot House’ by Andrea Branzi, ‘Jewellery by Architects’ by Barbara Radice, and ‘Design Now’ by Volker Fischer £50-100 578. Six reference books on plastic and bakelite, and one book on Metal enamelling £50-100 579. ‘Meadow Sweet’ a print from The Flower Book by Edward Coley Burne-Jones, framed, image 16cm. diam. £150-200 580. Four Art Deco pochoir prints by Lucien Baubaut, each with cream card mount signed in the print image 28 x 22cm. £100-200 581. An Art Deco print of a lady seated by a parrot by H L Marriott, dated 1938, another similar and two smaller prints by Edward Cole, framed signed in the prints 41 x 26cm. £100-200

583

582. Fourteen volumes of The Studio, bound in green, comprising volumes 56-60, 63-67, 69-71 and ‘Summer Special 1901 ‘Modern British Domestic Architecture and Decoration’ £300-500 583. A pair of linocut prints on paper by G Hoyes-Lewis, depicting Christ carrying the cross and Christ in the tomb, framed signed in the print 61 x 38cm. £100-200 584. ‘The Savoy’ an illustrated quarterly publication, illustrated by Aubrey Beardsley, January 1896, and a print of ‘Madonna & Child’ by Aubrey Beardsley, signed in the print Quarterly 26.5cm. high£80-120 585. An Aesthetic Movement style fused glass bead panel, depicting an egret amongst water-lily and rushes unsigned 89.5 x 53cm. £80-120

584

585

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orIgInaL arTWorK By dodo Burgner

586. Three pen and ink fashion designs by Dodo Burgner, each depicting the same model in Art Deco fashionable dress signed Dodo and annotated I to III in pencil page 41 x 23.5cm. £80-120 586

587

587. An original watercolour on paper design by Dodo Burgner, depicting a woman about to dive into a swimming pool, and two smaller Dodo Burgner designs, framed annotated sheet 55 x 44cm. £100-200

588. A very early watercolour design by Dodo Burgner, dated 1924, painted with two water carriers signed Dodo image 35 x 26.5cm £80-120 588

92


589. An Art Deco watercolour on paper design by Dodo Burgner, depicting a stylish young couple before a vintage car signed Dodo in pencil image 35 x 25.5cm. ÂŁ80-120 589

590. A pen and ink fashion design on paper by Dodo Burgner, annotated in pencil and signed 45.5 x 35.5cm. ÂŁ150-250 Exhibition Dodo in Berlin 1920 Museen zu Berlin, Kunstbibliothek 1st March-20th May 2012, Ben Uri Gallery, London July 2012 590

93


592 label

591

592 591. ‘From Red House to Inglewood’ a series of annotated notes and pen and ink images relating to William Morris, by Freda Derrick, and the typed text in article form £300-500

592. ‘Frondaison’ a Jacquart limited edition tapestry designed by Pierre de Berroeta, dated 1979, decorated with horses galloping in woodland, signed in the weave, original label to reverse, numbered 467/500, 210 x 140cm £200-400

593. A Morris & Co design on paper for a wall hanging, mounted on linen, pencil outlined with watercolour painting and pencil annotations signed to both ends Morris Wall Hangings No.1 178 x 58cm. £300-500 593

594 594. A woven textile, decorated with flaring heart-shaped foliate sprays inside scrolling leaf borders in red and blue and green on a blue ground unsigned 251 x 48cm. £50-100

595. ‘Reverie/Daydream’ a modern limited edition lithographic print, originally designed by Alphonse Mucha 1896, produced by the Mucha Foundation, framed impressed papermark, signed in pencil numbered 16/35, image 51 x 38cm. £200-400 Literature Alphonse Mucha The Complete Graphic Works, page 146 catalogue number P1

595

596

596. ‘Zodiac’ a modern limited edition lithographic print, originally designed by Alphonse Mucha 1896, produced by the Mucha Foundation, framed signed in pencil numbered 3/35, image 51 x 38cm. £200-400 Literature Alphonse Mucha The Complete Graphic Works, page 146 catalogue number P2

597. ‘L’Estampe Moderne’ Number 20 December 1898, the cover designed by Alphonse Mucha, signed in the print 41 x 31cm. £600-1,000

598. ‘La Plume’ no.236 February 1899, the cover designed by Alphonse Mucha signed in the print 26 x 19cm. £300-500 Literature Alphonse Mucha The Complete Graphic Works, page 171 catalogue number R9 597

