Woolley & Wallis

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 3rd December 2014

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

20TH CENTURY DESIGN Michael Jeffery Amanda Lawrence

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424505 329477

VALUATIONS FOR INSURANCE & PROBATE Paul Viney ASFAV — 424509 Clive Stewart-Lockhart FRICS FRSA 424598

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

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424506 424591 424583 424589

ACCOUNTS Janice Clift (Office Manager) — Ruth Pike

424500 424599

MARKETING Tamzin Corbett

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424590

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424500

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424500

CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 Amanda Lawrence — 329477 FURNITURE Mark Richards Jim Gale Anna Brown

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411854 339161 411854

JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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424504 424595

PAINTINGS Victor Fauvelle Jo Butler SILVER Rupert Slingsby Lucy Chalmers

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424503 424592

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

424501 424594

TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs — Gemma Bush —

339752 339752

ASSOCIATE DIRECTORS Will Hobbs Michael Jeffery Mark Richards Rupert Slingsby Jonathan Edwards FGAA Janice Clift Clare Durham

of Fine Art Auctioneers

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

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FRICS FRSA

COMPANY SECRETARY Jim Macarthur CA — —

Members of The Society

GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young

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424599

BRITISH ART POTTERY & 20TH CENTURY DESIGN Wednesday 3rd December 2014 at 10.30am Viewing Times Saturday 29th November Monday 1st December Tuesday 2nd December Wednesday 3rd December

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

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.

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

ENQUIRIES

Up to a maximum levy of €12,500

Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

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

Amanda Lawrence 01722 329477 amandalawrence@woolleyandwallis.co.uk

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/

Front cover: Lot 121 & 60 Back cover: Lot 336 & 337 Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

LIVE BIDDING

Please register by 4pm on Tuesday 2nd December.

There is no surcharge for using this service.

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.

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Friday 5th December and Furniture will be removed to our Old Sarum warehouse for collection.

If you are collecting items after this date please contact the department to arrange in advance.

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FROM THE STEPHEN WILCOCK COLLECTION OF TILES 2

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‘David Lloyd George’ a Barratt & Co tile designed by George Cartlidge, from a photograph by Ernest Mills, in shades of green, ‘Little Boy Blue’ a tile designed by Walter Crane, a large Minton Godwit tile and three other tiles impressed marks, Lloyd George tile 22.5 x 15.5cm £100-200 Literature Tony Johnson The Morrisware, Tiles and Art of George Cartlidge, private press, page 80 plate 213 for a J H Barratt & Co portrait tile of David Lloyd George.

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A pair of large Wedgwood Farmyard tiles designed by William Wise, each printed in blue with bull and pigs in a farm setting, framed signed W Wise in the print, restored 30cm. square £100-200 3.

A set of four Minton & Hollins Aesthetic Movement tiles, printed in silver and gold with birds perched on various foliate sprays impressed marks, minor rim nicks, 15cm. square £100-200

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A large Minton’s tile designed by A.W.N Pugin, printed in colours with printed foliate design, framed impressed marks, 30cm. square £150-250 Literature Fired Earth Richard Dennis & TACS, page 100 catalogue number 163 for this design illustrated 5.

A pair of Burmantoft’s Faience Architectural panels, cast in low relief with an elaborate urn design, glazed green, framed, 55 x 15cm. £100-200

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A William De Morgan Poole Architectural tile, painted with the mid section of a sailing vessel, in blue, green and yellow, a William De Morgan Raised Lion tile and a small raised bird tile impressed marks, damages 15cm. square £100-150

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Two William De Morgan Diagonal Leaf tiles, painted in shades of green and turquoise, and two other William De Morgan Persian tiles, impressed Sand’s End Pottery mark to one, restoration, 15cm. square £100-200 Literature Jon Catleugh William De Morgan Tiles, Trefoil Books, page 62 colour plate VI for a comparable tile

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A William De Morgan Merton Abbey Carnation tile, painted in shades of yellow and green on a white ground, a William De Morgan trellis tile and two other tiles impressed marks, 15cm. square £150-250 Literature Jon Catleugh William De Morgan Tiles, Trefoil Books, page 72 figure 68 for this design

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Two William De Morgan BBB tiles, each painted in shades of blue, yellow and green on a white ground, and two William De Morgan or William Morris Pink and Hawthorn tiles impressed marks, minor damages, 15cm. square £200-400 Literature Jon Catleugh William De Morgan Tiles, page 48 for the rare Pink and Hawthorn tiles illustrated.

10. A pair of William De Morgan Sand’s End Pottery Islamic tiles, painted with a stylised flower stem in shades of blue, green, aubergine and yellow on a white ground, and a pair of William De Morgan Merton Abbey Persian Flowers tiles, impressed marks, £300-400 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 125 plate 171 for this design illustrated.

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Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 147 figure 742-743 for the original design of the Persian Leaf design

11. A William De Morgan ruby lustre tile, painted with an eagle and serpent on a scrolling foliage ground, a William De Morgan ruby lustre Comical Bird tile and another William De Morgan ruby lustre tile painted marks to one, small chip to corner of eagle tile, 15cm square £500-1,000

12. Two William De Morgan large Persian Flowers tiles, painted in shades of blue and green, and three other William De Morgan tiles impressed marks, 20.5cm. square £150-250

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Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 152 figure 559 for the original design

13. A William De Morgan Mongolian twelve tile panel, painted in colours on a white ground, framed, 75 x 60cm, each tile 15.5cm. square £1,000-2,000 Provenance private collection

14. A William De Morgan Sands End Pottery tile designed by Halsey Ricardo, modelled in low relief with a leaping mythical beast in ruby lustre impressed mark 22.5cm. square £300-500 Literature Tiles by William De Morgan The Jon Catleugh Collection, Haslam & Whiteway, page 66 catalogue number 232 for a comparable tile William De Morgan Blackwell House, 2002, page 27 catalogue number 49 for a comparable tile 12

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15. An early William De Morgan Marabou Stork tile, painted in blue, framed minor rim chips, 15cm. square £200-400 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 128 figure 1035 for the original design

15 16. A fine pair of William De Morgan Sand’s End Pottery Chameleon tiles, painted in shades of green and blue on a white ground impressed marks, 15.5cm. square £6,000-10,000 Provenance Richard Dennis Gallery Stephen Wilcock Collection Literature Martin Greenwood The Designs of William De Morgan Richard Dennis Publications, page 126 plate 918 for the original design illustrated.

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TILES 17. ‘Encyclopaedia of British Art Pottery’ by Victoria Bergesen, and ten other books and pamphlets on Art Pottery and tiles, and a collection of books on design £50-100 17

18. A plaster panel of a winged cherub in the manner of Della Robbia, coloured red and ochre, framed unsigned 29 x 31cm. £100-200

19. An original watercolour on paper design for five tile panel, in the manner of Lewis F Day, simple blue flower stems, framed unsigned sheet 76 x 16cm. £100-200

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20. A large collection of tiles, including a Maw & Co ruby lustre tile designed by Lewis F Day, decorated with a heraldic lion, three Minton’s tile decorated with bird roundels in blue on a cream ground, two tiles printed with medieval sporting scenes, and a large collection of Minton Tiles designed by John Moyr Smith, various marks, damages 15.5cm. high £200-300

21. Six Craven Dunnill two tile panels of rare breed pigs, painted in a farm landscape, in colours impressed marks to reverse, damages 15.5cm. square tiles £100-200 Provenance Private collection 20

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24 22. A Prosser’s Patent Minton & Co tile designed by A.W.N Pugin, printed in pale blue with simple foliate panel, on a white ground, two other Minton’s tiles and two Maw & Co encaustic tiles impressed marks, minor rim chips, 15cm. square £100-200 23. A pair of Minton Hollins & Co tiles, handpainted with an simulated embroidered vase of stylised flowers, in colours, a Godwin four tile panel, and ten other tiles impressed marks, 15cm. square £100-200

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24. A Minton’s four tile planter with bronze frame the tiles designed by John Moyr Smith, each tile printed with Shakespearian Scenes in blue and brown on a white ground impressed marks, chip to inside 20cm. high £150-200 25. A Pilkington’s tile cast in low relief with a portrait of a Robert Baden Powell, in military dress, inside foliate border, glazed blue, another Two Pilkington’s tiles decorated with military leaders Lord Roberts and probably Ferdinand Foch, in blue and two glazed brown, cast P mark 15cm. square £100-200

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Provenance Private collection 26. A Minton’s encaustic tile designed by A.W.N Pugin for St Augustine’s Ramsgate, decorated with a black bird in a red shield, martlett emblem unsigned 15.5cm. square £150-200

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Literature Paul Atterbury and Clive Wainwright Pugin, V&A exhibition catalogue, page 146 plate 266 for this tile illustrated at St Augustine’s Ramsgate with the Martlett emblem, circa 1852.

27. A pair of Pilkington’s tiles designed by Lewis F Day, dust pressed with a flower spray in shades of blue and green on a cream ground impressed P mark 15cm. square £100-200 28. A Copeland encaustic tile, dust-pressed in low relief with a geometric foliate repeat in the manner of A.W.N Pugin, an Edward Hammond tile cast in low relief with a medieval musician playing pipes, and two Minton’s tiles designed by Dr Christopher Dresser impressed marks, damages 19.5cm. square £150-250

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29. ‘John Stanhope Arkwright’ a Godwin Encaustic commemorative tile, the round tile celebrating his 21st birthday, two Minton tiles designed by John Moyr Smith and five other tiles, impressed marks, 15.5cm. diam. £100-200 30. Two Minton’s Art Pottery Studio tiles designed by William Stephen Coleman, each painted with putti in a garden setting, in colours on a majolica turquoise ground impressed and printed marks, minor glaze loss 20cm. square £200-300 Literature Joan Jones Minton, The First Two Hundred Years of Design and Production, page 222 for a similar design.

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31 31. A Frieze of five Minton’s Aesthetic Movement tiles, printed with scaly fish swimming in turbulent waters, in blue on a white ground impressed marks, printed No.1829, one tile cracked and minor rim chips,, each tile 15cm. square £200-300 32. A large Copeland tile plaque painted with fairies in a landscape, the sun rising in the distance, painted in shades of blue on a white ground impressed marks, 60 x 29cm. £200-300 33. A Dunsmore Alice in Wonderland tile designed

by C.F.A Voysey, printed in colours with the Queen, on a speckled off white ground impressed marks, for Wooliscroft blank 15cm. square £100-200

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34. A set of six Minton’s Spirit of the Flowers tiles designed by C.O.Murray, printed in black on a cream ground with flower fairies impressed marks, 15cm. square £100-200 The complete set of twelve tiles were designed circa 1880.

35. A Carter’s Farmyard Series four tile panel designed by E.E. Stickland, model FY7, screen printed with ducks on a pond in colours impressed and painted marks, panel 30cm. square £200-300 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 169 this range illustrated.

36. A Dutch four tile Tulips and Carnations tile panel, possibly retailed by Morris & Co, painted with tulips and carnation flowers in aubergine on a blue and white ground, framed paper label to reverse each tile 13cm square, panel 27.5cm. square £300-400

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Provenance Peter Creffield Collection private collection Catalogue Notes retailed by Morris & Co these tiles were used by William Morris at Kelmscott Manor.

37. A four tile Tulips and Carnations panel, tin-glaze in shades of yellow and aubergine on a white ground, framed paper labels to reverse 13cm. square, panel 27.5cm. square £300-500 Provenance Peter Creffield Collection private collection Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page

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40 38. A Thomas Elsley tin glaze four tile panel probably retailed by Morris & Co, painted with flowers and foliage in shades of yellow, green and blue on a white ground, framed unsigned 15cm. square, panel 32.5cm. square £200-400 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 39. A Morris & Co Elsley twelve tile panel, tin-glazed tiles in shades of blue and green on a cream ground, framed, each tile 13cm. square £500-800 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 40. Eight tin-glaze tiles in the manner of Morris & Co, decorated with a bough of berried foliage in blue and yellow on a white ground, unsigned, minor rim chips, 15.5cm. square £50-100 41. Four William De Morgan Memland Hall tiles on Poole Pottery Architectural blanks designed by William Morris, painted in colours with foliate design in colours on a midnight blue ground, framed in two frames impressed marks, minor chips, each tile 15cm. square £500-700

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Catalogue Notes An example of the full panel design is held in the William Morris Gallery, catalogue number C.176, dated to 1876 Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 124 figure 221 for the full panel 43

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42. A Dutch Sunflower tin glaze tile designed by William Morris or William De Morgan, painted in shades of blue on an off white ground, and two Maw & Co tiles moulded in relief with radiating oak leaf and acorn design impressed marks to Maw tiles, glaze chips, 15.5cm. square £200-300 Provenance Private collection Literature Richard & Hilary Myers William Morris Tiles, Richard Dennis Publications, page 105 figure 165 for comparable tiles illustrated.

43. Five William De Morgan BBB tiles on Wedgwood blanks, painted in ruby lustre on a white ground impressed Portland Urn mark, minor chips, 15cm. square £100-200 44. A William De Morgan Persian four tile panel, painted with carnations in shades of aubergine, green, blue and turquoise on a white ground, framed, repair to one corner, 31cm. square £300-500

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Literature Jon Catleugh

45. A William De Morgan tree tile panel, painted with a fruiting lemon plant in a William De Morgan vase, in shades of green, yellow, blue and aubergine on a white ground, mounted on board each tile, minor glaze loss, 15.5cm. square £1,200-1,800 Literature William De Morgan Blackwell House, 2002, page 15 for an illustration of an incomplete example of this panel.

46. A rare set of four William De Morgan Sand’s End Pottery tiles, each impressed, hand carved and slip decorated with a seated lioness, covered in a green glaze impressed factory mark, minor glaze loss and chips 15.5cm. square £1,500-2,000 Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 149 figure 237 for a comparable tile decorated with a seated bear like creature.

47. An unusual William De Morgan Sand’s End Pottery six tile panel, painted with classical floral cornucoppia flanked by classical creatures, in colours on an aubergine and turquoise ground, framed impressed marks, tiles 20cm square, panel 70 x 49.5cm. £2,000-4,000 Catalogue Notes It is believed this panel may well be a special commission and thus is a unique design.

Provenance private collection

45 48. A rare William Dr Morgan Sand’s End Pottery tile, painted with a serpent in black on a blue ground impressed factory mark, tiny glaze chips, 15.5cm. square £1,500-2,000

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49. A University College London commemorative silver medal awarded to Evelyn Pickering, (Evelyn De Morgan), Drawing from Life class, 1st prize, dated 1874-75, 4cm. diam. £500-600

50. A fine Maw Jackfield charger, painted to the well with a galleon at full sail, another sailing into the distance, the rim a border of carnation flowers, in a rich ruby lustre on cream ground, the three hanging holes modelled as bearded mask, painted Camel MJ mark, chips to rim, 47cm. diam. £500-1,000

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Provenance J.G. Glendinning O.B.E. Fine Art Society

51. ‘William De Morgan 15th June18th June 1989’ Victoria & Albert Museum and ‘The Ceramics of William De Morgan’ 17th July-22nd December 2002 Blackwell House, two posters, framed, largest 80 x 54cm. £50-80

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52. A large William De Morgan bowl, painted to the exterior with a frieze of carnation flowers, in ruby lustre on a white ground, the interior ruby lustre with stylised flowerhead to the well, unsigned, hairline crack 33cm. diam. £300-500

53. A large earthenware bowl in the style of William De Morgan, the exterior painted with exotic leaf design in ruby on a white ground, the interior with a radiating sum motif and foliate tendrils, unmarked, minor damages and glaze faults 33cm. diam. £600-900

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54. A William De Morgan Fulham triple lustre rice plate, painted to the well with four leaping fish in ruby lustre, the rim five sailing ships at sea in golden lustre on a midnight blue ground painted W.D.M Fulham, repaired rim 23.5cm. high ÂŁ3,000-5,000 Literature William Gaunt & M D E Clayton Stamm-William De Morgan Studio Vista, page 112 plate 98 this plate illustrated.

Provenance The William E. Wiltshire Collection, Sotheby’s 18th November 1991, lot 93

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55. A William De Morgan wall plate, painted to the well with a carnation flower, the rim with scrolling flowers, in ruby lustre on a white ground Morris & Co paper label Hanover Square, damaged and stapled, 31cm. diam. ÂŁ400-600 Literature Rob Higgins and Christopher Stolbert Robinson William De Morgan Arts and Crafts Potter, Shire Press page 24 this label reproduced.

Exhibited A Sense of Place, William Morris, Blackwell House, 26th June-17 October 2010

56 56. A William De Morgan Pottery plate, painted with two eagles holding olive branches, in ruby lustre on a cream ground, the reverse with simple flower sprays unsigned 22cm. diam. ÂŁ800-1,200

57. A massive William De Morgan charger, painted to the well with a vase of flowers with scrolling foliage, the rim with a frieze of carnation flowers, glazed in shades of copper lustre, the reverse with scrolling foliage, professional restoration, 51.5cm. diam. ÂŁ2,500-3,500 57

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58. A William De Morgan Sand’s End Pottery double lustre vase,

by James Hersey, twin-handled form, painted with stylised flower and foliage panels in ruby and copper lustre impressed factory mark, painted monogram, 22cm. high £1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 239 plate 253 for a variation of this design in a polychrome colour.

59. A William De Morgan single-handled vase, ovoid with cylindrical neck, painted with scaly fish in shades of ruby lustre on a white ground, unsigned 19.5cm. high £2,000-3,000 Literature Christopher Robinson & Rob Higgins, William De Morgan Arts and Crafts Potter Shire, page 23 this actual vase illustrated.

The William E Wiltshire Collection Sotheby’s 18th November 1991 lot 5 for a charger decorated with similar fish

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60. A William De Morgan charger by Charles Passenger, painted with two figures, half-boy-half lion, offering up a bowl before a flaming pot, inside scrolling flower stems, in ruby lustre, painted CP monogram, hairline to rim, 36.5cm. diam. £1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 207 plate 23 this design illustrated.

61. A William De Morgan Sand’s End Pottery charger by Charles Passenger, painted with two winged lions, in ruby lustre and red on a white ground impressed marks, painted CP monogram, glaze loss to rim, 41cm diam. £4,000-6,000 61

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62. A William De Morgan vase by J S Babb, shouldered form, painted with flower stems in shades of aubergine, green and black on a turquoise ground painted JB monogram 20cm. high ÂŁ700-1,000 62

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63. A William De Morgan bottle vase the design attributed to Halsey Ricardo, ovoid with knopped cylindrical neck, painted with birds perched amongst scrolling foliage, in shades of blue, pink and green painted mark, painted H monogram, fine museum repair to neck, 32cm. high ÂŁ2,500-3,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis Publications, page 231 plate 208 for a comparable bottle vase.

64. A William De Morgan Persian bottle vase, ovoid with knopped, cylindrical neck, painted with stylised flowers and bird head motif, in pink, blue, green, and turquoise on a white ground impressed tulip mark, 20cm. high ÂŁ600-800 64

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65 66 67 65. A Burmantoft’s Faience Anglo Persian vase by Leonard King, pattern D.196, shouldered cylindrical form, painted with scrolling foliage in blue, turquoise and green on a white ground impressed and painted marks, small chips and glaze loss,, 16.5cm. high £100-200

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69 66. A Burmantoft’s Faience Anglo Persian vase by Leonard King, pattern D.292, compressed form with flaring cylindrical neck, painted with panels of stylised foliage in blue, pink and green on a white ground impressed and painted marks, small hairline to top rim, 14cm. high £100-200 67. A Burmantoft’s Faience Anglo Persian vase by Leonard King, pattern 2435, shouldered form with flaring cylindrical neck, painted with panels of stylised flowers and foliage in shades of blue, turquoise, green and aubergine on a white ground impressed and painted marks minor glaze loss, 14cm. high £100-200 68. A Burmantoft’s Faience Anglo Persian vase by Leonard King, pattern D.637, shouldered form with tapering cylindrical neck, painted with panels of stylised flowers and foliage in shades of blue, yellow, pink and green on a pale blue ground impressed and painted marks, minor glaze loss, 13cm. high £100-200 69. A Burmantoft’s Faience Anglo Persian vase by Leonard King, pattern 2117, shouldered form with flaring neck, painted with panels of foliage in shades of blue, turquoise, green and yellow on a white ground impressed and painted marks, 11cm. high £100-200 70. A Burmantoft’s Faience Anglo Persian vase designed by Leonard King, ovoid with flaring neck, painted with a band of flowers in shades of blue and green on a white ground, and two other Burmantoft’s Faience Anglo Persian vases impressed and painted marks 14.5cm. high £150-250 71. A large Burmantoft’s Faience Anglo Persian floor vase by Leonard King, model D.607, shouldered, cylindrical form with flaring neck, painted with a frieze of scrolling foliage in colours to neck and body, the shoulder with sunburst motif impressed marks, painted monogram, small hairline to top rim, 53cm. high £2,000-4,000

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DOULTON ART POTTERY 72. A Doulton Lambeth stoneware baluster vase by Mark V Marshall, dated 1880, incised Aesthetic Movement bands of decoration below applied fern fronds, in shades of green, blue and brown on a buff ground impressed and incised marks, professionally restored 36cm. high £300-500

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73. A large Doulton Lambeth stoneware vase by Eliza Simmance, slender baluster form with flaring neck, tubeline decorated with Art Nouveau flowers and foliage in mustard, blue and green on a mottled pale green ground impressed mark, incised monogram 42cm. high £500-800 74. A Doulton Lambeth Silicon Ware vase by John Broad and Mark V Marshall, baluster form, modelled in relief with birds to the body, the neck with flying birds, impasto decorated with flowers and foliage in white on a brown ground, impressed marks, incised marks, minor losses to high points 46cm.high £250-350 Literature Desmond Eyles, Doulton Lambeth Wares, Richard Dennis Publications, page 170 for a comparable example.

