Issuu on Google+

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

Wednesday 11th December 2013


Specialist Departments Please dial +44 (0)1722 followed by the number listed below

20TH CENTURY DESIGN Michael Jeffery

ASIAN ART John Axford MRICS ASFAV — Sophie Lister — Alex Doméracki Freya Yuan

424505

424506 424591

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price — 07741 242421 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 FURNITURE Will Hobbs Gemma Bush Mark Richards Jim Gale

— — — —

339752 339752 411854 339161

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

424504 424595

MODERN BRITISH ART Michael Jeffery Victor Fauvelle

— —

424505 424503

PAINTINGS Victor Fauvelle Jo Butler

— —

424503 424592

SILVER Rupert Slingsby Lucy Chalmers

— —

424501 424594

Tribal Art Will Hobbs

339752

Members of The Society

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598 ACCOUNTS & OFFICE MANAGER Janice Clift — Ruth Pike MARKETING Tamzin Corbett GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan

424500

424590

424500

424500

BOARD OF DIRECTORS Paul Viney ASFAV Chairman John Axford MRICS ASFAV Deputy Chairman Clive Stewart-Lockhart Managing Director

FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift

of Fine Art Auctioneers

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

424599


BRITISH ART POTTERY & 20TH CENTURY DESIGN

Viewing Times

Wednesday 11th December 2013 at 10.00am

Saturday 7th December 10.00am – 1.00pm Monday 9th December 10.00am – 4.30pm Tuesday 10th December 9.00am – 4.30pm Wednesday 11th December 9.00am – 10.00am

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

ENQUIRIES Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ LIVE BIDDING

Please register by 4pm on Tuesday 10th December. There is no surcharge for using this service. Front cover: Lot 130 Back cover: Lot 461 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

CONDITION OF LOTS Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. Please note all items of furniture will be removed to the Old Sarum warehouse on Monday 16th December.


1

CERAMICS 1. A Doulton Lambeth stoneware planter, dated 1883, six square interlocking pots, cast in relief with a roundel glazed in blue and brown impressed and incised marks, damages, each 18cm wide, 112cm. total width £300-500 2

3

2. ‘Lord Nelson Born 1758-died 1805’ a Royal Doulton stoneware commemorative jug, cast in low relief with portrait and maritime vignette, the handle modelled as rope, glazed in shades of green and blue, and a Doulton Lambeth ‘King Edward VII and Queen Alexandra Coronation’ jug impressed marks, underglaze chip to foot rim of second jug, 20.5cm. high £200-400

3. A Doulton Lambeth stoneware planter, square section, cast in low relief with geometric foliage panel, in shades of ochre, brown and green impressed mark, damages 18cm. high £80-120 4 4. A pair of Doulton Lambeth Impasto vases by Kate Rogers, dated 1881, shouldered form, painted with flowers and foliage in shades of white, ochre and green on a graduated blue ground impressed marks, artists monogram, restored foot rims, 31cm. high £200-400

5. A Doulton Lambeth Indian Vase jardiniere and stand, octagonal form cast in low relief with panels of flowers and foliage, and four cast elephant head handles, on low octagonal section stand impressed marks, chips and losses 46cm. high £300-500 Literature Desmond Eyles and Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 196 this design reproduced from the Doulton & Co Lambeth catalogue 1898. 5

3


6

7

8

6. A pair of Royal Doulton stoneware vases, shouldered form with swollen cylindrical neck and everted rim, modelled in low relief with floral panels in shades of green and brown impressed and incised marks, 40cm. high £100-200

7. A Royal Doulton stoneware vase by Vera Huggins, slender, shouldered cylindrical form, covered in a running brown glaze over blue, another Royal Doulton vase and a bowl impressed and incised marks, 23.5cm. high £80-120 9

8. A Doulton Burslem stoneware vase, bottle form with slender looped handles, the body painted with rose flowers, in pink and green, highlighted in gilt on a white ground, a Royal Doulton ‘Coronation Queen Elizabeth II’ jug and a Doulton stoneware jardiniere various marks, vase 25.5cm. high £150-200

10

9. ‘Sylvia’ HN1478 a Royal Doulton figure, painted in colours printed and painted marks 27cm. high £150-200

10. A Doulton Lambeth stoneware jug by Hannah Barlow, tapering cylindrical form, incised with a frieze of galloping horses, between bands of stylised foliage, in shades of blue, green and ochre, impressed marks, incised monogram, repaired chip to rim and hairline 23.5cm. high £100-200

11. A Royal Doulton Art Nouveau stoneware vase by Elisa Simmance, shouldered form, painted with stylised flower stem frieze in shades of purple, green and ochre on a buff ground impressed and incised marks, damages 39cm. high £200-300

4

11


12

13

12. ‘Florence Barlow’ a rare oil on paper portrait by Hannah Barlow, framed signed in pencil HB monogram, titled Florence image 24.5 x 19.5cm. £400-500 Provenance The Albert Dawson Trust

13. ‘The Challenge’ a pastel on paper by Hannah Barlow, framed signed in pencil with monogram image 37 x 26.5cm. £200-300

14 14. A pair of Doulton Lambeth stoneware vases by Eliza Simmance, baluster form, each slip decorated with a frieze of Art Nouveau flower stems, in ochre, brown and green on a mottled green ground impressed and incised marks, 26.5cm. high £600-1,000

15. A Royal Doulton Flambe vase by Harry Nixon, shouldered form, decorated with a bird of paradise before stylised clouds, in gilt and white printed marks, HN monogram 18cm. high £200-300 15

5


MARTIN WARE 16. A Martin Brothers stoneware wall plate, dated 1890, the deep welled bowl incised with geometric roundel, the rim with stylised foliage frieze, glazed in ochre incised 12-1890 Martin Brothers London & Southall, small firing crack to back of well 21cm. diam. £400-600

16 17

17. A Martin Brothers stoneware Marred vase, dated 1886, the crumpled form inscribed with verse from Jeremiah And the vessel that he made of clay was marred in the hand of the potter, glazed brown, incised 3-1886 Martin Bros London & Southall, 16cm. high £150-250

18. A Martin Brothers stoneware ewer by Robert Wallace Martin, dated 1881, made for George Harley (1829-1896), incised with initials and dated 1881, with family heraldic motif to the reverse, in green and blue incised 3-6-81 R W Martin, London & Southall, firing faults 37cm. high £300-500 Provenance George Harley George Harley, Physician and Physiological chemist, born 12th February 1829 at Harley House, East Lothian. He studied at the University of Edinburgh, graduating in 1850.

18 front

back

19. A Martin Brothers stoneware jug, dated 1894, shouldered cylindrical form, incised with scrolling flowers and foliage in ochre on a buff ground, incised 9-1894 Martin Bros London & Southall 23cm. high £800-1,200

20. A Martin Brothers stoneware vase, dated 1885, shouldered form, incised and painted with ivy leaves in green and blue on an ochre ground incised 7-85 Martin Bros London & Southall 23cm. high £200-300

6

19

20


21. A Martin Brothers stoneware bird sculpture by Robert Wallace Martin, dated 1884, modelled as a shoebill bird, standing with large clawed feet, its head slightly tilted and casting a sly glance, glazed in ochre, on ebonised wooden base, sold with original receipt from the Martin Brothers, incised plaque to base, incised Martin London 1884 to neck and R W Martin & Bros London & Southall Aug 1884 to rim of head. Body broken and re-glued 36cm. high ÂŁ5,000-8,000 Provenance Oswald Wallace esq. 19th March 1885 purchased from Brownlow Street for ÂŁ3.30

7


22

23

24

22. A Martin Brothers stoneware gourd vase, the veined and swollen body with everted rim, glazed in shades of blue and green incised Martinware Southall 11cm. high £300-500

23. A Martin Brothers stoneware gourd vase by Walter and Edwin Martin, dated 1899, shouldered cylindrical form, painted with green spots on a deep ochre ground incised 3-99 Martin Bros London & Southall 8cm. high £400-600

25

24. A Martin Brothers stoneware gourd vase, by Edwin and Walter Martin, dated 1907, ribbed form, covered in a deep brown glaze incised 10-1907 Martin Bros London & Southall 12.5cm. high £400-600

25. A Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1887, shouldered ovoid form, incised with fish and eels swimming amongst waterweed, in ochre, green and white on a buff ground incised 8-1887 R W Martin & Bros London & Southall 20cm. high £500-1,000

26

8

26. A pair of Martin Brothers Pottery vases, dated 1886, shouldered twin-handled form, painted with foxgloves and wild flowers in white and green on a buff ground incised 9-1886 R W Martin & Bros, London & Southall, small flat chip to top of one handle, 23.5cm. high £700-1,000


27

27. A Martin Brothers stoneware gourd vase by Walter and Edwin Martin, dimpled, square section body, glazed with white spots on a deep green ground incised 12-1901(?) Martin Bros London & Southall 9cm. high £400-600

28

28. A Martin Brothers stoneware gourd vase by Walter and Edwin Martin, dated 1903, faceted, shouldered form, painted with green spots on a pale buff ground incised 11-9-1903 Martin Bros London & Southall 11cm. high £600-1,000

29

29. A large Martin Brothers stoneware gourd vase, dated 1910, modelled as a marrow form with vertical ribs, with ochre and brown textured glaze incised 9-1910 Martin Brothers Southall 23cm. high £500-800

30. A rare Martin Brothers stoneware Queen chess piece by Robert Wallace Martin, incised R W Martin 2 1909 London & Southall, to skirt rim, underneath 2.1909 copy 13cm. high £1,000-1,500

30 31. A Martin Brothers stoneware Pawn chess piece by Robert Wallace Martin, covered in a pale brown glaze, incised RWM 6-1901 London & Southall 9cm. high £500-800

31

9


33

34 32. A Fulham Pottery stickstand by JeanCharles Cazin, cylindrical form, incised with foliage panels in green, ochre and blue, incised Fulham JC, minor glaze chips, 64cm. high £300-500

32

33. ‘Pear’s Soap’ a large Watcombe Pottery Company terracotta display figure group by G Fogardi, dated 1878, modelled as an old lady scrubbing a child by a basin, impressed marks, restored 64cm. high £200-400 34. A large Aesthetic Movement wall charger, painted with a young girl before blossom trees, in colours impressed marks, painted monogram 44cm. diam. £250-350

35 36

35. A Copeland Pottery charger, printed to the well with a medieval figure carrying a boar’s head on a serving platter, the rim with scrolling foliage, in colours impressed marks 36cm. diam. £80-120 36. ‘Snowdrop’ and ‘Adam & Eve’ two Minton plates designed by John Moyr-Smith, printed in brown on a white ground, and a Brownfield part service printed with elves, comprising tazza, two low tazzae and four plates impressed marks, wear and damages 22cm. diam. £150-250

37 38

37. A pair of Old Hall ewers in the manner of Dr Christopher Dresser, ovoid with tall cylindrical necks and pulled rim, printed with butterflies and foliage in the Imari palette, highlighted in gilt printed mark, damages, 43cm. high £100-150 38. A Minton’s Pottery vase, footed form, cast in low relief to simulate a woven basket, glazed purple, the interior glazed turquoise impressed marks, restored foot rim 14.5cm. high £80-120 39. A Bretby Pottery jardiniere and stand, the jardiniere with twin-handles, modelled with masks, with applied glass eyes, the body cast in low relief with a heron in a mountain landscape, the stand with Chinese figures, glazed in ochres and red impressed marks, one eye missing, 108cm. high £50-150

10

40 39

40. An Art Nouveau Bretby Pottery vase, shouldered form with applied loop handles, cast in low relief with geometric design, the handles and neck glazed gold, the body matt brown impressed marks, 32cm. high £50-100


41

42

44

43

41. A Wardle Pottery Lion dog, modelled seated, with ferocious gaze, glazed olive green impressed marks, 15cm. wide £200-300

42. A Foley Intarsio vase, model no.3817, tapering cylindrical form with knopped neck, printed and painted with stylised flowers, in colours, and a Foley Intarsio jardiniere printed marks, 26cm. high £200-300

45

43. A Baron Barnstaple vase, slender, swollen cylindrical form with everted rim, painted with large scaly fish amongst waterweed, in green, blue and brown on a yellow ground incised Baron Barnstaple, 31cm. high £100-200

44. A C.H. Brannam Barum figural candlestick, modelled as a grotesque winged beast, glazed green incised marks, FT monogram, glaze chips 29cm. high £150-250

45. A C.H. Brannam Barum centrepiece by Beauchamp Whimple, dated 1902, elliptical section, pierced and modelled in relief with stylised leaf design in green, blue and brown incised marks, date and monogram incised regd mark, minor damages, 24cm. wide£250-350

46

47

Literature Arts and Crafts, 1991, Liberty & Co selling exhibition catalogue, plate 26 for another example.

46. A John Pearson pottery jug, painted with panels of mythical bird-like creatures and snakes, in blue and black on a white ground painted JP monogram 19cm. high £100-200

47. A John Pearson pottery jug, painted with panels of stylised crane birds before tall grasses, in ruby lustre and blue on a white ground painted JP monogram 19cm. high £100-200

48. A Minton’s Art Pottery Studio moonflask, painted to one side with a finch resting on a blossom bough, in colours on a pale yellow ground printed and painted marks, professionally restored base, 34cm. high £300-500 48

11


49

50 49. A tile the design attributed to Walter Crane, printed with a bird amongst scrolling foliage, in brown on a buff ground, and a Sherwin ruby lustre tile impressed marks, minor chips 15.5cm. square £100-200

50. A patinated plaster plaque of rugby players by Isobel Cupples, dated 1951, modelled in low relief forming a scrum signed and dated to reverse 27 x 22.5cm. £50-100

51

51. ‘Scroll’ four tiles probably Dutch blanks retailed by Morris & Co, three framed unsigned 13cm. square £100-200 Literature Richard & Hilary Myers, William Morris Tiles, Richard Dennis Publications, page 100 figure 141 for a comparable Scroll pattern Dutch tile.

52. An Arts and Crafts press moulded architectural tile, the design attributed to William Neatby, square, cast in relief with a mask wearing an elaborate headdress, glazed in shades of blue and ochre unsigned, minor glaze chips, 20.5cm. square £150-250

52

53. A collection of thirty-seven Art Nouveau tiles by various makers, decorated in low relief with flower sprays in colours various marks, 15.5cm. square £100-200

12

54. An A J Edwards tile stand designed by C F A Voysey, modelled in low relief with a demonic character, glazed blue impressed marks, 16cm. wide £250-350 53

54


55

56

57

WILLIAM DE MORGAN 55. A William De Morgan Chelsea Period tile, painted with three sunflowers in aubergine and green on a white ground, and another painted in shades of blue and green impressed marks, old restoration 15.5cm. square £100-200

56. Two William De Morgan Chelsea Period tiles, each painted with a single Tudor rose motif some old restorations 16cm. square £100-200 58

57. A pair of William De Morgan Sand’s End Pottery tiles, each painted with two blue carnations, on a white ground impressed factory mark, glaze chips, 15.5 square £150-250

58. A William De Morgan Sand’s End Pottery tile, painted with a blue carnation flower amongst foliage, in shades of blue, green and aubergine on a white ground, framed impressed marks, tile 15.5cm. square £100-200

59 59. A William De Morgan Merton Abbey Persian four tile panel, painted with flowers and foliage in shades of blue, turquoise and green on a white ground impressed marks, minor glaze loss, each tile 15.5 cm square £300-500

60. A rare William De Morgan Sands End Pottery Chameleon tile, painted in shades of blue and green on a white ground impressed mark, 15.5cm. square £1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 126 plate 918 for the original design Provenance Richard Dennis Gallery Private collection 60

13


62

61

63

61. A William De Morgan tile on Poole Pottery blank, painted with a leaf and trellis design in blue and green on a white ground impressed marks, minor chips, 15.5cm. square £80-120

62. A pair of William De Morgan large tiles, each painted with flowers and foliage, in shades of blue, green, aubergine and white, framed, 43.5 x 24cm. £300-500

64

65

63. A William De Morgan late Fulham Period Persian tile, painted in shades of turquoise, blue and green on a white ground impressed mark 15.5cm. square £150-200

64. A William De Morgan large tile, painted with flowers and foliage, in shades of blue, green, aubergine and white, framed 24cm. square £150-250

65. A William De Morgan charger, painted to the well with a peacock, the rim with stylised foliage frieze in red lustre on a white ground, the reverse with scrolling foliage, unsigned 31cm. diam. £300-500

14

66. A large William De Morgan Persian twin-handled vase, shouldered form with knopped neck and strap handles, painted with carnation flowers in aubergine, green and blue unsigned, glaze loss, chips 31cm. high £500-800 66


67

68

69

67. A Burmantofts Faience Pottery Anglo Persian vase, model no.2202, cast in low relief with two peacocks in a garden setting, in shades of blue, green and brown impressed marks 24cm. high £200-300

68. A Burmantofts Faience Pottery Anglo Persian vase, shouldered cylindrical form with everted rim, modelled in low relief with two classical dolphins amongst turbulent waves, in shades of blue and green impressed and painted marks, 19.5cm. high £150-200

69. A Burmantofts Faience Anglo Persian vase by Leonard King, model D.620, shouldered form with cylindrical neck and everted rim, painted with panels of flowers in colours on a white ground impressed marks, painted monogram, professional restoration to top rim 25cm. high £600-800

70

71

70. A Sunflower Pottery jardininere by Sir Edmund Elton, flaring cylindrical form with pinched rim, the body with raised decoration, slip decorated with stylised fish panels in blue on a streaked green and blue ground painted Elton mark, small chip to top rim, 24cm. high £200-300

71. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with everted, fluted rim, slip decorated with flower sprays in red and ochre on a running green, red and blue ground painted Elton, restuck neck 31cm. high £100-150

72. A large Sunflower Pottery gold crackle glaze vase by Sir Edmund Elton, ovoid with flaring neck and four scrolling handles, the handles incised with a mask, covered in a gold crackled glaze over green painted Elton mark, 31cm. high £400-600 72

15


73. A Della Robbia Pottery dish and cover, the shaped cover with modelled gourd finial, painted with four white cranes, the base with modelled birds and foliage, painted in green, yellow and white feint incised ship mark, restored glaze loss and small chips to rims, 26cm. wide. £150-200

73 74

74. A Della Robbia Pottery vase, shouldered form painted with flowers in pink and a running blue glaze painted marks, 15cm. high £100-200

75. A Della Robbia Pottery vase by Ellen Mary Rope, shouldered form with flaring neck, incised with a band of vine to the neck and body above a band of stylised grape bunches, in green and blue incised marks, painted monogram 20cm. high £300-500

76

75

76. An unusual Della Robbia Pottery vase by Enid Woodhouse, applied with a reptile handle, the shouldered ovoid body with painted rose sprays in colours on a cream and green ground incised marks, painted Enid mark, minor glaze loss 23cm. high £300-500 Literature Peter Hyland The Della Robbia Pottery, A.C.C., page 240 for an original publicity photograph of this item, no.87 Crocodile vase

77. A Della Robbia Pottery vase and cover by C Taylor, dated 1902, shouldered form with flaring neck and domed cover, incised and painted with stylised dolphins, the shoulder a band of seagulls, in green, yellow and turquoise incised marks, monogram and date, restoration to inside rim of cover, 20cm. high £400-600

16

77


78. A Pilkington’s Lancastrian Pottery vase, ovoid with flaring neck, covered in a streaked blue glaze, and another Pilkington’s Lancastrian vase printed mark for 1903-1904, 31cm. high £100-200

78

79. A Pilkington’s Lancastrian vase by William S Mycock, dated 1924, twin-handled cylindrical form with everted rim, painted with lion passant and fleur de lys, below a band of scrollwork, in golden lustre on a green and blue ground impressed mark, painted cipher and dated 1924 12.5cm. high £700-1,000 Provenance Sylvia Powell Decorative Arts Private collection 79

80. Little Jack Horner a rare Pilkington’s Lancastrian tile designed by Margaret Pilkington, tubeline decorated with Jack Horner sitting in the corner eating a pie, a black cat watching on, in colours, framed, tile 22 x 14.5cm £700-900 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 16 colour plate XIV for the set of six tiles illustrated 80

17


81

82

83 interior

83

A PRIVATE COLLECTION OF PILKINGTON’S LANCASTRIAN POTTERY 81. A Pilkington’s Royal Lancastrian bowl by Richard Joyce, the fluted body painted with a flowerhead design to the well, in pink, red and blue on a golden iridescent ground printed mark, painted monogram (variation), 27.5cm. diam. £100-200 85