94

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599 open

600

599

furnITure 599. An oak and walnut cabinet, attributed to Gordon Russell, freestanding, internally fitted with shelves and drawers unsigned 84 x 52cm. £300-500 600. A Bowman Brothers walnut cabinet, with inlaid amboyna and abelone shell flower panels, single drawer above twin, hinged doors, with bakelite handles applied ivorine label to drawer 105cm. high, 83cm. wide £100-200 601. An Epstein style Art Deco satin birch table and four chairs, the circular table with central enamelled metal telescopic stem, the four chairs with ebonised feet and black leather pad seating unsigned table 100cm diam, 80cm high £1,000-1,500 601 602. An Epstein Style Art Deco walnut and leather three piece suite, comprising two arm chairs and a three seat sofa, with black leather finish unsigned £3,000-4,000

602

95


603

604

605

606

603. An oak occasional table, originally designed by E W Godwin and possibly retailed by Liberty & Co, square section, on turned legs unsigned 67cm. high £300-400

604. An Art Nouveau mahogany hall chair, inlaid with slender stylised flower stems to the back splat unsigned 93cm. high £80-120

605. A set of eight Heal’s oak dining chairs, with reeded square section legs, inset Heal’s button label 92cm. high £700-900 607

608 606. A Liberty & Co mahogany occasional table, circular tray top with turned legs, supporting shaped shelf stamped Liberty & Co 69cm. high £150-250

607. A Liberty & Co table, slender rectangular section with rod and ball decoration to ends, on casters unsigned 70 x 33.5cm. £200-300

608. A Cotswold School oak gate, port cullis form, with red enamelled iron pegs unsigned 106cm wide 114cm high £200-300

609. A walnut corner armchair, turned tripod legs with plank back rest carved with Nordic dragon design, with black leather seat unsigned 90cm. high £200-300

609

610

610. A mahogany table with lazy susan the design attributed to E W Godwin, circular form with turned tripod legs unsigned 89cm. high £300-500 Literature Susan Weber Soros The Secular Furniture of E W Godwin, Yale, catalogue number 207 page 143 for a comparable example manufactured by William Watt

611. A set of four ebonised ash Sussex chairs, probably Morris & Company, with turned spindle backs and rush seats, 85.5cm. high £300-500 Literature Annette Carruthers and Mary Greensted Good Citizen’s Furniture, page 61 figure 64 catalogue number 2 for an example of a Morris & Company example with identical turned spindles 611

96


612

616

613

617

614

615

618

612. An Arts and Crafts mahogany high-back chair, possibly Scottish, the slender tapering back with pointed terminals unsigned 126cm. high £150-200 613. An Aesthetic Movement deal corner cabinet, the hinged door with stained and carved panel depicting a wading bird with a fish in its beak, brass furniture unsigned 91cm. high £250-350 614. A Gothic Revival oak hanging wall cabinet, the hinged door with mirrored glass panels 82cm. high £200-300 615. An oak occasional table, probably retailed by Liberty & Co, circular top with flaring tripod legs with pierced decoration unmarked 69cm. high £100-200 616. A mother of pearl and marquetry inlaid Moorish side table, possibly retailed by Liberty & Co, unsigned 47cm. high £150-250

619

617. An Arts and Crafts oak trunk with upholstered seat top, carved with seaweed panels to the sides unsigned 80 x 64cm. £400-600 618. An Arts and Crafts patinated copper fender, in the style of Mackay Hugh Baillie Scott, hammered in relief with a flock of stylised birds, inside hammered with single larger birds unsigned 97cm. wide £400-600 619. A Secessionist oak occasional table, possibly Dutch, circular section with streamlined tripod supports, and another smaller unmarked 39cm. diam, 73cm. high £80-120 620. An oak armchair designed by Richard Riemerschmid, with pierced panel seat, unsigned 74cm. high £200-300 Literature Richard Riemerschmid Vom Jugendstil zum Werkbund, Prestel,page 121 plate 21, catalogue number 90c for a comparable armchair

620

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621

622

623 621. A Limed oak dressing table with full length mirror, probably Heal’s, unsigned 154cm. high £500-1,000 Provenance Julian Fall

622. A Gordon Russell Ltd teak, glass fronted display cabinet, over two drawers with macassar handles, applied plaque 127cm wide £200-400 Provenance Julian Fall

623. A Barnsley Workshops walnut dressing table mirror, the adjustable mirror on swollen rectangular base with three drawers unsigned 48cm. wide £400-600 Provenance Julian Fall

625 label

624. A Barnsley Workshop satinwood bow fronted corner display cabinet, with glazed door and glass shelf above cupboard unsigned 187cm. high, 46.5cm deep £800-1,200 Provenance Julian Fall

625. A Gordon Russell Russell Workshops American Black Walnut hanging corner cabinet, by J Mann, model no.238, dated January 1930, with internal fixed shelf, applied paper label 80.5cm. high £500-1,000 Provenance Julian Fall 624

98

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627

626 628 626. A blue print design for a wall sconce by Ernest Gimson, feint signature 37 x 25cm. £300-400

627. A Cotswold School oak and ebonised wood sideboard, the design attributed to Peter Waals, faceted section, with central shelved cabinet below two drawers, flanked by angled, shelved cupboards, with tea caddy mouldings, the ebonised wood handles with turning lock design, on eight carved feet unsigned 127cm. wide, 50cm deep, 122cm high £1,800-2,200 Literature Annette Carruthers and Mary Greensted Good Citizen’s Furniture, page 125 for a bookcase made by Waals for comparison.