75. A pair of Doulton Lambeth vases by Frank Butler, dated 1876, shouldered form, incised with panels of stiff leaf foliage, the neck with scrolling seaweed and applied florets, glazed green, purple and brown, another solifleur vase by Edith Lupton and two gourd vases impressed and incised marks, restored 21.5cm. high £200-300

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76. A Doulton Burslem vase, shouldered, twin-handled form, painted with Persian flowers and foliage in colours on a cream ground impressed and painted marks, restored handles, 29cm. high £100-150

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77. A Doulton Lambeth stoneware ewer by Mark V Marshall, bellied form, incised with scrolling foliage, glazed in shades of green on a mottled green and white ground, and a Doulton Lambeth Carrara Ware vase by Mark V Marshall, impressed and incised marks, 23cm. high £200-300 Provenance British Art Pottery Woolley and Wallis, 26th November 2008, lot 16 private collection 78. A Doulton Lambeth stoneware jug by George Tinworth, dated 1878, tapering cylindrical form, incised with scrolling seaweed, with applied florets, in green on a brown ground impressed marks, incised monogram to side, 24cm. high £100-200

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79. A Doulton Lambeth stoneware puzzle jug by Arthur Barlow, dated 1874, the ovoid body incised with scrolling seaweed with applied florets, glazed blue, green and brown, and a Doulton Lambeth vase by Arthur Barlow, impressed and incised marks, restored 26cm. high £200-300

80. A Doulton Lambeth vase by Hannah Barlow, incised with a frieze of horses, between bands of slip decorated flowers and foliage, in shades of green, brown, blue and white, on a buff ground, impressed mark, incised monogram, professionally restored neck 27.5cm. high £150-250

81. A Doulton Lambeth stoneware ewer by Hannah Barlow, incised with a frieze of grazing sheep, between bands of stylised foliage, in shades of brown, blue and green on a buff ground impressed and incised marks, 32cm. high £200-300 80 two views

82. A Doulton Lambeth stoneware jug by Hannah Barlow, tapering, cylindrical form, incised with a chicken and chicks in a meadow, in brown on a buff ground impressed mark and incised monogram 26.5cm. high £200-300

83. A Doulton Lambeth stoneware Dragon vase, dated 1879, triple gourd form, applied with a dragon, incised with flower sprays, in blue, ochre and brown impressed marks, monogram, small chip to foot rim, 37cm. high £1,500-2,000

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84. A Royal Doulton stoneware vase by Elisa Simmance, baluster form, painted with Art Nouveau cornflowers, in shades of green and blue on a buff ground impressed and incised marks, 36cm. high £400-600

85. A Doulton Lambeth stoneware vase by Eliza Simmance, slender cylindrical form, painted with Art Nouveau foliate sprays on whiplash stems, in green and ochre on a blue ground impressed marks, incised monogram 38cm. high £400-600

86. A tall Royal Doulton stoneware vase by Vera Huggins, slender, shouldered form, incised in low relief with flower stems, in blue on a white ground, and a Doulton Lambeth Persian vase, impressed and incised marks, 38.5cm. high £150-250

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87. A Doulton Lambeth Faience wall charger, painted with floral sprays in colours on a pale lemon ground painted marks, 94 artist monogram, hairline to rim, 35cm. diam. £100-200

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88. A large Doulton Lambeth pottery charger, painted with a Cockatoo perched on a prunus bough, impressed mark, 48cm. diam. £150-200

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89. ‘Queen Victoria - Queen & Empress’ a Doulton Lambeth stoneware commemorative jug, modelled in low relief and glazed in colours, a Doulton Lambeth jug, a Doulton Silicon baluster vase and a bowl impressed and incised marks, main jug restored 18.5cm. high £200-300

90. A Royal Doulton box and cover, hexagonal, printed with bird and scrolling foliage panels in blue on a pearl lustre ground printed marks, hairline 14cm. high £50-100

91 91. ‘The Three Musketeers’ a Royal Doulton limited edition twinhandled vase designed by Charles Noke, moulded in low relief, painted in colours printed marks, number 267 of 600 25cm. high £100-200

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92. A pair of Royal Doulton painted porcelain plaques, the rectangular plaques painted with an oval portrait panel of a medieval couple, framed visible panel 11. x 8.5cm. £500-700

93. ‘The Birth of Printing 1476’ a rare twin-branch stoneware candlestick designed by Gilbert Bayes, made for Allied Newspaper’s Ltd Christmas 1935, modelled in low relief, glazed green impressed marks, 19cm. high Literature Louise Irvine & Paul Atterbury Gilbert Bayes Sculptor, Richard Dennis, page 163 for this design illustrated. £200-300

93

94. A Royal Doulton Chinese Jade model of a duck designed by Charles Noke, covered in a green streaked white glaze printed mark, painted Chinese and Noke signature 8.5cm. high £600-900

95. A Doulton Burslem Lucian Ware vase by W Slater, waisted form with solifleur neck, decorated with peony flowers in colours, highlighted in gilt, printed factory mark, 41cm. high £300-500 94

95

96. ‘Sylvia’ HN1478 a Royal Doulton figure, painted in colours printed and painted marks 27cm. high £100-200

97. ‘Nell Gwyn’ H.N.1887 a Royal Doulton figure, painted in colours printed and painted marks, 17.5cm. high £100-200 96

97

23

98. A Royal Doulton Flambe vase by Harry Nixon, shouldered form with collar rim, decorated with a band of pendulous fruiting grape vine, in green and red on a flambe red ground, highlighted in gilt printed factory mark, HN monogram 16cm. high £1,000-1,500 99. A Royal Doulton Sung Veined Flambe vase designed by Charles Noke, painted in shades of blue on a red flambe ground printed marks, Sung and painted FM monogram 18.5cm. high £250-300 100. A Royal Doulton Flambe bottle vase, covered in a black glazed speckled in orange another smaller, four flambe cups and saucers, a sugar basin, a fox and another vase printed marks, 20.5cm. high £200-300 100A. A Royal Doulton veined flambe vase designed by Charles Noke, ribbed, shouldered form, covered in a smoked purple and black glazed over rich red flambe, printed Doulton mark 19cm. high £300-400 101. A Bernard Moore flambe bowl, painted to the interior with flowers and foliage in red on a black ground printed Bernard Moore and JC monogram 26cm. diam. £500-700 102. A Bernard Moore flambe vase, shouldered, cylindrical form with collar rim, painted with birds flying past tree boughs in flambe red on a red ground Bernard Moore script mark, 24cm. high £100-200 103. A Bernard Moore Diakokan figure, covered in a red flambe glaze splashed in blue and yellow painted BM monogram 5.5cm. high £150-200 104. A Bernard Moore model of a rabbit, with applied eyes, covered in a blue glaze painted BM monogram 7cm. high £150-250

98

100 100A

99

101

24

102

103

104

MARTIN BROTHERS POTTERS

25

105. A photograph on wood of the Martin Brothers in the pottery, depicting Robert Wallace modelling in a bird, Edwin and Walter comparing pots, framed 29.5 x 21.5cm. (image) £200-300

106. A Martin Brothers stoneware tile, dated 1881, modelled in low relief with leaf and berry design, glazed green and ochre incised date to side 15.5cm. £200-300

107. A Martin Brothers stoneware tile, dated 1881, modelled in low relief with dandelion flower stems in green and blue on a brown ground incised date to side 15.5cm. high £200-300 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, figure 143 page 98 for comparable tiles 105 108. ‘Boobies, Boojums and Snarks The Ceramic Curiosities of the Martin Brothers 1880-1914’ a limited edition exhibition catalogue by Jordan Volpe Gallery £100-200

109. ‘Boobies, Boojums and Snarks The Ceramic Curiosities of the Martin Brothers 1880-1914’ a limited edition exhibition catalogue by Jordan Volpe Gallery £100-200

106

107

110. ‘A Catalogue of the Collection of Martinware Formed by Mr Frederick Nettlefold’ a reference book by Charles Beard, privately published with Waterlow & Sons Ltd, 1936 £200-300 Provenance Margaret Hope Middleton (bookplate) Private collection.

108

110

26

109

111. A Catalogue of the Collection Collection of Martinware Formed by Mr Frederick John Nettlefold, a reference book by Charles Beard, privately published with Waterlow & Sons Ltd, 1936, and a pair of Harriman Judd Collection catalogues Sotheby’s New York £150-250

111

112. A rare Martin Brothers stoneware spoon warmer by Robert Wallace Martin, dated 1882, modelled with gaping mouth and staring eyes, his ears pricked up to form a handle, glazed in shades of green and blue highlighted with white spots, incised Martin London & Southall, 5.9.1882, 17cm. high £15,000-20,000 Provenance British, Continental & American Decorative Arts, Phillips, 12th March 1991 lot 455 private collection The Harriman Judd Collection Part Two, Sotheby’s New York, 6th October 2001 lot 57.

27

114

113

115

113. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1884, swollen form, incised with classical figures beside a cornucopia, inside scrolling foliage, in blue on a mottled green ground incised 23.5.84 R W Martin & Bros London & Southall 18cm. high £200-400

114. A Martin Brothers stoneware vase by Robert Wallace Martin, slender solifleur form, incised decoration glazed brown, and a Martin Brothers singlehandled vase incised R W Martin London & Southall 12cm. high £150-250

115. A Martin Brothers stoneware Dragon vase by Robert Wallace Martin, dated 1890, ovoid with everted rim, incised with dragons perched amongst scrolling foliage, in shades of ochre and brown on a buff ground incised 3.1890 R W Martin London & Southall, small nick to top rim, 13cm. high £2,000-2,500

116 detail

116

116. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1882, bellied form, incised with a small bird perched on a bamboo stem, in green and blue on a brown ground, the thumb-press with painted signature and date, incised R W Martin London & Southall, 25cm. high £150-250

117. A Martin Brothers stoneware jug, bellied form, incised with spiky foliage in shades of brown and green on a buff ground incised Martin London & Southall 26cm. high £400-600 118 118. A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1880, simple bellied form, incised and modelled with flower stems, in yellow, green and brown on a buff ground incised 9.7.80 R W Martin London & Southall 19.5cm. high £200-300

117

119. Two Martin Brothers stoneware beakers, dated 1914, flaring cylindrical form, incised with birds flying and perched on boughs, in brown on a buff ground incised 11 1914 Martin Bros Southall, repaired damages, 9cm. high £300-500

119

28

120

120. A Martin Brothers stoneware solifleur vase, incised with a simple spray of wild flowers and foliage, glazed yellow and brown on a buff ground incised Martin Brothers, London 5-83 16.5cm. high £150-200

121. A Martin Brothers stoneware bird vase and cover by Robert Wallace Martin, dated 1898, modelled upright with sideways, knowing look, with large flat beak and claw feet, glazed in shades of blue, green, brown and buff incised Martin Bros London & Southall 9-1892 to base and 6-1892, flat, small chip to collar of cover 37cm. high ÂŁ30,000-40,000 Provenance Sotheby's London private collection

29

122. A Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, slender, shouldered vase, incised with fish amongst waterweed, in shades of ochre, blue and green incised 24.10.82 R.W.Martin London & Southall 26.5cm. high £400-600

123. A Martin Brothers stoneware fish salt, modelled with gaping mouth, glazed to interior blue, the exterior pale silvergrey incised Martinware Southall 10.5cm. wide £800-1,200

123

122

124. A Martin Brothers stoneware Aquatic solifleur vase, incised and painted with fish, jellyfish and snails amongst waterweed, in brown on a buff ground incised 3 92 Martin Bros, restored 13.5cm. high £700-1,000

124 two views

125. A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1879, shouldered form, incised with golden pheasants amongst grasses, in shades of green and blue, incised 344, 13.11.79 R W Martin London & Southall, 25cm. high £400-600

125

30

126

126. A Martin Brothers stoneware vase by Edwin & Walter Martin, dated 1903, incised and painted with slipper orchids, dragonflies and insects, in brown, highlighted in white 3-1903 Martin Bros London & Southall, professional restoration to inside of top rim, 24cm. high £500-1,000

127. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1891, the small bird modelled stood upright with forward looking with hooked beak, glazed in brown and green with a blue flashes to the wing and tail plumage head incised R.W.Martin & Bros London & Southall 11-91, the base Martin Bros London & Southall, head restored,hairline cracks to jar rim 18cm. high ÂŁ8,000-10,000

31

128. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1904, ovoid with swollen neck, incised groove decoration, covered in a mottled brown glaze, and a Martin Brothers jug incised 8-1904, Martin Bros London & Southall, hairline to base, 21cm. high £200-300

128

129

129. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, dated 1898, ribbed, ovoid form incised with fine veins, glazed brown incised 11-98 Martin Bros London 8.5cm. high £300-500

130. A Martin Brothers stoneware gourd vase by Edwin & Walter Martin, painted 1896, shouldered, ribbed form, painted in shades of green incised 2-96 Martin Bros London, 8.5cm. high £300-500

130

131

131. A Martin Brothers miniature stoneware gourd vase by Edwin & Walter Martin, shouldered form, incised with a spiral decoration, glazed brown 4-1906 Martin Bros London & Southall 6.5cm. high £200-300

132. A Martin Brothers stoneware gourd vase by Edwin and Walter Martin, covered in a mottled blue glaze incised Martin Bros Southall 10cm. high £500-800

133. A Martin Brothers stoneware miniature Gourd vase by Edwin & Walter Martin, shouldered, swollen form with incised decoration, glazed ochre and brown incised 1-99 Martin Bros London & Southall 6.5cm. high £300-500

132

32

133

Provenance AD Antiques private collection

134. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, modelled leaning slightly whilst staring forward, glazed in shades of blue and green with pink blush, on ebonised wood base, incised R W Martin & Bros Southall to head and base, professional restoration 23cm. high ÂŁ10,000-15,000

33

135 three views

135. A large Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1886, incised with fish, a ray and eels, in shades of green, ochre and brown, on hardwood stand incised R W Martin London & Southall 1.1886, top base and to rim, old repairs with rivets, 42cm. diam. ÂŁ4,000-6,000 136. A Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1882, ovoid with cylindrical neck, applied with swan head handles, incised with fish swimming below bull-rush, in ochre, blue and white incised 23.2.82 R W Martin London & Southall, minor professional restoration to the base rim, 23cm. high ÂŁ1,000-1,500

136

34

137. A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1906, with upright stance and staring eyes, glazed in shades of blue and green highlighted in aubergine, on ebonised wood stand, incised 30.6.1905 R W Martin & Bros London & Southall, to base and neck rim, small glaze chip to rim of body 28cm. high ÂŁ18,000-22,000 Provenance Laurence W.Hodson (1869-1933)

35

138. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1904, shouldered, square section, each side incised with a spider crab, in shades of brown on a buff ground incised 3-1904, Martin Bros London & Southall 6cm. high ÂŁ800-1,200

138 four sides

139. A rare Martin Brothers miniature Aquatic ewer by Edwin & Walter Martin, dated 1906, ovoid with loop handle, incised with two fish flanking an eel, in green, blue and aubergine, incised 8.1906 Martin Bros London & Southall 2cm. high ÂŁ1,000-1,500

139 both side

36

140. A Martin Brothers stoneware Viking jug by Robert Wallace Martin, modelled upright in fur coat, with bearded face and arms to side, glazed brown incised Martin Bros London & Southall, minor professional restoration to top and base rims 36cm. high £5,000-8,000 Literature The Harriman Judd Collection of British Art Pottery, Sotheby’s New York, 22nd January 2001 lot 271, page 111.

37

141 both sides

141. A large Martin Brothers stoneware cheese dish and cover by Robert Wallace Martin, dated 1884, the base incised with a frieze of stylised foliage, the dome cover with a frieze of ducks flying above a river, a heron wading amidst the bull rushes below, in shades of brown, aubergine and blue on a buff ground incised 12 84 R W Martin & Brothers London & Southall, small hairline to rim of cover 31cm. high ÂŁ4,000-6,000

142. A Martin Brothers stoneware Aquatic vase by Edwin & Walter Martin, dated 1906, slightly tapering, square section, modelled in low relief and incised with scaly fish, on an incised background, in shades of ochre and green incised 1-1906 Martin Bros London & Southall, professionally restored top rim, 26.5cm. high ÂŁ800-1,200

142 four sides

38

143. A fine Martin Brothers stoneware Bird vase, dated 1893, shouldered square section, incised to each side with a comical bird before grasses, in shades of ochre, green and blue incised 11-1893 Martin Bros London & Southall 23.5cm. high ÂŁ3,000-5,000

39

144

145

146

147

144. ‘Waste Not Want Not’ a Minton’s encaustic stoneware plaque designed by A.W.N Pugin, decorated with a wheel of radiating ears of corn, in blue and puce impressed 430 to reverse 34cm. diam. £500-1,000 145. A set of four Lahoche & Pannier plates retailed by L’Escalier de Cristal, two printed and painted with lobster motif, the other two with a hare motif, in colours inside a blue border printed factory mark 24cm. diam. £50-100 146. A Doulton Lambeth Persian charger, painted with a central radiating, flower design, inside radiating panels, the rim with flower roundels, in shades of blue, green and aubergine on a cream ground printed mark, 31cm. diam. £200-300

148

149

147. A Wedgwood Pottery footed bowl, in the manner of Alfred & Louise Powell, painted to the well with a stylised flowerhead, inside scrolling design in shades of green, purple and blue on a whit ground, the reverse with scroll design, impressed Wedgwood mark, 3DP 32cm. diam. £100-200 148. An Aesthetic Movement plate, painted to the well with a maiden portrait, inside autumnal foliage on a sky blue ground painted E s d to reverse 22.5cm. diam. £50-100 149. A Wileman & Co Faience vase designed by Frederick Rhead, tapering solifleur form, slip decorated with daisy flowers in yellow and ochre on a mottled blue/green ground, and another Wileman & Co Faience vase decorated with flowers printed marks, minor glaze loss 16cm. high £150-250

150

150. A Bailey & Co Fulham stoneware vase, shouldered baluster form, incised and painted with stylised flowers and foliage in blue and brown on a buff ground, a beaker vase, a Doulton vase and three other items impressed and incised marks, 22.5cm. high £150-250

151

152 mark

151. A portrait plate of John Milton by Lewis F Day, painted in blue and salmon pink, painted Lewis F Day 13 Mecklenburgh Square 31.5cm. square £100-150 152. A rare pair of Raphael and Dante portrait plaques by Lewis F Day, dated 1876, painted incised a border of laurel monogrammed and dated in blue to reverse one in half and re-stuck 29cm. diam. £150-250 Literature The Magazine of Art, 1878, page 179 these plaques mentioned in an article on painting on china Exhibited Howell & James, Regent Street 1878

152

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Provenance Private collection

153. A Sunflower Pottery vase by Sir Edmund Elton, shouldered form with cylindrical neck and everted, pinched rim, applied with three looped handles, slip decorated with flowers and foliage in ochre and green on a streaked blue and green ground painted Elton mark, small glaze chip re-stuck to top rim,30cm. high £100-200

154. A Sunflower Pottery vase designed by Sir Edmund Elton, shouldered form with flaring rim and lug handles, slip decorated with flower sprays in blue, green and brown on a streaked blue and green ground painted Elton mark, restored rim, glaze chip 30cm. high £100-200 153

154

155. A Sunflower Pottery Platinum glaze ewer by Sir Edmund Elton, compressed form with cut neck and loop handle, modelled in low relief with flowers and foliage, painted Elton mark 19cm. high £300-400

156 155 156. A Farnham Pottery ewer, shouldered form with short spout and overslung handle, incised in low relief with panels of pansies, covered in a green glaze incised TH monogram 16cm. high £100-150

157. An unusual Aldershot School of Art earthenware jug, by E M Martin, tapering cylindrical form decorated with four dancing maidens incised marks to base 25cm. high £100-200

157 158

158. A Compton Potter’s Art Guild plaque, cast in low relief with the crucified Christ child, coloured in green with gold highlights impressed mark, small nick to rim, 12.5 x 9cm. £50-100

159. A Compton Art Potters pilgrim bottle, cast seal mark, glazed green, a Compton Pottery frog and an archer book end impressed marks, chip to book end pilgrim bottle 11cm. high £200-300

159

159 detail

41

160. A Cantagalli Pottery architectural tile, domed rectangular form, cast in relief with the Madonna and Child, glazed in shades of green, blue and white impressed marks, 48cm. high £300-500 161. A Della Robbia Pottery wall plaque by Marianna De Caluwe, circular, modelled in low relief with the Christ Child, in blue and green on a cream ground, incised mark, artist monogram and exhibition paper label, firing crack to rim, 38cm. diam. £400-600 Exhibited Homes Arts and Industries Exhibition, undated, catalogue number 271 161

Literature Peter Hyland The Della Robbia Pottery, ACC, page 90, figures 90 and 91 this plaque illustrated.