84

82. A Pilkington’s Lancastrian bowl by Gordon Forsyth, dated 1908, painted with a band of stylised berried foliage and cypress trees, in gold and ruby on a blue ground, the interior glazed golden impressed mark, painted cipher and date mark 1908, 13.5cm. diam. £100-200 83. A Pilkington’s Lancastrian box and cover by Gladys Rogers, the cover painted with a flowerhead design, painted in golden lustre on a red ground impressed mark, painted cipher, 16cm. diam. £100-200 84. A Pilkington’s Lancastrian vase by William S Mycock, square section, painted to each side with a clipped bay tree, in golden lustre on a red lustre ground, and another Pilkington’s vase covered in an aventurine glaze painted monogram, impressed marks, restored 16.5cm. high £100-200 85. A Pilkington’s Lancastrian vase, dated 1909, waisted, twin-handled form, covered in a rich ruby lustre glaze, and a Pilkington’s Lancastrian gourd vase covered in a ruby red glaze impressed marks, glaze nick to top rim, scratches, second vase restored 20.5cm. high £150-250 86. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1910, ovoid with waisted neck, painted with heraldic lions and scrolling foliage in gold on a mottled green ground impressed mark, painted cipher and date code 18.5cm. high £800-1,200

18

86


87. A Pilkington’s Lancastrian moonflask vase by Gordon Forsyth, flat, circular body with applied handles to neck, painted with a lion rampant, the reverse with tulip flower spray, in golden lustre on a deep blue ground impressed mark, painted cipher and torch date mark, probably 1914, professionally restored neck, 23.5cm. high £400-600

87 front and back 88. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1911, shouldered form, painted with scaly fish swimming past waterweed in golden lustre on a black ground impressed mark, painted cipher and date mark 1911, 7cm. high £100-200

89

88

89. A Pilkington’s Lancastrian vase and cover by William S Mycock, painted with Tudor rose motif in gold and ruby on a mottled green-blue ground impressed mark, painted cipher, restored 11.5cm. high £100-200

90. A large 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 a graduated orange ground, the neck with Latin inscription, impressed mark, painted cipher and date mark 1911 27.5cm. high £1,500-2,000 90

19


91. A Pilkington’s Royal Lancastrian vase, shouldered cylindrical form, cast in low relief with scaly fish, covered in a matt blue glaze, and another covered in an orange glaze impressed marks, 21cm. high £100-200

92

91

92. A Pilkington’s Royal Lancastrian vase, cylindrical form, modelled in low relief with prowling lions, covered in a matt orange speckled glaze impressed marks, 25cm. high £150-250 Provenance Arts and Crafts, Woolley and Wallis 20th June 2012 lot 192

93. A Pilkington’s Royal Lancastrian vase by E.T Radford, shouldered form, covered in a running yellow to orange glaze, two others smaller and three other orange glaze vases, impressed and incised marks, 26.5cm. high £100-200

94. A Pilkington’s Lancastrian vase, dated 1907, tapering square section, moulded to the rim with foliage design, covered in a mottled matt orange glaze, a jar and cover and five other items covered in a matt orange glaze impressed marks, 17cm. high £100-200

93

94

95. A Pilkington’s Royal Lancastrian Lapis vase by Gladys Rogers and E T Radford, shouldered form, painted with blue feather design on a mottled grey ground, another two similar and two bowls impressed mark, painted cipher and incised initials 15.5cm. high £100-200

95

96. A rare Pilkington’s Lancastrian bowl by Edmund Kent, tubeline decorated with a band to the inner rim, two matt grey vases and three other items various marks, 16cm. diam. £80-120 96 97. A Pilkington’s Royal Lancastrian vase, compressed form, the shoulder cast with foliate design, covered in a matt blue glaze, another with triangular handled neck, and three other matt blue glaze items impressed marks, 12cm. high £100-200

97

98. A Pilkington’s Lancastrian vase, dated 1906, shape no. 2351, hexagonal swollen section, the rim cast with foliate design, covered in a streaked blue glaze, three solifleur vases and three other vases impressed marks, minor damages 15.5cm. high £80-120

20

98


99. A Pilkington’s Royal Lancastrian vase by Annie Burton, shouldered form, painted with berried foliage, in golden and ruby lustre 10cm. high £100-200 100. A Pilkington’s Lancastrian vase by William S Mycock, dated 1927, ovoid with everted rim, painted with Palmette panels, in purple with a golden neck, impressed mark, painted monogram, dated 1927, 10cm. high £100-150

99

100

101

102

103

104

105

106

101. A Pilkington’s Lancastrian vase by Richard Joyce, ovoid with everted rim, painted with scrolling flowers and foliage in pink and gold lustre, the shoulder inscribed Laborant Humiles Ubi Potentes Dissident (the humble are in danger when the powerful disagree), impressed mark, painted cipher, restored 19cm. high £200-300 102. A Pilkington’s Lancastrian vase by Richard Joyce, ovoid with everted rim, painted with a hare and bird repeat with flower spray panels, in ruby and golden lustre on a cream ground impressed mark, painted cipher, restored neck, 9.5cm. high £300-500 103. A Pilkington’s Lancastrian vase and cover by William S Mycock, dated 1910, flaring cylindrical form with shallow domed cover, painted with heraldic lions rampant between cypress trees on a scrolling foliage ground, in golden lustre on a graduated green to yellow ground impressed mark, painted cipher and date mark 1910, hairlines to body, 24cm. high £100-200 104. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1912, shouldered cylindrical form. painted with Cypress trees and scrolling foliage in copper lustre on a graduated orange ground impressed mark, painted cipher and date mark 1912, 15cm. high £300-500 Provenance Mellors & Kirk Auctioneers, 27th February 2009 lot 35 105. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1908, twin-handled form, painted with heraldic shield motif on fruiting vine ground, impressed mark, painted cipher and date mark 1908, restored handle, 21cm. high £200-400 106. A Pilkington’s Lancastrian vase by William S Mycock, dated 1923, shouldered cylindrical form with applied handles, painted with heraldic emblems, the reverse inscribed Patria in gilt and ruby lustre on a blue ground impressed marks, painted monogram and date 20.5cm. high £350-450

21


107 108

109

107. A pair of Pilkington’s Royal Lancastrian duck book ends, the design attributed to David Evans, one modelled swimming, the other preening whilst swimming, before rushes, covered in a matt mushroom colour glaze impressed marks, 13.5cm. diam £100-200

110

111

Literature A J Cross, Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications, page 72 this design illustrated with other designs by David Evans, circa 1936

108. A Pilkington’s Royal Lancastrian vase by Richard Joyce, shouldered cylindrical form, modelled in low relief with scaly fish leaping and swimming, glazed in matt ochre on a mushroom ground, and a bowl similar impressed marks, incised monogram and 61, bowl re-stuck, 24cm. high £150-250

109. A Pilkington’s Royal Lancastrian scarab paperweight, covered in a matt blue mottled glaze, and two vases moulded in low relief with vine design impressed and incised marks, scarab 9.5cm. wide £80-120 112 110. A Pilkington’s Royal Lancastrian vase by Gladys Rogers, shouldered, cylindrical form covered in a mottled ruby glaze, the rim highlighted in gilt, impressed marks, painted cipher, restored, 34cm. high £100-200

113

111. A Pilkington’s Lancastrian Chinese vase, swollen square section the neck with simple moulded design, covered in a speckled blue glaze impressed mark for 1905 22cm. high £100-200

112. A Pilkington’s Lancastrian miniature vase, covered in a streaked blue glaze, and eight other Pilkington’s blue glaze vases various marks, 6.5cm. high £80-120

113. A Pilkington’s Lancastrian vase, dated 1909, shape no.2787, dimpled hexagonal section with applied handles, covered in a mottled blue glaze, and three other blue streaked glaze vases impressed marks, 16cm. high £80-120 114 114. A Pilkington’s Royal Lancastrian vase, model no.2774, compressed form with flaring neck, covered in a green aventurine glaze, a twin-handled tazza and four vases covered in streaked green glazes impressed marks, 11.5cm. high £80-120

115. A Pilkington’s Lancastrian vase, dated 1911, shouldered cylindrical form, covered in a matt green glaze, a tazza similar and two other vases covered in matt green glazes impressed marks, 28cm. high £80-120

22

115


116

117

interior 116. A Pilkington’s Lancastrian bowl by William S Mycock, dated 1910, painted to the well with a Galleon roundel in golden lustre on a blue ground, the exterior painted with ivy leaf band impressed mark, painted cipher and painted date mark 1910, professionally restored rim, 20cm. diam. £100-200

117. A Pilkington’s Lancastrian vase by William S Mycock, designed by Walter Crane, painted with a frieze of lion passant above Tudor rose flowerheads in gold and ruby lustre on a cream ground impressed mark, painted cipher, Crane cipher, restored 13cm. high, 21cm. wide £500-1,000

118. A large Pilkington’s Lancastrian vase by Richard Joyce, dated 1909, ovoid with everted rim, painted with scaly fish swimming amongst waterweed, in ruby and copper lustre on a green ground impressed mark, painted cipher and date mark for 1909, restored chip to top rim, 26cm. high £800-1,200

118

119. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1909, shouldered form, painted with dogs hunting rabbits in a woodland, in ochre on a pale yellow ground impressed mark, painted cipher and date mark 1909, restored rims, 11cm. high £250-350 119

120. A Pilkington’s Lancastrian vase by Richard Joyce, shouldered form with cylindrical neck, painted with a herd of deer resting below stylised oak trees, above a stylised river, in gold and ruby lustre on a deep blue ground, impressed mark, painted cipher, restored neck 20cm. high £350-450 120

23


121. A Pilkington’s Lancastrian vase by William S Mycock, dated 1921, ovoid with slender solifleur neck, painted with a band of swans swimming on a river, before scrolling flowers and foliage, in gold and ruby lustre on a pale yellow ground impressed mark, painted cipher, dated 1921 19.5cm. high £700-1,000

122

121

122. A Pilkington’s Lancastrian vase probably by Richard Joyce, dated 1910, ovoid form with everted rim, painted with scaly fish in gold on a red ground impressed mark, indistinct cipher, impressed date mark 1910, 10.5cm. high £100-200

123. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, shouldered form, painted with flowers and foliage in golden lustre and blue impressed mark, painted cipher and date mark 1910, restored top rim,15cm. high £150-250 123

124

124. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1909, shouldered form, painted with a frieze of flying birds, in gold on a green ground impressed mark, painted cipher impressed date mark 1910, restored rim, 14cm. high £100-200

126

125. A Pilkington’s Lancastrian vase by Gladys Rogers, ovoid with waisted cylindrical neck, painted with a band of fruiting vine, in gold on a ruby lustre ground painted R mark, 29cm. high £400-600

125

126. A Pilkington’s Royal Lancastrian vase by Gladys Rogers, compressed form with solifleur neck, painted with a chevron design in red and orange impressed mark, painted cipher 10cm. high £80-120

127. An unusual, large Pilkington’s Lancastrian vase by William S Mycock, dated 1927, ovoid with cylindrical neck, painted with children seated in a stylised floral landscape, in ruby and golden lustre on an orange ground, impressed mark, painted cipher and dated 1927, repaired, 34cm. high £300-500

24

127


128. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1911, shouldered baluster form, painted with a frieze of heraldic lion and cypress trees in golden lustre on a graduated pale green to yellow ground, with inscription to neck, impressed mark, painted cipher and date mark 1911, professionally restored neck, 19.5cm. high £300-500

128

129. A Pilkington’s Lancastrian vase by William S Mycock, dated 1913, swollen cylindrical form, painted with alternate heraldic panels and Cypress trees on a scrolling foliage ground, in gold and ruby lustre on a blue ground impressed marks, painted cipher and date mark, 1913, professionally restored top rim, 22.5cm. high £600-900

129

130. A Pilkington’s Lancastrian vase by Richard Joyce, swollen, cylindrical form painted with scaly fish swimming in turbulent water, below a band of waterweed, in gold and ruby lustre on a pale yellow ground impressed mark, painted cipher 27cm. high £1,000-1,500

130

25


131. A Pilkington’s Lancastrian vase, dated 1907 ovoid with waisted cylindrical neck, covered in a Fiery Crystalline glaze, impressed mark and date mark for 1907, professionally restored top rim, 22cm. high £100-200

131

132. A Pilkington’s Lancastrian vase, dated 1906, shouldered form, covered in a Fiery Crystalline glaze, and another similar and a solifleur covered in a running glaze, impressed marks, hairlines to top rim, 11cm. high £80-120

132

133. A Pilkington’s Lancastrian vase, dated 1909, compressed body with cylindrical neck and loop handles, covered in a rich ruby lustre glaze impressed marks, 22cm. high £150-250

134. A Pilkington’s Lancastrian vase, shouldered cylindrical form, depressions to shoulder, covered in a ruby glaze with orange splashes, printed mark, restored, 28.5cm. high £100-200

135. A Pilkington’s Lancastrian solifleur vase, dated 1910, ovoid with slender, long neck, covered in a blue glaze impressed mark, impressed X date mark, 1910, 21cm. high £100-200

133 134

136. A Pilkington’s Lancastrian vase, tapering cylindrical form with knopped neck, covered in a streaked blue and green crystalline glaze, and a shouldered vase covered in a running duck-egg blue glaze impressed and printed mark for 1903-1904, 17.5cm. high £100-200

136

137. A Pilkington’s Lancastrian vase dated 1910, shape no.2831, shouldered form, cast in low relief with heart shape foliate panels, covered in a streaked glaze, and another Pilkington’s compressed vase cast in low relief with heart-shaped panels, covered in a matt green glaze, impressed marks, 17cm. high £100-200

135 138. An early Pilkington’s Lancastrian vase, circa 1903-1904, designed by Lewis F Day, shouldered ovoid form with flaring neck, covered in a streaked blue glaze, and another smaller covered in a pale blue glaze circa 1900, printed mark for 1903-1904, restored top rim, 11.5cm. high £100-200

137

26

138

Literature Joan Maria Hansen, Lewis Foreman Day, Antique Collector’s Club Books, page 198 plate 6.58 for this shape illustrated


139

140

139. A Pilkington’s Lancastrian bowl by Jessie Jones, painted to the well with a heraldic eagle inside a frieze of trees, in ruby and golden lustre on a pale yellow ground, the exterior with geometric repeat impressed mark, painted cipher, light scratches to well, 13cm. diam. £300-500 140. A Pilkington’s Lancastrian box and cover by Jessie Jones, circular, painted with a fish roundel inside waterweed in gold and ruby lustre on a cream ground impressed mark, painted cipher, box restored 8cm. diam. £80-120 141. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, shouldered cylindrical form, painted with pairs of hummingbirds perched on grasses, in dark blue on a ruby ground impressed mark, painted cipher and date mark for 1908 15cm. high £1,000-1,500

141

142

142. A Pilkington’s Lancastrian vase by Gladys Rogers, shouldered cylindrical form, applied with four newts motif, painted with panels of foliage in shades of gold and ruby lustre on a graduated blue ground impressed mark, painted cipher, 10cm. high £700-900 143. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1911, slender, solifleur form, painted with fish swimming amongst waterweed, in golden lustre on a blue ground impressed mark, painted monogram and date mark 1911, restored neck, 19.5cm. high £100-200

143

144

145

146

144. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1919, ovoid with tapering cylindrical neck, painted with a shoal of fish, in ruby and gold on a blue streaked ground impressed mark, painted monogram and date mark 1919, 18cm. high £300-500 145. A Pilkington’s Lancastrian vase by William S Mycock, dated 1912, shouldered form with solifleur neck, painted with panels of flowers in copper and ruby lustre on a dark blue ground impressed mark, painted cipher and date mark 1912, restored neck, 19cm. high £200-300 146. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1915, compressed form, with tall flaring cylindrical neck, painted with scrolling foliage designs in ruby and copper lustre, impressed mark, painted cipher and date mark 1915, 19cm. high £300-500

27


148

147

149

147. A Pilkington’s Lancastrian vase, dated 1906, shape no.2439, shouldered form,with applied twin-handles, covered in a streaked blue and green glaze, and three other green glaze vases impressed marks, restored top rim, 25cm. high £100-200 148. A Pilkington’s Lancastrian vase, dated 1903-1904, compressed ovoid form with waisted neck, covered in an aventurine glaze, another similar covered in a mottled duck egg blue glaze, and two other vases various marks, 7cm. high £80-120

150

149. A Pilkington’s Lancastrian perfume bottle, modelled to the shoulder with two newts, glazed ruby, and another glazed streaked turquoise impressed marks, ruby restored neck, 6.5cm. high £200-250 151

150. A Pilkington’s Lancastrian vase, shape no.2353, tapering square section, covered in a rich red glaze, a Pilkington’s bowl and a solifleur vase also covered in a red glaze impressed marks, 17.5cm. high £100-200 151. A Pilkington’s Lancastrian vase, circa 1903-1904, flaring, shouldered form, covered in a Fiery Crystalline glaze, a bowl and two plates similar printed mark for 1903-1904, restoration, 14cm. high £100-200

152

152. A Pilkington’s Lancastrian vase, dated 1911, shape no.2096, ovoid with waisted neck and everted rim, covered in a matt blue glaze, three Pilkington’s ribbed vases and three other vases all glazed blue impressed marks, 31cm. high £80-120

153

154

28

153. A Pilkington’s Lancastrian vase, dated 1909, model no.2786, waisted cylindrical form with modelled neck, covered in a streaked green and blue glaze, a vase covered in a speckled green on red experimental glaze and three other glaze experiment vases impressed marks, 26cm. high £100-200 154. A Pilkington’s Lancastrian vase, shouldered cylindrical form, cast in low relief with strap design to shoulder, covered in a streaked blue glaze, and another similar covered in a matt green glaze impressed mark for 1905, second vase lamped, 42cm. high £200-300


155. A Pilkington’s Lancastrian vase by Annie Burton, dated 1911, shouldered form with solifleur neck, painted with a band of fruiting grape vine in deep copper lustre on a pale green ground impressed mark, painted B cipher and impressed date mark, 16cm. high £200-400

156. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1910, ovoid with cylindrical neck, painted with a stag leaping in an oak woodland setting repeat, in gold lustre on a pale green ground impressed mark, painted cipher and date mark 1910, restored, 18cm. high £150-200

155

156

157

158

159

160

157. A Pilkington’s Lancastrian vase by William S Mycock, dated 1927, ovoid with tapering solifleur neck, painted with panels of foliage in ruby and golden lustre on a blue ground impressed mark, painted cipher, dated 1927, 18cm. high £400-600

158. A Pilkington’s Lancastrian vase by Richard Joyce, shouldered cylindrical form, painted with exotic birds perched in flowers and foliage in shades of ruby and golden lustre on a midnight blue ground, impressed marks, painted monogram, restored foot rim, 22cm. high £400-600

159. A Pilkington’s Lancastrian vase probably by Gordon Forsyth, dated 1909, tapering form with everted rim and looped handle, painted with a leaping ibex, in copper lustre on a green ground impressed mark, painted date mark in design, restored, 17cm. high £150-250

160. A Pilkington’s Lancastrian vase by William S Mycock, dated 1906, shouldered form, painted with a frieze of partridge in gold lustre on a blue ground impressed mark, painted cipher, impressed date code 16.5cm. high £400-600

161. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1908, painted with a peacock amongst fruit trees, in ruby and ochre on a pale yellow ground impressed mark, painted cipher and date mark restored top rim, 13cm. high £150-250 161

29


163

162

164

162. A Pilkington’s Lancastrian pedestal bowl by Gladys Rogers, painted to the exterior with a band of heart-shaped foliage, in gold on a blue ground, the interior glazed golden, and a Pilkington’s circular box by Gladys Rogers main impressed mark, painted R cipher, restored rim 12cm. diam. £100-200 163. A Pilkington’s Lancastrian bowl by Richard Joyce, painted with panels of foliage in golden lustre, on an orange ground, and another Pilkington’s Lancastrian vase by Charles Cundall, painted monogram, restored, 14.5cm. diam. £100-200