628. A Heal’s oak sideboard, central column of four drawers flanked with two cupboards, carved semi-circular handles applied Heal’s ivorine button 101 x 45cm, 91cm high £200-300

629. A cedarwood chest of drawers designed by Peter Waals, on ebonised wood sleigh feet, with ebonised wood inlay decoration unsigned 122cm. high £3,000-5,000 Provenance C Biddulph, Rodmarton Manor, one of a pair Julian Fall 629

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630

631

633

632

634

635

636

630. An Art Deco walnut table, circular form, unsigned 97cm. diam. £400-600

631. A Unix six section shelf system, four with three shelf sections, two with two shelves, applied ivorine labels, paper Phoenix Gallery labels to reverse £180-220

632. A Danish teak folding stool with black leather seat, and an Artex Danish teak side table remains of label stool 84 x 40cm. £80-120

633. A set of four Gordon Russell teak chairs, with sprung seats, applied labels £80-120

637

634. A set of Four G-Plan chairs, ebonised wood frames with white and black padded seats, and a stool printed labels 88cm high £80-120

635. Four G Plan style chairs, ebonised wood red seats and rosewood veneer backs unsigned 77cm. high £80-120

636. A set of six Gordon Russell teak dining chairs, designed by W H ‘Curly’ Russell, model no. X6409, two carvers and four chairs, with sprung seats 86cm. high £150-200

637. A set of six Danish teak chairs, with strung seats, applied labels for M & K,79cm. high £150-200

638. A pair of teak cabinets retailed by Heal’s, London, one with sliding doors, the other with four drawers and cabinet with hinged door, unsigned 76cm high, 107cm wide £400-600 638

100


639

643

640

641

642

644

645

639. A Vitra glass and chromed metal table, designed by Charles Eames, circular glass top with chrome stem and flaring feet applied labels 120cm. diam. £100-200

640. A Roberts of Ludlow yew occasional table on three legs, in the style of George Nakashima, stamped mark, 221 cm. long £100-200

641. A white painted wood and glass topped occasional table designed by Isamu Noguchi, model IN-50 unsigned 127cm. wide £300-500

642. A glass and metal ball ceiling light, spherical rod construction, set with amethyst glass disks, another ceiling light and a modern leaded glass shade unsigned 35cm. wide £100-200 646 643. A set of three Vitra chairs designed by Charles & Ray Eames, black press moulded plastic seats on chrome legs paper label and moulded marks 81cm. high £80-120

644. An Italian ebonised wood occasional table, the rectangular top with enamelled geometric design in shades of blue unsigned 102 x 46cm. £150-200

645. A set of ten Cassina chairs designed by Vico Magistretti applied label 74.5cm. high £400-600

646. A Bird chair designed by Harry Bertoia, probably by Knoll Associates, chromed wirework frame with green upholstery unsigned 97cm. high £300-500 Literature Charlotte & Peter Fiell 1000 Chairs Taschen page 254

647. ‘First’ a Memphis chair designed by Michele De Lucchi, metal and lacquered wood unmarked 89cm. high £600-1,000 Literature Barbara Radice Memphis, Thames and Hudson, page 175 this design illustrated

647

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648

650

649

651

652

MeTaLWare & WorKs of arT 648. ‘The Centenary of the Stockton to Darlington Railway’ a bronze medal designed by Gilbert Bayes, 1925, Vulcan holds the models of Locomotive no.1 behind a 1925 Pacific class engine, the reverse with conjoined busts of Edward Pease and George Stephenson, in remains of card issue case, signed in the cast GB, 7.7cm. diam. £80-120 649. A bronze medal from the Exposition Universelle Internationale, Paris 1900, designed by Jules-Clement Chaplain, awarded to Walter Gilbert, the capped head of Marianne to right, an oak tree behind providing the wreath, the reverse a winged fame flies to left, named on tabled W Gilbert, in presentation case, stamped Bronze to rim 6.5cm. diam. £250-350 The Paris Exposition 1900 was where the Bromsgrove Guild had its first major success in exhibiting its work. 653