162. A Della Robbia bottle vase by Liz Wilkins and John Cecil Shirley, incised with panels of mice perched on wheat, in shades of brown, yellow and green on a turquoise ground incised mark and Shirley, painted LW monogram, glaze flakes to top rim, 27cm. high £700-900

160

163. A Della Robbia Pottery twin-handled vase by Ruth Bare, incised and painted with Art Nouveau flowers, in shades of blue, green and yellow incised marks, RBB artist monogram, professionally restored rim, 28cm. high £300-500

162

164. A Della Robbia Pottery vase by AC, compressed form, incised and painted with Art Nouveau foliage and opium poppy seedheads, in green and yellow on a blue ground incised marks to base 12.5cm. high £150-250 165. A Della Robbia Pottery albarello vase

by Liz Wilkins, waisted cylindrical form with collar rim, incised with stylised foliate panels in yellow, green and red over cream ground incised marks, painted LW mark 19.5cm. high £300-500

163

164 166. A large Della Robbia charger by Gwendoline Buckler, copied from a design

by Aphra J Peirce, the well incised with the Madonna and child, the rim with angel roundels inside scrolling foliate wreath, in shades of green, yellow and brown on a terracotta ground incised marks, painted GEMB mark, minor professional restoration to rim, 48cm. diam. £1,000-2,000

165

42

166

Catalogue Notes Gwendoline Buckler was the eldest daughter of John Findlay Buckler, an Anglican clergyman (educated at Marlborough School). He moved from Somerset to Wallasey in the 1870s and by 1891 was rector at Bidston close to the Della Robbia factory in Birkenhead.

RUSKIN POTTERY 167. A large Ruskin Pottery high-fired stoneware vase, dated 1922, compressed form with tapering neck, covered in a sang de boeuf and speckled lavender glaze on a silver-grey ground, and four Radford items impressed marks, museum restored crack to body 28cm. high £600-800

168. A small Ruskin Pottery high-fired stoneware vase, shouldered form with cylindrical neck, covered in a pale lavender glaze, mint green speckles over sang de boeuf, the shoulder with white painted scissor mark 10.5cm. high £700-900

168 167

169. A Ruskin Pottery high-fired stoneware vase, dated 1933, twin-handled shouldered form, covered in a lavender glaze over sang de boeuf, with blue and green speckles impressed marks, £500-700

170. A Ruskin Pottery souffle glaze stoneware vase, slender baluster form with twin looped handles, covered in a streaked blue souffle glaze impressed WHT monogram mark, 33cm. high £400-600

169

170

171. A Ruskin Pottery high-fired stoneware baluster vase, dated 1932, covered in a streaked green and purple glazed over silver-white ground, with speckled orange patches, incised facsimile signature, impressed marks, 16.5cm. high £700-900

172. A Ruskin Pottery high-fired stoneware vase, shouldered form with collar rim, covered in a speckled mint green glaze with lavender splashes over silverwhite impressed marks, 14.5cm. high £500-800

171

172

43

PILKINGTON’S LANCASTRIAN

173 173A 173. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, compressed form, painted with a frieze of flowers and foliage in ruby and golden lustre, another vase, two Pilkington’s Lancastrian bowls and a charger decorated with a heraldic lion by William S Mycock, impressed and painted marks, restored, vase 16cm. wide £350-450 173A. A Pilkington's Royal Lancastrian vase by William S Mycock, dated 1928, shouldered form, painted with trailing clematis flowers in ruby lustre on a pale blue ground impressed and painted marks, artist cipher and date mark, 30cm. high £600-800

174

175

174. An early Pilkington’s Lancastrian vase, dated 1912, slender, ribbed form, covered in a opalescent feathered blue glaze, two compressed vases covered in a curdled blue glaze and two others with feathered glazes impressed marks, tallest 24.5cm. high £100-150 Literature A.J.Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis Publications page 34 plate XVII for comparable examples.

A Catalogue of the Lancastrian Pottery, Manchester City Art Galleries, page 32 catalogue numbers 24 and 37 for two comparable vases.

175. A Pilkington’s Lancastrian vase, compressed, ribbed form, covered in a running aubergine, green and blue glaze, and three other PIlkington’s items impressed marks, 16.5cm. high £150-250 176. A Pilkington’s Royal Lancastrian vase, compressed gourd form with knopped neck, painted in golden lustre with some scaly fish swimming amongst waterweed, the knopped neck with red lustre impressed marks to base 12cm. high £300-500

176 177

177. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, ovoid, painted with scaly fish between columns of waterweed, in copper and ruby lustre on a pale blue ground impressed marks, painted cipher and date mark, 11cm. high £300-500 178. A Pilkington’s Lancastrian vase by William S Mycock, dated 1918, shouldered, ovoid form with single-loop handle, inscribed with a Latin motto to shoulder, above a band of stiff leaf in golden lustre on a reed lustre ground impressed marks, painted cipher and date, small flat chip to underside of foot rim 11cm. high £500-600 179. A Pilkington’s Royal Lancastrian vase and cover by Gladys Rogers, painted with a grape vine frieze in orange and copper lustre on a rich red ground impressed marks, painted artist cipher, small glaze nicks 17cm. high £600-800

178 179

44

180. A Pilkington’s Lancastrian Pottery Sea Maiden vase designed by Walter Crane, painted by William S Mycock, ovoid with everted neck, painted with a classical female figure in a sailing boat, between bands of laurel and Greek Key, in golden lustre on a blue ground painted artist cypher WC Des cypher and impressed marks, paper label 27cm. high £5,000-7,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles Richard Dennis Publications, plate V page 9 for three examples of this vase in different colours.

45

181. A Pilkington’s Lancastrian vase by William Mycock, dated 1916, shouldered form, painted with tulip panels in ruby and copper lustre on a blue ground impressed marks painted cipher and date, restored top rim 17cm. high £200-300

182. A Pilkington’s Lancastrian vase by Richard Joyce, compressed ovoid form with tapering neck, painted with panels of single flower stems in ruby and copper lustre on a green ground impressed marks, painted artist cipher 12cm. high £500-800 182

181 183. A Pilkington’s Lancastrian vase by Gladys Rogers, dated 1910, beaker form, painted with a frieze of running stags between stylised trees, in gold and ruby lustre on a streaked pink and orange ground impressed marks, date mark and painted cipher 13cm. high £400-600 Provenance Pilkington’s Royal Lancastrian Pottery Exhibition 1980, Richard Dennis, catalogue number 208.

Private collection

184. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1918, shouldered form with solifleur neck, painted in golden lustre with a frieze of stags walking between trees, on an sand ground impressed mark, painted cipher and date mark 24cm. high £600-1,000 183

184

185. A Pilkington’s Lancastrian vase and cover by William S Mycock, dated 1907, slender, shouldered form, painted with scrolling Tudor rose with entwined heart-shaped foliage, in gold lustre on a red ground, impressed marks, painted monogram impressed VII for 1907, fine hairlines to top rim, 15.5cm. high £500-700

186. A Pilkington’s Royal Lancastrian vase by William S Mycock, dated 1925, slender baluster form, painted with an exotic bird on scrolling flowering foliage, in golden and ruby lustre on a blue ground impressed mark, painted monogram and date 20cm. high £400-600

185

46

186

187. A Pilkington’s Lancastrian twin-handled vase by William S Mycock, dated 1913, shouldered form painted with heraldic fleur de lys and Maltese cross on a shield, in ruby and copper lustre on a blue lustre ground, inscribed Pro Patria in gold impressed marks, painted artist cipher and date code 21,5cm. high £1,200-1,800 187

188. A large Pilkington’s Lancastrian ginger jar and cover by William S Mycock, dated 1914, painted with a galleon at full sail, the reverse with a heraldic shield and inscription Theu Quantom Fati Parva Tabella Vehij, below a Greek Key border, in golden lustre on a deep blue lustre ground, impressed mark, painted artist cipher and date code 24cm. high £2,500-3,500

188

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MOORCROFT POTTERY 189. A Moorcroft Pottery vase designed by William Moorcroft for retail by Liberty & Co, twin-handled form, painted with simple daisy flower stems in shades of yellow, blue and green on a celadon ground painted green facsimile signature, printed mark, chip to top rim 12.5cm. high £300-500

189

190 190. A Moorcroft Pottery Florian Ware vase by William Moorcroft, compressed form with flaring neck and everted, fluted rim, painted with stylised flowers in blue, green and yellow on a celadon ground, painted green facsimile signature minor professional restoration to top rim 9cm. high £300-500

192

191

191. A Macintyre Pottery bowl designed by William Moorcroft, painted with panels of roses and yellow flowers below a frieze of foliate panels in pink, green and blue on a celadon ground painted green facsimile signature, impressed number, professionally restored chip to foot rim 25cm. diam. £700-900

192. ‘Peacock Feathers’ a James Macintyre Florian Ware twin-handled vase designed by William Moorcroft, painted in shades of green, yellow and blue on a pale blue ground printed mark painted green facsimile signature, minor professional restoration to top rim 12.5cm. high £400-600

193. ‘Poppy’ a tall James Macintyre & Co Florian Ware tyg designed by William Moorcroft, painted in shades of blue and green on a white ground, printed mark, painted facsimile green signature, restored handles, 25.5cm. high £1,500-2,000

193

48

194. ‘Cornflower’ a Moorcroft lustre vase designed by William Moorcroft, in shades of blue, green and yellow painted green facsimile signature 10.5cm. high £1,500-2,000

195. Pansy’ a James Macintyre vase designed by William Moorcroft, ovoid with knopped neck, painted in shades of yellow, pink, purple and green on a white ground printed mark, painted green facsimile signature 11.5cm. high £700-1,000

194

196. ‘Claremont’ a rare Moorcroft Pottery teapot and sugar basin designed by William Moorcroft, made for retail by Shreeve & Co San Francisco, painted in shades of red and blue on a streaked celadon ground painted green Shreeve & Company and facsimile signature, professional restoration, teapot 17cm. high £2,000-3,000 Literature Paul Atterbury Moorcroft Pottery 1897-1993, Richard Dennis Publications, page 92 plate 2 for a comparable silver mounted teapot

195

196

49

197. ‘Honesty’ a James Macintyre Florian Ware jardiniere designed by William Moorcroft, swollen cylindrical form with fluted rim, painted in shades of blue printed factory mark, painted green signature 18.5cm. high £500-1,000

198. ‘Lilac’ a James Macintyre & Co Florian Ware vase designed

by William Moorcroft, shouldered form with everted rim, painted in shades of blue, highlighted in yellow and pale flambe red on a pale blue ground printed factory mark, painted green facsimile signature 20cm. high £1,500-2,000 197 198 199. ‘Daisy’ a James Macintyre Florian Ware vase designed by William Moorcroft, waisted form with everted rim and four handles, painted in shades of green, yellow and blue on a pale blue ground printed mark, painted facsimile signature 12cm. high £1,600-1,800

200. ‘Honesty’ a Moorcroft Pottery vase by William Moorcroft, ovoid with waisted neck, painted with two bands of stylised honesty seedheads in shades of blue, green and yellow on a cream ground impressed marks, painted blue ground 16.5cm. high £500-700

199 200

Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 120 plates 1 and 2 for comparable Honesty designs.

201. ‘Cornflower’ a James Macintyre & Co Florian Ware vase designed by William Moorcroft, waisted cylindrical form, painted in shades of blue, green and yellow on a white ground printed mark, painted facsimile signature 20.5cm. high £2,000-3,000

202 202. ‘Cornflower’ a James Macintyre Florian Ware vase designed

by William Moorcroft, painted in shades of blue and green on a white ground printed marks, painted green facsimile signature 11.5cm. high £300-500

201

203. ‘Flambe Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, twin-handled urn form, covered in a mottled red flambe glaze impressed marks, painted blue signature, restored handle 22cm. high £500-800

204. ‘Fish’ a Moorcroft Pottery vase designed by William Moorcroft, slender, shouldered form, tubeline decorated with a scaly fish, in green and blue on a celadon ground impressed marks, painted blue facsimile signature 28.5cm. high £1,200-1,800

203

50

204

205. ‘Flambe Landscape’ a rare Moorcroft Pottery vase designed

by William Moorcroft, baluster form, painted in yellow and blue under a flambe glaze impressed and painted blue facsimile signature 30cm. high £6,000-8,000 Literature Paul Atterbury Moorcroft Pottery Richard Dennis Publications, figure 2 page 95 this actual vase illustrated.

205

206. ‘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 £1,000-2,000 206

51

207. ‘Moonlit Blue Pansy’ a rare Moorcroft Pottery vase designed by William Moorcroft, painted in shades of blue and green impressed mark, painted green signature, minor professional restoration to top rim, 22cm. high £400-600 Provenance Richard Dennis Gallery Private collection

207

208

208. ‘Powder Blue Cornflower’ a Moorcroft Pottery vase designed by William Moorcroft, painted in shades of blue on a powder blue ground impressed mark, painted blue facsimile signature 25cm. high £600-1,000

209. ‘Moonlit Blue’ a Moorcroft Pottery vase designed by William Moorcroft, with Liberty Tudric Pewter foot, painted in shades of blue and green on a blue ground stamped marks, professionally restored 29.5cm. high £1,500-2,000

209

210

210. ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, flaring cylindrical form, painted in shades of green, purple and yellow on a blue ground impressed marks, painted green facsimile signature 26cm. high £200-300

211

52

211. ‘Eventide’ a Moorcroft Pottery plate with Tudric Pewter rim designed by William Moorcroft, made for retail by Liberty & Co, painted in shades of sand, green and flambe red impressed marks, stamped Tudric mark, 28cm. diam. £2,000-2,500

212

213

214

215

212. ‘Wisteria’ a Moorcroft Pottery tazza with Liberty Tudric Pewter foot designed

by William Moorcroft, painted in colours on a blue ground stamped marks, 25cm. diam. £100-200 213. ‘Pansy’ a Moorcroft Pottery bowl with Tudric Pewter foot designed by William Moorcroft, painted in colours on a blue ground stamped marks, Moorcroft Tudric 01311 26cm. diam. £250-300 216 two views 214. ‘Pomegranate’ a Moorcroft Pottery bowl designed by William De Morgan, painted in colours on a blue ground impressed marks, painted green facsimile signature, small nick to top rim 18.5cm. diam. £100-150 215. ‘Pomegranate’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form with everted rim, painted in colours on a mottled green and blue ground impressed marks, painted facsimile signature 21.5cm. high £200-300 216. ‘Spanish’ a Moorcroft Pottery twinhandled comport designed by William Moorcroft, painted in shades of pink, purple, and ochre on a mottled green ground impressed marks, 29.5cm. wide, 15.5cm. high £1,200-1,500

217 two views

217. ‘Spanish’ A Moorcroft cup and saucer designed by William Moorcroft, painted in shades of pink, sand and blue on a green ground, painted green facsimile monogram £500-700 218. ‘Frilled and Slipper Orchids’ a Moorcroft plate, painted in colours on a white ground painted blue signature 19cm. diam. £100-200 219. ‘Frilled and Slipper Orchids’ a Moorcroft Pottery vase, shouldered form, painted in colours on a green ground impressed marks, painted blue facsimile signature 24cm. high £250-300

218

219

53

220. ‘Wisteria’ a Moorcroft Pottery bowl with Liberty English Pewter foot, designed by William Moorcroft, painted in colours on a blue ground impressed marks, painted blue facsimile signature, stamped marks to pewter 17.5cm. diam. £150-200

221. ‘Flag Iris’ a Moorcroft Pottery lamp base designed by William Moorcroft, shouldered and footed cylindrical form, painted in colours on a blue ground, impressed marks, painted green signature 21.5cm. high £100-200

221

220

222. ‘Anemone’ a Moorcroft Pottery vase, ovoid with collar rim, painted in colours on a blue ground impressed marks, painted blue signature 21cm. high £150-250

223. ‘Pansy’ a Moorcroft Pottery vase designed by William Moorcroft, slender baluster form with everted rim, painted in shades of pink, purple and green on a blue ground impressed marks, painted blue facsimile signature, professionally restored base rim, 27cm. high £300-500

224. ‘Pansy’ a Moorcroft Pottery bowl and cover, painted in colours on a blue ground, an ‘Orchid’ jug and a ‘Leaf and Berry’ jug impressed marks and painted blue facsimile signature, hairlines, 8.5cm. high £300-500 222 223

225. ‘Clematis’ a Moorcroft Pottery vase designed by Walter Moorcroft, painted in colours on a pale green ground impressed marks, painted green signature 15.5cm. high £100-150

226. ‘Violet’ a Moorcroft Pottery clock designed by Sally Tuffin, painted in shades of pink, purple and green on a dark blue ground impressed marks, 16cm. high £100-200 224

227. ‘Freesia’ a Moorcroft cylindrical vase designed by William Moorcroft, painted in colours on a blue ground, a ‘Springflowers’ urn shaped vase and an ‘Anemone’ basin impressed marks, 8cm. high £200-400

228. A modern Moorcroft Pottery vase, shouldered form tubeline decorated with exotic flowers and foliage in colours on a graduated green ground, and two other modern Moorcroft vases impressed and painted marks, 21cm. high £200-300

229. ‘Carp a Moorcroft Pottery charger designed by Sally Tuffin, painted in colours on a celadon ground impressed and painted marks to reverse 35cm. diam. £200-300 226

225

54

227

Provenance Gifts for Good Children Christie’s Education, 9.12.91

228

229

MINTON'S SECESSIONIST 230. A Minton’s Secessionist vase designed by Leon Solon and John Wadsworth, shouldered form with everted rim, painted with Art Nouveau tree design in shades of purple, green and blue printed marks, 22.5cm. high £100-150 231. A Minton’s Secessionist vase designed by Leon Solon and John Wadsworth, shouldered form with everted rim, painted with Art Nouveau tree design in shades of mustard, green and blue printed marks, 22.5cm. high £100-150 232. A Minton Secessionist vase designed by Leon Solon and John Wadsworth, swollen cylindrical form with everted rim, painted with Art Nouveau trees in blue, purple and green on a white ground printed factory marks, 22.5cm. high £200-400

230

231

232

233

233. A Minton’s Secessionist vase designed by Leon Solon and John Wadsworth, waisted cylindrical form with applied handles, slip decorated with Art Nouveau tree design in green and yellow on a red ground printed marks, 17cm. high £100-150 234. A pair of Minton Secessionist candlesticks designed by Leon Solon and John Wadsworth, painted with flowers in shades of green, ochre and red, with factory holes for electricity, and a Minton’s Secessionist vase printed marks, hairline to one 16.5cm. high £150-250 Literature Joan Jones Minton The First 200 Years, Swan Hill Press page 248 for a similar candlestick illustrated.

235. A Minton’s Secessionist wall plate designed by Leon Solon and John Wadsworth, slip decorated with pendulous Art Nouveau flowers in green, cream and ochre on a red ground, and two Minton’s Secessionist plates impressed and printed marks, 25.5cm. diam. £100-150 236. A pair of Minton’s Secessionist vases designed by Leon Solon and John Wadsworth, shouldered form, painted with Art Nouveau swag design in shades of green and red printed marks, 32cm. high £150-200 Literature Joan Jones Minton The First 200 Years, Swan Hill Press page 246 for a pair of similar vases.

234

235

236

55

237. No Lot 238. A Wedgwood Pottery plate by Therese Lessore, painted in blue with a washerwoman scrubbing, impressed marks, painted artist cipher 22cm. diam. £200-300 Literature Maureen Batkin, Wedgwood Ceramics 18461959, Richard Dennis Publications, page 151 plate 365 for comparable examples illustrated.

