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

The Nick Rocke Collection of British Art Pottery Wednesday 25th February 2015


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

20TH CENTURY DESIGN Michael Jeffery Amanda Lawrence

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

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CLOCKS, WATCHES & SCIENTIFIC INSTRUMENTS Richard Price (Consultant) — 07741 242421 Gemma Bush — 339752 ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham — 424507 Amanda Lawrence — 329477 FURNITURE Mark Richards Jim Gale Anna Brown JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA PAINTINGS Victor Fauvelle Jo Butler

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GENERAL OFFICE Linda Garthwaite Pauline West Sharon Ringwood Nicola Young SALEROOM MANAGER David Jordan

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

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SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES ARMS & ARMOUR Will Hobbs Gemma Bush

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Members of The Society

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

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COMPANY SECRETARY Jim Macarthur CA 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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THE NICK ROCKE COLLECTION

BRITISH ART POTTERY, FURNITURE AND PICTURES Wednesday 25th February 2015 at 11.00am

ENQUIRIES

VIEWING TIMES

Michael Jeffery 01722 424505 michaeljeffery@woolleyandwallis.co.uk

Saturday 21st February Monday 23rd February Tuesday 24th February Wednesday 25th February

Amanda Lawrence 01722 329477 amandalawrence@woolleyandwallis.co.uk

COLLECTION OF LOTS Please note that all lots will be cleared from our Castle Street saleroom to our Salt Lane office on Monday 2nd March 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.

10.00am – 1.00pm 10.00am – 5.00pm 9.00am – 5.00pm 9.00am – 11.00am

Front cover: Items from the Nick Rocke Collection Back cover: Lot 187 detail Catalogue £10.00 (£12.00 by post) Images and a catalogue word search facility are available at www.woolleyandwallis.co.uk

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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.

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 Up to a maximum levy of €12,500 Lots marked with a ‡ symbol are potentially subject to the levy.

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NICK ROCKE (1957-2014) This auction contains one man’s personal collection of art pottery, paintings and furniture purchased at auction and antiques fairs to furnish his houses in Kent, London and Bournemouth. A very private man, Nicholas Rocke was educated at Bryanston School (1957-1960), Dorset, a contemporary of Sir John Eliot Gardiner CBE, where he developed his passion for music and the arts. Bryanston School remained very important to Nick and in 1995 he donated his single-manual harpsichord and the Jennings organ (in 2012) to the new music school. His interest in pottery was probably also formed at Bryanston, and his collection includes work by former Bryanston pupil Richard Batterham (lot 250). His collection of Ruskin and Pilkington’s Lancastrian are, in my opinion, amongst the finest in private hands. Having known Nick for some 20 years I have watched the collection develop. He attended virtually all of my 20th Century auctions at Woolley and Wallis actively bidding on a multitude of items, mainly ceramics, and we had the pleasure of selling part of his collection in a specialist auction of British Art Pottery on 14th June 2006. He even intended to bid from Hospital for tiles in our June Arts and Crafts auction just days before he died. Nick also pursued a wide and varied interest in contemporary ceramics from Bernard Leach to the present day potters, be they local to him, internationally renowned figures or emerging potters whose work he spotted and appreciated. I recall his delighted reaction to seeing Tim Andrew’s pots (lots 291 & 292) for the first time as he walked into the saleroom. His interests also covered contemporary art, running The Delf Stream Gallery in Kent and holding exhibitions of work by Michael Warren (lots 335-345) and Edwin Hunter (lots 324-325). Painting was also hereditary, his uncle was the artist George Basil Rocke (1904-1966).

Chrysanthemums by Basil Rocke, exhibited at the Whitechapel Gallery, 1938.

RUSKIN POTTERY In 1898 William Howson Taylor established a new pottery in Smethwick, near Birmingham, with his father. The pottery was a pure Art Pottery and took its name from the English Victorian writer, artist and historian John Ruskin – the Ruskin Pottery. Inspired by the shapes and glazes of the ancient Chinese masters Howson Taylor produced modern pots, exhibited internationally in St Louis (1904) and Brussels (1910), with highly secret glaze formula. The factory was closed on his retirement in 1935 and under William Howson Taylor’s instruction the day books and chemical glaze recipes were destroyed – adding a further mystique to his production. PILKINGTON’S LANCASTRIAN POTTERY In stark contrast to the Ruskin Pottery – Pilkington’s Lancastrian pottery was formed first, through the chance find of clay and then through the appointment and expertise of William Burton who had been traditionally trained at the Wedgwood factory. Pilkington’s quickly developed a modern decorative Art Nouveau style of painted lustre ceramics – using designs from the top British artists Walter Crane, C.F.A. Voysey and Lewis F Day. As well as these recognised Arts and Crafts artists, the factory employed designers including Gordon M. Forsyth, Charles Cundall and Richard Joyce alongside young women, Annie Burton (daughter of William Burton) and Gladys Rodgers. Michael Jeffery