650. ‘Award for Good Design’ a Ministry of Housing and Local Government patinated bronze plaque, awarded 1968 with central design of the Vitruvian Man by Leonardo Da Vinci and a Royal College of Art bronze plaquette designed by Hugh Dunn, awarded 1978 unsigned 23.5cm. diam. £60-80 651. ‘Open Championship Agricultural Prize’ a bronze plaque cast from a design by Sir William Hamo Thornycroft, rectangular form cast with a standing figure of flora amidst wheat field, with suspension holes to top, stamped inscription cast signature dated 1919 28 x 17.5cm. £150-200 652. A pair of grey plaster portrait medallions of Jenny du Moulin and Frederic Dreyfus, by Rene Fache, dated 1867, in gilt frame with velvet mount incised signature and date, paper labels to verso, frame 53 x 33cm. £150-250 Rene Fache was born in Douai and studied under David d’Angers (1789-1856), whose influence can clearly be seen on these two medallions. 653. An Aesthetic Movement ebonised wood wall bracket shelf with carved roundel designs unsigned 32cm. high £50-100 654. An Archibald Carne, Truro wrought iron firetool set on display stand, comprising; shovel, tongs, poker and brush, with twisted stems and punched decoration stamped A Carne Truro 58.5cm. high £200-300

654

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Literature Colin Pill Cornish Art Metalware, Sansom & Company page 90 for 2 plates depicting different firetools.


655

656

657

658

659

655. A rare pair of Newlyn copper panels, possibly by William Wright, rectangular form repousse hammered in relief with a sea dragon, in painted white wood frames, each panel 71 x 20cm. £800-1,200 A small Newlyn copper tray signed by William Wright exists with a similar sea dragon.

656. A pair of cast brass candlesticks, each modelled as a dragon creature unmarked 17cm. high £80-120

657. An Arts and Crafts brass wall charger by J T R Blair, dated 1913, the well stamped in low relief with a galleon at full sail, the rim with a scallop shell signed to the well 51cm. diam. £100-200

660

658. A W.A.S Benson brass kettle, with hinged cover and pierced handles stamped mark 26cm. high £50-100

659. A W.A.S Benson copper and brass electric light, the quatrelobed foliate feet supporting copper reservoir and brass foliate terminal, stamped marks, 21cm. high £300-500 Provenance Julian Fall

661

660. A Newlyn copper pedestal rose bowl, hammered in relief with fish before foliage, stamped Newlyn 18cm. diam. £300-350

661. A John Pearson copper box with hinged cover, rectangular form, repousse hammered with birds to the front, the hinged cover with a Celtic cross motif, cedar lined, stamped JP dated 1902 17cm. wide £300-400

662. A John Pearson copper wall mirror, circular form, repousse hammered with stylised flower stems, with bevelled glass unsigned 25cm. diam. £100-200 662

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663

664

667

668

665

669

666

670

663. A patinated copper mirror, elliptical form, with diamond frieze border, bevelled glass, and a brass floor lamp in the manner of WAS Benson unsigned mirror 68cm. wide £50-100 664. ‘Helena’ a modern brass Arts and Crafts style ceiling light, by Chris Vickers, after the original design by C F A Voysey, circular section with a frieze of pierced and chased birds, with frosted glass bowl unsigned 20cm. deep, 38cm. diam. £50-150 This Voysey design was originally produced by Elsley model no 106E. Provenance Julian Fall 665. An Elkington Department of Science and Art copper wall plaque, cast in low relief with panels of fruit and flowers, the rim with cherubs cast mark to the reverse 47cm. diam. £250-300 666. A large Arts and Crafts brass tray, possibly Fivemiletown, square section with upturned, pinched rim, stamped to the well with a displaying peacock unsigned 59cm. square £100-200

671

667. A patinated brass panel the design attributed to Charles Passenger, dated 1877 stamped in relief with a sunflower, on oak frame, signed CP 1877, panel 20 x 17.5cm. £100-200 Provenance The Jon Catleugh Collection 668. An oak book shelf, with carved seated heraldic lion book ends, a continental wood writing slope and a small oak wall cabinet unsigned, bookshelf 34.5cm. wide £50-100 669. A pair of white metal mounted wood easel back picture frames pierced design of stylised fuchsia flowers unmarked 27cm. high £350-450 672

670. An Arts and Crafts carved wood box, possibly a marriage box, carved with panels of paired birds, the base incised MAS 1898 unsigned £150-200 671. ‘Outside the Tavern’ and ‘In a Persian Garden’ two enamel plaques by Lucy E Pierce, dated 1954, signed, titled and dated to the reverse in pen largest panel 19 x 10.5cm. £200-300 Literature The Studio Volume 50, 1910 Lucy Pierce had two designs illustrated on page 303 in an article on the National Competition of Schools of Art, 1910 where she won a gold medal. 672. A large Art Deco Limoges enamel plaque, square, painted with a woman in ball gown, holding an orange ostrich feather, in a garden setting, framed painted marks to top corner 24 x 24cm. £350-450 673. A Rainaud patinated metal table lamp, octagonal domed shade with opaque glass lining, on swollen cylindrical stem unsigned 58cm. high £150-200