166 165

164. A Pilkington’s Royal Lancastrian vase, compressed form, painted with flower motif in gold lustre on a mottled red ground, and a Pilkington’s Lancastrian bowl by Richard Joyce, impressed marks, restored 9.5cm. high £100-200 165. A Pilkington’s Lancastrian pedestal bowl by Charles Cundall, dated 1910, painted with gilt to the interior, the exterior with scrolling foliage in ruby on a blue ground impressed mark, painted cipher and date mark 1910, 16.5cm. diam. £400-500

167 168

166. A Pilkington’s Lancastrian bowl by Gladys Rogers, dated 1907, painted with a simple band of foliage and heart panels in ruby red and gold lustre, between bands, the interior glazed golden impressed mark, painted cipher, impressed date mark 1907 10cm. diam. £100-200 167. A Pilkington’s Lancastrian box and cover by Gladys Rogers, dated 1910, painted all over with a design of scrolling foliage in ochre on a yellow ground, impressed mark, painted cipher, impressed date mark 1910, restored cover, 15cm. diam. £80-120 168. A Pilkington’s Lancastrian vase by William S Mycock, dated 1906, shouldered vase, painted with overlapping scale designs, in ruby and gilt on a mottled blue ground impressed mark, painted monogram and impressed date mark 1906, 11cm. high £150-250 169. A Pilkington’s Lancastrian plate by William S Mycock, dated 1916, painted with a heraldic phoenix rising from flames holding a torch in its beak, inscribed Post Tenebras Lvx, (light after darkness), in ruby lustre on a yellow and cream ground impressed mark, painted cipher and date mark 1916, professionally restored, 30.5cm. diam. £400-600

30

169


170. A Pilkington’s Lancastrian vase by William S Mycock, dated 1914, singlehandled form, painted with lion passant in gilt on a green ground impressed mark, painted cipher and date mark 1914, 20cm. high £400-600

170 171. A Pilkington’s Lancastrian vase and cover by William S Mycock, slender, shouldered cylindrical form, painted with scrolling Tudor rose design in golden lustre on a red ground impressed mark, painted cipher, two fine hairlines to top rim 15.5cm. high £700-1,000

171

172. A Pilkington’s Lancastrian vase by Gordon Forsyth, dated 1908, shouldered, cylindrical form, painted with classical female figures below a trellis of grape vine, in gold and ruby lustre on a blue ground impressed mark, painted cipher and date mark 1908, professionally restored 29.5cm. high £700-900

172

31


173. A Pilkington’s Lancastrian vase, dated 1913, ovoid painted with scrolling foliage in blue on a deep blue ground, impressed mark and date code 1913, 11cm. high £100-200

173 174

174. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1935, ovoid with tapering neck, painted with Tudor rose panels below foliage in gold and ruby lustre on a blue ground impressed mark, painted cipher and painted date code 1935, 16cm. high £250-350

175. A Pilkington’s Lancastrian vase by Annie Burton, dated 1912, ovoid with solifleur neck, painted with a band of scrolling flowers and foliage in ruby and orange on a yellow ground impressed mark, artist cipher and impressed date mark 1912, 14cm. high £300-500

175 176

176. A Pilkington’s Lancastrian vase by Richard Joyce, ovoid with cylindrical neck, painted with flowers and foliage in red and golden lustre, impressed mark, painted cipher, restored 21cm. high £100-200

177. A Pilkington’s Lancastrian vase by William S Mycock, dated 1910, shouldered form with three handles, painted with a frieze of peacock feathers in gilt on a green ground, the rim with painted inscription Age Qvod Agis, (do what you are doing), impressed mark, painted cipher and datemark 18.5cm. high £400-600

32

177


178. A Pilkington’s Lancastrian vase, shouldered cylindrical form, modelled in low relief with bay trees, covered in a golden iridescent glaze impressed marks, restored 18.5cm. high £100-200

179. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1909, ovoid modelled body with cylindrical neck, painted with panels of bird and foliage in golden iridescence on green ground impressed mark, painted cipher and date mark 1909, professionally restored neck, 19cm. high £100-200

179

178

180. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, ovoid with collar neck, painted with panels of grasses in gold on a pale green glaze impressed mark, painted cipher and date mark, 1910 10cm. high £150-200

180

181. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1915, shouldered cylindrical form, painted with flowers and foliage in ruby and golden lustre impressed mark indistinct cipher, painted datemark, small chip to foot rim, 22cm. high £300-400

181

182. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1909, shouldered form, painted with flying cranes above foliage, in gilt on a cream ground impressed mark, painted cipher and date mark, body crack 13cm. high £80-120 182

33


MOORCROFT POTTERY

183 184

183. ‘Blue Anemone’ a James Macintyre miniature pepper pot, designed by William Moorcroft, painted in shades of green and blue on a white ground and a Clarice Cliff Bluebird pattern plaque printed marks, 5cm. high £100-200

184. ‘Flower Panel’ a James Macintyre & Co tobacco jar and cover, designed by William Moorcroft, painted with Art Nouveau flower panels in shades of green, pink and purple on a sand ground printed mark, restored thread area 15cm. diam. £400-600

186

185

185. ‘Lilac’ a James Macintyre & Co vase designed by William Moorcroft, painted with a band of flowers in blue, yellow and green, highlighted in gilt on a white ground printed factory mark, painted green signature 15cm. high £200-300

187

186. ‘Gesso Faience’ a James Macintyre & Co jug designed by William Moorcroft, tubeline decorated with blue anemone flowers on a celadon ground, with pewter cover printed mark, 17cm. high £250-350

187. ‘Persian’ a Moorcroft Pottery twinhandled bowl designed by William Moorcroft, painted in shades of purple, pink and green on a white ground painted green signature 24cm. wide £600-1,000

188. ‘Peacock Feathers’ a Florian Ware ewer designed by William Moorcroft, made for Liberty & Co, painted in shades of green, yellow and blue on a celadon ground painted green signature printed Liberty mark, 23cm. high £700-1,000

34

188


189 front

back

190 189. ‘Spanish’ a rare Moorcroft Pottery small baluster vase designed by William Moorcroft, painted in shades of red, pink and ochre on a mottled green/blue ground painted green signature 10.5cm. high £800-1,200

190. ‘Iris’ a Florian Ware baluster vase designed by William Moorcroft, painted in shades of green and blue painted green signature 30cm. high £600-800

191. ‘Pansy’ a large James Macintyre & Co baluster vase by William Moorcroft, dated 1914, painted in shades of pink, purple, yellow and green on a white ground impressed Burslem mark, painted green signature and date 33.5cm. high £1,500-2,500 Provenance Moorcroft Pottery Christies South Kensington, 11th October 2001 lot 29. Ken Manley collection 191

35


192

193 194

195

192. ‘Wisteria’ and ‘Leaf and Berry’ two Moorcroft Pottery pin dishes, painted in colours on a blue ground impressed marks, 11cm. diam. £120-180

193. ‘Anemone’ a Moorcroft Pottery pin dish, painted in colours on a blue ground, and another similar impressed marks, 13cm. diam. £120-180

197

196

194. ‘Orchid and Springflowers’ a Moorcroft Pottery bowl, painted in colours on a blue ground impressed marks, painted blue signature 21cm. diam. £150-200

195. ‘Orchid and Springflowers’ a Moorcroft Pottery bowl and cover, painted in colours on a blue ground, impressed marks, paper label 15cm. diam. £120-180

196. ‘Lily’ a Moorcroft Pottery plate, painted in colours on a blue ground impressed marks, blue signature, paper label 19cm. diam. £80-120

199

198

197. ‘Frilled and Slipper Orchids’ a Moorcroft plate, painted in colours on a white ground painted blue signature 19cm. diam. £100-200

198. ‘Flambe Leaf and Berry’ a Moorcroft Pottery vase, designed by William Moorcroft, ovoid with cylindrical neck, painted in colours under a flambe glaze impressed marks, painted blue signature 17cm. high £350-450

199. ‘Flambe Orchid’ a Moorcroft Pottery jug designed by William Moorcroft, painted in colours under a rich flambe glaze impressed marks, hairline to handle 21cm. high £400-600

200. ‘Flambe Leaf and Berry’ a tall Moorcroft Pottery vase designed by William Moorcroft, dated 1940, shouldered cylindrical form with everted rim, painted in colours under a rich flambe glaze impressed marks, painted blue signature dated 1940, 32cm. high £1,800-2,200

36

200


201. ‘Fish’ a Moorcroft Pottery bowl designed by William Moorcroft, tubeline painted with three fish swimming above waterweed, in green and blue on a celadon ground impressed marks, painted blue signature 16.5cm. diam. £300-500

201

202. ‘Banded Wisteria - Peacock Feathers’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form, painted in colours on a blue ground impressed marks, painted blue signature 16cm. high £700-900

202

203. ‘Dawn’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of blue, highlighted in pink, between chevron bands painted blue signature 15.5cm. high £800-1,200

203

37


204. ‘Slipper Orchid’ a Moorcroft Pottery footed bowl, painted in colours on a blue ground applied paper label 11cm. diam. £80-120

205. ‘Leaf and Berry’ a Moorcroft Pottery vase, designed by William Moorcroft, ovoid with flaring neck, painted in shades of blue and celadon impressed marks, painted blue signature, professionally restored, 9cm. high £200-300

205

204

206. ‘Leaf and Berry’ a Moorcroft Pottery bowl, painted in colours on a blue ground painted blue signature 16cm. diam. £100-200

207. ‘Anemone’ a Moorcroft Pottery bowl, painted in colours on a blue ground impressed marks 16.5cm. diam. £80-120

208. ‘Columbine’ a near pair of Moorcroft Pottery vases, painted in colours on a blue ground, impressed marks, paper label to one 10.5cm. high £120-180 206

207 209. ‘Pansy’ a Moorcroft Pottery bowl, painted in colours on a blue ground, painted green signature 20cm. diam. £150-250

210. ‘Anemone’ a Moorcroft Pottery miniature vase, painted in colours on a yellow ground, an Anemone lid, and a Bougainvillea dish impressed marks to lid, 4.5cm. high £100-200

208

209

211. ‘Anemone’ and ‘Clematis’ two Moorcroft vases, painted in colours impressed marks, paper label to one 8.5cm. high £100-200

210 211

38


214 212

213

212. ‘Pomegranate’ a Moorcroft Pottery vase, ovoid, painted in colours on a blue ground painted blue signature 7cm. high £100-200

213. ‘Pomegranate’ a Moorcroft Pottery basin, with electroplated metal rim and handle, painted in colours on a deep blue ground impressed marks, stamped marks to the rim 12.5cm. diam. £150-200

215

214. ‘Pomegranate’ two Moorcroft Pottery pin trays, painted in colours on a blue ground impressed marks, 11cm. diam. £100-200

215. ‘Pomegranate’ a Moorcroft Pottery tazza designed by William Moorcroft, twinhandled form, painted in colours impressed Burslem mark, painted green signature, restored handle 15cm. high £200-400 216 216. ‘Pomegranate’ a set of six Moorcroft Pottery plates designed by William Moorcroft, painted in colours on a mottled green and blue ground impressed Burslem mark and painted green signature, old restorations and minor damages 22.5cm. diam. £200-400

217. ‘Eventide’ a Moorcroft Pottery candlestick designed by William Moorcroft, painted in shades of green, ochre and blue with a light flambe sky impressed marks, painted blue signature with original paper label 8.5cm. high £300-500 217

39


218. ‘Damask Lily’ a Moorcroft Pottery bowl, painted in colours on a blue ground, and a modern ‘Leaf and Fruit ‘ plate impressed mark, painted signature 16.5cm. diam . £120-180

219

218

219. ‘Black Tulip’ a Moorcroft Pottery vase, designed by Sally Tuffin, compressed form, painted in colours, and a Moorcroft Tulip pattern dish impressed marks, painted monogram 11cm. high £60-100

220. ‘Cluny’ a Moorcroft Pottery vase, painted in colours impressed marks, 20cm. high £100-200

220

221

221. ‘Western Isles’ a Moorcroft Pottery vase, painted in colours impressed marks, 21cm. high £80-120

222. ‘Buttercup’ a Moorcroft Pottery Trial vase designed by Sally Tuffin, painted in colours on a pale green ground painted green monogram 19cm. high £100-200

223. ‘Tigris’ a large Moorcroft Pottery limited edition vase designed by Sally Tuffin, dated 1993, painted in colours on a blue ground painted marks, dated 22.9.93, 75/150, with paper certificate 39cm. high £600-1,000

222

223 224. ‘The Abbot Bromley Chalice’ a Moorcroft Pottery limited edition vase designed by Joe Hobbs, painted in colours painted green monogram 27cm. high £300-500 Literature Paul Atterbury Moorcroft, Richard Dennis Publications, page 200 plate 2 for an example.

225. ‘Rain Forest’ a modern Moorcroft Pottery limited edition vase designed by Sally Tuffin, dated 1993, painted in colours painted marks, 6.4.93, 119/150 42cm. high £600-1,000

40

224

225


227

226

HIGHLAND STONEWARE 226. A Highland Stoneware vase by Eric Marwick, bottle form with flaring neck, painted with a two fishermen on a river, one with three caught fish, in shades of blue and green, and another smaller printed marks, painted signature, 28cm. high £100-200

228

227. Two Highland Stoneware trivets designed by Eric Marwick, slip decorated with fishermen in shades of blue and green printed factory mark, signed to the design, largest 14 x 12cm £80-120

228. A Highland Stoneware vase by Eric Marwick, shouldered form with everted rim, painted with children walking a dog on the beach, in the distance rowing boats , in shades of blue printed mark, painted signature 19cm. high £80-120

229 229. A Highland Stoneware vase by Eric Marwick, shouldered form with flaring cylindrical neck, painted with a fisherman seated on a rock surrounded by waves, in blue printed mark, painted signature 23cm. high £80-120

230. A Highland Stoneware vase designed by Eric Marwick, flaring square section, painted with a man seated on a rock in shades of blue and green, another painted with a fisherman and another painted with a man walking in the rain, printed factory mark, painted signature tallest 12cm. high £100-200

230

41


DENNIS CHINAWORKS

231

232

231. ‘Holly’ a Dennis Chinaworks pottery limited edition box and cover designed by Sally Tuffin, dated 2005, modelled in relief, painted in colours impressed and painted marks, 19/25, 16cm. diam £100-200

232. ‘Magnolia’ a Dennis Chinaworks Pottery vase designed by Sally Tuffin, dated 2004, shouldered form, painted in colours, and another smaller, impressed and painted marks, numbered 14, 20cm. high £150-200

233

233. ‘Dragonfly’ a Dennis Chinaworks box and cover designed by Sally Tuffin, dated 1995, circular form, painted in colours impressed and painted marks, numbered 3, 13cm. diam. £120-180

234

235

234. ‘Tiger’ a Dennis Chinaworks pottery vase designed by Sally Tuffin, dated 2006, painted in colours impressed and painted marks, numbered 2 19cm. high £200-300

235. ‘Rhino’ a Dennis Chinaworks pottery vase designed by Sally Tuffin, dated1999, painted in colours impressed and painted marks, numbered 26, 18cm. high £150-200

236. ‘Lobster’ a Dennis Chinaworks Pottery vase designed by Sally Tuffin, dated 2002, painted in colours impressed and painted marks, numbered 2/50, 27cm. high £500-600

42

236


237. ‘Polar Bear’ a Dennis Chinaworks pottery stepped candlestick designed by Sally Tuffin, dated 2006, painted in colours impressed and painted marks, numbered 15, 21cm. high £150-200

237

238. ‘Blue Eagle’ a Dennis Chinaworks pottery vase designed by Sally Tuffin, dated 2000, painted in colours on a blue ground impressed and painted marks, numbered 12, 40cm. high £400-600

238

239. ‘William De Morgan’ a Dennis Chinaworks pottery limited edition vase designed by Sally Tuffin, dated 2005, designed for Victoria & Albert Museum after a design by William De Morgan, painted in colours impressed and painted marks, numbered 32/40, 35cm. high £500-600

239

43


A PRIVATE COLLECTION OF BERNARD MOORE POTTERY

240. A Bernard Moore Pottery flambe vase, ovoid form with everted rim, decorated with a frieze of corn ears, in red flambe Bernard Moore mark, artist monogram 10cm. high £200-300

240

241 241. A Bernard Moore Pottery vase, tapering cylindrical form, decorated in red flambe over a sand ground with scaly fish leaping amongst rearing waves, Bernard Moore mark and artist monogram 23.5cm. high £250-300

242. A Bernard Moore Pottery high-fired porcelain solifleur vase, ovoid with cylindrical neck and everted rim, covered in a red flambe and streaked purple glaze painted Bernard Moore mark, impressed mark, 15cm. high £200-300

242

243

Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 28 colour plate II for comparable examples

243. A Bernard Moore Pottery high-fired porcelain vase, shouldered form covered in a red flambe glaze over white, printed Bernard Moore mark, 13.5cm. high £200-300

244. A Bernard Moore Pottery bottle vase, shouldered form with knopped neck and everted rim, glazed in red flambe with a phoenix frieze between geometric bands Bernard Moore and artist monogram 23cm. high £400-600

44

244


245 246

245. A Bernard Moore Pottery miniature vase, compressed ovoid form with everted rim, covered in a smoked green flambe glaze BM monogram incised date 1911 4cm. high £200-250 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 36 colour plate III for comparable examples

247

246. A Bernard Moore Pottery miniature vase, bell shaped form, covered in a smoked glaze over red flambe BM monogram 4cm. high £150-250 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 36 colour plate III for comparable examples

248 247. A Bernard Moore high-fired lustre solifleur vase, the ovoid body with cylindrical neck and everted rim, covered in a smoked black lustre over flambe painted Bernard Moore mark, 15.5cm. high £300-500

248. A rare Bernard Moore Pottery lustre vase, shouldered, solifleur form, painted with a band of pendulous flowers and foliage to the shoulder in copper lustre on a deep blue ground over red flambe printed Bernard Moore mark, 14.5cm. high £600-800

249. A rare Bernard Moore Pottery lustre vase, shouldered, solifleur form, painted with scaly fish leaping above the waves, below a band of sea gulls, in copper lustre on a deep blue ground over red flambe printed Bernard Moore mark, 15cm. high £800-1,200 249

45


252

251

250

250. A Bernard Moore Pottery vase, ovoid with tapering neck and everted, fluted rim, covered with a red flambe glaze, the shoulder with high-fired blue and ochre scratched BM mark 7cm. high £100-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 36 colour plate III for a comparable vase

253

251. A Bernard Moore Pottery miniature vase, swollen, square section, decorated pine needle design in the glaze, under blue raised enamel rim, over a red flambe glaze later scratched BM mark 4.5cm. high £150-200 252. A Bernard Moore Pottery miniature vase, compressed form with narrow neck, covered in a deep red flambe glaze, and a Bernard Moore square section bowl, bowl with printed mark, incised marks to vase 4cm. high £100-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 36 colour plate III for comparable vases 253. A Bernard Moore Pottery double gourd vase, covered in a high-fired silver white glaze over red flambe printed Bernard Moore mark, tiny glaze frit to top rim, 7.5cm. high £150-200 254. A Bernard Moore Pottery high-fired vase, shouldered form, covered in a speckled, smoked ochre to the shoulder over red flambe painted BM mark 14cm. high £200-300 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 28 colour plate II for comparable examples

46

254


255

256 255. A Bernard Moore Pottery miniature model of a tortoise, covered in a red flambe glaze, and a red flambe model of a frog, tortoise scratched BM mark, head stuck back on 5.5cm. wide £150-200

257

256. A Bernard Moore Pottery model of an owl, perched on a tree bough above a rock, covered in a blue glaze, applied glass eyes BM mark, 8.5cm. high £100-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example 257. A Bernard Moore Pottery model of an owl, perched on a rock, covered in a red flambe glaze, applied glass eyes BM mark, 12.5cm. high £150-250 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example 258. A Bernard Moore Pottery model of Gazeka, modelled seated on haunches, covered in a red flambe glaze BM monogram 14cm. high £300-500

258

Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 47 figure 25 for a comparable example 259. A Bernard Moore Pottery model of Diakokan, covered in a flambe rich red glaze, with applied glass eyes impressed Moore 5.5cm. high £180-220 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 47 figure 25 for a comparable example 259

47


261

262

260 260. A Bernard Moore Pottery model of a seated rabbit, covered in a flambe glaze, with applied glass eyes, BM monogram 8cm. high £150-200 261. A Bernard Moore Pottery miniature model of a rabbit, covered in a flambe glaze with green patch, applied glass eyes and another Bernard Moore pottery model of a rabbit covered in a flambe glaze 2nd with impressed Moore mark 3cm. high £150-200