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A large collection of Art Reference, 1. ceramic and design history books. (a lot) £100-200

2. A small Austrian iridescent glass Propeller vase, probably Loetz, covered in an iridescent finish, a WMF Ikora glass vase, a Murano glass vase, a Dennis G Helfer glass vase and a collection of four other glass vases 16cm. high (8) £50-100

MARTIN WARE

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3. A Martin Brothers stoneware wall vesta by Robert Wallace Martin, incised with stiff-leaf foliate design, glazed blue and buff, stamped Fecit R W Martin to the rim, 13.5cm. diam. £100-200

4. A Martin Brothers stoneware tile, modelled in low relief with a sunflower, glazed green and brown, framed 13.5 x 14.5cm., £100-150

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5. A Martin Brothers stoneware heraldic tile, decorated with coat of arms Virtute Nono Verbis, framed, and another Martin Brothers tile incised and painted with orchid flowers,14.5 x 13.5cm. (2) £100-150

6. Four Martin Brothers stoneware tiles, one dated 1899, each modelled in low relief with ivy leaf design, inside simple chevron border, glazed brown incised Martin Bros 3-1899 to chevron border on one, each tile 16cm. square (4) £300-500 Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 98 for comparable tiles illustrated. 6

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TILES 7. A Gothic Revival oak hall chair, with ebonised wood detailing, and decoration to the back, inset with two Minton’s Early English History tiles designed by John Moyr Smith depicting Canute and The Death of Harold, 100cm. high. £100-150 Literature Annamarie Stapleton John Moyr Smith 1839-1912 A Victorian Designer, Richard Dennis Publishing, page 61 for the tile series illustrated. Hans Van Lemmen Tiled Furniture, Shire Album, page 16-17 for comparable chairs illustrated 8. A set of five large tiles, decorated with ducks and fowl in a farmyard setting, three later framed, an Aesthetic Movement tile printed and painted with a crane with a fish in its beak, another similar, an original watercolour design for a tile panel, and a collection of tiles impressed XXX mark, 20cm. square £100-200 7 9. Seven Josiah Wedgwood Midsummer Night’s Dream large tiles, by Helen J A Miles, each printed in green on a white ground, comprising, Oberon, Demetrius, Puck, Moth, Hermia, Bottom, and Lysander, and a collection of sixteen various tiles impressed marks, 20.5cm., square (23) £100-200 Literature Maureen Batkin Wedgwood Ceramics 18461959, Richard Dennis Publications, page 112 plate 245 for comparable tiles.

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Provenance 20th Century Design Woolley and Wallis, 5th March 2014 lot 298 10. A large Minton Hollins & Co PreRaphaelite tile, painted with a maiden holding a flaming torch before a crescent moon and starry golden sky, in colours, framed impressed marks to reverse 30cm. square £100-150 10

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11. A Carter’s Poole Pottery tile, dated 1953, painted en grisaille with Corfe Castle, Dorset, two other Carter’s tiles printed in colours with a seagull designed by Irene Fawkes and a barge design, a set of three tiles painted with sailing ships, and four prints on rice paper of tile designs one signed in the print Fawkes, and a Carter’s tile panel designed by Reginald Till for the staircase at Poole Pottery impressed marks, minor rim chips, 15.5cm. square (11) £100-200 Provenance Tile panel salvaged from the Poole Pottery on its demolition. 11


WILLIAM DE MORGAN 12. A pair of Minton Hollins tiles, painted with a medieval couple he sowing seeds, she tiling the earth, in colours, framed £100-200 impressed marks, 29.5 x 19cm. 13. A Longden tile possibly retailed by Morris & Co, decorated with flower and foliate quartered design in blue on a white ground, two other tiles in the manner of Morris & Co a Minton’s tile printed with an Aesthetic Movement flying crane and a collection of tiles 12cm. square (a lot) £100-150 14. A William De Morgan Tulip & Trellis tile on Poole Architectural blank, painted in shades of blue and green on a white ground with trellis and tulip design, a William De Morgan Rose tile, and two other William De Morgan tiles, impressed marks, glaze chips, minor old restoration to rose tile 15.5cm. square (4) £100-200