673

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674

675

678

676

679

677

680

681

674. An Arts and Crafts copper wall lantern, shaped rectangular back plate, with domed lantern top and clear glass fittings unsigned 39cm. high £300-500

675. Four leaded stained glass windows, rectangular, each with stylised flower design in red and amber glass unsigned window 44 x 32cm. £50-100

676. A pair of wrought iron table lamps, twisted stem, on quatrelobed base unsigned 29cm. high £50-150

677. A pair of continental Secessionist patinated metal candlesticks, scrolling stem on leafshaped base unsigned 20cm. high £220-280 682 678. A large WMF electroplated punch bowl and cover, twin-handled form, applied to each side applied with Roman centurions stamped marks to base rim 49cm. high £300-400

679. A large gilt metal sculptural double inkwell, two gilt metal lurchers, on shaped onyx base with onyx inkwells, and a smaller lurcher figure, unsigned 51cm. wide £300-500

680. A pair of continental porcelain figural lighters, each modelled as a dancer, with chromed lighter on tortoiseshell plastic base unsigned 17cm. high £100-200

681. A pair of perspex and chrome table lamps, two curved perspex blades flanking a central chromed metal column, on rectangular base, with fluted spherical shade unsigned 77cm. high £200-300

682. An Art Deco wrought iron wall mirror, the diamond shaped frame with climbing rose stem decoration, bevelled mirror unsigned 75cm. high £80-120

683. A large pair of patinated metal horses, flat sheet metal form, on black lacquered wood base, unsigned 69cm. wide £300-500 683

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684

685

688

689

686

690

687

691

692

684. A small gilt bronze figure of a girl, modelled seated on an onyx pedestal base unsigned 12cm. high £100-200 685. A Hotkiss patinated metal night light, modelled as a woman heads, with open mouth applied metal plaque 17cm. high £120-180 686. A pair of silvered metal figures, each modelled standing offering up a pot and cover, on alabaster base unsigned 32cm. high £100-200 687. A Hagenauer style patinated terracotta bust of a woman, with applied metal loop earrings impressed marks, Anzengruber, made in Austria 26cm. high £100-200 693

694

688. A small patinated bronze and ivory model of a woman, on circular onyx base unsigned 15cm. high £150-200 689. A silver patinated metal model of a Spanish dancer, modelled standing holding a tambourine, on alabaster circular base unsigned 27cm. high £100-200 690. A cold painted bronze model of an Egyptian figure, modelled walking, balancing a basket on her head and holding a bird , on red marble base unsigned 19cm. high £100-200 691. A patinated bronze model of a futurist bird, mounted on clear perspex cube base indistinct signature to base 17.5cm. high £130-150 692. A patinated bronze figure of a woman balancing a ball on her arm, on square section black marble base indistinct signature cast in the bronze 36cm. high £500-800 693. A small patinated metal model of a dancing woman, in the style of Lorenzl, on onyx base, and another gilt patinated metal figure unsigned 15cm. high £100-200 694. A wooden sculpture of two stylised children washing, in the style of Eric Gill, she holds a towel he carefully pours water from a jug, with traces of white and red paint, unsigned 38cm. high £100-200

695

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695. An Art Deco patinated bronze figure of a dancer designed by Josef Lorenzl, modelled standing on one foot her trailing leg and arms upraised, on swollen square section onyx base signed in the case Lorenzl 35.5cm. high £1,000-1,500


696

697

698

699

696. ‘Art Deco and Modern Art’ a fluorescent shop display light, 137 x 17cm.

700 £100-200

697. A Perspex table lamp, modelled as a harp in red and black perspex, chrome fitting, with glass shade unsigned 51cm. high £50-100

698. An Art Deco style chrome and enamelled metal desk lamp, probably American, on rectangular base unsigned 26cm. wide £120-180

699. A silvered metal figural lampbase, modelled as a figure offering up a light, with amber glass shade unsigned lamp 37cm. high £100-200

701

700. A pair of copper and brass twin-light table lamps, each with arched body and opaque twisted candle glass shades unsigned 30cm. wide £100-200 702

701. A Chase, American chromed metal cocktail set, comprising cylindrical shaker, six chrome and blue glass glasses on a mirrored glass and chrome circular tray stamped marks to shaker, 31cm. high £120-180

702. An Art Deco electroplated metal cocktail set, comprising six shot glasses on a shaped twinhandled tray unsigned 46.5cm. wide £100-200

703. An easel backed illuminating dressing table mirror, with applied label for retail at Asprey’s, rectangular form with applied Ivorine Asprey label 61 x 49cm. £200-300 703