238 239

239. A pair of Wedgwood vases, in the manner of Alfred and Louise Powell, shouldered, cylindrical form, painted with a flowering tree, in pink, yellow and green on a midnight blue ground impressed Wedgwood mark, painted LG artist cipher, damages 38.5cm. high £100-200 240. Two Wedgwood earthenware plates, painted with fish swimming in whirlpools, in blue and silver lustre on a white Moonstone glaze, four similar plates decorated in pink and silver with a simple flower spray and two others impressed and painted marks, 23cm. diam. £150-200 241. A Wedgwood Pottery part service by Alfred Powell, the jug and cover painted in pink lustre with a stag running in a mountainous landscape, the reverse with a deer standing alert, the rest with deer vignette, comprising covered jug, sugar basin, cake plate, two cups, saucers and side plates and a sandwich plate, impressed marks, painted artist cipher, minor damages, covered jug 15cm. high £200-400 Literature Maureen Batkin, Wedgwood Ceramics 18461959 Richard Dennis Publications, page 148 plate 355 for similar designs.

240

241 241 reverse

56

242 inside 242 label

242. A fine Wedgwood bowl painted by Alfred Powell, the interior painted with rooks nesting in a tree, the exterior with buildings in a landscape, with footbridges in the foreground, in colours impressed marks, painted artist monogram and 756, exhibition label 35.5cm. diam. ÂŁ1,000-2,000 Exhibited Crafts of the Cotswolds Exhibition, Cheltenham, 1951, catalogue number 285 Provenance Mr H. K. Gimson (Humphrey Kitson Gimson was nephew of Ernest Alfred Gimson).

Private collection Literature Maureen Batkin Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 148 plate 353 for a comparable Rookery scene.

The Harriman Judd Collection of British Art Pottery, January 22 2001, lot 415 for the above bowl.

57

A PRIVATE COLLECTION OF FAIRYLAND LUSTRE BY DAISY MAKEIG-JONES 243. A Wedgwood Fairyland Lustre Lily Tray designed by Daisy Makeig-Jones, decorated in the ‘Fairy Gondola’ pattern, printed and painted in colours, highlighted in gilt printed factory mark, 33cm. diam. £3,000-4,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 117 plate 21 for this design.

243

Provenance private collection

244. A Wedgwood Fairyland lustre Chalice bowl designed by Daisy Makeig-Jones, decorated to the interior in the ‘Fairy Gondola’ pattern, the exterior in the ‘Twyford Garlands’ pattern, printed marks, 27cm. diam. £2,000-3,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 117 plate 21 for a comparable example.

244

Provenance private collection

245. A Wedgwood Fairyland lustre Octagon bowl designed by Daisy Makeig-Jones, decorated with the ‘Running Figures pattern, the exterior in the ‘Geisha’ or ‘Angels’ pattern, printed and painted in colours, highlighted in gilt printed factory mark, 16cm. diam . £1,000-2,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 148 plate 31 for a comparable example.

245

58

Provenance private collection

246. A Wedgwood Fairyland lustre Imperial bowl designed by Daisy MakeigJones, the interior in the ‘Elves and Bell Branch’ pattern, the exterior in the ‘Poplar Trees’ pattern, printed and painted in colours highlighted in gilt printed factory marks, 23cm. diam. £1,500-2,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 116 plate 20 for a comparable example.

246

Provenance private collection

247. A Wedgwood Fairyland lustre K’ang H’si bowl designed by Daisy MakeigJones, the interior decorated in the ‘Garden of Paradise’ pattern, the exterior in the ‘Woodland Bridge’ pattern, printed and painted in colours, highlighted in gilt printed factory mark, 18cm. diam. £1,000-2,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 123 figure 43 this design illustrated.

247

Provenance private collection

248. An unusual Wedgwood Fairyland lustre Lincoln plate designed by Daisy Makeig Jones, decorated to the well with the Roc Centre pattern enamelled in colours and highlighted in gilt, the rim printed in blue with rose flowers and foliage printed and painted marks, W.559, 27cm. diam. £1,800-2,200 Literature Una Des Fontaines Wedgwood Fairyland Lustre Sotheby’s Park Bernet, plate 50 page 215 for a comparable plate

248

59

249. A Wedgwood Fairyland lustre vase designed by Daisy Makeig-Jones, decorated in the ‘Flame Daventry’ pattern, printed and painted in colours, highlighted in gilt printed mark, 20.5cm. high £1,500-2,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 253 plate 66 for a comparable example.

Provenance private collection

249

250. A Wedgwood Fairyland Lustre vase and cover designed by Daisy Makeig Jones, shape no.2046, decorated in the Candlemas pattern, in colours, highlighted in gilt printed factory mark, 22.5cm. high £4,000-5,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre Sotheby’s Park Bernet, plate 37 page 168 for a variation of this design illustrated.

250

60

251. ‘The Coronation of Queen Elizabeth II 1953’ a Wedgwood commemorative mug from the design by Eric Ravilious, printed in colours, and a Wedgwood Sporting mug designed by Richard Guyatt printed factory marks, 10.5cm. high £200-300 252. A Wedgwood Garden part dinner service designed by Eric Ravilious, printed with a woman reading in a deck chair and a gardener resting under an arbour, in yellow and black, comprising four soup bowls and six dinner plates printed marks, 25.5cm. diam. £100-200

251 252

253. A Wedgwood Pottery sea lion designed

by John Skeaping, covered in a celadon glaze, impressed marks, 21cm. wide £200-300 Literature Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis Publications, page 188 colour plate XLVIII for a comparable sculpture 254. A Wedgwood Pottery model of a Kangroo designed by John Skeaping, covered in a celadon glaze impressed Wedgwood , J.Skeaping marks 22cm. wide £100-150

254

253

255. A Hancock & Sons Morrisware vase designed by George Cartlidge, pattern C3-13, slip decorated with cornflowers in purple and green on a streaked blue ground printed marks, painted facsimile signature 18cm. high £300-500 256. A Gwendoline Parnell Chelsea figure of a lady in medieval dress, on wooden with glass casing, pencil annotations to base figure 24.5cm. high £100-200 257. A pair of Late Mayers Glasgow School plates designed by George Logan, printed in blue and yellow with Art Nouveau flower repeat, a Peacock coffee can, saucer and sugar bowl, a Continental Art Nouveau bust, a Brannam Pottery vase, a Gustavsberg Argenta plate and two other items printed marks, minor damages 20cm. diam. £100-150

255

256

258. A Wood & Sons Elers Ware vase designed

by Frederick Rhead, tubeline decorated with pendulous Art Nouveau flowers, in green and sand, highlighted with white, a pair of spill vases similar and a pair of Elers Ware spill vases on a white ground printed factory marks, 27.5cm. high £100-150

257 part

259. A pottery seated black cat, modelled wearing a neck tie, printed details, applied green glass eyes apparently unmarked 33cm. high £100-200

257 part

258

259

61

260. A Royal Cauldron charger designed by Frederick Rhead, painted with a phoenix, in shades of coral red on a yellow, blue and green ground impressed and printed marks, drilled hanging hole, 43cm. diam. £200-300 261. A Crown Ducal Tudor Rose charger designed by Charlotte Rhead, pattern 4491, painted in shades of orange, green and gold lustre, on a cream ground, another decorated with a roundel of orange and foliage, two other chargers and five other items printed marks, facsimile signature 36cm. diam. £200-400 262. A Shelley Eve shape coffee set for four, pattern 11739, printed and painted in orange and silver with simple flower stems, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers, and a Shelley Silver Sage part tea set for six comprising milk-jug and sugar basin, six cups and saucers, printed and painted marks, hairline to spout, coffee pot 18cm. high £200-400

260 261

263. A Royal Worcester Art Deco cased coffee set for six, pattern 1086, printed in gilt and enamelled in coral with stylised flower design, comprising, six cups and saucers and six enamelled silver spoons, printed marks, spoons hallmarked saucers 9.5cm. diam. £300-500 264. A Burleigh Ware Edward VIII coronation mug designed by Dame Laura Knight, the handle modelled as a lion, printed and painted design, two others, a Shelley Mabel Lucie Attwell beaker, an Old Bill plate and four other items printed marks, damages, mugs 8cm. high £100-200

262

265. A Gray’s Pottery large plate, with fluted rim, painted with bell flowers in colours, the rim highlighted in platinum on a pale blue ground printed mark, 31cm. diam. £100-200 266. A pair of Gray’s Pottery vases, pattern A.628, waisted cylindrical form, painted with stylised flowers and foliage in colours on a cream ground, the rim painted orange, printed clipper mark, 24cm. high £100-200 263

267. A set of three Gray’s Pottery graduated jugs by Hilda, pattern A11663, painted with stylised flowers in green, grey and black on a cream ground printed clipper mark, painted numbers, signed Hilda to side tallest 12cm. high £100-150 268. A Gray’s Pottery Gloria Lustre bowl designed by Susie Cooper, painted to the well with a flying exotic bird, inside a border of flowers, in golden lustre on a pearl ground, the exterior with simple geometric columns, and a Gloria Lustre bowl decorated with a stylised flowerhead

by Susie Cooper printed and painted marks, 20.5cm. high £100-200

264

265

268 267

62

266

269. A Susie Cooper Productions Curlew coffee set for six designed by Susie Cooper, painted with a seedhead design in blue and green, highlighted in platinum, comprising coffee pot and cover, milk-jug and sugar basin, six cups and saucers printed factory marks, 20cm. high £300-500

270. A large Richard Parkinson Pottery model of a Judge designed by Susan Parkinson, model no.87, glazed in shades of blue unsigned 32cm. high £800-1,200 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson & The Richard Parkinson Pottery, published by the authors, page 55 this model illustrated. The judge was first introduced for the American market - one of a series of busts linked by the theme of wigs.

269

271. A Richard Parkinson Pottery model of an owl, designed by Susan Parkinson, glazed in olive green with scratched feathers unsigned 21cm. high £100-200 Literature Carol Cashmore and Tim Smith-Vincent Susan Parkinson & The Richard Parkinson Pottery, author published, page 22 for a comparable owl

272. A Poole Pottery Studio charger, painted with a landscape in colours, a modern Poole Pottery Studio charger by S Pottinger and two other Poole Pottery items printed factory marks, 35cm. diam. £100-150 270

Provenance The Nick Rocke Collection

271

272A. A Carn Pottery vase modelled in relief with an owl, glazed white and blue, another modelled with a cat, three other vases, and a collection of Bernard Rooke pottery printed marks, 15cm. high, £100-200

273. An Old Tree stoneware erotic sculpture by Guy Sydenham, glazed, incised marks to base 24cm. high £100-150 Provenance Given by Guy Sydenham to the vendor. Inspired by the poetry of Skylark Durston Guy Sydenham produced his own poem about an old oak tree, and produced sculptures of the oak tree.

272A

272 part

273 two views

63

CLARICE CLIFF 274. A pair of Clarice Cliff Bizarre book ends, shape no.406, cast in low relief with flowers, painted in shades of red, blue, yellow and black, two Clarice Cliff jugs and three other Clarice Cliff items printed factory marks, 16cm. high £300-400 274

275. ‘House and Bridge’ a Clarice Cliff bowl, painted in colours inside yellow, orange and black bands printed marks, 26cm. diam. £300-500

275

276. A Clarice Cliff Bizarre part service designed by William Robbins for the 1934 Art in Industry Exhibition, printed to the rim with leaping dolphins, comprising two long serving trays, two sauce boats and eight plates printed marks, 59cm. wide £200-300 276

277 277. ‘Stroud’ a Clarice Cliff Bizarre Conical tea set for four, painted in colours, comprising; milkjug and sugar basin, four cups, saucers, side plates and a sandwich plate printed marks, conical jug 11.5cm. high £150-250

278. ‘Original Bizarre’ a Clarice Cliff tankard coffee set for six, painted with triangles in purple and green, outlined in brown, comprising coffee pot and cover, six cans and saucers printed factory marks, wear, finial re-stuck, 19cm. high £200-400

278

279. ‘Honeydew’ a Clarice Cliff Bizarre Trieste tea for two, painted in colours printed factory marks damages to pot and one saucer teapot 13cm. high £150-200

279

280. ‘Original Bizarre’ a Clarice Cliff Dover jardiniere, painted with yellow diamonds inside red, outlined in green between blue borders a Crocus Beehive honey pot and six other items printed marks, £200-300

281. ‘Circle Tree’ a Clarice Cliff Fantasque Bizarre Globe teapot and cover, painted in colours printed factory mark, minor professional restoration to spout 10.5cm. high £200-300

64

280

281

282. ‘Limberlost’ a Clarice Cliff Bizarre Biarritz plate, painted in colours printed factory marks, 16.5cm. wide £100-200

283. ‘Limberlost’ a Clarice Cliff Fantasque Bizarre Stamford teapot and cover, painted in colours, a sugar basin and a Conical milk-jug in the same pattern printed factory marks, professional restoration, 12cm. high £400-600

283

282

284

284. ‘Limberlost’ a Clarice Cliff Bizarre four piece table centrepiece, comprising two troughs and two cube candlesticks, painted in colours printed factory marks, troughs 25.5cm. wide £250-350

284 detail 285. ‘Rhodanthe’ a Clarice Cliff Bizarre Biarritz plate, dated 1935, painted in colours, a ‘Viscaria’ Biarritz plate and an ‘Aurea’ plate printed factory marks, 16.5cm. wide £150-200

285 286. ‘Orange Gardenia’ and ‘Melon’ two Clarice Cliff Bizarre octagonal serving bowls, painted in colours printed marks, 23cm. diam. £200-300

286

287. ‘Orange Roof Cottage’ a Clarice Cliff Fantasque Bizarre octagonal serving bowl, dated 1932, painted with a repeat border in colours printed factory marks, impressed date 23cm. diam. £100-200

288. ‘Pine Grove’ a Clarice Cliff octagonal serving bowl, dated 1936, painted in colours, and two Clarice Cliff Original Bizarre octagonal serving bowls printed factory marks, 23cm. diam. £100-200

287 288

65

290

289 289. ‘Crocus’ a Clarice Cliff Bizarre Conical sugar sifter, painted in colours between brown and yellow bands, two other Crocus Conical sugar sifters and a plate various marks, 14cm. high £200-300

290. A Clarice Cliff Toby jug, painted in colours, and a pair of smaller Toby salts printed marks, one salt repaired toby 17cm. high £50-100

291. ‘Blue Japan’ a Clarice Cliff Bizarre vase, cylindrical form, painted in colours printed factory marks, 12.5cm. high £100-200

291

292 292. ‘Inspiration Rose’ a Clarice Cliff Bizarre vase, shape 200, the triangular section vase painted in shades of blue, brown, pink and orange on a turquoise ground printed marks, professionally restored top rim, 19cm. high £500-800

293. ‘Farmhouse’ a Clarice Cliff Fantasque Bizarre plate, painted in colours inside yellow, orange and black bands printed factory mark 22.5cm. diam. £150-200

294. ‘Coral Firs’ a Clarice Cliff Bizarre vase shape no.566, painted in colours between yellow and brown bands, printed factory mark, 16cm. high £100-200

66

293

294

STUDIO POTTERY

67

295. Eight books on studio pottery, including ‘Pottery In Britain Today’ by Michael Casson £50-100

‡ 296. Charles Vyse (1882-1971) a stoneware vase dated 1932, slender bottle form with everted rim, glazed to the foot with a tenmoku glaze with rush splash incised CV 1932 20cm. high £100-200

295

296

297. Edwin Beer Fishley (1832-1911) a Fremington pottery bowl, shouldered form, applied with three loop handles, covered in an olive green glaze incised marks, minor glaze chips 23cm. diam. £100-200

298. George Fishley Holland a pottery charger, incised with a deer beside a fruiting tree, the rim with stylised oranges, in blue, turquoise and orange etched signature 34cm. diam. £150-200

297

298

‡ 299. Reginald Wells (1877-1951) a Coldrum stoneware dish on three feet, covered in a thick strawberry pink glaze, an Ashworth’s Coldrum vase by Reginald Wells and a Winchcombe Pottery candlestick by Michael Cardew impressed marks, 17.5cm. diam. £100-200 Provenance Erik Hancock collection (Coldrum dish) private collection

299

299 detail

‡ 300. Reginald Wells (1877-1951), attributed an ovoid vase, probably Soon, with flaring rim, covered in a streaked dark blue and ochre glaze, and a collection of pottery including C.H.Brannam and Briglin unsigned 9cm. high £50-100 Literature John A Bartless British Ceramic Art, Schiffer, page 229 for a comparable vase.

‡ 301. Reginald Wells (1877-1951) an Ashworth Coldrum bowl, dated 1910, covered in a streaked blue glaze incised marks and date, glaze chip to foot rim 15cm. diam. £50-100 300

68

301

‡ 302. Bernard Leach (1887-1979) a stoneware charger, painted with a foliate spray in shades of tenmoku and blue on an oatmeal ground impressed Leach pottery mark, painted BL monogram, small glaze frit to underside of rim 27.5cm. diam. £400-600

‡ 303. Bernard Leach (1887-1979) a stoneware bowl, painted to the well with simple flower stem design in blue and tenmoku on a buff ground, the exterior mottled tenmoku, impressed Leach Pottery mark, 28.5cm. diam. £500-800

303

302

Provenance Contemporary Ceramics Phillips 2nd December 1999, lot 19

‡ 304. Bernard Leach (1887-1979) a stoneware Medieval jug, with simple incised leaf repeat to the shoulder, covered in an ash glaze impressed BL and Leach Pottery seal marks, paper label 23.5cm. high £400-500

‡ 305. Bernard Leach (1887-1979) a stoneware footed bowl, painted with two fish swimming, in olive green on a speckled off white ground, the exterior tenmoku impressed seal mark, painted BL monogram 30cm. diam. £700-1,000

304

305

‡ 306. Bernard Leach (1887-1979) a slab built stoneware bottle, painted in resist with panels of geometric fern design, in blue-green and tenmoku on a mottled oatmeal ground to the foot, impressed seal marks, 19.5cm. high £2,000-3,000

‡ 307. Bernard Leach (1887-1979) a stoneware bottle vase, shouldered form with collar rim, covered in a tenmoku glaze to the base, painted with blue swirl repeat impressed seal marks 22.5cm. high £600-1,000 306

307

69

308. Leach Pottery a stoneware vase, ovoid with collar rim, covered to the foot with an olive glaze, with white painted spot decoration, impressed seal mark, 19cm. high £100-200 ‡ 309. Bernard Leach (1887-1979) a porcelain teapot and cover, incised with flower design, glazed to the foot in celadon, with bamboo handle, impressed BL seal below handle 14.5cm. high £300-500 310. Leach Pottery a stoneware tankard with applied scroll handle, incised with the drinking verse ‘Drink about Brother, when this is done, We’ll have Another’, impressed seal mark, 11.5cm. high £100-200

309 308

‡ 311. Katherine Pleydell-Bouverie, (1895-1985) a stoneware vase, shouldered form with everted rim, incised decoration, covered to the foot with an ash glaze impressed seal mark, 18.5cm. high £300-500 ‡ 312. David Frith (born 1943) a stoneware square bowl on four feet, trailed decoration to the rim, the well with tenmoku crosshatch design impressed seal marks, 27.5cm. wide £100-150 313. Winchcombe Pottery a slip decorated dish dish with pie-crust rim, and a copy of British Studio Pottery The Victoria & Albert Museum collection reference book impressed seal mark, 24cm. wide £80-120

311

310

‡ 314. 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 £150-200 ‡ 315. William ‘Bill’ Marshall (1923-2007) a tall stoneware vase, waisted, shouldered cylindrical form, painted with simple brush motif in a hakeme glaze incised WM mark 35cm. high £500-700

313

‡ 315A. 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. £80-120

312

315A

70

314

315

316 mark

‡ 316. David Leach (1911-2005) a rare Leach Pottery stoneware flagon, glazed to the foot with a splashed ash glaze impressed DL and Leach Pottery seals, paper label, 28cm. high £300-400 ‡ 317. David Leach (1911-2005) a rare Leach Pottery stoneware vase, swollen cylindrical form, painted in tenmoku with an interlinked arch design on an ash glaze impressed DL and Leach Pottery seals, paper label 29cm. high £500-800 318. Leach Pottery a stoneware vase with pierced lug handles, shouldered form, glazed to the foot with a dolomite glaze impressed Leach Pottery seal and flooded artist seal and England 19cm. high £100-150

317

316

‡ 319. David Leach (1911-2005) a large Lowerdown Pottery teapot and cover, with bamboo handle, painted with simple brush repeat band in blue and tenmoku, two impressed seal marks, 22cm. high £300-500 ‡ 320. David Leach (1911-2005) a Lowerdown Pottery porcelain footed bowl, decorated with a band of cut decoration, glazed pale blue, and another David Leach bowl with simple painted decoration impressed DL seal mark smaller bowl 10.5cm. diam. £100-200 ‡ 321. David Leach (1911-2005) a Lowerdown Pottery porcelain footed bowl, with cut band of decoration, glazed pale blue, impressed DL seal mark, 12.5cm. diam. £100-200

319

318

320

321

71

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A PRIVATE COLLECTION OF STUDIO POTTERY ‡ 322. Bernard Leach (1887-1979) a Leach Pottery porcelain side plate, painted with two fish to the well, in cobalt blue on a pale blue ground, the rim and back glazed olive/brown impressed Leach pottery seal and BL 14.5cm. diam. £250-300 Literature Bernard Leach, Hamada and Their Circle, The Wingfield Digby Collection Phaidon, page 45 plate 37 for an identical plate.