263

264

262. A Bernard Moore Pottery miniature model of a rabbit, covered in a purple glaze, with applied glass eyes, and another model of a rabbit covered in a pale blue glaze, BM monogram to purple rabbit, blue unsigned 2.5cm. high £100-200 263. A Bernard Moore Pottery model of a rabbit menu holder, covered in a red flambe with high fired blue patch and ears to back, applied glass eyes unsigned 6.5cm. high £150-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example 264. A Bernard Moore Pottery model of a rabbit, covered in a red flambe with high fired ochre and blue patch to back, applied glass eyes BM monogram 6.5cm. high £150-200

265

Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example 266 265. A Bernard Moore Pottery model of a pug dog playing with a ball, covered in a red flambe glaze with yellow patches BM monogram 10cm. wide £200-300 266. A Bernard Moore Pottery model of a seated pug dog, covered in a red flambe glaze printed Bernard Moore mark, 6cm. high £150-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for another version of the seated pug

267

48

267. A rare Bernard Moore Pottery model of two elephants, modelled standing, nestling together, covered in a red flambe glaze Bernard Moore mark, 10cm. wide £400-600


268

269

271

270

268. A Bernard Moore Pottery model of a seated monkey, covered in a light blue glaze unsigned 5.5cm. high £100-150 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example with glass eyes 269. A Bernard Moore Pottery model of a seated monkey, modelled wearing a smock, covered in a white glaze unsigned 8.5cm. high £100-150 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 for a comparable example 270. A Bernard Moore Pottery model of a cowering monkey, glazed red flambe with high-fired blue lower body, applied glass eyes BM monogram 7cm. high £150-200

272

Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example 271. A Bernard Moore Pottery model of a cowering monkey, glazed red flambe with high-fired green patch to back, applied glass eyes unsigned 7cm. high £150-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 colour plate VII for a comparable example 273 272. A Bernard Moore Pottery model of a seated monkey holding a nut, covered in a red flambe glaze, applied red glass eyes BM monogram 6cm. high £150-200 273. A Bernard Moore Pottery model of a seated monkey, modelled wearing a bright blue smock, the monkey glazed flambe BM monogram 8.5cm. high £300-500 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 for a comparable example 274. A rare Bernard Moore Pottery model of a bear cub standing on a tree trunk, covered in a red flambe glaze with patches of blue, the tree ochre, BM monogram 10.5cm. wide £400-600 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis Publications, page 42 for a comparable example

274

49


275 277

276

279

279A 275. A rare A.E. Gray and Co Ltd. charger designed by Susie Cooper, model number 3111, painted to the well with a knight on horseback in purple, red and gold lustre, the rim with inscription, printed factory mark, painted SVC, 36cm diam. £500-800 276. ‘How’m I Doin’ a Shelley Pottery nursery figure designed by Mabel Lucie Attwell, LA16, painted in colours, printed and painted marks, facsimile signature, restored neck, 16.5cm. high £400-600

278

277. ‘Ise’ Goin’ Ta-Ta’ a Shelley Pottery nursery figure designed by Mabel Lucie Attwell, LA18 painted in colours, printed and painted marks, facsimile signature, restored neck, 16cm. high £400-600 278. A Wedgwood Pottery Oranges and Lemons lemonade jug designed by Richard Guyatt, made for Liberty & Co, printed in black on a white ground with vignette printed mark, 19cm. high £200-300 279. ‘Halley’s Comet’ a Wedgwood mug designed by Richard Guyatt, printed in colours, and two Wedgwood Commemorative mugs by Richard Guyatt, and a Royal Academy jug by Michael Rothenstein, printed marks, 10.5cm. high £100-200 279A. A Gray’s Pottery jug, cylindrical painted with graduated blue bands, and five other studio pots by various artists printed mark, 18cm. high £80-120 281

280

280. A Wedgwood Pottery bowl, printed to the well with a crab amongst coral, the rim with a shoal of fish, in iron red and black, the exterior with fish and waterweed printed marks 28cm. diam. £100-200 281. A Wedgwood Pottery vase, pattern CMH5806, painted with stylised flowers and foliage in colours between chevron bands, on a straw ground impressed and painted marks, 16.5cm. high £50-100 282. A Wedgwood Pottery vase by Norman Wilson, shouldered cylindrical form with collar rim, covered in an experimental sang de boeuf glaze over silver-blue impressed marks, NW monogram 21cm. high £300-500 283. A Wedgwood Pottery lamp base by Norman Wilson, conical form, with incised bands, glazed in champagne and mushroom, impressed mark, printed Wedgwood NW 17cm. high £300-500

50

282

283


286

284

287

285 284. A Carlton Ware jardiniere, ovoid form with everted rim, printed and painted with a vase of flowers in colours and gilt on a blue ground printed and painted marks, 21cm. high £100-150 285. A Rye Pottery model of a hedgehog by David Sharp, painted with stylised flowers in blue, another glazed red a Poole Aubrey Beardsley Ware heart-shaped dish and another dish painted marks, 15cm. wide £50-100 286. A collection domestic ware

of

Briglin

Pottery £50-150 288

287. A Dennis Townsend pottery vase, egg shaped with elliptical aperture, painted with geometric dot motif in yellow, blue, red and white on a matt black ground, and a large Rye Pottery vase painted mark, firing crack to rim, 29cm. high £60-100 288. A Richard Parkinson Pottery Schoolgirl bust designed by Susan Parkinson, painted in shades of blue impressed factory marks, 19.5cm. high £300-500 Literature Carol Cashmore and Tim Smith Vincent, Susan Parkinson and The Richard Parkinson Pottery, page 27 for a comparable example.

289

289. ‘Patina Garden’ a Clarice Cliff Bizarre plate, painted in colours printed factory marks, hairline 23cm. diam. £100-200

290

290. ‘Rhodanthe’ a Clarice Cliff Bizarre trumpet vase, shape no.280, painted in colours printed factory mark, 15.5cm. high £150-200 291. ‘Bizarre Wild Flowers’ a rare Clarice Cliff Tankard coffee set for six, painted in colours on a honeyglaze ground, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed and painted marks, flat chip to foot of coffee pot 19cm. high £300-500

291

51


292

293

294 292. A Troika Pottery Wheel vase, moulded in low relief with geometric panels, the reverse with a stick figure, in blue and brown on a blue ground painted marks, firing fault to inside top rim, 19.5cm. high £80-120 293. A Troika Pottery Wheel lamp base, by Annette Walters modelled in low relief with geometric panels, in shades of ochre and brown on a green-blue ground painted marks 27.5cm. high £150-200 294. A Troika Pottery Double Base vase by Teo Bernatowitz, cast in low relief with geometric panels, glazed in blue, ochre and green on a blue ground painted marks, 35.5cm. high £250-350

295

295. A rare large Troika Pottery bowl, square section glazed black the circular well glazed blue, painted marks, 23cm. square £400-500 296. A large Troika Pottery Pillar vase by Anne Lewis, totem form with cast and incised decoration, glazed ochre painted marks, 55cm. high £500-800 296A. A Poole Pottery Atlantis stoneware Helmet table lamp by Guy Sydenham, with carved chain-mail decoration to the exterior glazed white and turquoise, the interior carved with a bearded knight glazed orange impressed mark, incised monograms, professionally restored 30cm. high £300-500 296

297

297. A Poole Pottery Contemporary Peanut vase, pattern E/PKT, designed by Alfred Read, painted with columns of ice green with white hatching alternating with grey and red hatching, printed and painted marks, 27.5cm. high £80-120 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 103 for comparable pieces. 298. A Balaclava lampbase by Guy Sydenham, the interior modelled with a face, the exterior textured, glazed in white and blue incised marks and titled Balaclava 31cm. high £400-600

52

296A

298


301 299

300

299. Six Poole Pottery plates, each printed in colours with scenes of Rome, Paris & New York, printed marks, 22cm. diam. £50-100 300. An Early Carter’s Poole Pottery vase designed by James Radley Young, shouldered cylindrical form, modelled in relief and incised with stylised figures, glazed brown highlights impressed mark 23cm. high £80-120 302

Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 20 for an identical vase

303

301. Two Carter’s Poole Pottery Sporting Pastimes tiles designed by Edward Bawden, printed and painted with a fox hunt and motoring vignette, in colours on a cream ground, impressed marks, painted SP1 and SP5 13cm. square £100-200 302. A pair of Carter’s Poole Pottery Tearoom tiles probably designed by Edward Bawden, decorated with a worker at the factory applying glaze to a charger, the other with a worker working on a twinhandled vase on a wheel, in black and green on a buff ground, 13cm. square £200-300

305 304

Provenance Richard Dennis Gallery, Private collection Literature Poole Pottery Tea-room Tiles by Carter & Co, Richard Dennis, page 6 for the glaze tile design illustrated. 303. A pair of Carter’s Poole Pottery Tearoom tiles designed by Edward Bawden, decorated with a paintress at the factory painting pattern on a vase at the wheel, the other with a female worker working on a vase on a wheel, in black and green on a buff ground, 13cm. square £200-300 Provenance Richard Dennis Gallery, Private collection Literature Poole Pottery Tea-room Tiles by Carter & Co, Richard Dennis, page 6 for both tile designs illustrated. These designs were taken from a Poolle Pottery leaflet designed by Edward Bawden circa 1924.

306

307

304. A Carter Stabler & Adams Poole Pottery vase designed by Truda Carter, pattern JR, painted with flowers and foliage in mushroom on a cream ground impressed and painted marks, restored 20cm. high £100-200 305. A Poole Pottery vase, pattern YW, painted with flowers and foliage in colours on a white ground, another similar and three other Poole Pottery items various marks, 12cm. high £80-120 306. A Carter Stabler & Adams Poole Pottery model of a bird on a rocky outcrop by Harold Stabler, covered in a cream glaze impressed marks, restored beak 19cm. high £150-200 307. Picardy Peasant a bronze sculpture by Phoebe Stabler, cast resting, seated on a basket, on octagonal base signed in the bronze Phoebe Stabler, 1906 11cm. high £200-300 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 40 for a larger, ceramic version produced by Poole Pottery. 53


308

309

310

STUDIO POTTERY

308. Six colour prints of Japanese studio pottery, in three frames, each frame 91 x 53cm £50-150 309. ‘Natzler Ceramics’ Los Angeles County Museum of Art catalogue, The Collection of Mrs Leonard M Sperry 1968 £50-100 310. A collection of reference books on studio pottery and ceramics, including World Ceramics by Robert J Charleston, and Shoji Hamada by Timothy Wilcox (editor) £50-100 311. Leach Pottery a stoneware tea canister and cover, painted with simple brush design in brown and blue, and five books on Bernard Leach and Michael Cardew unsigned 11.5cm. high £100-200

311

312

312. George J Cox a Mortlake Pottery stoneware vase, shouldered form covered in a streaked rust and brown glaze, and a collection of studio pottery indistinct marks, 8cm. high £50-100 313. Reginald Wells (1877-1951), Coldrum Pottery a rare, early advertising plaque by Reginald Wells, slip decorated with a lion rampant, titled Coldrum Pottery Anno D 1909 Chelsea, Agnes D Calsworthy minor chips and glaze loss 31.5cm. diam. £300-500 Provenance Agnes D Calsworthy Private collection Reginald Wells trained at the Royal College of Art in the 1890s and later studied ceramics at Camberwell School of Art under W.B Dalton and Richard Lunn. He moved to Kent, where he started to pot at Coldrum near Wrotham. He moved to Keppel Street, Chelsea circa 1909 registering the Coldrum Pottery in 1910 - this dish dated 1909 is thus one of the earliest examples of a Chelsea period piece of Coldrum Pottery.

313 314

314. Shigeyoshi Ichino (born 1942) a Leach Pottery stoneware vase, covered to the foot with a translucent purple glaze, and a John Bedding stoneware bowl impressed seal marks 18cm. high £100-200 Provenance Godden Reference Collection, Private collection 315. An Omega Pottery teapot, painted on a Wedgwood earthenware blank, painted with panels of flower stems, in colours inside hatched blue borders impressed Wedgwood marks, damages 14cm. high £200-300 315

54

316

316. Warren Mckenzie a large cut sided stoneware vase, covered in a tenmoku glaze impressed seal mark 28cm. high £300-500


319 317

318

320

317. Edwin Beer Fishley (1832-1911) a twin-handled terracotta vase, covered in a green glaze, incised marks, Fremington, small flat chips to foot rim 15.5cm. high £150-250 318. Ruthanne Tudball (born 1945) Monterey a slip decorated stoneware wall charger, signed in slip 39cm. diam. £80-120 319. Katherine Pleydell-Bouverie (1895-1984) a small fluted, stoneware vase, covered to the foot with a celadon glaze, and a cup and saucer decorated with a crackled celadon and rust glaze impressed seal marks and painted marks, 6.5cm. wide £80-120 320. Katherine Pleydell-Bouverie (1895-1985) a rare Cole Pottery stoneware vase, shouldered form with everted rim, painted with a simple brush design on an an ash glaze impressed seal marks, minor glaze faults, 21cm. high £200-300

322

321

321. William Roscoe Boxers, a pottery figure group, impressed marks and facsimile signature 11cm. high £100-150 322. Henry Hammond (1914-1989) a stoneware dish, painted to the well with simple brush design, in shades of brown, and another smaller slip decorated with circle motif impressed seal marks, paper label to smaller dish main 13.5cm. diam. £60-100

323

323. Frances Richards (1869-1931) a small gourd pot and cover, compressed form, painted with vertical flutes, another jar and cover and two vases, incised marks, main dated 1924, 7cm. wide £100-200 Literature Frances Richards work was illustrated in The Studio Decorative Art Yearbook 1917, 1927 and 1928. 324. Frances Richards (1869-1931) a stoneware vase, tapering cylindrical form, covered in a mottled green and blue glaze, another smaller cylindrical vase and a cylindrical vase on three feet, incised marks, 16cm. high £100-200 325. Frances Richards (1869-1931) a stoneware bowl, dated 1923, painted to the well with a simple flowerhead design in blue on a brown ground, the exterior with painted flutes, a tea cup and six other bowls incised marks, teacup handle missing, damages, main bowl 16cm. diam. £80-120

324

325

55


326

327

328 ‡ 326. Bernard Leach (1887-1979) a Leach Pottery stoneware dish, resist decorated with a fish, under a tenmoku glaze impressed Leach Pottery seal mark 10.5cm. diam. £150-250 Literature Bernard Leach Potter and Artist, page 121, fig. 130 for a tile with a similar John Dory fish.

‡ 327. Bernard Leach (1887-1979) a Leach Pottery stoneware vase and cover, covered in a hare’s fur glaze impressed seal marks to base, loose handwritten paper note 13cm. high £350-450 Provenance Lot 246 in the C.H. Wilkinson Auction 5th July 1960, by repute

‡ 328. Bernard Leach (1887-1979) a Leach Pottery stoneware tea canister, square section, resist decorated with a cross-hatch design, glazed in blue, the cover with simple flower head design two impressed seals to base 15cm. high £300-500

‡ 329. Bernard Leach (1887-1979) a tall stoneware vase, shouldered, slightly swollen square section covered in a speckled tenmoku glaze to the foot impressed seal marks 36cm. high £2,000-3,000 Provenance Online Gallery, Southampton Private collection

56

329

Literature Bernard Leach Potter and Artist, page 138, fig. 156 for a comparable vase.


330

331

332

334 333

335

330. David Leach (1911-2005) a Lowerdown Pottery circular porcelain box and cover, painted with a foxglove design in tenmoku, iron and blue on a pale celadon ground impressed seal marks, 12cm. diam. £100-150 Literature Emmanuel Cooper and Kathy Niblett David Leach Richard Dennis Publications, page 99 catalogue numbers 83-85 for three similar boxes 331. David Leach (1911-2005) a Lowerdown Pottery cut-sided porcelain bowl, covered in a gun-metal glaze impressed DL seal 9.5cm. diam. £80-120 332. David Leach (1911-2005) a Lowerdown Pottery stoneware pot and cover, circular section, the domed cover with grass motif in blue and iron red on a mottled oatmeal ground impressed DL mark 11.5cm. diam. £100-200 333. David Leach (1911 - 2005) a Lowerdown Pottery porcelain teapot and cover, cut sided, covered in a celadon glaze, with bamboo handle impressed DL seal 16cm. high £200-300

336

334. David Leach (1911 - 2005) four Lowerdown Pottery porcelain tea cups and saucers, cut sided form, covered in a celadon glaze impressed marks, 8cm. high £100-200 335. David Leach (1911-2005) a Lowerdown Pottery porcelain footed vase, with incised, banded decoration, covered in a pale blue glaze impressed DL seal mark 13cm. high £150-200 336. David Leach (1911-2005) a large Lowerdown Pottery vase, ovoid with small aperture, covered in a crackled grey glaze impressed DL seal 19cm. high £150-200 337. David Leach (1911 - 2005) a Lowerdown Pottery stoneware footed bowl, cut-sided form, covered in a dark tenmoku glaze two seal marks to base 20cm. diam. £100-200 337

57


339 338

340

341

338. Leach Pottery a stoneware jug, covered in an olive green over ash glaze impressed seal mark, 21cm. high £80-120 339. Leach Pottery a stoneware hot-water pot and cover and six mugs, covered in a tenmoku glaze, and a twin-handled vase similar impressed seal marks, 20cm. high £80-120 340. John Leach (born 1939) a Muchelney Pottery salt-glaze stoneware cross-handled bottle, impressed seal marks, 20cm. high £100-150 342

343

341. Vera Tollow a stoneware box and cover, the cover decorated with a star motif in shades of green and blue, two Ambleside dishes and a small collection of studio pottery various marks, Tollow 10cm. diam. £60-100 ‡ 342. Janet Leach (1918-1997) a large St Ives stoneware vase, shouldered form with everted rim, incised decoration under a grey glaze, the shoulder tenmoku glaze, impressed seal marks 37cm. high £700-900 343. William ‘Bill’ Marshall (1923-2007) a stoneware unomi, waisted cylindrical form, with incised bands, covered to the foot with an ash glaze impressed seal mark to foot rim 11cm. high £100-200

345

344

Provenance Online Gallery, Southampton private collection 344. William ‘Bill’ Marshall (1923-2007) a stoneware vase, shouldered form, painted with bands in rust over white and rust, and a plate similar by another artist, impressed seal mark, 16.5cm. high £200-300 345. William ‘Bill’ Marshall (1923-2007) a stoneware tea bowl (unomi) painted with simple grass stems in iron on a hakeme glaze impressed seal mark, 10cm. high £150-200 ‡ 346. William ‘Bill’ Marshall (1923-2007) a slab built stoneware bottle vase, flaring, shouldered form, covered in a tenmoku glaze to the foot with blue brushed decoration impressed seal mark, 26cm. high £300-400

58

346


349

347 348

350

347. Six studio pottery unomi by various makers, and a small bowl, various marks, largest 9.5cm. high £100-200

348. A Sheen pottery cheese dome, incised with fish, birds and a lion amongst stylised flowers, the top applied with a mouse, glazed in shades of brown and mustard incised Sheen 25cm. high £50-150

349. Abuja Pottery four earthenware mugs, with incised decoration under a blue glaze, and a collection of studio pottery including Sidney Tustin at Winchcombe impressed marks, mugs 14cm, high £100-200

351

350. Seth Cardew (born 1934) a Wenford Bridge plate, painted to the well with a wading bird in tenmoku on an ash ground impressed seal marks 26cm. diam. £100-200

351. Seth Cardew (born 1934) a Wenford Bridge stoneware bowl, painted to the well with radiating scroll design in blue and brown on a pale silver grey impressed seal marks 31cm. diam. £200-300

352

‡ 352. Michael Cardew (1901-1983) a Winchcombe Pottery slip decorated charger, tubeline decorated with a bird motif across the well in green impressed seal marks, 29cm. diam. £500-700

‡ 353. Michael Cardew (1901-1983) a good Winchcombe Pottery earthenware cider jar, decorated with a painted wavy line band in green on a brown ground impressed seals marks 42cm. high £800-1,200 Provenance Given to the vendor’s parents as a wedding present in 1939. 353