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704

705

708

709

706

707

710

711

704. A pair of tall perspex shell table lights, on square perspex base unsigned 75cm. high £400-600 705. A patinated brass dish floriform, cast in low relief with geometric patterning, stamped N91 28cm. diam. £50-150 706. An Art Nouveau Orivit pewter twin-handled dish, pierced and cast with stylised flowers in long sinuous stems stamped marks 32cm. diam. £50-80 707. A Fenton Brothers pewter footed bowl, hammered form with inverted rim, the foot cast with Celtic knot panels stamped marks, 22cm. diam. £80-120

712

708. A Hugh Wallis pewter and copper inkwell, circular section with hammered finish, the rim with punched decoration stamped HM mark 13.5cm. diam. £120-180 709. An Arts and Crafts silver ring, in the manner of Edith Linnell, the silver cast with flowers and foliage set with dyed chalcedony stones stamped silver, six K 1/2 £200-300 710. A collection of Scandinavian jewellery, including; an enamelled swan brooch by A Dragsted, an enamelled metal longboat, and twelve other items various marks, 6.5cm. wide £100-200 711. A pair of Cohr Denmark stainless steel candlesticks, triangular section, and a pair of English stainless steel candlesticks stamped marks 5.5cm. diam. £50-100 712. A Liberty Tudric Pewter tray, designed by Archibald Knox, model no.0359, elliptical form with overslung handle, pierced foliate rim, a WMF electroplated desk inkwell and pen tray, and two other pewter items stamped marks to tray 23.5cm. wide £150-250 713. A W.M.F. electroplated metal jardiniere with cut green glass liner, elliptical form, cast in low relief with an art nouveau maiden picking flowers, with whiplash cast twin-handles stamped marks, 44cm. wide £700-900

713

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714

715

716

714. A set of Fivemiletown enamelled metal buttons, each circular with green enamel, in fitted case case stamped Art Metal & Enamel Industry Fivemiletown Ireland each button 2cm. diam. £200-300 715. A Murrle Bennett Secessionist silver and opal pendant, circular, pierced and hammered form, with opal drop, stamped MB 950 3cm. high £80-120 716. A silver goblet, cylindrical footed form with textured finish stamped marks, SC Sheffield 1976 10cm. high £80-120 717. A silver and gold toothpick by Diane Hobson, the pick with applied Baroque pearl finial, with modelled sack sheath, the drawstrings with label stamped JC unsigned 8cm. high £50-150

717

718

Provenance Commissioned from the artist for Jon Catleugh 718. A set of six Artificers Guild silver tea spoons, probably designed by Edward Spencer, each with clam shell terminals, in original fitted case cast stamped The Artificers Guild, spoons unmarked each spoon 9.5cm. long £200-300 719. A Richard Perry, Son & Co Kardofan brass chamberstick designed by Dr Christopher Dresser, probably retailed by Liberty & Co, with wooden rod handle, stamped regd diamond, designed by Cr Dresser’s Design to handle 15cm. high £200-300

720

719

Literature Michael Whiteway Christopher Dresser 1834-1904, Skira, page 172 plate 208 for a comparable 720. A James Dixon & Sons electroplated metal milk-jug, designed by Dr Christopher Dresser, model no.2272, tapering bombe form on tripod feet, stamped marks, facsimile signature £300-500 Literature Michael Whiteway Christopher Dresser A Design Revolution, V&A, page 152 for the three piece tea set illustrated. 721. An A E Jones silver coffee pot, with hinged foot, the swollen cylindrical body with hammered finish, applied with roundels to the shoulder, stamped marks, Birmingham 1924 19.5cm. high £80-120 Provenance Julian Fall 721

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722

723 722. A Liberty & Co Cymric silver spoon, the entwined stem with hammered heart shaped bowl, stamped marks, rubbed date marks 20.5cm. long £300-350

723. A Liberty & Co Cymric silver and enamel spoon, designed by Archibald Knox, with cast whiplash foliate terminal enamelled green and blue, engraved initials to bowl stamped marks, Birmingham 1902, 12cm. long £100-150

724

724. A Liberty English Pewter Biscuit Box and cover, designed by Archibald Knox, model no.0193, drum form cast in low relief with stylised foliage stamped marks 13cm. high £500-800 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 254 for an example with blue enamel decoration.