Provenance St Ives Gallery private collection 323. Leach Pottery a stoneware plate, incised to the well with an oak leaf, glazed celadon, a Leach Pottery stoneware Willow plate, and a slip decorated plate impressed marks, 24cm. diam. £150-250

322

323

‡ 324. David Leach (1911-2005) a Lowerdown Pottery stoneware ovoid vase decorated in wax resist with foxglove design, under dolomite glaze impressed DL seal mark 17.5cm. high £250-350 Literature Emmanuel Cooper and Kathy Niblett David Leach Richard Dennis, page 105 page 103 for a similar vase ‡ 325. David Leach (1911-2005) a large Lowerdown Pottery vase, ovoid with collar rim, painted in tenmoku and rust with a foxglove design, impressed DL seal 26cm. high £300-500 ‡ 326. Shoji Hamada (1894-1978) a stoneware unomi, decorated in wax resist with a tenmoku glaze, in wooden box, lid signed 8.5cm. high £500-800

325

Provenance Tremayne Applied Arts, 2011

324

‡ 327. David Leach (1911-2005) a tall stoneware bottle vase with everted rim, painted with simple brush stroke decoration in rust over a rich tenmoku glaze unsigned, firing faults 47cm. high £300-500 Provenance Woodbury Pottery, 2001 private collection

326 327

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‡ 328. Seth Cardew (born 1934) a Wenford Bridge Pottery plate, painted to the well with a wading bird, in blue and brown on an off white ground impressed seal marks, 28cm. diam. £100-200

328 329

‡ 329. Michael Cardew O.B.E (1901-1983) a Winchcombe Pottery vase, shouldered form, painted with simple flower stem design, in brown on a pale brown ground impressed seal marks, 22cm. high £200-300

‡ 330. John Ward (born 1938) a flattened disk form with pulled shoulder, covered in a textured white glaze impressed seal mark, 32.5cm. high £400-600

331 330

‡ 331. John Ward (born 1938) an earthenware vase, glazed black and white with geometric panels impressed seal mark 16.5cm. high £250-350 Provenance Woodbury Studio 2010 private collection

‡ 332. Hans Coper (1920-1981) an early cup form vase, resist decorated in manganese and white, the inside also glazed white impressed seal mark, 11.5cm. high £800-1,200 Literature Tony Birks, Hans Coper, Collins, page 97 for two variants decorated with white glaze Provenance Tremayne Applied Arts, 2003 private collection

74

332

interior

‥ 333. Dame Lucie Rie D.B.E (1902-1995) a flaring porcelain bowl, covered in a speckled blue glaze, the rim with a thin pink band and white rims, impressed seal mark, 18cm. high £3,000-5,000 Provenance Contemporary Ceramics, 22nd June 1995, Bonhams, London page 57 lot 84 private collection

75

334 front & back

335

336 front & back

‡ 334. John Maltby (born 1936) a stoneware cup form, painted with stylised boats in colours on a buff ground painted Maltby, exhibition paper label 14.5cm. high £200-300

‡ 335. John Maltby (born 1936) Angel, a stoneware sculpture, mounted on painted wooden base, painted Angel title and Maltby signature to base 37cm. high £150-250

‡ 336. John Maltby (born 1936) a stoneware leaning vase form, with flat, slab rim, painted with tulip flower stem in white, black and grey on a splashed ground, the reverse with a bird flying past a sail motif painted Maltby 22cm. high £300-500

337 front & back

76

‡ 337. John Maltby (born 1936) a stoneware handled pot form, painted with flowers before a cross, in colours painted Maltby 29cm. high £200-300

‡ 338. Tomoo Hamada (born 1967) a stoneware unomi, footed form, decorated with coral red over tenmoku, in wooden case signed to the lid 7cm. high £100-150 338

338 signature

‡ 339. Uchida Kunio (1910-1994) a stoneware vase, cylindrical with inverted rim, covered in a namako-yu (sea cucumber) glaze, in wooden box, impressed seal mark, 18.5cm. high £100-150

339 signature 339

‡ 340. Kawase Shinobu (born 1950) a porcelain bowl with pinched rim, covered in a celadon glaze, with original fitted box, signed to the underside of the box lid, re-stuck chip to rim 23.5cm. diam. £600-1,000

340

340 signature

‡ 341. Shoji Hamada (1894-1978) a waisted stoneware flower vase, resist decorated with simple finger wipe design under tenmoku, the rim picked out in white, in presentation wooden box and cover, with stamped red Kiln seal mark, cover signed 16cm. high £400-600 341

341 signature

77

344 345 343 ‡ 342. Richard Batterham (born 1936) a stoneware charger glazed to the well with an ash glaze, the rim tenmoku, and two smaller chargers covered in an ash glaze unsigned 36cm. diam. £100-200

342

‡ 343. Richard Batterham (born 1936) a stoneware twin-handled basin, covered in an ash glaze,a fluted bowl, a small tureen and cover and two pourers, basin 31cm. diam. £100-200 ‡ 344. Richard Batterham (born 1936) a porcelain footed vase, covered in a pale celadon glaze with simple iron spot to side, and two bowls similar unsigned, paper exhibition numbers 10cm. high £100-200 Provenance Hambledon Gallery,

346

347

‡ 345. Richard Batterham (born 1936) a stoneware teapot and cover, fluted form, covered in a tenmoku glaze, another covered in an ash glaze, another smaller and a stoneware tea canister and cover covered in a celadon glaze unsigned largest teapot 14cm. high £150-250 Literature Michael Casson Pottery in Britain Today, Studio Vista, plate 183 for a comparable teapot.

348

‡ 346. Mike Dodd (born 1943) a stoneware twin-handled storage vase and cover, fluted form, covered in an ash glaze and a Sven Bayer jar and cover impressed MD seal mark, 32cm. high £150-200 349

‡ 347. Richard Batterham (born 1936) a stoneware large pouring vessel, covered to the foot in an ash glaze, and five others smaller, unsigned 32cm. diam. £150-250 ‡ 348. Richard Batterham (born 1936) a porcelain vase, swollen square section, covered to the foot in a pale celadon glaze, a stoneware box and cover, a stoneware jar and cover, a Phil Rogers stoneware unomi and a collection of items by various artists £200-300 ‡ 349. David Eeles (born 1933) an Eeles Pottery charger, fluted rim, painted with a female portrait, and another Eeles Pottery charger impressed seal marks,37cm. diam. £100-150 ‡ 350. Phil Rogers (born 1951) a large stoneware vase, shouldered form, incised with simple motif, glazed to the foot with an ash glaze impressed seal mark 53cm. high £300-500 Literature Ceramic Review issue 131, 1991, this actual vase illustrated page 36.

Provenance private collection.

78

350

351

352 ‡ 351. David Frith (born 1943) a large stoneware charger, painted with brush design in iron red on a celadon ground, and another charger impressed seal marks, 50cm. diam. £100-200

‡ 352. Ruthanne Tudball (born 1945) Monterey a slip decorated stoneware wall charger, signed in slip 39cm. diam. £80-120

353

‡ 353. William Ruscoe (1904-1990) an elliptical dish dated 1961, incised starburst design covered in a green glaze, a stoneware jug and a vase covered in a tenmoku and rust design by William Ruscoe, incised and painted marks, dish 34cm. wide. £200-400

‡ 354. Peter Lane (born 1932) an early terracotta footed bowl, decorated in resist with abstract design in the style of the Picassoettes, incised signature 17cm. diam. £100-150

355. A stoneware figure of a centaur and a dancer, glazed in colours painted SH to base impressed seal mark, losses to feet 41cm. high £300-500

354

355 ‡ 356. Waistel Cooper (1921-2003) a stoneware vase, ovoid with flaring rim, covered in a pitted glaze, the interior glazed grey with brown spots painted Waistel 16cm. high £100-200

357. Kenneth Clark (1922-2012) a square section bowl, dated 1993, painted with flowers in vivid colours, a cylindrical vase by Kenneth Clark and a collection of ceramics and tiles, and a glass vase by Annette Meech painted marks, bowl 22cm. wide £100-150

356

357

79

‡ 358. Julian King-Salter (1954) a coil built spiralling vase, glazed in colour impressed seal mark, 27cm. high £100-150

‡ 359. Aki Moriuchi (born 1947) a stoneware vase and covered vessel, each with thick running and pitted white glaze impressed seal marks vase 8.5cm. high £100-150 359 358

‡ 360. Waistel Cooper (1921-2003) a large ovoid lamp base with flaring cylindrical neck, covered in a speckled and running ash glaze, glazed drill hole to side, and three vases by Waistel Cooper, painted signature 28cm. high £200-300

361

360

‡ 361. Marianne De Trey (born 1913) a porcelain pedestal vase, painted with abstract panel design in red and blue/grey, and another smaller impressed seal mark, 12.5cm. high £100-200

‡ 362. Alan Spencer Green (1932-2003) a solifleur vase, covered in a pale ochre hare’s fur glaze, a pedestal bowl and four matt black box and covers etched monogram, chip to rim of one box 29cm. high £400-500 Literature Michael Casson Pottery in Britain Today, Studio Vista, plate 123 for a comparable box and cover.

362

‡ 363. Betty Blandino (1927-2011) a coiled pottery vase, with applied decoration, glazed ochre and off white, and a Betty Blandino coiled pouring vessel form impressed seal mark, 12.5cm. high £150-250 363 ‡ 364. Bernard Rooke (born 1938) a stoneware totem lamp base, impressed Rooke glazed in colours 75cm. high £100-150

365. A small footed dish in the manner of Susan Parkinson, painted with poppy seadhead design in green and ochre on a white ground, painted indistinct monogram, repaired stem 19cm. long £50-100 365

80

364

‡ 366. Takeshi Yasuda (born 1943) a large handled dish, circular bowl form with applied cone handle, covered in a crackled cream glaze applied paper retail label 39cm. diam. £300-500 ‡ 367. Janice Tchalenko (born 1942) a Dartington Pottery platter, dated 1996, elliptical form, modelled in low relief and glazed in shades of blue and lavender painted monogram 41cm. wide £100-150 ‡ 368. Alan Caiger Smith (born 1930) an Aldermaston Pottery bowl, painted with a band of geometric patterning in blue, green and rust, a twin-handled bowl, a small Alan Spencer Green porcelain bowl and and another vase painted marks £100-200

366 367

‡ 369. Alan Caiger Smith (born 1930) six Aldermaston Pottery goblets, glazed in shades of blue, red and green on an off-white ground painted marks, 13.5cm. high £100-200 368 ‡ 370. Alan Caiger Smith (born 1930) an Aldermaston Pottery vase and cover, tapering cylindrical form, painted in shades of blue on a tin glaze painted marks, 32cm. high £250-350 371. Aldermaston Pottery a bucket shaped vase, painted in shades of pink and blue on a tin glaze painted marks, 20cm. high £150-200

369

‡ 371A. Alan Caiger Smith (born 1930) an Aldermaston Pottery tureen, cover and stand, painted in blue on a tin glaze painted marks, 27cm. high £250-300 ‡ 372. Alan Caiger Smith M.B.E (born 1930) Four Aldermaston Pottery plates, painted to the rim with red and yellow abstract design on an off white tin glaze painted monogram 23cm. diam. £100-200 ‡ 373. Alan Caiger Smith (born 1930) an Aldermaston Pottery platter, rounded, square section on four feet, painted with stylised flowerhead design in pink on a mottled white ground painted monogram, CA84 33cm. high £100-200

371 370

372 371A 373

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A PRIVATE COLLECTION OF LAURENCE MCGOWAN POTTERY ‡ 374. Laurence McGowan (born 1942) a large stoneware bellied jug, painted with bands of birds, in shades of blue, pink and green on a white ground, painted monograms 30cm. high £100-150

374

375

‡ 375. Laurence McGowan (born 1942) a large stoneware bellied jug painted with lily flowers in shades of pink, purple and green on an off white ground, painted monograms 31cm. high £100-150 ‡ 376. Laurence McGowan (born 1942) a stoneware covered jug, painted with a robin perched in a tree, in blue and pink on a white ground, a custard jug, another jug and two other items painted monograms 31cm. high £150-200 ‡ 377. Laurence McGowan (born 1942) a stoneware vase, shouldered form, painted with birds amongst foliage in shades of blue, pink and green on a white ground painted marks, 24.5cm. high £100-150

376

‡ 378. Laurence McGowan (born 1942) a stoneware ginger jar and cover, painted with daisy flowers in pink, white and green on a black ground painted monograms 21cm. high £100-150 ‡ 379. Laurence McGowan (born 1942) a stoneware plate, painted with two birds amongst foliage to the well, the rim a frieze of pairs of birds, in red, black and green on a white ground, and two tall jugs painted monograms 29cm. high £100-150 ‡ 380. Laurence McGowan (born 1942) a stoneware solifleur vase, painted with daisy flowers in shades of pink and green on a black ground, a tazza in the same design and two other vases painted marks, 17.5cm. high £100-150 377

378

379

‡ 381. Laurence McGowan (born 1942) a stoneware tazza, painted with a bird amongst foliage inside radiating flower stems and foliage, in shades of black, green, pink and purple, and a Laurence McGowan fluted bowl and another footed bowl painted marks, 18cm. diam. £150-200 ‡ 382. Laurence McGowan (born 1942) a stoneware bowl painted with blackberry fruit and flowers, in shades of black, red, and green on a white ground, and another bowl painted with birds painted monogram 17cm. high £100-150

382

380

82

381

383

384

‡ 383. Laurence McGowan (born 1942) a stoneware charger painted with birds perched on a tree bough, in colours, the rim inscribed The Diligent Farmer Plants Trees the Fruit of Which he Himself will never See, painted marks, 40cm. diam. £100-200

‡ 384. Laurence McGowan (born 1942) a stoneware charger, painted to the well with lilies, in shades of pink, white, yellow and green on a white ground, painted monograms 37cm. diam. £100-150

385 386

‡ 385. Laurence McGowan (born 1942) a stoneware jar and cover, painted with a frieze of robins amongst foliage in shades of red and green on an off white ground, the cover with stylised flower stems painted monograms 26.5cm. high £100-200

‡ 386. Laurence McGowan (born 1942) a stoneware vase and cover, painted with a frieze of marching birds, in shades of black, purple and red on a white ground painted monograms 21cm. high £100-200

‡ 387. Laurence McGowan (born 1942) a twenty tile panel, painted in blue with fish and sea creatures amidst waterweed and waterlily pads and a water-lily flower, inside fish border painted monogram and X, impressed H&E Smith marks to tiles, each tile 15.5cm. square, panel 61.5 x 77cm. £100-200 387

83

LUCIE RIE ‡ 388. Dame Lucie Rie D.B.E (1902-1995) a small stoneware bowl, flaring conical form covered in a speckled blue glaze, the interior with two simple painted black bands impressed seal mark 13cm. wide £400-600

388

389

‡ 389. Dame Lucie Rie (1902-1995) a stoneware serving bowl, rounded rectangular form, glazed buff, the exterior covered in an aubergine glaze with sgraffito band to border impressed seal mark, repaired chip to to top rim possibly by the artist 26.5 x 22.5cm. £300-500

‡ 390. Dame Lucie Rie D.B.E (1902-1995) a stoneware vase, waisted cylidrical form, covered in a pitted white glaze impressed seal mark, 11.5cm. high £400-600 Provenance Christopher Norman Taylor Collection, Woolley and Wallis British Art Pottery 28th November 2008, lot 225 Private collection.

390

391

‡ 391. Dame Lucie Rie D.B.E (1902-1995) and Hans Coper (1920-1981) a stoneware cylindrical vase, glazed to the foot exterior bronze, the interior grey impressed seal marks, 11cm. high £500-800 Provenance Primavera Gallery, Cambridge Private collection

‡ 392. Dame Lucie Rie D.B.E (1902-1995) a porcelain conical bowl, with simple incised band decoration, covered in a yellow glaze, impressed seal mark, original Albion Mews paper label 13.5cm. high, 23.5cm. wide £1,000-1,500 Provenance Beaux Arts Bath Private collection 392

84

‥ 393. Dame Lucie Rie D.B.E. (1902-1995) a large, flaring bowl, covered in a matt blue, pitted glaze, the rim highlighted in bronze and manganese impressed seal mark, 24.5cm. diam. £4,000-6,000 Provenance purchased by the vendor from Lucie Rie directly

85

‥ 394. Dame Lucie Rie D.B.E. (1902-1995) a stoneware bottle vase with flaring rim, covered in a pitted pink glaze with brown stripes, the flaring rim with brown speckled interior impressed seal mark, 27.5cm. high £3,000-5,000 Provenance purchased by the vendor from Lucie Rie directly

86

‥ 395. Dame Lucie Rie D.B.E. (1902-1995) a porcelain footed bowl, flaring conical form, the exterior white with manganese bands and inlaid vertical lines, the interior sgraffito decorated, covered in a manganese and bronze glaze impressed seal mark 22cm. diam. £5,000-8,000 Provenance purchased by the vendor from Lucie Rie directly

87

‥ 396. Dame Lucie Rie D.B.E. (1902-1995) a porcelain flaring conical bowl covered to the interior and exterior with pale green with grey and pink shading, the rim picked out with manganese impressed seal mark, 23cm. diam. £3,000-5,000 Provenance purchased by the vendor from Lucie Rie directly Literature Dame Lucie Rie Sale of a Lifetime, Bonhams, 17th April 1997, lot 198 for comparable bowl Lucie Rie Sainsbury Centre for the Visual Arts and V&A Craft Council, catalogue number 156 for a comparable bowl.

88

‥ 397. Dame Lucie Rie D.B.E (1902-1995) a stoneware conical bowl, covered to the foot in a blue and turquoise glaze, the rim highlighted with bronze impressed seal mark, 21.5cm. diam. 11cm. high £3,000-5,000 Provenance Contemporary Ceramics, Phillips, 21st April 1994 lot 428 Private collection

89

‡ 398. Gabrielle Koch (born 1948) Vessel with Groove, a smoke fired ceramic vase, etched signature 31.5cm. high £400-600 Provenance Gabrielle Koch New Ceramics, Beaux Arts Bath, 2008 Private collection

398

‡ 399. John Ward (born 1938) a small ovoid vase with irregular rim, glazed in black and white with geometric designs, impressed seal mark 13cm. high £250-350

399

400 ‡ 400. John Ward (born 1938) an earthenware vase, covered in a black and white geometric design, impressed seal mark, 16.5cm. high £350-450

‡ 401. John Ward (born 1938) an ovoid vase with tapering square neck, buff with pale brown circle design impressed seal mark, 25.5cm. high £400-600

90

401

‥ 402.

Hans Coper (1920-1981) a large, early stoneware vase, pulled ovoid form with flat disk rim, resist decorated with white slip stripes over a manganese glaze impressed seal mark, 36.5cm. high ÂŁ5,000-10,000 Provenance purchased directly from Hans Coper by the present vendor Literature Tony Birks Hans Coper, Collins, page 83 for three similar vases circa 1953.