59


356

355

357

354 354. John Jelfs (born 1946) a tall stoneware vase, shouldered form with everted rim, with impressed decoration, covered in an ash glaze impressed seal marks 43cm. high £150-250 355. Svend Bayer (born 1946) Salt-glazed stoneware pot, with four lug handles, decorated with simple impressed bands. unsigned 45cm high, 43cm diam. £150-200

358 359

356. Svend Bayer (born 1946) Salt-glazed stoneware pot, with four lug handles, decorated with simple impressed bands. unsigned 45cm high, 53cm diam. £150-200 357. Svend Bayer (born 1946) Salt-glazed stoneware pot, with four lug handles, decorated with simple impressed bands. unsigned 41cm high, 41cm diam. £150-250 358. Malcolm Pepper (1937-1980) a stoneware ovoid vase, painted with simple brushed leaf design in blue on a pale blue ground, and two of cut-sided vases unsigned 25cm. high £200-300

360

361

359. Richard Batterham (born 1936) a cut-sided stoneware vase, covered in a running ash and brown glaze 14.5cm. high £80-120 360. Richard Batterham (born 1936) two stoneware serving plates, all round, covered in ash and tenmoku glazes unsigned largest 36cm. diam. £200-300 361. Richard Batterham (born 1936) an unusual pedestal bowl, the exterior covered in a running brown glaze, the interior ash green unsigned 28.5cm. diam. £150-250 362. Richard Batterham (born 1936) a stoneware storage jar and cover, cylindrical form with incised vertical flutes, covered in an ash glaze unsigned 24cm high £150-250

362

60

363

363. Richard Batterham (born 1936) a cut-sided stoneware teapot and cover, covered in an ash glaze unsigned 14cm. high £80-120


364

365

364. Richard Batterham (born 1936) a large ovoid stoneware teapot and cover, incised with vertical flutes, covered to the foot in an ash glaze unsigned 20cm. high £200-300

365. Richard Batterham (born 1936) a large storage jar and cover, with cut, fluted sides, covered to the foot with an ash glaze unsigned 33cm. high £100-150

366 366. Richard Batterham (born 1936) a tall, cut sided stoneware vase, shouldered with everted rim, covered to the foot with an ash glaze unsigned 43cm. high £200-400

367. Mike Dodd (born 1943) a stoneware storage jar and cover, the jar with incised vertical rib decoration, covered in a mottled brown glaze impressed seal mark, 21cm. high £80-120

367

61


368. Mike Dodd (born 1943) a stoneware ovoid vase, with collar rim, vertical cut ribs, covered in an ash glaze, and a Richard Batterham cut-sided stoneware jar and cover impressed seal to Mike Dodd vase 18cm. high £100-200

368 369

369. Mike Dodd (born 1943) a stoneware single-handled vase, with incised grass decoration, ash glazed to the foot impressed seal mark, 17cm. high £50-150

370. Mike Dodd (born 1943) a tall stoneware flat sided vase with applied strap handle, resist decorated with tree motif, under sand and tenmoku glazes impressed seal mark, 36cm. high £200-300

371. Mike Dodd (born 1943) a flat-sided stoneware vase with applied handle, resist decorated with a tree motif in tenmoku covered with green impressed seal mark, 24cm. high £100-200 370

371

372. Mike Dodd (born 1943) a shouldered stoneware vase with collar rim, incised with thin bands and textured finish, covered in a running ash glaze to the foot rim impressed seal mark, 26cm. high £200-300

372

373

373. Mike Dodd (born 1943) a stoneware cylindrical vase, incised with simple grass stem design, covered to the foot in an ash glaze impressed seal mark, 27cm. high £100-200

374. Mike Dodd (born 1943) a large, shouldered, stoneware vase, covered in a tenmoku glaze, the shoulder with a running ash glaze impressed seal mark, 33cm. high £200-300

375. Mike Dodd (born 1943) a cut sided stoneware vase, covered with an ash glaze over tenmoku impressed seal mark, 30cm. high £250-350

62

374

375


376

378

377

379

376. Ray Finch (1914-2012) a Winchcombe Pottery platter, square painted with abstract design in green and brown impressed seal mark 32cm. square £50-100 377. Ray Finch (1914-2012) a Winchcombe Pottery charger, painted with a radiating design in tenmoku and ochre impressed Winchcombe seal mark, 36cm. diam. £80-120 378. Jim Malone (born 1946) an Ainstable Pottery stoneware jug, incised comb decoration, covered to the foot in a sandy brown glaze impressed seal marks, 25cm. high £80-120 379. Jim Malone (born 1946) an Ainstable Pottery stoneware vase, shouldered form, resist decorated in tenmoku with a grass motif impressed seal marks, 21cm. high £100-200

380

381

380. Phil Rogers (born 1951) a salt-glaze stoneware vase, shouldered, swollen square section with collar rim, incised with grasses, impressed seal mark, 33cm. high £250-350 381. Phil Rogers (born 1951) a cut-sided salt-glaze stoneware vase, shouldered form, incised with panels of grasses under an ash glaze impressed seal mark, 23.5cm. high £200-300 382. Phil Rogers (born 1951) a large Marston Pottery stoneware jar and cover, with impressed roundel decoration, covered to the foot with an ash glaze impressed seal mark, 33cm. high £250-350

382

383

383. Mick Casson (1925-2003) a salt-glaze stoneware storage jar, swollen, square section, with slightly domed cover, covered in a speckled ochre glaze impressed seal mark, 20cm. high £60-100 384. Lisa Hammond (born 1956) a stoneware vase, rounded, rectangular section, covered to the shoulder in a running, thick white glaze, over rust impressed seal marks, 25cm. high £100-150 385. William Plumptre (born 1959) a slab built stoneware vase, shouldered form with everted rim, with incised panel decoration, glazed ash over tenmoku painted monogram 25.5cm. high £200-300 384

385

63


386. Alan Caiger-Smith (born 1930) an Aldermaston Pottery footed bowl, with painted lustre decoration, indistinct painted artist cipher 11cm. diam. £80-120

387

386

387. Aldermaston Pottery a tin-glazed pot and cover, flaring cylindrical form with stepped cover, painted with brushstroke design unsigned 12cm. high £80-120

388. Alan Caiger-Smith (born 1930) a tin-glazed earthenware charger, painted with a salamander in red lustre and blue painted marks, 35cm. diam. £100-200

389

388

389. Alan Caiger-Smith (born 1930) a tin-glazed earthenware charger, painted with simple brush design in copper and ruby lustre painted marks, 39cm. diam. £150-250

390. Aldermaston Pottery a tin-glaze pottery tea set, comprising teapot and cover, jug and cover, three cups, and two saucers, six plates and five various bowls, painted in red and yellow painted marks, date mark for 1963, damages, teapot 14cm. high £500-600

390 391. Aldermaston Pottery a vapoured lustre bowl, painted with simple brush design to well, painted marks, dated 87 27cm. diam. £200-300

392. Alan Caiger-Smith (born 1930) an Aldermaston Pottery vase, ovoid with collar neck, painted with bamboo design in blue on a speckled grey ground painted mark, 16.5cm. high £150-200

64

391

392


393

394

393. Laurence McGowan (born 1942) a tin-glaze tureen and cover, painted with a pair of birds amongst stylised foliage, Impressed mark, painted monogram 27cm. high £60-100

‡ 394. Alan Caiger-Smith (born 1930) a large tin-glazed earthenware jug, painted with simple foliate design in blue and red painted mark 27.5cm. high £100-200 395

‡ 395. Alan Caiger-Smith (born 1930) an Aldermaston Pottery jar and cover, waisted cylindrical form, painted with abstract panel designs in shades of blue painted marks 33cm, high £550-650

‡ 396. Alan Caiger-Smith (born 1930) a large Aldermaston Pottery jug dated 1962, ovoid, painted with flowers and foliage in shades of red and blue on a tin-glaze painted marks, small chip to spout, 34cm. high £550-650 396

65


398

397

STUDIO POTTERY FROM THE COLLECTION OF AGNETTE HOY 397. ‘Demeter’ a Doulton Pottery figure by Helen Walters, dated 1956, modelled holding a basket of apples in brown on a buff ground painted signature and date 26cm. high £150-200 399

Literature Desmond Eyles The Doulton Lambeth Wares, Richard Dennis page 240 this actual figure illustrated.

400

398. Rosemary Wren (born 1922) an Oxshott Pottery stoneware vase and cover, with incised bands, covered in a tenmoku glaze impressed and incised marks, 22cm. high £80-120 Purchased from the artist in 1960. 399. Katherine Pleydell-Bouverie (1895-1985) a cut-sided stoneware vase, covered to the foot with a rich tenmoku glaze impressed seal mark, incised 233, 15cm. high £300-500

401

Purchased from the artist in 1965. 400. Katherine Pleydell-Bouverie (1895-1985) a stoneware plate, the exterior with cut design, covered with a celadon glaze impressed seal mark, 23cm. diam. £80-120 401. Shigeyoshi Ichino (born 1942) a Leach Pottery footed bowl, painted with simple brush stroke roundels in iron red and white on a green and tenmoku ground, and two other Leach Pottery items impressed seal marks, 13cm. diam. £100-200 402. Bernard Leach (1887-1979) a Leach Pottery stoneware bowl, covered in a speckled oatmeal glaze to the foot, two impressed seal marks, 14.5cm. diam. £150-200 Purchased from the artist in 1970.

402

403. David Leach (1911-2005) a Lowerdown Pottery cut-sided bowl, covered in a celadon glaze impressed seal marks, 13cm. diam. £80-120 Purchased from the artist in 1978.

66

403

404

404. Janet Leach (1918-1999) a Leach Pottery stoneware vase with lug handles, waisted form with pushed and in incised comb decoration, partially covered in a running green glaze impressed seal marks, 16cm. high £100-200


‡ 405. Dame Lucie Rie (1902-1995) a good porcelain footed bowl, glazed to the rim with pale blue and pink bands, over bronze impressed seal mark 11.5cm. diam. £2,000-3,000 Provenance Purchased from Lucie Rie directly in the early 1990s.

405

406. Lisa Enquist a stoneware footed bowl, cylindrical bowl form, covered in a mottled cream and brown glaze impressed seal marks, 27cm. diam. £150-200

406

407. Sebastian Blackie (born 1949) a stoneware square basket form, covered with a running olive glaze from the rim, 22cm. wide £100-200

407

67


408. Wenford Bridge Pottery an oval dish, painted to the well with three circle and dash motif in tenmoku on a green ground impressed seal mark 37cm. wide £80-120 409. Michael Cardew (1901-1983) an Abuja Pottery stoneware salt with screw cap, covered in a deep brown glaze impressed seal marks, 7.5cm. high £80-120 410. Geoffrey Ideson a square section stoneware vase, with incised decoration, covered to the foot with an olivebrown glaze, a cut-sided vase and two bowls, impressed seal marks 15.5cm. high £100-200

409

408

411. Aldermaston Pottery a bowl, painted with stylised flower stems in blue and red on a off white ground, and a collection of studio pottery painted marks, 27cm. diam. £100-200

411

410

412. John Maltby (born 1936) a stoneware footed bowl, painted in shades of iron red and brown with stylised flowers impressed seal mark, 19.5cm. diam. £100-200 413. Lisa Enquist a small stoneware unomi, painted with a cross-hatch design, and a larger bowl decorated with a resist design impressed seal mark to unomi 4.5cm. high £80-120 414. Lisa Enquist a stoneware pot and cover, the square section base with tapering conical cover, covered in a brown and buff glaze, a footed bowl and a covered pot but the same artist impressed seal marks, 20cm. high £100-200

413

412

415. Paul Barron (1917-1983) a stoneware bowl, faceted form, covered with a pitted ash glaze, a Paul Barron dish and a resist decorated vase impressed seal marks, 8.5cm. high £100-200 416. Veronica Acheson (born 1921) a porcelain pot and cover, circular section, painted to the top with a foliate design in blue, and an octagonal jar and cover impressed seal marks, 9cm. diam. £80-120

414

415

68

416


418 417

417. A Japanese stoneware vase waisted form, applied with thick celadon glaze over pitted brown, a Yelland Pottery box and cover and a stoneware unomi indistinct seal mark to main 19cm. high £80-120

418. Takeshi Yasuda (born 1943) a stoneware twin-handled bowl, covered with an iron green glaze with chun splashes to the shoulder, 23cm. wide £150-200

419 419. Takeshi Yasuda (born 1943) a large twin-handled stoneware tray, the handles with modelled, textured finish, glazed in iron green with chun splashes, and an advertising poster firing crack to well, 41cm. diam. £200-300

420. Takeshi Yasuda (born 1943) a stoneware twin-handled platter, decorated with a Sansai glaze unsigned 30cm. diam. £150-250

420


421. Takeshi Yasuda (born 1943) a stoneware footed bowl, covered to the foot with slip decoration under an ash glaze 17cm. diam. £150-200 422. Kaori Tatebayashi a stoneware teapot and cover, slender tapering form, covered in a silver-grey glaze impressed seal marks, 12.5cm. high £80-120 Provenance Craftsmen Potters, Marshall Street, London

421 422

423. Yasahuru Tajima-Simpson a slab built candlestick, glazed in colours impressed seal mark 45cm. high £150-200 424. Yasahuru Tajima-Simpson an earthenware platter with applied loop handles, painted with panels of colours impressed seal mark 37cm. wide £100-200 425. Yasahuru Tajima-Simpson an earthenware basket form, glazed blue, green and terracotta impressed seal mark 34cm. wide £100-200

424

426. Penny Tajima-Simpson An earthenware tea service dated 1986, comprising triangular platter, six plates and five cups, painted in colours impressed marks, platter 29cm. wide £100-200 427. Patrick Sargent (1956-1998) a salt-glaze stoneware teapot and cover with over-slung handle, with spiralled cut-sided decoration, covered in a olive green glaze, 24cm. high £80-120

423

428. Patrick Sargent (1956-1998) a rare tile panel, painted with a Cornish tin-mine, framed in oak unsigned, panel 60 x 50cm. £300-500 429. Patrick Sargent (1956-1998) a square section stoneware dish, decorated to the interior with brushed tenmoku designs on pitted and speckled ash glaze 37cm. square £300-400

426 425

70

427

428

429


431

432

433

430

430. Joanna Constantinidis (1927-2000) a tall stoneware vase, circular section, tapering to flattened neck, matt rust speckles with some golden iridescence impressed seal mark, minor fritting to top rim, 48cm. high £150-250

434

431. Joanna Constantinidis (1927-2000) a sagger fired porcelain vase, with pinched handle, covered with a graduated golden lustre glaze impressed seal mark 13cm. high £150-200 432. Peter Beard (born 1951) a tapering cylindrical vase, covered in a golden lustrous glaze impressed PFB mark 12.5cm. high £80-120 ‡ 433. Walter Keeler (born 1942) a large stoneware Ionic teapot and cover, covered in a blue salt glaze impressed seal mark to side 43cm. wide £400-600 Literature Emmanuel Cooper and Amanda Fielding Walter Keeler, page 60 for an identical form. ‡ 434. John Ward (born 1938) a large, flaring earthenware bowl, glazed green-blue to the well, the rim and exterior a glazed sand impressed seal mark, 36cm. diam. £300-500 ‡ 435. John Ward (born 1938) an earthenware vase with asymmetric rim, with green and white stripe decoration, impressed seal mark, 11cm. high £250-350 435

71


436

437

438

440

441

442

439

443

436. John Ward (born 1938) an earthenware vase, mottled white and sky blue with buff patches impressed seal mark, repaired chip to top rim, hairlines 20.5cm. high £50-100 437. Betty Blandino (1927-2011) a small coiled pot, with simple band of oxide decoration, the interior glaze off-white, and another similar unsigned, tallest 7.5cm. high £100-200 438. Christie Kenney (born 1949) Woman Planting a Tree, a pottery figure sculpture, painted in colours incised signature, impressed 1396, 50cm. high £350-450 439. Glynn Hugo (born 1934) a tall waisted cylindrical vase form, with incised bands to the base, covered in matt black and ochre glazes incised Hugo 51cm. high £100-200 440. Peter Hayes (born 1946) a raku keyhole totem, with blue resin band, on polished black slate base unsigned 60cm. high £300-500 441. Ian Auld (1926-2000) a stoneware lamp base, square section, with incised decoration, covered in a thick green glaze impressed seal mark, 37cm. high £100-200 442. Chris Carter (born 1945) a flaring stoneware vase, covered in a pitted, volcanic glaze the interior bronze glazed impressed seal mark, 26cm. high £50-100 443. Colin Pearson (1923-2007) a porcelain footed vase, swollen form with narrow aperture, covered in a bronze glaze impressed seal mark 18cm. high £250-300

72

444. ‘The Bird House’ a large stoneware vase and cover, pierced and modelled in relief, the rectangular base a house with stylised flower garden, the cover a frieze of stylised birds surrounding a central tree motif, glazed in browns and ochres indistinct signature to base 98cm. high £200-300 444


445 446

447

448

445. Dennis Lane a tall stoneware vase, with pierced circular body and flaring rim, glazed white on an ochre ground incised Dennis Lane 31cm. high £100-200

446. Dennis Lane a stoneware vase, flattened disk body with well, glazed white to the interior on an ochre ground incised Dennis Lane 32cm. high £80-120

447. Dennis Lane a tall stoneware vase, with impressed disc forms, glaze white on an ochre ground incised Dennis Lane 43.5cm. high £150-250 449 448. Alan Wallwork (born 1931) a large stoneware pebble vase, flattened spherical form, slip decorated with white and grey textured finish incised AW 46cm. high £300-500

449. Kate Wickham (born 1953) a tall ceramic vessel, painted with figures in a townscape, and another twin handled vase by Kate Wickham painted signature 1/90 62cm. high £100-150

450. James Campbell (born 1942) Behind the Dunes a painted earthenware charger, dated 1998, incised marks, 45cm. wide £150-200 450

73


JOHN MALTBY ‡ 451. John Maltby (born 1936) Pressed Dish Flowers and Moon, a stoneware dish, enamelled in red and black painted Maltby paper exhibition label 20cm. square £200-300

451

‡ 452. John Maltby (born 1936) a stoneware bowl, enamelled in colours painted Maltby 17cm. high £200-300

‡ 453. John Maltby (born 1936) a stoneware bowl, painted with a harbourscape, impressed seal mark, professionally restored rim, 28cm. diam. £100-200

452

453

‡ 454. John Maltby (born 1936) a stoneware landscape bowl, painted and resist decorated to the well with a harbour scene with fishing nets, painted Maltby signature 29cm. diam. £300-500

454 455

‡ 455. John Maltby (born 1936) a stoneware pot and cover, with over-slung bamboo handle, painted with iron red flowers on a buff ground, with tenmoku rim and cover impressed seal mark, 12cm. high £100-200

‡ 456. John Maltby (born 1936) a painted wood swing wall sculpture, signed John Maltby to reverse 32cm. high £150-200

‡ 457. John Maltby (born 1936) a painted wood swinging opera singer wall hanging, signed John Maltby to reverse 31cm. wide £150-250

74

456

457


458

459

‡ 458. John Maltby (born 1936) Two Ships, a rectangular pottery plaque, mounted and framed impressed seal mark, plaque 34cm. wide £150-200

‡ 459. John Maltby (born 1936) Family Group with Hedge, a stoneware sculpture signed and titled 30cm. high £400-600 460

‡ 460. John Maltby (born 1936) a stoneware vase on applied foot, enamelled decoration, painted Maltby signature 28.5cm. high £600-1,000

‡ 461. John Maltby (born 1936) a tall stoneware vase form, tapering rectangular form on slender foot, painted with a full moon landscape, the reverse splashed with enamels on a black ground impressed seal mark, paper exhibition label no.3, small firing faults to top rim 45cm. high £800-1,200

461 back

front

75


‡ 462. John Maltby (born 1936) a small stoneware octagonal pot, painted with panels impressed seal mark, 7.5cm. high £100-200

462

463

464

‡ 463. John Maltby (born 1936) Admiral on a Boat, a small stoneware sculpture unsigned 15cm. high £80-120

‡ 464. John Maltby (born 1936) a stoneware box and cover, rectangular section, the cover modelled with a bird painted John Maltby 14cm. wide £200-250

‡ 465. John Maltby (born 1936) a stoneware basket form, waisted rectangular shape with applied handle, painted with cross motif on a striped ground, with irregular splashes painted Maltby, professional restoration to corner of rim, 33cm. high £400-600