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Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 97 colour plate IX b for a comparable tile. 15. A William De Morgan Merton Abbey Persian large tile, square section, painted with a flower and foliate design in blue, green and aubergine on a white ground, and two others similar, framed impressed mark, 20.5cm. square (3) £100-200

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16. An early William De Morgan Great Curassow tile, painted with a bird amidst stylised foliage, in ruby lustre on a white ground, in later wood frame, broken in tree and repaired, chips to lower edge, 15cm square £100-200 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 127 figure 930. Provenance 20th Century Design, Woolley and Wallis, 21st September 2008, lot 631. 17. A William De Morgan late Fulham Period BBB tile, painted in shades of yellow, aubergine and green on a white ground, in later frame, and two other William De Morgan tiles impressed seal mark, 15.5cm. square (3) £150-200

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Literature Jon Catleugh William De Morgan Tiles, Trefoil, page 80 figure 87 this design illustrated. 18. Two William De Morgan Chelsea Period tiles, painted with berried foliage in shades of yellow and on a white ground, framed, and two other tiles impressed marks, 15.5cm. square (4) £100-200

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19. Two William De Morgan Galleon tiles, painted in ruby lustre on a white ground, and two William De Morgan ruby lustre tiles, in later wooden frame, each tile 15cm square, frame 38.5cm. square £1,500-2,000 Literature Martin Greenwood The Designs of William De Morgan Richard Dennis, page 120 figures 890 and 814 for these designs.

20. A small William De Morgan pottery charger, painted to the well with a peacock, the rim with frieze of scrolling, intertwined flowers, in ruby lustre on a white ground, the reverse with simple scroll design, unsigned 31cm. diam. £200-400 Provenance British Art Pottery Woolley and Wallis, 11th December 2013 lot 65 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 57 figure 1296 for the original designs for the border design. 19

21. A large William De Morgan pottery charger, painted to the well with two classical dolphin motif on a calm sea ground, the rim with palmette flowers in ruby lustre on a white ground, the reverse with simple palmette border, unsigned, minor glaze loss to the rim area, 44.5cm. diam. £500-1,000 Literature Martin Greenwood The Designs of William De Morgan, Richard Dennis, page 217 plate 111 the well design reproduced on a Staffordshire blank charger, circa 1880.

22. A Bushey Heath Pottery vase possibly by John or James Hersey, shouldered form, painted with bands of geometric design in golden lustre on a midnight blue ground painted JBH indistinct Bushey roundel mark, small chip to foot rim, minor glaze frits to top rim, 15cm. high £100-200 20

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23. A George Jones majolica tureen and cover, the cover modelled with a game bird on a bed of corn, in shades of brown, yellow, green and blue, a Minton Jasperware jardiniere and stand, a parian ‘boy and eagle’ jug, three Thun wall plates, and six other items moulded mark, restored 23cm. diam. (12) £100-150

24. A Crystal Palace Art Union Parian figure of L’Allegro by E H Bailey R.A, with gilt highlights, printed mark, minor restoration to front foot, 42.5cm. high £50-100

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25. A Maw & Co charger, painted with a Renaissance soldier in profile portrait, inside foliate border, in shades of sand, ruby and blue a Howell & James 1878 charger and an Ashworth portrait charger impressed marks, 33cm. diam. (3) £100-200

26. A Copeland Pre-Raphaelite wall plate, in the style of William Morris, painted with a maiden picking wild flowers inside a scrolling foliate border, in shades of blue and yellow, impressed mark, painted monogram, two small chips to rim, 32cm. diam. £50-100

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27. A Minton’s Pottery Aesthetic Movement jug, amorphic form, glazed in shades of green and blue with gold aventurine inclusions, an Aesthetic Movement vase decorated with waterlily, a Sarreguemines vase, a Copeland cup and saucer painted in ruby with a frieze of ducks flying, and five other items, impressed marks, minor restoration to jug 21cm. high (9) £50-100