91

403

404

‡ 403. John Maltby (born 1936) Two Ships, a rectangular pottery plaque, mounted and framed impressed seal mark, plaque 34cm. wide £100-200

‡ 404. John Maltby (born 1936) a stoneware pot and cover with bamboo handle, painted with iron-red flowers on a buff ground, with tenmoku rim and cover, impressed seal mark, minor glaze loss, 12cm. high £100-150

405

406

‡ 405. John Maltby (born 1936) a stoneware Tiger box and cover, glazed in colours impressed seal mark, paper exhibition number 15.5cm. high £120-180

‡ 406. John Maltby (born 1936) Cat, a stoneware box and cover, glazed in reds impressed seal mark, 18cm. high £150-200

‡ 407. John Maltby (born 1936) Standing Queen, a stoneware figure on stepped base, painted in colours, highlighted in gilt impressed seal mark, painted signature and title 28cm. high £300-500

92

407

407A

408

‡ 407A. John Maltby (born 1936) Boat Family, 2006, a stoneware sculpture, impressed seal mark, signed, dated and titled to base, paper exhibition number 4, 36cm. high £300-500

‡ 408. John Maltby (born 1936) Two Birds and Wall, a large sculpture group, on wooden base signed and titled to base, paper label to base, 36cn, high, 35cm. wide £600-900 Provenance Godfrey Watt 409

‡ 409. John Maltby (born 1936) Blown Figures With a Wall, a stoneware sculpture, applied seal, signed and titled to base 24.5cm. high £250-300

‡ 410. John Maltby (born 1936) Seabird and Wall, a stoneware sculpture, on ebonised wood base impressed seal mark, painted signature and title, tape catalogue number, 31cm. high £300-500 Provenance Candover Gallery, Private collection

410

93

‡ 411. Alan Wallwork (born 1931) a pierced stoneware bowl, elliptical form, glazed ochre and off white, and an Alan Wallwork split form vase incised AW monogram 26cm. wide £150-250

411

‡ 412. Alan Wallwork (born 1931) a large stoneware split form vase, incised, and glazed in ochre and white, incised AW mark 50cm. high £400-600

‡ 413. Alan Wallwork (born 1931) a large stoneware vase, flattened disk form with small aperture, light incised decoration glazed white and ochre incised AW mark 50cm. high £250-350

‡ 414. Peter Hayes (born 1946) a small stoneware cubist head sculpture, on black slate base, etched Peter Hayes to base 13.5cm. high £100-200 413

412

‡ 415. Robin Welch (born 1936) a tall cylindrical vase, painted with banded, incised and applied decoration,and a slab built vase by Robin Welch impressed seal mark, 26.5cm. high £100-150

414

‡ 416. John Bedding (born 1947) a Gaolyard Studios winged vase form, with liner, glazed in fumed verdi gris and bronze, highlighted with gilt impressed seal marks, 41.5cm. wide £100-200

415

‡ 417. Peter Beard (born 1951) Green Oval Vessel, impressed seal mark, 29.5cm. high £300-400

94

416

417

418. Sotis Filippides (born 1963) a stoneware pouring vessel, waisted, flaring cylindrical form glazed black, the interior glazed off white, and two other pouring vessels by Sotis Filippides incised mark, tallest 27.5cm. high £300-500

419. Sotis Filippides (born 1963) a stoneware pouring vessel, ovoid black body with tall, incised cylindrical neck covered in a brown glaze, glazed off white to the interior, and a smaller pouring vessel

by Sotis Filippides incised mark, 31cm. high £200-300

418

419

420. Chris Carter (born 1945) a collared stoneware vase, covered in a pitted off-white glaze impressed seal mark, 34cm. high £200-250

420

421

421. Chris Carter (born 1945) A Core stoneware cylindrical vase, covered in a textured off white glaze with black bands impressed seal mark 59cm. high £450-550

422. Chris Carter (born 1945) a large stoneware barrel, covered in a pitted oatmeal glaze impressed seal mark, 52cm. high £500-600

422

95

423 424

DENNIS CHINAWORKS 423. ‘Avocet’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2007, painted in colours impressed and painted marks, 16.5cm. high £100-200

424. ‘Doves’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted in colours impressed and painted marks, 27cm. high £200-300

425 426

425. ‘Pelican’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2000, painted in colours on a pale blue ground impressed and painted marks, 29cm. high £200-300

426. ‘Albatross’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2005, painted in colours impressed and painted marks, 32cm. high £200-300

427. ‘Black Cockerel’ a Dennis Chinaworks charger designed by Sally Tuffin, dated 2001, painted in colours impressed and painted marks, 37cm. diam. £300-400

96

428. Dorking Cockerel’ a large Dennis Chinaworks vase designed by Sally Tuffin, dated 2004, painted in colours impressed and painted marks 35.5cm. high £300-400 427

428

429. ‘Heron’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2001, painted in colours on a blue ground impressed and painted marks, 33.5cm. high £250-300

430. ‘Koi Carp’ a Dennis Chinaworks vase designed by Sally Tuffin, dated 2004, painted in colours impressed and painted marks, 39.5cm. high £300-400

431. ‘Sunflower’ a Dennis Chinaworks tazza designed by Sally Tuffin, dated 2007, painted in colours impressed and painted marks, painted Yesterdays 15.5cm. diam. £100-200

432. ‘Sunflower’ a Dennis Chinaworks box and cover designed by Sally Tuffin, dated 2006, painted in colours impressed and painted marks, 16cm. diam. £150-200 429

430

433. ‘Bats’ a Dennis Chinaworks charger designed by Sally Tuffin, dated 2008, painted in colours impressed and painted marks, 29cm. diam. £150-200

434. ‘Daffodil’ two Dennis Chinaworks vases and a jug designed by Sally Tuffin, painted in colours on a yellow ground impressed marks, jug 24cm. high £200-300

432 431

433

434

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20TH CENTURY DESIGN 435. A modern set of four Tief glass shades, flaring cylindrical orange glass with pulled blue rim, and five clear glass shades acid-etched Tief 16cm. high £50-100 Provenance Albert E Wade collection

435

436

436. An Art Nouveau Emile Galle cameo glass vase, tapering cylindrical form, cameo decorated with berried foliage in shades brown over amber glass, with applied metal fitting to the neck came signature Galle 22cm. high £100-200 437. A W.M.F Ikora glass lamp base, orange glass with yellow and white veins, cased in clear, and another smaller, 18.5cm. high £150-250 438. A Whitefriars Studio glass vase by Geoffrey Baxter, flattened disk form with pulled and shaped rim, blue glass with white lines, cased in clear, another similar green vase, a Whitefriars textured triangular vase and another Whitefriars cased vase unsigned 14cm. high £200-300

437

438

Lesley Jackson Whitefriars Glass Richard Dennis Publications, page 87 for a promotional photo of Geoffrey Baxter with this studio range, 1961.

439. A Whitefriars Streaky glass vase, cylindrical form, green and blue streaks cased in clear, another smaller and two Hartley Wood streaked glass vases applied Whitefriars label to one 25.5cm. high £150-200 440. A Holmegaard glass lamp base designed by Michael Bang, ovoid white glass streaked with blue, cased in clear applied paper label 22cm. high £100-200

439 440

441. A John Walsh Walsh Leaf pattern glass vase designed by Clyne Farqharson, bucket form, cut and polished decoration, another shouldered glass Leaf vase a mug, a cut glass bowl similar and an Orrefors glass vase by Sven Parmquist, a Kosta glass obelisk by Anne Warrf and a Moser glass vase etched marks, 25cm. high £100-150 442. A Murano Italian glass egg in the manner of Venini, blue and green striped cased in clear, and two other glass eggs smaller, etched Murano 91 19cm. high £100-150

98

441

442

443. ‘Coquilles’ no.3320 a large Lalique opalescent glass ceiling shade designed

by Rene Lalique wheel cut R Lalique France, minor frit chips to suspension holes 30cm. diam. £100-200

444. ‘Bulbes’ no.3302 a Lalique opalescent dish, R Lalique France 25cm. diam. £150-200

443

444

445. ‘D’Orsay - Le Lys’ a Lalique clear glass scent bottle and stopper, with sepia staining, intaglio moulded R Lalique 21.5cm. high £300-500

446. A Le Verre Francais cameo glass vase, footed, swollen cylindrical form with everted rim, mottled orange glass with purple cameo overlay fruiting tendrils, etched Le Verre Francais to foot 39cm. high £1,000-1,500

445 447. A Daum Nancy glass vase, purple glass domed foot and swollen column graduating to flaring red glass bowl with pulled rim, with golden aventurine inclusions, etched Daum & Nancy France 23cm. high £600-800

446

448. A Holmegaard Gulvase designed by Otto Bauer, white glass cased in red, and another amber glass Gulvase, original paper label to red Gulvase, 30cm. high £100-200 447

448

449. A Mdina glass Fish vase designed by Michael Harris, flattened disk form with solifleur neck, streaked brown and purple glass cased in clear etched Mdina 1978 and signature 21cm. high £100-200

450. A faceted glass Saturn vase attributed to Fontana Arte, clear faceted glass with blue glass ring and foot unsigned 16cm. high £150-250 450 449

99

451. An Amphora Pottery Art Nouveau centrepiece, the stem modelled as three eagles, flaring bowl decorated in low relief with waterlily flowers and pads below a band of circle and diamond motif, in colours, and an Amphora Pottery ewer impressed marks 27cm. high £150-250

452. 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 £80-120 451

452 453. A near pair of Primavera earthenware candlesticks, waisted form, painted with dot and line motif, in green, cream and brown impressed Primavera mark, minor glaze loss and professional restoration, 19cm. high £100-200

454. A large Fornasetti Foot ceramic umbrella stand designed by Pierro Fornasetti, modelled as a right lower leg and foot in Roman sandal, highlighted in gilt, printed Fornasetti mark, minor professional restoration to the top rim, 57.5cm. high £300-500

453

Literature Patrick Mauries Fornasetti Designer of Dreams, page 184 for a comparable form.

454

455. A Longwy Pottery box and cover, square section, the cover painted with a parrot perched in a tree bough lit by lanterns, in colours on a blue ground, a pair of cylindrical vases decorated with flowers a bowl and three dishes printed marks, 13.5cm. wide £150-200 455 455 detail

456. A Thun Pottery wall plate decorated with a view of Tells capelle, painted in colours inside enamelled border of stylised flowers and foliage, and six others painted marks, 25cm. diam. £100-200 Provenance The Nick Rocke Collection

457. A Delphin Massier Vallauris jardiniere, ovoid with collar rim, painted with seagulls above waves in blue and white, painted marks, signed Max 26cm.high £100-200

100

456

457

Provenance The Nick Rocke Collection

458. ‘Woman with a veil’ and Woman with Flowers’ a pair of limited edition Royal Copenhagen blanc de chine figures designed by Arno Malinowski, printed and painted marks, AM monogram to base 21cm. high £400-600

459. ‘Moon Girl a Royal Copenhagen figure designed by Gerhard Henning, model no 2413 designed in 1924, modelled in elaborate dress, holding an exotic flower, painted in colours, highlighted in gilt printed and painted in colours 30cm. high £300-500 Literature Nick and Caroline Pope, Royal Copenhagen Porcelain, Schiffer page 152 458

459

460. A Van Briggle pottery vase, footed cylindrical form, cast in relief with three native American Indian heads, glazed matt blue incised marks, minor professional restoration to top rim, 27.5cm. high £200-300

461. ‘River Path’ a Rookwood Pottery tile plaque by Fred Rothenbusch, painted with a river landscape with tall trees, in vellum colours, framed, impressed factory marks, tile 24 x 13cm. £500-600 Literature Rookwood Pottery, Treadway Gallery, page 109 catalogue number 1101 for a comparable tile.

Provenance The Nick Rocke Collection

461 460

462. A Zsolnay Pecs vase, shouldered cylindrical form, painted with stylised flower panels in ruby and copper lustre printed marks, glaze nicks to base rim, 19.5cm. high £250-350

463. A Longwy Pottery ewer and cover, slender tapering form, painted with stylised flowers and foliage in colours, highlighted in gilt printed and painted marks 18cm. high £50-100 462

463

101

BOCH FRERES KERAMIS 464. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1174. shape 844, enamelled with geometric flowers and foliage in shades of blue, yellow and black on a crackled white ground printed factory marks, professionally restored rim, 31.5cm. high £100-200 465. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1208, painted with stylised crocus flowers in green, yellow and black on a crackled white ground printed and painted marks, 31.5cm. high £200-300 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 633 catalogue number 1327 464

465

466. A Boch Freres Keramis vase designed by Charles Catteau, pattern 963, shape 2334, enamelled with a band of stylised flowers and foliage in pink and yellow on a crackled off white ground impressed and printed marks, 32cm. high £250-300 467. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.750, painted with stylised flowerheads in shades of yellow and orange on a crackled white ground impressed and printed marks, facsimile signature 35cm. high £200-300 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 556 catalogue number

466

467

468. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1099, painted with columns of stylised flowers and foliage in shades of pink, yellow and black on a crackled white ground printed and painted marks, 31cm. high £300-500 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 630 catalogue number 135 for a comparable vase 469. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.983, enamelled with two bands of stylised flowers in rust red and green on a crackled white ground printed and painted marks, facsimile signature 29cm. high £100-200 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 219 catalogue number 265 for a comparable vase

469

470. A Boch Freres Gres Keramis stoneware vase designed by Charles Catteau, pattern D.820, shouldered ovoid form, decorated with a band of scrolling foliage in brown on a crackled white ground printed marks, Pomone mark 13cm. high £300-500 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 433 catalogue number 1013 for a comparable vase.

468

471. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.922, enamelled with columns of circular geometric patterns, in mushroom and black on a lightly crackled cream ground printed, painted and incised marks, 28cm. diam. £100-200 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 656 470

471

472. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.974, painted with panels of stylised bell flowers in black enamel on a crackled white ground impressed, printed and painted marks, 28.5cm. £200-300 Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 437 catalogue number 1042 for a comparable vase 473. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.914, decorated with panels of bell flowers in black enamel on a crackled white glaze impressed, printed and painted marks, 24.5cm. high £200-300

102

Literature: Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 553 for a comparable vase.

472 473

474. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.2233, painted with bell flowers and foliage in bright enamels on a crackled cream ground printed and painted marks, 31cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 708 for a comparable vase 475. A Boch Freres Keramis vase designed by Charles Catteau, painted by Leon Delfant, pattern D.1733, painted with stylised flowers in colours on a matt brown ground printed and painted marks, painted LD monogram 32cm. high £100-200 476. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1847, shape no.914, painted with stylised flowers and foliage in colours on a matt brown ground printed and painted marks, 34cm. high £100-200

474

475

476

477. A Boch Freres Keramis vase the design attributed to Charles Catteau, pattern D.2854, shape 909, painted with a band of birds amongst flowering foliage on blue and rust on a white ground printed and painted marks, 31cm. high £300-500 478. A Boch Freres Keramis vase designed by Charles Catteau, by Marcel Bougard for Atelier Fantaisie, pattern D.1093, painted with bell flower roundels in colours on a brown ground printed and painted marks, 31cm. high £100-200 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 306 catalogue number 559 479. A Boch Freres Keramis vase designed by Charles Catteau, pattern D.1111, shouldered square section vase, painted with stylised flowerhead and foliage panels in yellow and orange on a white and brown ground printed and painted marks, facsimile signature 25cm. high £400-600

477

478

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 304 catalogue number 705 480. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern E.2466, barrel form, decorated with a chevron band in brown on a rust coloured ground impressed, printed and painted marks, hand painted signature 20cm. high £200-300 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 564 for a drawing of this design, the signature is hand painted by Charles Catteau.

481. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.771, slender, swollen cylindrical form, painted with flowerhead roundels in brown and back on a gun-metal grey ground impressed, printed and painted marks, facsimile signature 27cm. high £200-300

479

480

Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 424 catalogue number 989 for a comparable vase.

482. A Boch Freres Gres Keramis vase designed by Charles Catteau, pattern D.1000, shape 960, slender, swollen cylindrical form with everted rim, painted with geometric columns in green and black on a pale green ground printed, incised and painted marks, facsimile signature 30cm. high £200-400 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 426 catalogue number 994.

481

482

103

483. A rare Boch Freres Keramis vase designed

by Charles Catteau, pattern D.2531, ovoid with collar rim, enamelled in white, sand and black on a terracotta ground with exotic cranes wading before trees printed and painted marks, 23cm. high £1,500-2,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 794 for this design illustrated.

483 484

484. An unusual Boch Freres Keramis vase designed by Charles Catteau, pattern D2531, footed form with four lug handles, enamelled in white, cream and black with cranes wading in a river, on a terracotta vase, painted marks restoration to foot rim, 34cm. high £300-500 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 370 catalogue number 794 for a similar vase

485. A Boch Freres Gres Keramis vase designed

by Charles Catteau, pattern D.2300, painted in mushroom with doves flying by berried foliage fronds, on a pale, speckled brown ground impressed, printed and painted marks, 22cm. high £500-1,000 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 390 catalogue number 868 for a comparable vase

485 486

486. A large Boch Freres Keramis vase designed

by Charles Catteau, pattern D.2305, shouldered form, painted with a frieze of scrolling flowers and foliage in mushroom on a brown ground printed and painted marks, facsimile signature 35cm. high £500-800 Literature Marc Pairon Charles Catteau Art Deco Ceramics Made in Belgium, Fondation Charles Catteau, page 316 catalogue number 600 for a comparable design.

487 both sides

104

487. ‘Perseus and the Gorgons’ a fine Boch Freres Keramis vase designed by Charles Catteau, enamelled in black with warriors fighting the Gorgons, on a red crackled glaze, highlighted in gilt printed and painted marks 36cm. high £2,000-3,000

WORKS ON PAPER 488. ‘He Hath Exalted The Humble and the Meek’ a large stained glass window design for Ecclesmachan church, watercolour on paper, annotated in pencil, 183 x 91cm (sheet) £200-300

489. A Watercolour on paper design by Ellen Mary Rope, depicting a child offering up spring flowers to a crow perched on a tree trunk, a lizard, lamb and finches watch on, framed, annotated in pencil E.M.Rope West Wing to reverse, image 51cm. diam. £500-800 488

489

490. ‘Runnymede Pageant’ a poster design gouache on paper, framed 47 x 34cm. £100-200 Catalogue Notes It appears this was a design produced for the 1934 pageant poster competition.

491. G R Harris Spit and Polish, oil on canvas-board framed signed to front, paper label with title to reverse 60 x 50cm.

£80-120 490

491

492. Romain de Tirtoff (Erte), attributed Les Nouvelles, from La Nouvelle Orleans, gouache on paper, framed facsimile signature, annotated to reverse, titled and Erte stamp sheet size 37 x 27cm. £200-300

493. Romain de Tirtoff (Erte), attributed Le Point de Venise, Le Gondolier gouache on paper, framed facsimile signature, annotated to reverse, titled and back stamp sheet size 27 x 24cm. £200-300

494. A textile design for Bianchini Ferier, gouache highlighted with silver and gold on paper, and two others similar framed 43 x 28cm. (image) £200-300 492

494

493

105

495. ‘Decorative Art & Modern Interiors’ six Studio Vista Yearbooks, 1974/75, 1975/76, 1977,1978,1979, 1980, and a collection of reference books £100-200 496. A large collection of Art and Design reference books, £100-200 Provenance The Nick Rocke Collection

495

497. Don de Groot Bream watercolour and body colour on paper, framed and another smaller Golden Bream signed to paper label on reverse, dated 98 39 x 25cm (image) £100-200

496

498. Frank Brangwyn R.A. Ghent, 1906 an etching on paper, another etching of Ghent and a windmill both by Frank Brangwyn, mounted, unframed signed in the print 35 x 31cm. £300-500 497

499. ‘Leben Und Sterben Lassen (Live and Let Die)’ a German issue James Bond film poster, printed in colours 118 x 84cm £200-400 500. Spotted Plant, a painted slate panel titled in pencil on reverse, gallery label 42 x 19cm £100-150 Provenance Compass Gallery ‡ 501.Teodor Durski (born 1976) Greg, 2007 lithograph on paper, framed signed, titled and numbered 9/22 in pencil image 99 x 69cm. £200-300 498

106

499

500

501

DODO BURGNER

107

502 ‡ 502. Dodo Burgner (1907-1998) Gentleman with a women on either arm, watercolour on paper signed dodo 28 x 19cm. £100-200

503

108

504

‡ 503. Dodo Burgner (1907-1998) Dancing Couple and The Proposal watercolour on paper one signed Dodo 22 c 13cm (image of Dancing Couple)

£200-300

‡ 504. Dodo Burgner (1907-1998) three fashion studies watercolour on paper unsigned 54 x 44cm.

£300-500

‡ 505. Dodo Burgner (1907-1998) Two Women in Conversation, watercolour on paper, unsigned 30 x 27cm

£300-500

‡ 506. Dodo Burgner (1907-1998) Circus Performers (nude in the mirror) watercolour on paper, unsigned 24.5 x 18.5cm. £100-200 505

‡ 507. Dodo Burgner (1907-1998) Woman on a Balcony watercolour on paper, unsigned 32 x 20.5cm.