76

465


466. Audrey Blackman (1907-1990) two teachers in robes, dated 1957 a pottery figure group, painted in colours painted marks, small chip to base rim 25cm. high £80-120

467. Mary White (born 1926) a porcelain flaring vase, painted to the exterior and rim with a pale blue glaze, the interior white with blue running glaze to the well, another similar, a sculpted group of a couple seated before a clod motif, and three other items by the artist impressed seal mark, 7cm. high £200-400

467

466

468. Charles White (1928-1997) a stoneware sculpted vase form, covered in a brown glaze, a stoneware jug and a collection of ephemera relating to the artist painted marks to jug vase 18cm. high £50-100

469. Charles White (1928-1997) The Roman Baths, Bath, 1972 oil on board, framed signed and dated, titled to verso 37 x 30cm. £100-200

468

469

470. Marianne De Trey (born 1913) a tall pottery lamp base, with impressed design, glazed with brushes of pink and purple, impressed seal mark 56cm. high £80-120

471. Michael Palmer & Andrew Harding a stoneware bottle vase, covered to the foot in a textured grey glaze, another smaller, and a bowl with inverted rim, impressed seal marks, 32cm. high £100-200

472. Carolyn Genders (born 1957) a flattened stoneware vase, resist decorated with block design, incised Carolyn Genders, 21cm. high £150-200

470

471

473. Carolyn Genders (born 1957) a flattened stoneware vase, resist decorated with a leaf motif incised Carolyn Genders, kiln blow to side, 20cm. high £150-200

472

473

77


GORDON COOKE 474. Gordon Cooke (born 1949) three porcelain disk forms, with painted surface decoration, impressed seal marks 10cm. diam. £100-200 475. Gordon Cooke (born 1949) a porcelain box and cover decorated in colours and gilt, internally painted with a fish, and three others, impressed seal marks, 7cm wide £100-200 474 475

476. Gordon Cooke (born 1949) a porcelain candlestick, painted and gilt decoration, a twin-branch candlestick and another candlestick impressed seal mark 24cm. high £100-200 477. Gordon Cooke (born 1949) a porcelain box and cover painted with colours and highlighted in gilt, and three other boxes and covers, impressed seal marks damages to one, 8.5cm wide £100-200 478. Gordon Cooke (born 1949) a porcelain box and cover decorated in colours with applied gilt beads and two other boxes. Impressed seal mark, 9cm high £100-200

476 477

479. Gordon Cooke (born 1949) a porcelain cornucopia box and cover decorated in colours and gilt, and three others similar, impressed seal marks, 11cm wide £100-200 480. Gordon Cooke (born 1949) a porcelain box and cover decorated with colours highlighted in gilt and three others similar, impressed seal mark, 10cm wide £100-200 481. Gordon Cooke (born 1949) a porcelain flattened bottle form, a Royal Copenhagen vase and a Roger Cockram vase impressed seal mark, 12.5cm. high £50-100

478 479

480

78

481


482. Gordon Cooke (born 1949) a porcelain vase decorated in colours and highlighted in gilt, a panel and two boxes and covers by the same artist, impressed seal marks, 16cm high £100-200

482

483. Gordon Cooke (born 1949) a porcelain flattened vase form. decorated with grey slip design, another vase, and a basket form. impressed seal marks, chip to one vase, 12cm high £100-200

483

484. Gordon Cooke (born 1949) a porcelain sculptural form, glazed in colours with gilt highlights impressed marks, 27cm. high £100-200

484

485. Gordon Cooke (born 1949) a porcelain box and cover decorated in colours and highlighted in gilt, and three others similar, impressed seal marks, 8.5cm square £100-200

485


486. Peter Lane (born 1932) a porcelain bowl with fluted rim, covered in a crackle effect white glaze incised Peter Lane 16cm. diam. £100-200

486

487

487. Peter Lane (born 1932) a porcelain bowl with fluted rim, covered in a crackle effect white glaze incised Peter Lane 16cm. diam. £100-200

488. Joy Trpkovic a porcelain petal pot, glazed pink and peach to the exterior with ruby lustre brush strokes painted JT monogram 9.5cm. high £80-120

489 488

489. Christine-Ann Richards (born 1949) a porcelain jar and cover, covered in a black glaze, and another covered in a crackled white glaze impressed CAR mark 12cm. high £100-200

490. Stephen Jones RCA a porcelain box and cover, the cover inset with crystalline glazed roundel etched SRJ 14cm. wide £80-120

490

491

491. Deidre Burnett (born 1939) a porcelain vase with flaring, fluted rim glazed white with manganese impressed seal mark, 9cm. high £100-150

492. Carolyn Genders (born 1957) a stoneware swollen vase, square section, resist decorated with strata design incised Carolyn Genders 14cm. high £100-200

80

493. Elizabeth Raeburn (born 1943) a raku footed vase, glazed pale blue and grey with incised surface decoration impressed seal marks, 28cm. high £80-120 492

493


494 496 497

495

494. Robin Welch (born 1936) a stoneware footed vase with pierced rim, glazed to the foot in grey and white speckled blue, and another similar impressed Robin Welch mark, 16.5cm. high £100-200 495. Robin Welch (born 1936) a stoneware footed vase, glazed with bronze, grey and white band impressed Robin Welch mark, 24cm. high £100-200 Provenance Falcon House Gallery 498 496. Marie Farmer a stoneware cylinder vase, tapering form the top rim glaze blue, another two similar and two smaller vases covered in a golden iridescent glaze impressed seal mark to one, some paper exhibition labels 32.5cm. high £100-200 497. Antonia Salmon (born 1959) a raku Holding Piece sculptural form, spherical with loose cup form inside, burnished sky blue and black impressed seal mark 13.5cm. high £250-350 Literature Annie Carlano Contemporary British Studio Ceramics, Yale, page 137 for a comparable example.

499

498. Ann Delphine Brown a porcelain flower stem form, glazed pale blue, a box form and two split vase forms, unsigned stem cup 15cm. high £100-200

499. Ann Delphine Brown two porcelain pyramid forms, glazed blue with gold highlights, and a split spherical form unsigned 13cm. high £100-200

500. Colin Pearson (born 1923) an early twin-handled vase, covered in a running and pitted matt blue glaze impressed seal mark, 18cm. high £100-200 500

81


DAVID CRIPPS (1938-2013 ) David Cripps MBE was the outstanding British photographer of objects of his generation, as well as being a fine portraitist and master observer of detail. It was his ability to understand and enrich the subject on which he focussed his camera that made him a particular favourite with artists and craftspeople, and his famous shots of ceramics, glass, jewellery, textiles and metal illustrated books and magazines across four decades. David first came to prominence working for the Observer colour supplement, providing fashion shots and still-lives, and this led to the critically lauded still-life sequence he made for the film titles of Oh! What a Lovely War ( 1969 ). As well as working for the Sunday Times magazine, his photographs became an integral part of Crafts, a new periodical which launched in 1973, and he was given a Crafts Council retrospective in 1979. Books and catalogues that he co-authored through his beautifully studied images included publications on Queen Mary's Dolls House, the sculptor Charles Sargeant Jagger and several monographs on potters like Lucie Rie, William Staite Murray, Elisabeth Fritsch, and more recently, Carol McNicoll and Ewen Henderson. The artist Ewen Henderson (1934-2000 ) became a particularly close friend, living very close to David in Camden Town, where both would often socialise over good food or a visit to the local pub. Ewen liked David's empathetic clarity of style, and his honest and sensitive directness of approach both in his work and in conversation. Ewen had virtually every new piece photographed by David, and Cripps acquired, often by gift, an important small collection of his work over the many years of their collaboration. With the addition of a bottle by Judy Trim ( 1943-2001 ), another important potter whose friendship David valued, this selection is rich proof not only of a singular and discerning eye, but of David Cripps' enduring creative partnerships. David Whiting, October 2013

EWEN HENDERSON, JUDY TRIM & DAVID ROBERTS FROM THE DAVID CRIPPS COLLECTION

501. Ewen Henderson (1934-2000) a handbuilt stoneware and porcelain slip bowl, irregular form repaired 18.5cm. wide ÂŁ80-120

501

Provenance David Cripps, acquired directly from the artist

502. Ewen Henderson (1934-2000) a hand-built flat bowl form with applied porcelain slip unsigned, restuck section of rim, 38cm wide ÂŁ100-200 Provenance David Cripps, acquired directly from the artist

82

502


503

504

505

Ewen Henderson portrait by David Cripps

‡ 503. Ewen Henderson (1934-2000) a hand built tea bowl (unomi), with applied porcelain slip, unsigned 14cm. diam. £350-450 Provenance David Cripps, acquired directly from the artist ‡ 504. Ewen Henderson (1934-2000) a hand built tea bowl (unomi), with applied porcelain slip, unsigned 15cm. diam. £350-450 Provenance David Cripps, acquired directly from the artist

506

‡ 505. Ewen Henderson (1934-2000) a small hand built tea bowl (unomi), with applied porcelain slip unsigned 9cm. high £250-350 ‡ 506. Ewen Henderson (1934-2000) A hand built porcelain form, with applied slip unsigned 36cm. wide £500-1,000 Provenance David Cripps, acquired directly from the artist ‡ 507. Ewen Henderson (1934-2000) a small hand built footed vase with applied porcelain slip and resist panels unsigned 9cm. high £300-400 Provenance David Cripps, acquired directly from the artist 507

83


‡ 508. David Roberts (born 1947) a large raku bowl, interior and exterior glazed with white crackle finish, impressed seal mark, 53cm. diam. £500-1,000

508

Provenance David Cripps

‡ 509. Judy Trim (1943-2001) a raku Tear Jar vase, pale blue and pink burnished T material, 45cm. high £400-600 Provenance David Cripps

510

509

510. Peter Smith (born 1941) a Bojewyan Pottery earthenware jug, irregular pitted finish, with painted slip decoration, impressed seal marks, 16cm. high £100-200 Literature Aberystwyth Ceramic Collection, Aberystwyth University, for a near identical jug

‡ 511. Martin Smith (born 1950) a unique red earthenware table, 1988, red earthenware tiles with glass cement, on turned, birch laminate plywood, and red earthenware foot chips to foot rim 69cm. high, 54cm diam. £2,000-3,000 Provenance Lord Parmoor private collection Exhibited Contemporary Applied Arts, London 1988

84

511


513 512

515

514

512. Jane Hamlyn (born 1940) a salt glaze stoneware jug, with applied scroll handle, glazed blue -green, and three various Jane Hamlyn salt-glaze stoneware twinhandled bowls, impressed seal marks, jug 14cm. high £100-200

513. Jane Hamlyn (born 1940) a salt-glazed stoneware pedestal bowl, glazed blue-grey, and a Jane Hamlyn salt-glazed stoneware twin-handled bowl impressed seal marks, 33cm. diam. £100-200

516

514. Carole Scott a salt-glaze stoneware vase, twin-handled form, glazed in colours, another smaller and a tureen and cover impressed seal mark, 26.5cm. high £150-200

515. Carole Scott a salt-glaze stoneware teapot and cover, with applied decoration, and two jugs similar impressed seal marks, 18cm. high £150-200

516. John Wheeldon (born 1950) a Raku pottery footed vase, tapering cylindrical form, the rim with lustre decoration of flowerheads and cross motif, and another unomi impressed mark 21cm. high £100-150

517

517. Lawson Rudge a raku pottery sculpture of a chicken standing on a roof top, in colours incised signature, firing crack to head and neck 44cm. high £100-150

518. John Chambers a large Raku pottery bowl, covered in a silverwhite crackled glaze incised JC monogram 42.5cm. diam. £80-120 518

85


520

521

519 519. Allen Spencer Green (1932-2003) a stoneware bowl, glazed pale grey incised ASG 28cm. diam. £120-180 520. Christine Gittins a burnished pot and cover, the cover with gilded decoration and a David Whiting vase impressed and incised marks, 21cm. high £80-120

522

521. John Gay a stoneware vase, shouldered form with everted rim, covered to the foot with a textured ash glaze, another smaller and a stoneware vase by Ann Kempley, painted JG monogram 21cm. high £80-120

523

522. Bernard Rooke (born 1938) a pottery plaque of two dragonfly flying above water-lily pads, framed incised signature 41 x 33cm. (plaque) £60-100 523. Janice Tchalenko a tall Dart Pottery jug, flaring cylindrical form with applied handle glazed in pink, blue, red and yellow, two vases similar and a square platter impressed seal mark to jug 28cm. high £80-120 524 525

524. Peter Beard (born 1951) a stoneware handled vase form, compressed with solifleur neck and small loop handle, with inlaid slip decoration in yellow and sky blue impressed PFB 26cm. diam. £100-200 525. A studio pottery teapot and cover, with long tapering, cylindrical spout and looped handle, covered in a brown glaze unsigned 26cm. wide £50-100 526. Tim Andrews (born 1960) a large raku footed cup form, the open bowl off white with black spots, on a black glazed foot impressed seal mark, 31cm. high £200-400 527. David Garland (born 1941) a large earthenware bowl, flaring form, painted with a blue brush wash incised Garland 35cm. diam. £200-300

526

Provenance David Cripps

86

527


528

529

‡ 528. Dame Lucie Rie (1902-1995) an unusual stoneware pouring vessel and cover, with wicker over-slung handle, oatmeal glaze with bronze rim, impressed seal marks, hairlines 14cm. high £300-400 Literature John Houston Lucie Rie, Crafts Council, page 19 for a black and white contemporary photograph of a range of pouring vessels by Lucie Rie retailed by Bonnier’s department Store, New York in 1953-54.

530

‡ 529. Dame Lucie Rie (1902-1995) a stoneware teapot and cover, with applied bamboo handle, covered in a pale grey glaze, the cover with manganese rim, impressed seal mark, 11.5cm. high £700-1,000

‡ 530. Dame Lucie Rie (1902-1995) a footed bowl, covered in a yellow glaze, with manganese rim, impressed seal mark, chip out of rim and missing, 11cm. diam. £200-300 531

‡ 531. Dame Lucie Rie (1902-1995) a small footed bowl covered in a textured yellow glaze with manganese rim, impressed seal mark 8cm. diam. £400-600

‡ 532. Dame Lucie Rie (1902-1995) a footed bowl, covered in a yellow, pitted glaze, with manganese rim, impressed seal mark, 16.5cm. wide £1,000-1,500 532

87


20TH CENTURY DESIGN GLASS

533 533. An Aesthetic Movement stained glass window, painted with a kingfisher perched on a tree bough overlooking a river, two butterflies flying past, in colours inside a blue border 34 x 28cm. £100-200

534. A cut-glass decanter and stopper, possibly Stevens & Williams, and a James Dixon & Sons cruet set with etched glass bottles stamped marks to cruet 18.5cm. high £50-100

534

535

535. A Stuart glass vase on applied foot, the lime green glass with cut band decoration, acid-etched mark 23cm. high £100-200

536. A pale blue glass vase, probably Whitefriars, the design attributed to William Wilson, cut and polished with comet motif unsigned 19cm. high £200-300

537. A cut glass vase probably Whitefriars, the design attributed to William Wilson, bucket form clear glass with cut geometric panel columns unsigned 24cm. high £350-450 536

537 538. An Orrefors etched glass vase by John Hetton, tall cylindrical form with etched female nude, etched signature, Orrefors P3630/131, 29.5cm. high £100-200 Provenance The Victor Arwas collection

539. An Orrefors glass vase by Simon Gate, flaring conical form on applied foot, pale blue glass with ribbed bands etched Of 32 GW, 110 21cm. high £200-300

88

538

539


540 541

542

540. An Art Nouveau Auguste Jean glass vase, the blown pale blue glass with applied column decoration and impressed decoration, on tripod foot impressed seal mark, 26cm. high £100-200 Provenance The Victor Arwas collection

541. An Art Nouveau Emile Galle cameo glass vase, tapering cylindrical form with everted rim, amber glass with purple overlay decorated with pendulous flower stems cameo Galle signature 16cm. high £1,200-1,800

542. An Art Nouveau Emile Galle cameo glass landscape vase, shouldered form, amber glass with purple overlay decorated with a mountainous wooded landscape cameo signature Galle 11.5cm. high £1,500-2,000

543. A large La Verre Francais cameo glass vase, waisted, shouldered cylindrical form, pale blue glass overlaid with darker blue stylised pendulous flowers apparently unsigned 62cm. high £800-1,200 543

89


545 544 544. Five enamelled glass bottles by Gabriel Argy Rousseau, each of shouldered form, enamelled in colours with seedhead, prunus stem, butterflies, birds and morning glory flowers, one with stopper, enamelled signature G Argy Rousseau, tallest 16cm. high £500-1,000 Literature Victor Arwas, Glass, Academy Editions, page 33 two examples illustrated Provenance The Victor Arwas collection

546

547

548

545. A Loetz glass bowl originally designed by Michael Powolny, pale blue glass with applied black rim and three black glass ball feet unsigned 25cm. diam. £100-200

546. A Tiffany Favrile solifleur glass vase, compressed form with cylindrical neck and everted rim, surface decorated with waterlily leaves on sinuous stems, on a golden iridescent ground etched 4071J L C Tiffany Favrile 15cm. high £1,200-1,500

547. An Art Nouveau Quezal glass vase, floriform, with pulled green leaf design, the flaring, fluted rim covered in a golden iridescence etched Quezal S 899 16.5cm. high £1,500-2,000

548. A set of four Daum Nancy enamelled glass salts, each bucket form, enamelled with yachts sailing along an estuary with buildings and a windmill, amongst trees painted Daum Nancy mark, 4.5cm. diam. £2,000-2,500

90


549. A rare Art Nouveau Daum enamelled glass vase, swollen form, painted with silverbirch trees in a woodland setting, painted Daum Nancy mark, 4cm. high ÂŁ1,200-1,500

549 front and back

550. A rare Art Nouveau Daum enamelled glass Spring Landscape miniature vase, shouldered ovoid form, painted with a wooded landscape painted Daum Nancy mark, 2.5cm. high ÂŁ1,200-1,500

550

551. A rare Art Nouveau Daum enamelled glass Winter Landscape miniature vase, the orange glass painted with bare trees surrounded by snow on the ground painted Daum Nancy mark 6cm. high ÂŁ1,200-1,500

551

91


552. A Kosta clear glass vase designed by Vicki Lindstrand, slender, elliptical form, thick clear glass body, and Holmegaard smoked glass vase and three other Scandinavian glass pieces etched marks, Kosta label 26cm. high £200-300

552

553. A Schott & Jena glass teapot and cover, clear glass with internal infuser, and two glass cups with 2 wooden holders, and two continental electroplated metal leaf dishes acid etched marks, pot 13cm. high £50-100

553

554. A Kosta facet-cut amethyst glass vase, dated 1935, the flaring cylindrical body with cut vertical columns, etched Kosta 1935, 13799, 26cm. high £200-300

555. A pair of Skruf glass vases, designed by Bengt Edenfalk, tapering cylindrical form, blue glass with applied trailed finish, etched Edenfalk Skruf 33cm. high £200-300

554

555

556. An Iittala glass Leaf dish designed by Tapio Wirkkala, with comb cut veins, and another smaller etched signature to top rim 32cm. wide £80-120 Literature Iittala 125 Years of Finnish Glass, Arnoldsche, page 245 dish 3369-3869, this design exhibited at the Milan Triennale, 1954

557. A Holmegaard amethyst glass schnapps set for twelve, comprising decanter and stopper, jug and twelve glasses, and two glasses designed by Joe Columbo, decanter 24cm. high £80-120

556

557

558. A Leerdam Unica glass vase designed by A D Copier, purple compressed glass body with slender neck and flaring rim, etched 885 Leerdam Unica A D Copier 28cm. high £200-300

559. ‘Picasso’ a glass sculpture by Gio Colucci, amber glass with air bubble inclusions, with applied glass features, painted GC monogram 43cm. high £800-1,200 Provenance David Cripps Gio Colucci, painted, Sculptor and Potter was born in Florence in 1892, attended the Ecole nationale des Beaux-arts, Paris in 1911 - and exhibited alongside Metzinger, Delauney and Duchamp.