725

725. A Liberty & Co Tudric Pewter vase designed by Archibald Knox, model no.0970, flaring cylindrical form, cast in low relief with scrolling honesty stems, on hammered ground stamped marks 26cm. high £300-500

726

726. A Liberty & Co Tudric Pewter tea set, designed by Archibald Knox, model no.0231, cast in low relief with stylised honesty, comprising teapot with hinged cover, milk-jug and sugar basin stamped marks 23cm. wide £400-450

727. A Liberty Tudric Pewter and glass claret jug, model no. 0310, designed by Archibald Knox, the clear glass body with pewter neck, handle and hinged cover cast in low relief with berried foliage unsigned 20cm. high £800-1,200 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 189 for an example with a James Powell & Sons, Whitefriars green glass body 727

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CeraMICs deParTMenT InvITaTIon To ConsIgn vaLuaTIon day Monday 5th december 2011 10am-4pm at 51-61 Castle street, salisbury

20th Century design including arts and Crafts and art deco With Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

english and european Ceramics and glass With Clare Durham 01722 424507 claredurham@woolleyandwallis.co.uk

asian art With John Axford 01722 424506 johnaxford@woolleyandwallis.co.uk

To book an appointment please call or email

‘Shelley Girl’ a Shelley Art Deco advertising figure, estimate £1500-2000, included in Clarice Cliff & Art Deco, March 7th 2012


Furniture & Works of Art Tuesday 10th January 2012 Closing date for entries 18th November 2011

A table football game, mid 20th century. Provenance: Sir William Piggott-Brown. Estimate: ÂŁ800 - ÂŁ1,200

ENQUIRIES Will Hobbs Tel: 01722 339752 willhobbs@woolleyandwallis.co.uk Mark Richards Tel: 01722 411854 markrichards@woolleyandwallis.co.uk


Silver Tuesday 24th & Wednesday 25th January 2012 Closing date for entries 25th November 2011

A modern parcel-gilt three-light silver candelabrum by Stuart Devlin. Sold for ÂŁ6,787

ENQUIRIES Rupert Slingsby Tel: 01722 424501 rupertslingsby@woolleyandwallis.co.uk Lucy Grazier Tel: 01722 424530 lucygrazier@woolleyandwallis.co.uk


Auction Information OPENING HOURS Monday to Friday 9am to 5.30pm and 10am to 1pm on Saturdays VIEWING All our specialist auctions are on view at least two days prior to the sale, and details will be found in the relevant catalogues. BIDDING To bid at the auction, you will need a bidding number. This can be obtained from the office either during the view or on the day of the sale. ABSENTEE BIDDING If you are unable to attend the sale you can leave a written commission bid. This will be executed on your behalf by the auctioneer who will endeavour to purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. On the more expensive lots it is usually possible to bid on the telephone by prior arrangement with the office. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot where practical. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 19.5% + VAT at the appropriate rate. SALE RESULTS Results from this sale are available from our office on 01722 424500 and are posted on our website www.woolleyandwallis.co.uk a few days after the sale. STORAGE CHARGES Storage charges will be levied on all lots in the Furniture and Works of Art and Clock sales not collected within 14 calendar days of the sale. This will include a handling fee of £20 (+VAT) per consignment and a storage charge of £2 (+VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

ARTISTS RESALE RIGHT / DROIT DE SUITE Lots potentially subject to the levy are marked with a ‡ symbol next to the lot description. Works by living artists who are nationals in European Union Countries and certain other countries are subject to the levy if they sell for a hammer price of the sterling equivalent of €1.000 or more. The levy will be added to the purchaser’s invoice and the full amount will be paid by us to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale, or for any further information. Royalty

For the Portion of the resale price - in Euro

4% 3% 1% 0.5% 0.25%

Up to €50,000 €50,000.01 - 200,000 €200,000.01 - 350,000 €350,000.01 - 500,000 In excess of €500,000

Up to a maximum levy of €12,500

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and may require funds to be cleared before purchases can be released. The following methods of payment may be made: bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a limit of £5,000. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account name Woolley & Wallis Salisbury Salerooms Ltd. Clients Account Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect It is company policy not to accept single or multiple payments in cash equivalents in excess of £5,000 (or the equivalent value in another currency). Where practical, payment can be made and purchases collected during the auction. Please note that lots will remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. PACKING AND SHIPPING All our packing and shipping is arranged through Alban Shipping. Please see details at the back of this catalogue. VAT Lots marked with an asterisk (*) are subject to VAT at the standard rate on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. The colours printed in the catalogue are not necessarily true. All weights and measures given in the catalogue should be regarded as approximate.


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

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales. Contact Christine Johnson 01722 424510

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

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

Woolley & Wallis valuations are accepted by all leading insurance companies.

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Woolley & Wallis Salisbury Salerooms Ltd. Registered in England No. 2998482 VAT No: 9832 29 in association with Woolley & Wallis, Chartered Surveyors Design & Production by Jamm Design Tel. 020 8901 7522

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand. 2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.Accordingly if you buy your primary contract is with the seller. 3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive. 4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 19.5% + VAT at the appropriate rate. 5. VAT. (*) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The double symbol (**) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

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

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

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

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

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

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

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

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

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


11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate. 12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued. 13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion.