506

£100-200

507

109

508

509 ‡ 508. Dodo Burgner (1907-1998) An Advance inks on paper signed Dodo 29 x 19cm. £100-200

‡ 509. Dodo Burgner (1907-1998) Dancers with a Head ink on paper signed with initials DW 32 x 25cm. £100-200

510

‡ 510. Dodo Burgner (1907-1998) At The Races, watercolour on paper unsigned 32 x 23cm. £150-200

‡ 511. Dodo Burgner (1907-1998) Woman with her Maid (Bathroom) black ink on paper, with white heightening unsigned 18 x 16cm. £100-200

110

511

FURNITURE 512. A Gothic Revival parquetry hall table the design attributed to Alfred Waterhouse, possibly manufactured by Howard & Sons, on cross stretchers with turned legs 102cm. diam, 77cm. high £300-400 Provenance The part contents of a Wiltshire Rectory.

512

513. A Gothic Revival panel in the manner of A.W.N Pugin, painted with a cross and mitre, annotated Panel from Westminster Abbey to the reverse 53.5 x 19cm. £100-150

514. An Art Nouveau carved oak panel, square, carved with bell flower sprays, unsigned 46.5 x 47.5cm. £100-200

515. An Aesthetic Movement parquerty inlaid music cabinet, two double door cupboards, set with parquetry panels of classical musicians, the interior with panels of flower stems unsigned 109cm. high, 52cm wide £200-300

514 513

516. An Arts and Crafts four-fold screen, each panel covered with The Angel with the Trumpet textile designed by Herbert Horne, Century Guild, each panel 171 x 54.5cm.

Literature Linda Parry Textiles of the Arts and Crafts Movement, Thames & Hudson, page 43 plate 34 for an example of this textile design.

Provenance: The part contents of a Wiltshire Rectory. £150-250 515

516

517. A James Shoolbred mahogany occasional table, possibly designed by H.W. Batley, model 9105, octagonal top over flaring legs and rectangular shelf stamped number 61 x 45cm top, 67cm high £300-400 Literature Cooper Furniture page for a discussion on Batley designing for Jas Shoolbred.

518. An English Art Nouveau glazed display cabinet, glazed and stained doors, the frame inlaid with mixed metal flowerhead motif, 87cm wide, 178cm high £300-400

517 518

111

522 519

520

521

519. An Arts and Crafts walnut corner armchair, turned tripod legs with plank back rest carved with Nordic dragon design, with black leather seat unsigned 90cm. high £50-100 520. An Aesthetic Movement ebonised wood low chair, in the manner of E W Godwin, the back with geometric lattice design, unsigned 72cm. high £50-100 521. An Edward Barnsley walnut side table, rectangular section, unsigned 65 x 43cm.

£50-100

Provenance Rural Industries Bureau, Wimbledon 522. A Gordon Russell & Sons oak stool, square section with carved legs and dowelled joints, with leather seat applied metal label 32.5cm. square £200-300 523. An Austrian bentwood hallstand in the manner of Thonet, flaring square section, with bentwood hooks, stamped NA & AFI to on leg 201cm high £200-300 524. A large Sigmund Oppenheim mahogany sideboard and display cabinet, two flanking bevelled glass cabinets with adjustable shelves, central cabinet with marble top and mirror back, inlaid with holly and ebonised wood circle panels to base, polished metal furniture and foot plate to base, applied label, 251cm wide, 184cm, high £400-600

523

112

525. An Art Deco Majorelle rosewood display cabinet, shallow bowed form with open shelf above, single glazed compartment flanked by two doors, with inlaid brass and mother of pearl panels to door furniture 181cm wide, 171cm high £200-300

525 524

526 526. A Rowley Gallery mirror designed by Robert Anning Bell, domed rectangular form, inlaid with marquetry woman holding a rope swag, above a basket with swags, unsigned 61cm. high £300-400

527

Literature 20th Century Design Bonhams, 28th November 2007 lot 79 for the pair to this mirror.

527. A pair of Art Deco bedside shelves, probably English, the asymmetric curved veneer back rail supporting two shelves, with rod terminal to front unsigned 75.5cm high (tallest) and 73cm high £200-300 528. A Heal’s weathered oak sideboard, central drawer with flanking cupboards, below mantle with metal cup hooks, inset ivorine label 129cm. wide, 122cm. high £150-200 529. A set of six Clissett High Back ladder-back chairs designed

by Ernest Gimson, with strung seats, 115cm. high £300-500 Provenance The part contents of a Wiltshire Rectory.

Literature Edward Gardiner Rush Seated Chairs, page 11 this Clissett High Back chair illustrated (no.15) priced at £2.

528

529

113

530. A Sormel Besancon adjustable office chair the design attributed to Jean Prouve, green enamelled steel frame with bent ply back and seat, applied paper label to back, 79cm. high £600-1,000 Literature Modernism from a Californian Collection, Christie’s South Kensington, 18th November 2007, lot 256 for an identical chair

530 label

531. A Bestlite desk anglepoise lamp designed by Robert Best, with extending chrome stem, black enamelled base and shade, and an orange enamelled Flower Pot light designed by Verner Panton, cast marks, 52cm. high £100-200

530

531

532. A set of four Fritz Hansen Oxford chairs designed by Arne Jacobsen, model no.7307, burnished steel frame with blue textile upholstery, applied labels 88cm. high £200-300

533. A Fritz Hansen Windsor chair designed by Ove Boldt, stamped FH mark, 90cm.high £100-200

533A. A Fornasetti enamelled tin matchbox cover made for Vespa motorbikes, designed

by Piero Fornasetti, printed in colours printed gilt marks, 15 x 11cm. £150-250

532

‡ 534. Brian Willsher (1930-2010) a tall pine wood sculpture, dated 2002, signed and dated in pen 54cm. high £300-400

533A

533

114

534 front & back

537 536

535 538 535. ‘Centaurs’ an Edinburgh Weavers jacquard woven cotton and linen designed by Alan Jarvis, 252 x 105cm £200-300 Literature Lesley Jackson Edinburgh Weavers, V&A Publishing, page 260 plate 457 for a comparable example.

Provenance The part contents of a Wiltshire Rectory. ‡ 536. Sir Eduardo Paolozzi KBE R.A. (1924-2005) a plaster torso unsigned 34cm. long

£300-500

‡ 537. Sir Eduardo Paolozzi KBE R.A. (1924-2005) a plaster head on pine base, and another plaster head unsigned, tallest 15cm. high, smaller head 10.5cm. high

£300-500

538. Sir George Frampton R.A.(1860-1928) Cardinal, 1892 plaster panel, framed signed and dated in the cast 47 x 35cm.

£500-1,000

539. The Aviator a patinated bronze cast from a model by Alexandre Kelety, on polished slate base signed in the cast Kelety, stamped bronze, 29cm. high, 31cm. wide £1,500-2,000

539

115

540 541

542 540. A Ferdinand Barbedienne gilt and patinated bronze tazza, after a design by J E Reine, the shallow dish with central bas-relief depicting classical lovers, inscribed Coupe TrouardRiolle, 1912, signed in the cast, F Barbedienne, 47cm. diam. £400-600

541. A Patinated metal sculpture of a woman holding a dove, on a stepped marble base, and a patinated metal sculpture of two dogs, unsigned 32cm. wide £50-100

543

542. A patinated bronze bust of a young boy smoking, cast from a model by V Masella, on stepped marble base signed in the cast 25cm. high £100-200

543. ‘Hooded Cloak’ a pair of patinated bronze figural book ends cast from a model by Demetre Chiparus, on veined marble bases, signed in the bronze 18cm. high

544

Literature Bryan Catley Art Deco and Other Figures ACC publishing page 68 for a figure comparable. £200-300

544. A pair of bronze sculptures of jockeys riding horses, signed in the bronze AG 1/3 34cm. wide £100-200 Provenance The Nick Rocke Collection

‡ 545.

Karin Jonzen (1914-1998) Young Girl (standing nude), bronze resin on a black slate base numbered 25/100 54cm. high

£700-1,000

Catalogue Notes Karin Jonzen studied at the Slade School of art between 1933 and 1937.

Provenance Heredities Limited, private collection.

λ 546. A gilt bronze and ivory figure of a medieval falconer cast and carved from a model by Eutrope Bouret, on veined marble base signed Bouret in the bronze 26cm. high £500-1,000

116

545

546

547. A pair of wrought iron andirons designed by Ernest Gimson and probably made by Alfred Bucknell, on tripod feet 54cm. high £100-200 Literature Annette Carruthers Ernest Gimson and The Cotswold Group of Craftsmen, Leicester Arts and Museums Service, page 99 for a contemporary photograph of the Daneway showrooms with a comparable pair of ??

548. A pair of polished steel and brass wall sconce designed by Edward Spencer, the stamped shield back with three articulated sconce, unsigned 43cm. high £100-200

548

547

549. A cast and pierced brass door grille panel the design attributed to A.W.N Pugin for the Palace of Westminster unsigned 52 x 25cm. £300-400 Literature Pugin and the Gothic Revival, Bonhams, 15th July 2009, lot 52 for an identical grille 550. ‘Carnation’ three Morris & Co woven woollen fabrics made up as cushions, designed by John Henry Dearle 1905-1910, largest 44 x 25cm £150-250

550

Literature Linda Parry William Morris Textiles, Crescent, page 167 plate 110 for this design.

549 551. A Newlyn Industrial Class copper tea caddy and cover, elliptical form, repousse hammered with three sailing ships, the cover with two scallop stamped Newlyn 13cm. high £250-300 552. An Arts and Crafts copper vase probably by John Williams, cylindrical form with two strap handles, repousse hammered with scrolling foliage 29.5cm. high £150-200 553. A Birmingham Guild of Handicrafts copper wall or table lamp designed by Arthur Stansfield Dixon, the curved support on domed plate pierced for wall mounting, hinged, supporting hammered copper shade unsigned 58cm. high £1,500-2,000

551

552

Literature Alan Crawford, By Hammer and Hand, Birmingham Museum & Art Gallery, page 99 plate 77 for another table lamp. Page 101 plate 80 for a contemporary illustration of a display of Birmingham Guild of Handicrafts lamps.

Classic Arts and Crafts, Christie’s South Kensington, 2nd November 2000 lot 173 for an identical lantern.

553

117

554. A Hukin & Heath bottle holder the design attributed to Dr Christopher Dresser, model no.3098, the oak body with chrome metal mounts, rod handle stamped marks, regd diamond, 19cm. high £100-200 555. A Jaeger le Coultre travel clock, model 106633, chrome case in red leather travel case, and an Asprey easel back clock, signed to dial, stamped marks, case 10.5cm. wide £100-200 556. A Walker & Hall Pride stainless steel four piece tea set designed by David Mellor, with black nylon handles and finials, comprising teapot and hinged cover, hotwater pot and hinged cover, sugar basin and milk-jug stamped marks, 16cm. high £100-200 Literature British Art & Design 1900-1960, Victoria & Albert Museum, page 216 for this design

554 555

557. A Georg Jensen silver sauce boat designed by Johan Rohde, shape no. 304, stamped marks, 20cm. wide £800-1,200

556 557

Literature 100 Years of Georg Jensen Christie’s New York, 19th January 2005 lot 269 for a comparable sauce boat David A Taylor & Jason W Laskey Georg Jensen The Silver Fund Collection, page 136 for a comparable sauce boat.

558. Six pairs of enamelled metal cuff links, unsigned £50-100 559. a pewter bangle mounted with ceramic stone, and ten other ceramic mounted items, probably Ruskin Pottery £100-200 560. A silver link bracelet, by N E From, two silver neck rings and a brooch stamped marks, 16.5cm. wide £100-200

558 559

561. A C & C Ltd silver panel, stamped in low relief with an Art Nouveau maiden, a Secessionist buckle, an Arts and Crafts bar brooch mounted with a pearl, and a collection of jewellery stamped marks, Birmingham 1903 4.5 x 2.5cm. £150-200 562. A silver link bracelet in the manner of Georg Jensen, each rectangular panel pierced and cast with a bird before a scroll of foliage, stamped C.B.H 830 S18.5cm. long £100-200

560

562

118

561

563. A Georg Jensen silver neck ring designed by Vivianna Torun Bulow-Hube, model no.174, a bracelet and a Georg Jensen silver ring model 423 designed by Nanna Ditzel, set with green agate stone, stamped marks and Torun, necklace 16cm. wide £300-500

563 detail 563 564. A Jorgen Jensen pewter and enamel bracelet, another set with purple stone, another set with amber stone and a small collection of jewellery stamped marks, 6.5cm wide £100-200

565

565. An Arts and Crafts ring possibly Murrle Bennett, cast with foliate panels and a central mother of pearl stone unsigned £100-150

564

566. A Murrle Bennett silver and enamel brooch, enamelled with a Lion rampant in blue on a purple ground, stamped marks, 3cm. wide £100-200

566 567. A Marius Hauer enamelled gilt metal pendant necklace, enamelled in sky blue stamped marks, 4.5cm. long £150-250

567

568 568. An Arts and Crafts plique a jour enamel hair comb in the manner of Charles Robert Ashbee, decorated with a three wild rose flowers in orange and green unsigned 14.5cm. wide £200-300 568 detail

119

569. A Siersbol silver pendant necklace on neck ring, two other neck rings, a pair of earrings, a bangle, a pair of cuff links and a clip stamped marks, Siersbol pendant 5.5cm. long £100-200

570. A silver pendant on neck ring, set with amber stone, a pair of silver cuff links set with amber stone and a silver ring various marks, £100-200

571. A Georg Jensen silver bar brooch, model 274, elliptical form, pierced and cast in low relief with stylised flowers, and another Georg Jensen silver brooch stamped marks, 4cm. wide £200-300

572. A pair of silver and ceramic cuff links by Anton Michelsen Denmark, the square panel set with blue ceramic square, another pair of silver disc cuff links by Anton Michelsen and another pair by Cado stamped marks, 2cm. square £100-200

573. A Flora Danica silver gilt brooch by Eggert Denmark, by Orla and Grethe Eggert, modelled as a leaf, and another larger stamped marks, largest 6cm. wide £100-200

574. A Janna Mexican silver gilt sea urchin box and cover, stamped marks, 4.5cm.diam. £100-150

120

570

569 571

574 572

573

121

578 576 575 577

575. A William Hair Haseler silver and enamel pendant necklace, retailed by Liberty & Co, cast in low relief with a foliate motif, enamelled in blue and green stamped WHH mark and silver, 2.5cm. high £200-300

579

576. A Murrle Bennett silver and enamel bar brooch, elliptical form, cast in low relief and enamelled in blue and green stamped marks, 850 3cm. wide £100-200 577. A Charles Horner silver and enamel pendant necklace, modelled as a butterfly, enamelled in shades of blue and green stamped marks, Chester, 2.5cm. wide £150-200 578. A Charles Horner silver and enamel bar brooch, pierced and cast in low relief with Art Nouveau foliate design, enamelled green and blue stamped marks, Chester 3cm. wide £100-200 579. A Queensway silver and enamel bar brooch, rectangular bar with mother of pearl terminals, enamelled green and blue stamped marks, 4cm. wide £100-200 580. A Charles Horner silver and enamel pendant necklace, pierced and cast Secessionist panel and drop, enamelled in shades of green and blue stamped marks, Chester, 4cm. long £150-200 581. A Charles Horner silver and enamel pendant necklace, pierced whiplash foliate form, enamelled blue and green, with enamelled silver drop stamped marks, Chester, 1912, 3cm. wide £250-350 582. A Liberty & Co silver link bracelet, each square panel case and set with silver seed pearl, with yellow metal links stamped L C & C Ld 20cm. long £150-250 Catalogue notes This unusual stamped mark was used by Liberty in 1903.

581

583. A James Fenton silver and enamel link bracelet, the rectangular panels enamelled blue and purple, the clasp green and brown stamped marks, 18cm.long (approx.) £300-400

580

582

583

122

LIBERTY & CO.

123

585 label

584

584. A Liberty & Co Hadley oak umbrella stand, with carved cut-out heart motif and pegged joints, set with olive green tiles and enamelled metal drip trays 87.5cm. high £200-300 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC Books, page 216 this design illustrated plate 6.4from the Yuletides Gift catalogue 1903/04.

585. A Liberty & Co Anglo Moorish bureau, with arched substructure and mashrabiya panel gallery applied paper label 62cm. wide, 93cm. high £300-500 Literature Daryl Bennett Liberty’s Furniture The Birth of Modern Interior Design, ACC, page 85 plate 3.46 for a sideboard with similar decoration.

586. A Liberty & Co mahogany Thebes stool, the square section seat on four turned legs, with remains of gilt decoration 43cm. square £200-300 587. A pair of Liberty & Co Otley oak fire bellows designed by Archibald Knox, the heart shaped panels and stem carved with Celtic knot motif, 76cm. long £150-250 Literature Daryl Bennett Liberty’s Furniture 1875-1915 The Birth of Modern Interior Design, ACC books, page 224 plate 6.26 this design illustrated in a Yuletides catalogue, 1907.

585

587 586

124

588. A mahogany glazed display cabinet probably retailed by Liberty & Co, curved ends, hinged central glazed doors with mashrabiya panel decoration unsigned 68cm. wide £200-300

588

589. A Liberty & Co mahogany table, square top on flaring, turned legs, with rounded feet, square shelf impressed Liberty marks 65cm high, 40cm square top. £100-200

λ 590. A pair of Anglo Persian tables possibly retailed by Liberty & Co, octagonal form, inlaid with ivory panels 61cm. high, 61cm. diam. £500-1,000 589

590 top

590

125

591

591. A repousse copper panel by John Pearson, dated 1900, rectangular, hammered in relief with two lions on a hill top before a medieval cityscape, the sun rising in the distance behind woodland, framed hammered JP monogram and date to reverse, panel 106 x 24cm. £800-1,200

592 592. A Liberty & Co terracotta Olaf jardiniere designed by Archibald Knox, with four loop handles, cast with a band of Celtic entrelac motif, impressed mark, 44cm. high £700-1,000 Literature Stephen A Martin, Archibald Knox, ARTMEDIA page 276 for this design illustrated Veronica Franklin Gould, Archibald Knox and Mary Seton Watts, Modern Celtic Garden Pottery Arrow Press, page 20 for a comparable example illustrated in a Liberty catalogue.

592A

592A. A Compton Potter's Art Guild Scroll jardiniere the design attributed to Mary Seton Watts, cast in relief with two scroll handles, impressed wheel mark, 29cm. high £500-800 Literature Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art Garden Pottery, page 17 for a comparable pot circa 1898.

593. An oak bureau, in the manner of Liberty & Co, with pierced foliate back plate, the patinated metal hinges with ‘Ruskin’ ceramic roundels, 123cm high, 64cm wide £100-200

126

593

594. A Loetz iridescent glass vase, ovoid with tall solifleur neck and flaring rim, covered in a splashed blue iridescence 22,5cm. high £200-300 Literature Liberty 1875-1975 V&A catalogue D252G, page 89, for an identical vase illustrated

595. A James Couper & Sons Clutha glass vase designed by Dr Christopher Dresser, shouldered form with solifleur neck with inverted rim, green glass internally decorated with brown streaks and air bubbles unsigned 17.5cm. high £100-200 Literature Michael Thomas Vaughan Clutha page 4 this design illustrated.

594

596. A James Coper & sons Clutha glass vase the design attributed to Dr Christopher Dresser, shouldered form with knopped neck, pale green glass with fine air bubble inclusions and brown swirls, a plate and another vases similar unsigned 8.5cm. high £100-200

595

596

597. A James Couper & Sons Clutha glass vase, shouldered cylindrical form with everted rim, green glass with air bubble inclusions, a green glass dish with fluted rim, and another vase unsigned 8cm. high £100-200

597

Literature Liberty Yuletides advertisment published in Bric a Brac 1908 for a similar shape illustrated no.3 titled Flower Bowls.

598. A tall glass vase possibly James Coper & Sons Clutha glass, ovoid with tall tapering neck, pale green glass with air bubble inclusions, and six other glass items similar unsigned 18.5cm. high £100-200

599. A Monart Stoneware glass vase, shape GA, shouldered form with cylindrical neck, surface decorated with green and blue pulls on a mottled green ground, unsigned 21cm. high £100-200

598 599

600. A Monart glass vase, swollen cylindrical form, streaked green glass with whorls, cased in clear, and another vase similar unsigned 21cm. high £50-100

601. A Monart glass vase, tapering cylindrical form with everted rim, on applied foot, mottled orange glass graduating to yellow with whorls, cased in clear unsigned 20cm. high £100-150 600

601

127

603

602

606 mark

602. ‘Bara Ware’ a Moorcroft Pottery bottle vase retailed by Liberty & Co, painted with flower panels in pink and green on a white ground, and a Moorcroft Tobacco jar and cover printed mark, painted green facsimile signature, damages 31cm. high £150-250

604

Literature Paul Atterbury Moorcroft Pottery, Richard Dennis Publications, page 62 plate 4 for comparable examples.

Barbara Morris Liberty Design, Chartwell Books, page 69 for a Bara Ware plate illustrated.