92

558

559


560. An Art Nouveau Louis Comfort Tiffany Favrile vase, footed, flaring slender form with everted, fluted rim, covered in a green and blue iridescent finish, etched marks to base 23cm. high £2,000-3,000

561. A Loetz Carrageen green glass vase, dimpled and waisted form with pinched top rim, striated silver cased in pale green unsigned 25cm. high £1,100-1,500 Literature Hatje Cantz Loetz Bohemian Glass 1880-1940 Neue Galerie, page129 catalogue number 84 for a comparable vase in blue.

560

561

562. A Sabino opalescent glass figure, modelled with long flowing hair signed in the cast Sabino Paris 18cm. high £500-1,000 Provenance The Victor Arwas collection 562

93


563. ‘Camille’ No.516 a Lalique green glass perfume bottle and stopper designed by Rene Lalique, cast marks etched R Lalique France no.516 to base rim, 6.5cm. high £500-1,000

564. ‘Dahlia’ no.384 a Lalique frosted opalescent glass bowl designed by Rene Lalique, cast R Lalique France to the well 24cm. diam. £400-500

563

564 565. ‘Nonettes’ no.398 a Lalique opalescent glass bowl, moulded R Lalique to well 22cm. diam. £300-500

566. ‘Domremy’ no.979, a Lalique cased opalescent glass vase, cast in relief etched R Lalique No.979 to foot rim, 22cm. high £1,000-1,500 Provenance given as a wedding present to A.R. and M.L. Milne-Henderson, in 1932 565

566

567. A Whitefriars glass Willow glass Banjo vase designed by Geoffrey Baxter, unsigned, small bruise to foot 31.5cm. high £200-300

568. A Whitefriars Tangerine glass Banjo vase designed by Geoffrey Baxter, textured finish, and a Whitefriars Tangerine glass vase 31.5cm. high £300-500 567

568

569. A Whitefriars Glass Willow vase designed by Geoffrey Baxter, rectangular form, cast in relief with a maze design, unsigned 26.5cm. high £60-100

94

570 569

570. A Patrick Stern footed glass bowl, the amethyst glass interior cased in pale blue on applied foot, etched Patrick Stern 22.5cm. diam. £80-120


571 front and back

572

571. ‘Lovers’ a Wiener Keramik stoneware figure designed by Michael Powolny and Berthold Loeffler, glazed in colours impressed mark minor glaze chips, 32.5cm. high £600-1,000 Literature Waltraud Neuwirth Wiener Keramik, Klinkhardt & Biermann, page 316 and 317 for another example illustrated.

572. An Art Deco Amphora Pottery ewer, enamelled in low relief with a sphinx above a band of scarab motif, in colours impressed numbers 38cm. high £80-120 573

573. An Art Nouveau Amphora Pottery vase, model no.5610, shouldered, twin-handled form, cast in low relief with Art Nouveau maiden panels amongst pendulous flowers and foliage in colours, highlighted in gilt impressed marks, minor glaze chips, 43cm. high £500-1,000 Provenance The Victor Arwas collection

574. A large Art Nouveau Amphora Pottery vase, model no. 3604, twinhandled form, cast in low relief with Art Nouveau maiden in profile, in panels inside chestnut sprays impressed number, minor glaze chips, hairline to body, 53cm. high £700-1,000

574

Provenance The Victor Arwas collection

575. An Art Nouveau Amphora Pottery vase, model no. 8357, shouldered form, applied with four loop handles, cast in low relief with stylised chrysanthemums, in colours, highlighted in gilt, impressed marks, 14cm. high £500-1,000 Provenance The Victor Arwas collection 575

95


578 576. A large continental pottery baluster vase, glazed blue with Art Nouveau silver inlay decoration unsigned, damages 48cm. high £50-100

577

577. A Bombay School of Art Wonderland Art Pottery vase, shouldered form, painted with a band of dancing figures, between floral and geometric bands, in shades of green and brown on a sand ground painted marks, minor glaze loss 31cm. high £200-300

576

578. Thirty encaustic floor tiles, decorated with geometric design in black, grey and brown indistinct impressed mark, chips, each tile 14.5cm. square £80-120 579. A Continental tin-glazed earthenware figure of a woman, probably Austrian modelled clutching flowers to her chest, glazed in colours, and a Gmunder Keramik Austrian pottery tea set indistinct impressed marks, 33cm. high £50-100

580

580. A Theodore Deck Iznik tulipiere vase compressed, footed form, the shoulder mounted with five flaring aperture and one central flaring neck, enamelled in colours impressed mark, restored 15.5cm. high £300-500

579

Literature Theodore Deck, Musees de Marseille, [age 43 plate 4 for a comparable vase

581

581. A Rosenthal Pottery figure, cast from a model by Ernst Wenck, modelled kneeling her hands raised up to her face, painted naturalistically, the base highlighted in gilt printed mark, cast signature to base 18cm. high £150-250 582. A tall Royal Copenhagen vase, model no 1618 355, shouldered, flaring cylindrical form, painted with flowers and pendulous foliage in colours on a graduated blue ground printed and painted marks, 40cm. high £300-400 This vase has the printed mark for pre 1923 production.

583 582

96

584

585

583. A Royal Copenhagen model of a polar bear, designed by Knud Kyhn, model no. 1137, glazed in colours incised number, printed and painted marks, 27cm. wide £50-100

586


584. Two Upsala-Ekerby plaques by Mari Simmulson, each painted with a flower stem in colours and another rounded rectangular plaque painted with a woman with flowers in her hair, and two others impressed marks, painted signature 46 x 15cm. £150-200 585. A Jacques Vin pottery vase, waisted cylindrical form, incised with a band of stylised fish, in shades of blue, and a L’Atelier Bormes Var charger by G Gouzy incised marks, 28cm. high £80-120 586. A Bing & Grondahl vase, pattern 1824, slender elliptical form, printed with blue geometric panel, another similar and a plate printed marks, 19cm. high £50-100

588 587

587. A set of four plates designed by Timney Fowler, each printed with a classical motif in black printed marks, 27cm. diam. £100-200 588. A Fornasetti Pottery dish designed by Pierro Fornasetti, rectangular printed with three gold coins on a malachite base, a Fornasetti Bellezze plate and a set of seven coasters printed marks 14cm. wide £150-250

589

589. A Fornasetti Pottery Mezi Soli-Mezza Luna dish designed by Piero Fornasetti, printed in black printed factory marks, 21cm. wide £50-100

590

590. A Fornasetti ceramic cube designed by Pierro Fornasetti, printed with classical portraits in black on a white ground remains of gilt mark 7cm. square £80-120 591. A set of six Fornasetti Pottery Storia del Bicchiere dishes, printed in black with glass vignettes, the rim highlighted in gilt printed factory marks, 10.5cm. diam. £100-200

592

591

592. A pair of Fornasetti Cupole D’Italia plates, designed by Pierro Fornasetti, printed in black and gilt printed marks, 24cm. diam. £100-200 593. A Figgio Flint part dessert set, printed in colours with a figure picking apples, comprising; platter, serving bowl and four plates printed marks, platter 30cm. wide £50-100 594. ‘Romagnola’ a Lenci Pottery figure of a woman holding a bottle, glazed in colours painted marks, dated 1937, painted mouse cipher, damages and losses 47cm. high £300-500 Literature Alfonso Panzetta, Le Ceramiche Lenci, Umberto Allemandi & C. page 224 plate 728 for an example illustrated. 593

594

97


595

596

597

595. A collection of books on Jewellery and design, including WAS Benson, Charles Horner and H.G. Murphy £50-100 596. Marino Marini sculpture painting drawing by A M Hammacher, a reference book, and a collection of books on fine art and design £50-100 598

599

597. Meissen Porcelain of the Art Nouveau Period, Orbis, a reference book, and a collection of books on Art Nouveau and Art Deco £50-100 598. The Studio Yearbook, 1922, 1931, 1934, three volumes, and The Studio 1900 and 1903, £50-100 599. A collection of books on design including Bent wood and Metal Furniture and Finnish Modern Design £50-100 600. An Art Deco fashion study of a woman in a pink evening dress, gouache on paper, framed unsigned image 44 x 36cm. £100-150 601. Frederick Ilbury Lynch (fl.1905-1925) The Faun of the Gold Tiberius pen and ink and pencil on paper, framed 27.5 x 16cm

600

601

£200-300

Born in Colchester, Lynch first came to notice with his 1909 drawing Just Published, a homage to Aubrey Beardsley and Robert Ross (now in the collection of the Victoria & Albert Museum). He was introduced to the publisher Grant Richards and seemed to have worked only for him, illustrating Ernest Bramah’s The Transmutation of Ling (1911), Lord Dunsany’s Five Plays (1914) and Ada Leverson’s Bird of Paradise (1914). He had a one-man show at the Fine Art Society in 1913. His portrait of Oscar Wilde is in the collection of the Clark Library, University of Los Angeles. ‡ 602. Philip Davis Standing Figure and Reclining Figure II signed, titled and numbered in white pencil two colour lithographs Standing Figure 76 x 61cm, Reclining Figure II 85 x 61.5cm £200-300 Provenance David Cripps

98

602


ORIGINAL ARTWORK BY DODO BURGNER

99


‡ 603. Dodo Burgner (1907-1998) Figures in Evening Dress black ink on paper unsigned 26 x 19.5cm. (image) £80-120

‡ 604. Dodo Burgner (1907-1998) Skater pencil and gouache on paper, framed annotated in pen 22.5 x 15cm (image) £100-200

603

604

‡ 605. Dodo Burgner (1907-1998) Woman in Negligee watercolour and pencil on paper, framed signed Dodo and annotated 22 x 16.5cm. (image) £100-200

‡ 606. Dodo Burgner (1907-1998) Couple in Evening Dress gouache and pencil on paper, framed signed Dodo 35.5 x 27cm. (image) £100-200

605

606

‡ 607. Dodo Burgner (1907-1998) Couple Seated watercolour and pencil on paper unsigned 26 x 19cm. (image) £100-200

100

607


608

‡ 608. Dodo Burgner (1907-1998) Lady in a Blue Dress watercolour on paper, with another study to the reverse dated in pencil 51 x 36cm (sheet) £100-200

‡ 609. Dodo Burgner (1907-1998) Girl in a Purple Dress and Cloak watercolour on paper unsigned 55 x 32cm (sheet) £100-200

‡ 610. Dodo Burgner (1907-1998) Lady with a Parasol, gouache and pencil, unsigned 39 x 24.5cm (image) £100-200 609

610

101


611

612 ‡ 611. Dodo Burgner (1907-1998) Woman with a Cat gouache on paper signed DR in ink (Dodo Wolff) 32 x 21cm (image) £100-200 613 ‡ 612. Dodo Burgner (1907-1998) Jahrmaskt (Circus Scene) gouache on paper, with pencil sketch to reverse unsigned 21 x 18cm. £100-200 ‡ 613. Dodo Burgner (1907-1998) Balancing (Circus Scene) gouache on paper signed Dodo and annotated in German 22 x 18cm. £100-200 ‡ 614. Dodo Burgner (1907-1998) Cirkussleute (Circus Scene) gouache on paper signed DW ( Dodo Wolff) 21 x 18cm. £100-200

102

614


‥ 615. Dodo Burgner (1907-1998) Lion Tamer (Circus Scene) watercolour on paper signed dodo 39 x 31cm. £600-1,000

103


‥ 616. Dodo Burgner (1907-1998) Two Women on a Stairway watercolour on paper, unsigned 31.5x 22.5cm £100-200

104


‥ 617. Dodo Burgner (1907-1998) Lovers on a Bridge watercolour on paper unsigned 28 x 22.5cm (image) £300-500

105


618

619

620

618. A Grosvenor School style print of a tube station platform, mounted on board unsigned 61 x 48.5cm £100-200

619. Shelter Scene a lithographic poster designed by Edward Ardizzone, printed by Baynard Press and published by the National Gallery, framed, image 101 x 76cm. £200-300

621 620. ‘Terracotte E Maioliche Di Joe Tilson’ an advertising poster, framed 98 x 67cm. £50-150

621. John Minton Apple Orchard Kent, Series two, number 8 a lithograph in colours printed for the Lyon’s Tearooms, printed by Chromoworks ltd titled on border 72 x 48cm. £80-120

622

622. Carel Weight Albert Bridge Series one, Number 16 a lithograph in colours printed for the Lyon’s Tearooms, unsigned 97 x 72.5cm. £200-400

623. John Piper Elizabethan Dance, Series three, No.11 a lithograph in colours printed for the Lyon’s Tearooms, unsigned 98 x 73cm. £200-400

106

623


624 624. ‘Decouvres les Curiosities de Suisse’ a three sheet Swatch poster, and another Swatch poster printed by Fotografia Ragazzi, 1992 on fujicolour paper, 270 x 128cm £50-100

625. A Flensted Danish mobile, produced for the Tate Gallery from a design by Sir Terry Frost, in original packaging numbered 426 from a run of 500 box 30 x 21.5cm. £50-100

625 626. ‘Pageant’ a large Heal’s curtain designed by Jyoti Bhomik, printed and woven in colours signed to selvedge 446 x 292cm. approx £50-100

626

627. A Mael block printed wall hanging designed by Michael O’Connell, bold abstract form with a central farmyard scene in vibrant colours on a blue ground, signed Mael 110 x 102cm £200-300 Michael O’Connell developed special textile printing techniques used for the Festival of Britain wall hangings.

628. A Mael block printed wall hanging designed by Michael O’Connell, bold abstract form with a cockerel amidst farm buildings in vibrant colours on a blue ground, signed Mael 169 x 133cm. £200-300 627

628

107


630

629

631

FURNITURE

632

629. A pair of Medieval Revival wrought iron and brass fire dogs and a grate, with applied floral panels and scroll and loop terminals, 83cm. wide, 65cm. high £400-600 630. An Aesthetic Movement ebonised wood hanging shelf the design attributed to Charles Bevan, with central two door cabinet, pierced roundel decoration, 105cm. wide £300-500 631. A pair of Sussex ebonised beech and parcel gilt side chairs, the design attributed to Ford Maddox Brown, probably retailed by Morris & Co, with circular rush seats 83cm. high £100-150

633 634

Literature Linda Parry William Morris 1834-1896 V&A exhibition catalogue, page 176 J.25 for a comparable chair. 632. An Arts and Crafts oak inlaid carver and chair probably retailed by Liberty & Co, inlaid with boxwood borders, the back splat inlaid with Art Nouveau flower stem design in pewter and ebonised wood, with modern Liberty Peacock Feather upholstered seat pad unsigned 100cm. high £200-300 Provenance The Victor Arwas collection

635 636

633. An Aesthetic Movement ebonised wood armchair, the design attributed to Charles Bevan, turned legs and arms, with padded seat 95cm. high £200-300 634. An Arts and Crafts mahogany armchair, five turned legs, lattice back and padded seat 115cm. high £300-400 635. A Gothic Revival oak table, in the manner of A W N Pugin, thick, carved legs supporting plank top, 107 x 59cm. £200-300 636. An Arts and Crafts oak cupboard, rectangular top with shelf and twin door compartment, metal furniture, 74 x 46cm. £80-120 637. A Liberty & Co mahogany sideboard, the central drawer and cupboard, flanked by curved cupboards, on cluster pillar supports, with panels of poppyhead decoration, applied label 198cm. wide, 134cm. high £100-200

108

637


638

639

638A 638. A Heal’s oak table, rectangular plank top, with flaring square section legs and carved runner feet and gently curved under-tier, 130cm long x 77cm wide £500-800 Literature Heal’s Catalogue 1918, this table design illustrated as no.7 and priced at £9/0/0

638A. An Arts and Crafts mahogany table, probably retailed by Liberty & Co, the hexagonal top with foliate panel decoration, tapering square legs with pierced under-carriage 68cm. diam. £100-150

640

639. An oak table by Arthur Romney Green, with arched Gothic supports in H section stretcher with pegged joints, carved geometric decoration to legs and edge of top, 178 x 82cm. £2,500-3,500 Literature Herbert Grimwood and Frederick Goodyear An Introduction to Decorative Woodwork page 70 figure 43 for a comparable example.

640. An Aesthetic Movement oak reclining chair, with carved foliate roundel and back panel 97cm. high £200-300 641

641. A good Shapland & Petter Art Nouveau dressing table, inlaid with marquetry and mother of pearl heart and floral design, stamped marks to locks dressing table 122cm wide, £2,500-3,500

642. A large Heal’s Tilden oak table designed by Philip Tilden, originally designed for Sir Winston Churchill at Chartwell, circa 1922, plank top on cylindrical legs 214 x 105cm. £1,500-2,000 Literature A History of Heals page 48 for a comparable example.

642

109


643

644

645

645A

643. A Liberty & Co carved mahogany wall mirror, rectangular, carved to two corners with simple entrelac design 102 x 61cm. £400-600 644. A carved wood mirror frame possibly Irish, rectangular, carved with entrelac design, 69 x 56cm. £200-300 645. A Cotswold School walnut miniature cabinet, rectangular with hinged door, on four square feet unsigned 27.5cm. high £100-150

646 647

645A. An Art Deco oak chest of drawers, in the manner of Heal’s, seven drawers with carved wood handles, 74cm. high £150-200 646. A Gordon Russell & Sons yew foot stool, with leather woven seat, applied label, 40cm. high, 35cm. square £200-300 647. A Peter Rabbitman Heap oak cross frame stool, leather slung seat, the leg carved with rabbit cipher 51cm. wide £150-250 648. An Arthur W Simpson Handicrafts of Kendal oak bookshelf, three shelf form with hinged dust flaps, carved feet applied label 126cm wide, 94cm high, 27cm deep £300-500

648

Literature Hugh Wright The Beautiful Furniture of the Simpsons of Kendal, Bookcase, page 114 plate 47 for a comparable bookcase with more elaborate top.