14. Authority to deduct commission and expenses and retain premium and interest.

4. THE PURCHASE PRICE

(a) You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

5. VALUE ADDED TAX

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply. 15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions. and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal. 16. Settlement. After sale settlement of the net sum due to you normally takes place within 28 days of the sale (by crossed cheque 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.

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

The Buyer shall pay the hammer price together with a premium thereon of 19.5% + VAT at the appropriate rate. Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. PAYMENT (a) Immediately a lot is sold you will: (i) give to us, if requested, proof of identity, and (ii) pay to us the total amount due in pounds sterling (b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (a) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due (b) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and insurance charges. (c) No purchase can be claimed or removed until it has been paid for. 8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES (a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.


10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers. 13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. DESCRIPTIONS AND CONDITION (a) Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition orestimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (b) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale. GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 21. English law applies to the interpretation of these Conditions. PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

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


Packing and Despatch We have negotiated competitive rates with Alban Shipping – Specialist Shippers of Antiques, Collectors’ Items and Fine Art, for the packing and despatch of lots purchased at our salerooms. Unfortunately, Woolley & Wallis are unable to offer any other packing and despatch service of their own. Alban Shipping collect items for our Salisbury Salerooms on a weekly basis and offer a fast, friendly and efficient shipping service via all methods of modern transport, by air, sea and road, including – air-post, courier, air and seafreight. They also offer a case making service.

Insurance Full comprehensive Transit Insurance is charged from £2.50 or 1.5% of the hammer price. For further details please contact: Mr. Andrew Jackman on 01582 493 099 who will be able to assist with any enquiries or information that you may require. Alban Shipping Specialists Shippers of Antique, Collectors’ Items and Fine Art Unit 4, Premier Business Park, Dencora Way, Luton, Bedfordshire LU3 3HP

Quotations Alban Shipping will be pleased to provide a prompt individual quotation for this service. Minimum Charge Their minimum charge is £35 plus VAT which includes the collection, expert packing and despatch for inland delivery. Mastercard and Visa are welcome.

Telephone Fax E-mail Web

Delivery Instructions

Woo L Le y & Wa L LI s

01582 493 099 01582 490 147 info@albanshipping.co.uk www.albanshipping.co.uk

Please complete and return to: Woolley & Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 Fax: 01722 424508 Name

GOODS FOR COLLECTION

Address

Sale Date

Lot No(s)

Description

Postcode Telephone

Fax

Name Delivery address

Postcode Telephone

Fax

Email Mobile Please tick relevant boxes: For collection from

Castle Street

Old Sarum

Accounts

Date

I authorise Alban Shipping to collect the above lots on my behalf and deliver to the address given above. I understand that payment is to be made direct to Alban Shipping.

Carrier

Date

Signed

For Office Use

Date


Woo L Le y & Wa L LI s Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

British Art Pottery

Brief Decription

Wednesday 30th November 2011 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email Debit/Credit Card details: VISA OTHER

MASTERCARD

SWITCH

(please specify)

We do not accept American Express cards

Cardholder Card No. Valid from Expiry date Issue No.

(Switch only)

If you have not settled your account within 21 days of the auction Woolley & Wallis Salisbury Salerooms Ltd reserves the right to debit all charges due. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. By signing below you are authorising this payment to be taken by us. ID is required for all first time bidders.

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

Price Excluding buyer’s premium & VAT


AuctIoN cAleNdAr ASIAN ART 15th November 2011 – Yixing Zisha Wares 16th November 2011 – Asian Art Part I 17th November 2011 – Asian Art Part II John Axford 01722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister 01722 424 591 • sophielister@woolleyandwallis.co.uk BOOKS & MANUSCRIPTS 7th December 2011 Liz Merry 01722 424500 • lizmerry@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 10th January 2012 Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards 01722 411854 • markrichards@woolleyandwallis.co.uk SILVER 24th & 25th January 2012 Rupert Slingsby 01722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Grazier 01722 424530 • lucygrazier@woolleyandwallis.co.uk JEWELLERY 26th January 2012 Jonathan Edwards 01722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting 01722 424595 • mariellewhiting@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 6th March 2012 Clare Durham 01722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 7th March 2012 – Clarice Cliff & Art Deco Michael Jeffery 01722 424505 • michaeljeffery@woolleyandwallis.co.uk CLOCKS, POCKET WATCHES & BAROMETERS April 2012 Will Hobbs 01722 339752 • willhobbs@woolleyandwallis.co.uk Richard Price 01722 339752 • richardprice@woolleyandwallis.co.uk

• Entries can usually be accepted up to six weeks prior to auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk


www.woolleyandwallis.co.uk


Woolley & Wallis British Art Pottery Nov 2011