603. A Moorcroft Pottery Flamminian Ware biscuit box and cover designed by William Moorcroft, slip decorated with a heart-shape foliate motif, glazed red incised facsimile signature, small nick to cover rim, 16.5cm. high £300-500

604. ‘Claremont’ a Moorcroft Pottery vase designed by William Moorcroft, retailed by Liberty & Co, painted in shades of red and blue on a celadon green ground, printed Liberty mark, painted green facsimile signature, restored, 10.5cm. high £500-800

605 605. ‘Hazledene’ a Moorcroft Pottery vase designed by William Moorcroft, retailed by Liberty & Co, painted in shades of yellow, green and blue on a celadon green ground printed factory mark, painted green facsimile signature, professionally restored top rim, 15.5cm. high £1,000-1,500 Literature Paul Atterbury Moorcroft Pottery 1897-1993, Richard Dennis Publications, page 69 plate 1 for comparable vases

606. ‘Hazledene’ a Moorcroft Pottery vase designed by William Moorcroft, shouldered form with everted rim, painted in shades of green and blue on a pale green ground printed Liberty mark and painted green facsimile signature, professional restoration to base 15cm. high £1,500-2,000 Literature Paul Atterbury Moorcroft Pottery 1897-1993, Richard Dennis Publications, page 69 plate 1 for comparable vases

128

606

607. A Gouda Pottery Regina vase, shouldered form, painted with Art Nouveau flowers and foliage in colours on a cream ground, a dish, a vase and a circular box and cover similar, and three miniature Gouda items, and six reference books on Gouda printed and painted marks, damages 26cm. wide £100-200

608. A terracotta vase by Owen Davis, ovoid form with everted rim, decorated in slip with a figure in an archway, a panel of a lion and a heron with an eel in its beak, in yellow on a buff ground, incised signature, repaired rim, 23cm. high £100-200

607

Catalogue Notes Owen Davis was born in Barnstaple, setting up a design studio in London and influencing the young Charles Brannam.

609. A large Lauder Barum pottery vase by Alexander Lauder, shouldered cylindrical form, slip decorated with stylised flowers and foliage in colours on a sand coloured ground incised Alex Lauder Barum 12/15/189, restored, 49cm. high £300-500

608 front & back

610. A large Lauder Barum pottery vase by Alexander Lauder, shouldered cylindrical form, slip decorated with stylised flowers and foliage, in colours on a sand coloured ground incised Lauder Barum Alex 15.12.1891, restored base, glaze loss 51cm. high £300-500

609

610

611. A C.H.Brannam Dolphin vase by William Baron, dated 1891, ovoid the shoulder applied with three dolphin, supporting a knopped collar, painted with scaly fish amongst waterweed, in colours on a blue ground incised marks, WB monogram 23cm. high £200-300

612. A C.H.Brannam terracotta vase, dated 1899m shouldered form with applied handles, painted with a griffin panel, in shades of cream, brown and green on a green ground incised marks, 22cm. high £180-220 611

612

129

613. An early C.H.Brannam terracotta jug, dated 1880, ovoid, decorated in low relief with a pane of fish and a ray, flanked by birds catching insects, in yellow on a terracotta ground incised CH Brannam Barum 1880, restored neck, 21.5cm. high £100-150 614. An early C.H. Brannam vase by James Dewdney, dated 1883, ovoid decorated with panels of a bird and stylised flowers, in blue on a brown ground, and a Brannam Griffin candlestick

by W Garland, incised marks, 16.5cm. high £100-150 613

615. A pair of Lauder Barum dragon vases, shouldered form, each applied with a dragon like reptile, the body incised with scaly fish amongst waterweed in blue, green, yellow and ochre on a pale blue ground impressed Lauder Barum mark, restored, 32cm. high £300-500 616. A Baron Barnstaple twin-handled vase, shouldered form, applied with twin dragon handles, painted with a bird perched on flowering foliage, about to catch butterflies flitting innocently, the reverse with a bird flying past stylised Art Nouveau flower stems, and a C H Brannam vase by William Baron dated 1888, painted with birds amongst stylised foliage incised marks, restored 30cm. high £100-200

614

615

617. A modern C.H. Brannam vase made for Liberty & Co, dated 1991, shouldered twinhandled form, applied and incised with two circling fish, glazed blue incised marks, handle repaired, 36cm. high £100-150 618. A C.H.Brannam Barum Pottery vase, dated 1896, tapering form with applied twisted handles, incised and painted with Lily flowers in brown and blue on a blue ground, and a C.H.Brannam vase painted with a wading bird, incised marks, incised AB artist monogram, restored 40cm. high £100-200

616 617

130

618

619. A C.H. Brannam comical twin-handled vase the design attributed to Blanche Georgiana Vulliamy, modelled as a grimacing face, the handles modelled as ears glazed green, a small Baron jug designed by Blanche Vulliamy and eight other Devon pots incised marks, damages face 15cm. high £150-250

619

621 front & back

620 620. A C.H. Brannnam terracotta candlestick and sconce by Frank Thomas, dated 1899, modelled as a stork standing beside a large bamboo shoot, glazed green, blue ochre and white incised C H Brannam Barum, 1899, FT monogram, minor glaze loss, restoration, 26cm. high £100-150 621. A Lauder Barum pottery vase, shouldered form, incised and painted with a panel of scaly fish, the reverse with a panel of birds, in yellow, brown and blue on a green ground, inside scrolling foliage borders, incised Lauder 30cm. high £150-250 622. A large C.H.Brannam Barnstaple pottery vase by James Dewdney, dated 1905, tapering cylindrical form with everted rim and three applied scroll handles, incised and painted in slip with three scaly fish, amidst waterweed, painted in shades of green, blue and brown incised marks, restored, 42cm. high £200-300 623. A C.H. Brannam terracotta vase by James Dewdney, shouldered form, painted with panel sof birds amongst foliage and a peacock displaying, in brown and blue incised marks, JD monogram, chip to foot rim, 34cm. high £100-200

622

623

624. A pair of Lauder Barum vases, tapering cylindrical form with everted, fluted rims, incised and painted with panels of scaly fish amongst waterweed to one, the other with birds perched on flowering boughs, in shades of ochre, green and blue on a green ground impressed marks, minor glaze frits 30cm high £100-200 625. A terracotta jug by Mary Mersom, dated 1885, slip decorated with a grotesque creature amidst scrolling foliage, in blue on a brown ground incised marks, restored, 22.5cm. high £100-200 624

625

131

628

627

626

626. A Liberty & Co Cymric silver and enamel button pendant necklace the design attributed to Archibald Knox, cast in low relief with radiating foliate design enamelled in blue and green, set with mother of pearl stone, stamped marks, Birmingham 1901, 3cm. diam. £200-300 627. A William H. Haseler Liberty & Co silver and enamel button brooch the design attributed to Archibald Knox, enamelled in low relief with radiating foliate design enamelled blue and green, set with mother of pearl stone stamped marks, Birmingham 1909, 3cm diam. £200-300 628. A Liberty & Co Secessionist rose gold pendant, set with pink stone and seed pearl, stamped Liberty mark 9ct, 3cm. high £500-700

630 629

629. A Murrle Bennett silver and enamel pendant designed by Archibald Knox, pierced triangular frame with Celtic knot decoration, with green and blue enamel panel, stamped MB roundel, 850 4cm. high £400-600 Literature Stephen A Martin The Designs of Archibald Knox, ARTMEDIA, page 255 for a comparable piece Vivienne Becker Art Nouveau Jewellery, page 164 plate 243 for a comparable piece 630. A Liberty & Co silver and enamel buckle, the design attributed to Oliver Baker, pierced and cast with foliate design, enamelled blue stamped marks, Birmingham 1908, 8cm. wide £350-400 631. A Liberty & Co silver pedestal bowl, the circular foot supporting wirework stem and hammered bowl, stamped marks Birmingham 190810cm. diam. £150-200 632. A Liberty Cymric silver photograph frame, rectangular, set with two turquoise stones, leather back, stamped marks, Birmingham 1904, missing easel back 11.3cm. high £300-400 Literature Victor Arwas Liberty Style, Parco, Japanese exhibition catalogue, page 117 catalogue S12 for a comparable frame.

631 632

633. A Liberty English Pewter and enamel box and cover by Charles Fleetwood Varley, rectangular, the hinged cover set with rectangular enamel plaque of a riverscape by Charles Fleetwood Varley, stamped marks to box, signed Varley to enamel, dents and cracks to enamel, 21cm. wide £1,000-1,500 634. A Liberty & Co Cymric silver and enamel box and cover designed by Archibald Knox, rectangular section, the hinged cover set with two roundels cast in low relief with art nouveau whiplash foliage enamelled red, blue and green £1,500-2,000

633 detail

132

634

635. A Liberty & Co Tudric Pewter and enamel mantel clock designed by Archibald Knox, model no.0629, architectural form, set with Art Nouveau foliate enamel panel in red blue and green, the copper dial with Roman numerals and green and blue enamel stamped marks, 17cm. high ÂŁ3,000-5,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 233 this design illustrated.

Victor Arwas Liberty Style, Parco, Japanese exhibition catalogue, page 104 P.39 this design illustrated.

133

636. A pair of Liberty & Co Cymric silver spoons, possibly designed by Archibald Knox, model no.694, stamped marks, Birmingham 1905 16cm long £400-600 637. A silver and abalone shell locket possibly Liberty & Co, circular, cast in relief with leaves, set with abalone flowers, unsigned 2cm. diam. £100-150 638. An Art Nouveau gold and enamel pendant necklace the design attributed to Archibald Knox, pierced and cast triangular section, cast with foliate border set with pearl flower and drop, enamelled in blue and purple, on gold link chain unsigned 4cm. long £500-800 Literature Archibald Knox Society Journal 150th Anniversary Edition, page 68 for a comparable pendant necklace illustrated.

639. A Liberty & Co Cymric silver button, cast in low relief with a pomegranate, and another Liberty & Co Cymric silver button cast with a sailing boat, stamped marks, Birmingham 1901 2cm. diam. £100-200 Literature Barbara Morris Liberty Design, Chartwell Books, page 84 for a Cymric rose bowl with similar pomegranate design, attributed to Bernard Cuzner.

640. A Liberty & Co Cymric silver button designed by Archibald Knox, cast in low relief with foliate design, inset with turquoise stone, and another cast in low relief with flower sprays, enamelled green and yellow stamped marks, Birmingham 1904 2cm. diam. £100-200 641. A Liberty & Co gold Secessionist pendant the design attributed to Archibald Knox, pierced form, set with peridot stone stamped marks, L & CO 9ct, 2.5cm. long £500-800 642. A Murrle Bennett & Co silver and opal buckle, pierced Art Nouveau foliate form set with six black opal stones stamped marks, London 1902, 6.5cm. wide £350-400 643. A silver easel backed enamel panel by Charles Fleetwood Varley, rectangular frame with applied foliate decoration, set with rectangular enamel panel of trees before a sunset unsigned, stamped silver, 10 x 4.5cm. £300-500 644. A Liberty & Co silver and enamel belt buckle, the design attributed to Oliver Baker, pierced, hammered finish, enamelled with square panels in green and blue stamped marks Birmingham 1913, 7cm. wide £250-350

134

637 639

640 638

636

641

644 643

642

135

645 detail 645 645. A pair of Liberty & Co English Pewter Thousla candlesticks designed by Archibald Knox, model no.08, flat, circular base supporting cylindrical stem and flat drip pan, cast in low relief with Celtic knot bands stamped marks, 16cm. high £1,000-2,000 Literature Archibald Knox Beauty and Modernity a designer ahead of his time, 150th anniversary exhibition, Olympia, page 32 catalogue number 41 for a comparable candlestick.

646. A Liberty & Co English Pewter butter dish with green glass liner designed by Archibald Knox, model no. 0316, rounded rectangular form, cast in low relief with Art Nouveau berried foliage tendrils, stamped marks, 0316 17cm. wide £100-200 647. A Liberty &Co Tudric Pewter and glass butter dish designed

by Archibald Knox, model no.0163, cast in low relief with Art Nouveau stylised honesty, with green glass liner, stamped marks, 19cm. wide £300-500

646

LIterature Stephen A Martin Archibald Knox, ARTMEDIA, page 208 this design illustrated.

648. A Liberty & Co English Pewter tray designed by Archibald Knox, model no.0557, rounded rectangular form with over-slung handle, cast in low relief with stylised ivy sprays stamped marks, 31cm. wide £150-200 649. A Liberty & Co Tudric Pewter tray designed by Archibald Knox, twin-handled form, pierced and cast in low relief with foliate design, stamped marks, 28cm. wide £100-200 650. A Liberty Tudric Pewter butter knife designed by Archibald Knox, the handle cast in low relief with heart-shaped foliate design on sinuous stems unmarked, 14.5cm. long £100-200 647

648 650

136

649

651. A Liberty & Co Tudric Pewter and copper mantel clock, model 066, architectural form, cast in low relief with a frieze of stylised trees, the circular copper dial with Arabic numerals, stamped marks, 29.5cm. high ÂŁ6,000-10,000

137

652 653

652. An Art Nouveau W.M.F. pewter tray, cast in relief with a figure rising from a lily pad, a serpent on the rim, a W.M.F cruet tray with glass bottles, two pewter dishes and an English Pewter Art Nouveau crumb scoop probably retailed by Liberty & Co stamped marks, 24.5cm. wide £300-400

653. An unusual Liberty & Co Tudric Pewter dish designed by Archibald Knox, model no. 0231, cast in low relief with stylised honesty seedheads stamped marks, 14cm. diam. £200-300

654

654. A Liberty & Co Tudric Pewter candlestick designed

by Archibald Knox, model no.0897, triangular section, cast in low relief with Art Nouveau foliate sprays stamped marks, 13cm. wide £200-300

655

138

655. A pair of Liberty English Pewter tazza designed by Archibald Knox, model no.01161, the slightly domed base cast in low relief with stylised honesty, three fin stems supporting shallow bowl stamped marks, 27cm. high £500-700

656. A large Liberty & Co pewter box and cover designed by Archibald Knox, swollen square section, cast in low relief with flowers and foliage stamped marks, 15cm. square £400-600

657. A Liberty & Co English Pewter box and cover designed by Archibald Knox, model no.0194, swollen square section, cast in low relief with stylised flowers and foliage stamped mark, 11.5cm. high £300-500

658. A Liberty & Co pewter vase designed

by Archibald Knox, bombe form, cast in low relief with Art Nouveau scrolling foliage, on tripod foot, stamped marks, 19cm. high £100-200

656

657

659

658

659. A Liberty & Co English Pewter jug and cover designed by Archibald Knox, cast in low relief with Art Nouveau stylised honesty seedheads, and another Liberty Tudric Pewter jug and cover designed by Archibald Knox, stamped marks, 14cm. high £100-200

660. A Liberty & Co Tudric Pewter and glass ewer designed by Archibald Knox, model no. 0456, tapering cylindrical form, cast with a frieze of heart-shaped foliage on Art Nouveau sinuous stems stamped marks, 32cm. high £700-900

660

139

661. A Liberty & Co English Pewter tray designed by Archibald Knox, model no.359, pierced and cast in low relief with stylised heartshaped foliage stamped marks, 23cm. wide £100-200

661

662. A Liberty & Co Tudric Pewter inkwell designed by Archibald Knox, model no.0162, circular section, with hinged cover, the domed cover cast in low relief with clover repeat stamped marks, 12cm. diam. £150-200 662

663. A pair of Liberty & Co Tudric Pewter twin-branch candlesticks designed by Archibald Knox, model no. 0530 cast in relief with berried foliage, the base similarly cast and pierced, with loose sconces stamped marks, 28cm. high £2,000-3,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 217 for a comparable pair of candlestick illustrated Victor Arwas The Liberty Style, Rizzoli New York, catalogue number 37 for a comparable candlestick.

663

140

664. A Liberty & Co Tudric Pewter and enamel twinbranch candelabra designed by Archibald Knox, model no., cast and pierced with berried foliage panels, the base with two blue enamel panels, stamped marks, 28.5cm. high £1,500-2,000 665. A large pair of Liberty & Co Tudric Pewter vases designed by Archibald Knox, bombe form on tripod foot, cast in low relief with Art Nouveau foliage on whiplash stems stamped marks, 29cm. high £1,500-2,000 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 186 this design illustrated.

666. A large Liberty & Co Tudric Pewter and enamel rose bowl designed by Archibald Knox, model 0229, twin-handled form, cast in low relief with Art Nouveau whiplash foliage, enamelled in shades of blue stamped marks, 16cm. high £1,000-1,500 Literature Stephen A Martin Archibald Knox, ARTMEDIA, page 209 this design illustrated.

664

665

666

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2015 Sale Calendar 25th February

A Private Collection of British Art Pottery

15th April

Clarice Cliff, Art Deco and 20th Century Design Closing date for entries 18th February

17th June

Arts and Crafts Closing date for entries 23rd April

21st October

20th Century Design Closing date for entries 19th August

25th November

British Art Pottery Closing date for entries 30th September

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

Fine Porcelain and Pottery Tuesday 24th February 2015 We are now accepting entries for this sale.

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

A pair of Meissen figures of a reclining shepherd and shepherdess, 18th century.

Estimate: ÂŁ1,000 - ÂŁ2,000

A Private Collection of British Art Pottery Wednesday 25th February 2015

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

A collection of vases by Peter Hayes

20th Century & Contemporary Art Wednesday 10th December 2014

Marcel Dyf (French 1899-1985) Rivière à Autun, Bourgogne Signed Oil on board Estimate: £10,000 - £15,000

ENQUIRIES Victor Fauvelle Tel: +44 (0)1722 424503 victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0)1722 424592 jobutler@woolleyandwallis.co.uk

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TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

146

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.

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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.

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

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

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

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SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1. Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

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

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

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4. The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 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 COLLECT any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (IF LATER) after which you shall be responsible for any COLLECTION, storage and insurance charges. (c) No purchase MAY be COLLECTED AND WE SHALL NOT RELEASE ANY LOT TO YOU OR YOUR AGENT 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.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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.

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.

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.

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.

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.

Contact Christine Johnson 01722 424509 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.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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WOOLLEY & WALLIS

Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

AMESBURY & MARLBOROUGH

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LONDON, ANDOVER & WINCHESTER

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A345 Castle Rd

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SALISBURY A36

AMESBURY NEW STR EET

Old Sarum

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Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

SOUTHAMPTON CATHEDRAL

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DIRECTIONS FROM WOOLLEY & WALLIS CASTLE TO SALT LANE TOSTREET CASTLE STREET & WALLIS WOOLLEY FROM DIRECTIONS PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

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WOOLLEY & WALLIS Salt Lane

Woolley & Wallis Carter House 6 – 10 Salt Lane SP1 1EE

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Registered in England No. 2998482

Salisbury Salerooms

CHIPPE

WOOLLEY & WALLIS

SCOTS LANE

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury Wiltshire SP1 3SU

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A338 BOURNMOUTH & RINGWOOD

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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A354 DORCHESTER WEYMOUTH & BLANDFORD

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W OOLLEY & W ALLIS S ALEROOMS

Qudos CASTLE STREET

VAT No: 631 9832 29 TESCO

Design & Production by Jamm Design Ltd. Tel. 020 7424 7830 www.jammdesign.co.uk

Due to the one-way system of Salisbury please follow the red route when driving from Salt Lane to Castle Street.

Due to the one-way system of Salisbury, please follow the red route when driving from Salt Lane to Castle Street.

WOO L LE Y & WA L LI S Absentee Bid Form

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

British Art Pottery

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 3rd December 2014 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

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AUCTION CALENDAR 2015 FURNITURE & WORKS OF ART 8th January 25th March 1st July Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 20th & 21st January 28th & 29th April 14th & 15th July Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 22nd January 30th April 16th July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 10th February Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS 11th February 17th July Richard Price +44 (0) 7741 242421 • richardprice@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 24th February– Fine Porcelain & Pottery 21st April – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • claredurham@woolleyandwallis.co.uk 20TH CENTURY DESIGN 25th February – A Private Collection of British Art Pottery 15th April – Clarice Cliff, Art Deco & 20th Century Design 17th June – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • michaeljeffery@woolleyandwallis.co.uk PAINTINGS 11th March 3rd June Victor Fauvelle +44 (0) 1722 424503 • victorfauvelle@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jobutler@woolleyandwallis.co.uk ARMS & ARMOUR 25th March Will Hobbs +44 (0) 1722 339752 • willhobbs@woolleyandwallis.co.uk ASIAN ART 20th & 21st May John Axford +44 (0) 1722 424506 • johnaxford@woolleyandwallis.co.uk Sophie Lister +44 (0) 1722 424591 • sophielister@woolleyandwallis.co.uk

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