649

649. A Heal’s walnut hall table, rectangular top, the two drawers with turned wood handles, applied label to drawer top 77cm high, 91cm wide, 47cm deep £300-500 650. A Barnsley Workshops walnut and exotic wood library table, the rectangular top with wishbone support, on casters stamped Barnsley 150 x 54cm, 74cm high £700-1,000

650

651. A Heal’s oak chest of drawers, four drawers each with turned wood handles, 107cm. high, 92cm. wide £500-1,000

110

651


652

654

653

655 652. A cherrywood armchair, probably American, with wide plank arms, curved back with pierced decoration, padded seat 87cm. high £100-200 653. A Jacob and Joseph Kohn bentwood hall stand, tapering square section, with metal clips for umbrellas, drop in drip tray remains of paper label 182cm. high £250-300 654. A Thonet bentwood chair designed by Josef Hoffmann, the bentwood frame with three pierced hole and dowel stem decoration to back, with cane unsigned 100cm. high £600-1,000 655. An Austrian Secessionist Palisander wood dining table and eight chairs, square construction, the foot rims with metal protective runners, with white leather padded seats and backs, armchairs 101cm. high, table 141 x 112cm. £2,000-4,000 Provenance Bel Etage Gallery 656. A pair of Carl & Friedrich Jonas Austrian Secessionist wardrobes, with inlaid chevron panel decoration, brass fittings 205cm. high £1,000-2,000 Provenance Bel Etage Gallery 656

111


657 658 659 657. A Frank coffee table, rounded, rectangular top with raised ends, applied label 122 x 54cm. £200-300

658. A Zanotta Gaetano desk designed by Gae Aulenti , tempered glass on removable aluminium base with rubber rests 180 x 80cm. £200-300

659. A Cassina Sinbad table designed by Vico Magistretti, stained black ash applied label 185cm. wide £400-600 661 660. A pair of modern high-back hall chairs, the tall asymmetric back inset with frosted glass panel, the wood painted pale green 151cm. high £80-120 660 661. A pair of Roger Capron tile topped occasional tables, circular section, the tiles impressed with radiating foliage design, glazed ochre and brown impressed Roger Capron to tiles 52.5cm. diam £150-200

663

662. A set of six chairs designed by Vico Magistretti, red stained frames, rush seat 76cm. high £150-200

662 part 663. An ash chair designed by Lord Snowden for the Investiture of Prince Charles, painted red, the back with Prince of Wales Feathers and Ich Dien in gilt, red padded seat, 77cm. high £80-120

664. Three Reynolds of Ludlow stools, each with irregular shaped seat on four flaring legs, applied brass plaques 35cm. high £80-120

665. A nest of three satinwood veneer tables designed by Laszlo Hoenig, each rectangular tops, the largest with upturned ends and glass cover 57 x 36cm. £200-300

664

112

665


666 666A

667

666. A pair of cylindrical stainless steel coffee tables with inset glass top and base, unmarked 46cm. high £80-120

666A. A Fritz Hansen bent-ply office chair designed by Arne Jacobsen , on adjustable chrome base with casters stamped mark to base of seat 91cm. high £80-120

668

667. A pair of Kartell Ero/s/ chairs designed by Philippe Starck, press moulded blue plastic chairs on polished metal stem stencil marks 79cm. high £200-300

668. A Superleggera chair designed by Gio Ponti, lightweight, black lacquered wood construction with woven seat 84cm. high £100-200

669. A Tree standard lamp designed by Ron Arad, manufactured by Barton, painted metal and concrete construction, cast marks, 168cm. high £700-1,000 Literature Charlotte & Peter Fiell 1000 Lights volume II, Taschen, page 338 for comparable lamps circa 1983-84. 669

113


SCULPTURE & METAL WARE 670. ‘Adam & Eve’ a bronze coated plaster figure cast from a model by Charles Sykes, signed in the cast, repaired through legs 31cm. high £100-200 Provenance The Albert Dawson Trust

670

671

671. A white marble sculpture of The Birth of Venus, modelled surrounded by drapes in a clam shell with an attendant putti, on alabaster base unsigned 21cm. wide £100-200 Provenance The Victor Arwas collection 672. Theresa a patinated bronze bust of a maiden in tricorn hat cast from a model by Georges Van Der Sraeten, on integral plinth, signed in the bronze, foundry mark 54cm. high £400-500 Provenance The Victor Arwas collection Literature H Berman Bronzes, Sculptors and Founders Abage, plate 1232

673 672

673. Mignon a patinated bronze bust cast from a model by Emmanuel Villanis, on socle base, cast signature in base Salon 1896 37cm. high £400-600 Provenance The Victor Arwas collection Literature Josje Hortulanus de Mijk, Emmanuel Villanis page 85 for a comparable. 674. A patinated terracotta model of a nude cast from a model by Amadeo Gennarelli, on rectangular base, signed in the cast 45cm. high £200-300

674 675

Provenance The Victor Arwas collection 675. ‘La Nuit’ an Art Nouveau pewter figural lamp cast from a model by Hippolyte Moreau, modelled with arm raised holding a shell lamp shade, signed in the cast 61cm. high £150-200 676. G Doussot a patinated bronze figure of a woman raising her arms aloft, dated 1961 signed G Doussot and dated 1961 in the bronze 53.5cm. high £200-300 677. An abstract patinated bronze figure, dated 1969, on red veined marble base, stamped EE 69 34.5cm. high £200-300

114

676

677


678

679

678. An Art Nouveau patinated bronze and gilt highlighted vase cast from a model by Charles Korschann, cast to the shouldered with three Art Nouveau maiden portraits, signed in the cast Ch Korschann 12.5cm. high £1,000-2,000 Provenance The Victor Arwas collection

679. An Art Deco patinated bronze and ivory sculpture of a batgirl, in the manner of Josef Lorenzl, modelled balancing on one leg, on onyx base unsigned 23.5cm. high £500-1,000

680. Cancer a rare gilt patinated metal Zodiac panel, designed by C A Llewellyn Roberts for the lift doors at Selfridges Department store, designed 1928, made by the Birmingham Guild of Metalworkers, mounted on black wood panel, framed 48 x 36cm. £800-1,200

680

Literature Style & Spirit Christies South Kensington 23rd November 2010 lot 5 for four other examples

681. Pisces a rare gilt patinated metal Zodiac panel, designed by C A Llewellyn Roberts for the lift doors at Selfridges Department store, designed 1928, made by the Birmingham Guild of Metalworkers, mounted on black wood panel, framed 48 x 36cm £800-1,200 Literature Style & Spirit Christies South Kensington 23rd November 2010 lot 5 for four other examples 681

115


682. A pair of patinated metal figures, each modelled carrying a wine decanter, in medieval dress, on waisted ebonised wood bases unsigned 24cm. high £20-50

683. A pair of patinated metal vases cast from a model by Melle Sibeud, each cast with Art Nouveau maidens portraits, signed in the cast 45cm. high £200-300

682

683 684. A Compton Pottery plaque of St Francis of Assisi, rectangular, cast in low relief painted in colours and gilt, impressed mark 20 x 13cm. £50-100

685. A pair of Aesthetic Movement Robbins & Co iron and brass fire-rests, in the manner of Thomas Jeckyll, cast with sunflower terminals, the feet with rolled terminals, cast regd diamond to one 26.5cm. high £150-200

685

686. An Aesthetic Movement ebonised wood mantle clock, with painted floral panels, circular dial with Roman numerals, 24.5cm. high £150-200

684

687. Four Arts and Crafts brass wall light brackets, in the manner of C F A Voysey, each cast with heart-shaped terminal, the curved stem with swollen support for a cable, hammered finish unsigned 35.5cm. long £100-200

687 688. An Arts and Crafts brass hall mirror, oval form, stamped in relief with panels of orange fruit and leaves, bevelled glass unsigned 75cm. wide £250-350

686

689. A Keswick School of Industrial Arts copper wall mirror, repousse hammered with briar rose pattern, mounted on wood unsigned 39cm. high £250-350 Provenance Sold with a copy of a receipt stating the mirror was made at the Keswick School of Industrial Arts in 1921 by Mrs Williams, of Poplar Street, Keswick. Purchased from her niece by the present vendor.

688

116

689


690

693

691

692

690. A Newlyn copper tea caddy and cover, hammered in low relief with three galleons at full sail, the cover with loop handle hammered with scallop shells stamped Newlyn 15cm. high £300-500 691. A Newlyn copper dish, hammered to the well with a lugger at sail, stamped Newlyn 27.5cm. diam. £150-250 692. A Newlyn copper coffee pot and cover, hammered in relief with a scaly fish diving beside waterweed stamped Newlyn 23cm. high £200-300

694 695

693. A Scottish patinated brass wall sconce, possibly Iona, hammered in low relief with a large broad sword, flanked with mythical beasts unsigned 46.5cm. high £300-500 694. A white metal mounted walnut mazer bowl, unsigned 11cm. diam. £100-200 695. A William Arthur Smith Benson electroplate Turkish coffee pot, stand and burner, the wirework tripod stand holding burner, supporting coffee pot with wirework handle stamped WASB & Co mark to coffee pot 20.5cm. high £100-200

696

Provenance The Albert Dawson Trust Literature Ian Hamerton W.A.S Benson Arts and Crafts Luminary and Pioneer of Modern Design, Antique Collector’s Club, page 78 plate 50 this example illustrated. 696. A pair of William Arthur Smith Benson patinated metal candlesticks, on shallow tripod foot, waisted cylindrical stem and floriform sconce, the foot applied with foliage panels unsigned 27cm. high £150-250 697. A William Arthur Smith Benson copper and brass oil lamp, on cruciform cast foliate foot, and stem cast numbers to base 43cm. high £400-600 697

117


698

699

700 698. An A E Jones silver and copper casket, the cedar-lined rectangular box with hinged cover, the cover set with a figural panel unsigned 16cm. wide £300-400

699. A pair of A E Jones silver and oak candlesticks, the twisted oak stem on hammered, flaring silver base stamped marks, Birmingham 1919 15cm. high £350-450

702

700. An Arts and Crafts painted wood candlestick, tapering square base and central column, painted with flower motif in green and red monogram to base 20.5cm. high £50-100

701. A tall bronze floor lamp in the manner of Jacques Adnet, scrolling tripod foot with leather wrapped column, aluminium uplighter shade unsigned 177cm. high £200-300

701

703

702. A Duchess of Sutherland’s Cripple Guild electroplated footed bowl, with applied cast foliate band to top rim, stamped mark, 24cm. diam. £100-200

703. A modern electroplated teapot after a design by Dr Christopher Dresser, square section body with angular spout and ebonised wood handle 16cm. high £50-100

704. An electroplated letter rack made for Asprey & Co designed by Dr Christopher Dresser, arched base on four ball feet with reticulated rod and ball dividers and handle, stamped Asprey 13cm. high £300-500

118

704


706

705 705. A Secessionist WMF polished pewter jewellery casket, with hinged cover, cast in low relief with entrelac motif, lined with green velvet stamped marks, 18cm. wide £80-120

706. A Liberty pewter and enamel coaster designed by Archibald Knox, circular, cast in low relief with Art Nouveau honesty motif, enamelled blue, on wooden base 15.5cm. diam. £100-200

707

707. A Liberty & Co Cymric silver and plique a jour enamel bowl, the design attributed to Oliver Baker, the bowl on four cast feet arching to form the top rim, set with eight plique a jour enamel panels of stylised flowers stamped marks, Birmingham 1902 11cm. diam. £700-900

708

708. A pair of Liberty pewter vases the design attributed to Oliver Baker, model number 0214, compressed form with cylindrical neck, twin handles cast with stylised honesty, stamped numbers, 33cm high £1,000-1,500

709. A Liberty & Co pewter and glass decanter designed by Archibald Knox, the neck cast in low relief with berried, whiplash foliage, with amber glass body unsigned 20cm. high £300-500 709

119


712

710

710. Brian Willsher (1930 - 2010) abstract totem form, 1985 cedar wood sculpture, signed and dated in pen 29cm. high £80-120

711

711. A Fornasetti lampbase designed by Pierro Fornasetti, cylindrical form printed in colours with butterflies remains of paper label 42cm. high £500-600 712. A Stelton Cylinda Line stainless steel tea and coffee set designed by Arne Jacobsen, comprising; teapot and cover, hotwater pot and cover, coffee pot and cover, milk-jug and sugar basin, on round tray, with ebonised wood handles, with original Cylinda line catalogue acid etched marks, coffee pot 20cm. high £300-400 713

714

716

713. A Viner’s Studio stainless steel canteen of cutlery designed by Gerald Benney, textured finish, comprising, six knives and forks, six spoons, two serving spoons and six tea spoons, in fitted case stamped marks, canteen 37 x 23cm. £200-300 714. A Viners Studio canteen of stainless steel cutlery designed by Gerald Benney , comprising six knives, forks, butter knives, dessert forks, tea spoons and two serving spoons stamped marks, canteen 36 x 29cm. £150-200 715. A Charles Horner silver and enamel brooch, pierced entrelac design with blue and purple enamel panels, stamped marks, CH Chester 1910, minor enamel loss 2.8cm. wide £80-120 Literature Tom J Lawson Charles Horner of Halifax, GML Publishing, page 88 plate 3-111 for a comparable design manufactured as a pendant.

715

716. A Murrle Bennet & Co yellow metal and abelone shell hatpin, cast with stylised flower terminal set with abelone shell petals, and eight other hatpins stamped marks 21cm. long £80-120

717

120

717. An Art Deco enamelled silver travelling watch, enamelled in red and black with geometric design, the face signed Tissot, Arabic numerals stamped 935, 514249, 4.5cm. wide £100-200


721

718 720 719 718. A Georg Jensen silver brooch, model no.251, pierced and cast with two leaping dolphin, stamped marks, London 1946, 4cm wide £100-150

719. A Georg Jensen silver brooch, model no.242, heart-shaped pierced and cast with foliage inside a heart-shaped border, a bar brooch and a grape and vine brooch and earrings stamped marks, 3cm. wide £150-200

720. An Eggert Danish silver seahorse pendant necklace, and an Eggert silver ring modelled as coral cast mark 5cm. high £80-120

721. A silver trowel with ivory handle, the shield shaped blade with cast commemorative folite panels and scrolling border, the handle set with four turquoise stones, with scrolling terminal unsigned 22.5cm. long £300-350

722. A Charles Boyton silver cup, the tapering cylindrical stem supporting flaring bowl, flanked with two cast winged, female figures, probably representing speed, stamped marks, CB London 1934 22.5cm. high £600-800 722 723. A rare Adie Brothers Modernist four piece electroplated tea set designed by Harold Stabler, comprising teapot and hinged cover, hot-water pot with hinged cover, milk jug and sugar basin, and a pair of sugar tongs, the pots with bakelite handles and ivory and wood finials, stamped marks, facsimile Stabler signature pots 20.5cm. wide £1,000-1,500 Literature Silver of a New Era, page 41 catalogue number 31 for a comparable set British Art and Design 1900-1960 Victoria & Albert Museum, page 144 and 145 for a comparable set, hallmarked 1935. 723

END OF SALE

121


The Ken Stradling Collection

Gillian Lowndes Small Scroll With Spoon

The Ken Stradling Collection is an eclectic and personal collection of 20th and 21st century

design from Britain and Europe. Housed in Bristol, it is now available to everyone to view, admire and study.

To coincide with the publication of The Incidental Collector, a selection of items from the Ken Stradling Collection will be exhibited at Woolley & Wallis Salisbury Salerooms during

the view of the British Art Pottery Auction on 11th December 2013. For viewing times please see page 1.

‘The Ken Stradling Collection provides a unique overview of British design from the mid 20th century to the present day.’ Fiona MacCarthy, design historian.

The Ken Stradling Collection c/o Bristol Guild of Applied Arts 68-70 Park Street Bristol BS1 5JY Tel. 0117 926 5548

Walter Keeler Teapot


WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

20th Century Design Calendar 2014

5th March | Clarice Cliff & Art Deco Closing date for entries 17th January

18th June | Arts and Crafts (including Martin Brothers Pottery) Closing date for entries 16th April

10th September | 20th Century Design Closing date for entries 16th July

26th November | Modern British Art Closing date for entries 1st October

3rd December | British Art Pottery Closing date for entries 10th October

A fine Martin Brothers stoneware bird sculpture, dated 1891, sold for a world auction record of ÂŁ82,000

ENQUIRIES Michael Jeffery 01722 424505 Woolley & Wallis Salisbury Salerooms Ltd, 51-61 Castle Street, Salisbury SP1 3SU


Furniture & Works of Art Tuesday 7th January 2014

Thomas Sharp (1805-1882) Bust of Augustus FitzClarence, marble, signed and dated 1831, 24½in (62cm) high. Estimate: £2,000 - £3,000

ENQUIRIES Will Hobbs Tel: +44 (0)1722 339752 willhobbs@woolleyandwallis.co.uk


Silver Silver

Tuesday 22nd January January 2014 2014 Tuesday 21st 21st & & Wednesday Wednesday 22nd AAlate French two-coloured goldgold late18th 18thcentury century French two-coloured mounted blonde tortoishell snuff box. mounted blonde tortoiseshell snuff box. Estimate: £700 - £900

Estimate: £700-900

ENQUIRIES ENQUIRIES RupertSlingsby Slingsby Rupert Tel: +44 (0)1722 424501 Tel: +44 (0) 1722 424501 rupertslingsby@woolleyandwallis.co.uk

rupertslingsby@woolleyandwallis.co.uk


Jewellery Thursday 23rd January 2014 Entries are now being accepted for this sale

A Fabergé miniature gold and enamel frame, workmaster Viktor Aarne. 5cm high. Given By Queen Alexandra to her Maid of Honour the Hon Violet Vivian; Lady Irene Astor, Baroness Astor of Hever (1919-2001) and thence by family descent. Estimate: £10,000 - £15,000

ENQUIRIES Jonathan Edwards FGAA Tel: +44 (0)1722 424504 jonathanedwards@woolleyandwallis.co.uk Marielle Whiting FGA Tel: +44 (0)1722 424595 mariellewhiting@woolleyandwallis.co.uk


Fine Porcelain & Pottery Tuesday 25th February 2014 Entries are now being accepted for this sale

A rare and large pair of Meissen ‘Continent’ figures of Africa and Europe, c.1745. Estimate: £3,000 - £5,000

ENQUIRIES Clare Durham Tel: +44 (0)1722 424507 claredurham@woolleyandwallis.co.uk


Clarice Cliff & Art Deco Wednesday 5th March 2014 Closing date for entries 17th January

Valuation Day Friday 10th January 10am-1pm

A Josef Lorenzl patinated bronze sculpture of a dancer. Estimate: £1,500 - £2,000

ENQUIRIES Michael Jeffery Tel: +44 (0)1722 424505 michaeljeffery@woolleyandwallis.co.uk


Paintings Wednesday Paintings19th March 2014 Entries are currently being accepted for this sale Wednesday 19th March 2014 Entries are now being accepted for this sale

Gladys Maccabe (Irish b.1918)

ENQUIRIES Victor Fauvelle ENQUIRIES Tel: +44 (0)1722 424503 Victor Fauvelle victorfauvelle@woolleyandwallis.co.uk

Tel: +44 (0) 1722 424503 victorfauvelle@woolleyandwallis.co.uk

Garden Fête Gladys Maccabe (Irish b.1918) Signed, alsoGarden titled verso fête Oil on also board, unframed Signed, titled verso 51unframed x 64.5cm Oil on board, Estimate:51 £600 - £800 x 64.5cm Estimate: £600-800


Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification:

LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale.

1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

130

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.


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 will 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 sterling equivalent of €15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. 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 Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally 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. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 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. VAT Lots marked with an asterisk (*) are subject to VAT 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. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy. PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area. Alban Shipping

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

APS

0800 118 5868 sales@apservices.info 07736 544 362 www.apservices.info

Mailboxes

01264 360 333 info@mbeandover.co.uk www.mbe.co.uk/andover

Pack & Send

0845 465 0564 sales@packsend.co.uk www.packsend.co.uk

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

131


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 22% on the first £500,000 and 12% thereafter + 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. 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 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 may 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 will 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 will 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. 14. Authority to deduct commission and expenses and retain premium and interest. (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. (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. Subject to our normal trading conditions, payment will be made by BACS or cheque four weeks after the sale 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.

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. 4. THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 22% on the first £500,000 and 12% thereafter + VAT at the appropriate rate. 5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk or double asterisk. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position). 6. 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 or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’. (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.

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.

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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

Lots marked with a ‡ symbol are potentially subject to the levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death. Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €12,500. Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer. Please enquire for the accepted exchange rate on the day of the sale. Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €12,500


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 424509

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.

LW AY W ES T IL

D SR SE VI DE HU

RC

H

AY

T) C

36

WILTON & WARMINSTER

CENTRAL CAR PARK

N SCOTS L SALISBURY S OUT H

OA

W

A 3 6(

MR HA ND WY

ST WE

MI

RD

F IS

HER TO N

CHIPPER

ST

A36(T) CH URC HIL L

WILTO NR DA

EET STR TLE CAS

A3 60

The Portway A36 C HUR CH ILL WA YN OR TH D

ST

RD

D OA

AMESBURY & MARLBOROUGH

EA

E LS

R EY HL AS

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

HU

T WIN S BED L SALT

LN

N

WINCH ESTER ST

N EW

LL R O AD

L C ANA

NEW STR EET

ST ANN S

Warehouse – Furniture, Clocks, Works of Art, Tribal Art. 2 Danbury Court, Old Sarum Park, Salisbury, Wilts SP4 6EB

T

SOUTHAMPTON CATHEDRAL

UT SO

Y A36

( T)

CH

C UR

HI

LL

W

A

AD

A3 09 4 NEW H

ARNH AM

OM

BE

R O AD

A354 DORCHESTER WEYMOUTH & BLANDFORD O

RO

C

HAR NH AM

H

W OOLLEY & W ALLIS S ALEROOMS

A338 BOURNMOUTH & RINGWOOD D

OW

NT O

N

RO

AD

A33 8

A36(T) SO UTHA MPT ON R

OA D

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU Registered in England No. 2998482 VAT No: 631 9832 29 in association with Woolley & Wallis, Chartered Surveyors Design & Production by Jamm Design Tel. 020 8901 7522


WOO L LE Y & WA L LI S Absentee Bid Form British Art Pottery & 20th Century Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 11th December 2013 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 All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. 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

www.woolleyandwallis.co.uk


AUCTION CALENDAR PAINTINGS 4th December 19th March 4th June – Modern Contemporary Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk FURNITURE & WORKS OF ART 7th January 1st April 8th July Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 21st and 22nd January 29th & 30th April 22nd & 23rd July Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 23rd January 1st May 24th July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk TRIBAL ART 11th February 19th June Will Hobbs +44 (0) 1722 339752 • willhobbs@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

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 19th February 30th July Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMCIS & GLASS 25th February 7th May Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 5th March – Clarice Cliff & Art Deco 18th June – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk ASIAN ART 21st & 22nd May 12th & 13th November John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk MODERN BRITISH ART 26th November Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk


www.woolleyandwallis.co.uk


Woolley & Wallis