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28. ‘Julietta’ a Pre-Raphaelite wall charger, painted with a portrait before forget me not flowers, in colours, a Brown Westhead and Moore charger by E M Heinemann dated 1882, two plates and a tazza similar impressed marks, 37cm. diam. (5) £100-200

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29. A Minton’s encaustic stoneware bread plate designed by A.W.N Pugin, the rim inscribed Waste Not Want Not, the well with radiating ears of corn roundel, in red, blue and cream unsigned 33cm. diam. £500-1,000 Literature Paul Atterbury and Clive Wainwright Pugin, V&A exhibition catalogue, 1994, page 143 figure 260 for a comparable bread plate. Charlotte Gere and Michael Whiteway, 19th Century Design, Weidenfeld & NIcolson, page 53 plate 49 for a comparable bread plate. 29

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30. A Bretby Pottery Planta Ware jardiniere and stand, the tapering triangular stand with three flaring supports, the bowl moulded in low relief with scroll design, painted with scenes of sailing barges, in colours the rim highlighted in gilt, impressed marks, painted EH monogram to bowl, 115cm. high (2) £50-100

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31. A Minton’s Aesthetic Movement water jug, printed with foliage and Japanese mon frieze in shades of terracotta, grey and tan on a white ground, a Craven Dunnill lustre vase, a Royal Doulton agate vase and a collection of ceramics, including thirteen Staffordshire flat backs printed marks, minor damages 31cm. high (a lot) £100-150

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32. A pair of Compton Pottery book ends, each circular, cast in low relief with a classical archer unsigned, minor chips, 20cm. high £100-150 Provenance Bristol Guild of Applied Arts paper label 20th Century Design Woolley and Wallis, 5th March 2014 lot 29. 33. An Ashworth Pottery vase, ovoid with cylindrical neck, covered in a burgundy red glaze with blue splashes, another Ashworth Pottery vase covered in a curdled, streaked blue and brown glaze with silver aventurine inclusions, another small green Ashworth Pottery vase, a Sevres blue glazed vase, a Jerome Massier jardiniere and three other vases impressed Ashworth mark, 11cm. high (8) £100-200

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Provenance British Art Pottery Woolley and Wallis, 30th November 2005, lot 974 (main Ashworth Pottery vase) 34. An Ashby Guild vase, shouldered form, stencil decorated with a peacock and moth flying, in golden lustre on a red lustre ground, and a North State Pottery vase, covered in a sang de boeuf running glaze with sage green patches impressed marks, Ashby vase 21.5cm. high, North State vase 26cm. high £150-250 Provenance Arts and Crafts Woolley and Wallis, 20th June 2012 lot 163 (Ashby Guild vase). 35. A tall pair of Sunflower Pottery candlesticks by Sir Edmund Elton, each on three claw feet, with tapering cylindrical base and sectional column, with brass sconce, the base slip decorated with flower sprays, 61cm. high (2) £500-1,000

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Literature Malcolm Haslam Elton Ware, Richard Dennis Publications, page 23 figure 12 for five pencil designs for candlesticks.


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36. A small Wood & Sons Mikado wall charger designed by Frederick Rhead, printed to the well with aesthetic movement storks flying past waterlily flowers, the rim with stylised flower motif, in blue on a white ground printed factory mark, 36cm. diam. £100-200 Provenance Arts and Crafts Woolley and Wallis 19th June 2013, lot 269. 37. A large Wood & Sons Mikado wall charger designed by Frederick Rhead, printed to the well with aesthetic movement storks flying past waterlily flowers, the rim with stylised flower motif, in blue on a white ground printed factory mark 41cm. diam. £150-200 Provenance Arts and Crafts Woolley and Wallis, 19th June 2013 lot 272

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38. A Royal Cauldron charger designed by Frederick Rhead, painted to the well with an exotic bird amongst stylised flowers and foliage, in colours on a white ground, the rim with simple leaf frieze impressed and printed marks, 38cm. diam. £100-200

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39. A Shelley Pottery vase designed by Walter Slater, pattern no. 8306, pedestal form, slip decorated with fish swimming in fast flowing water, in white on a blue and pearl lustre ground, the interior pearl lustre printed mark, facsimile signature Walter Slater 18.5cm. high £50-150 Literature Chris Watkins, William Harvey and Robert Senft Shelley Potteries, Barrie & Jenkins page 61 colour plate V for a vase in this pattern.

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40. A Clarice Cliff wall plaque, circular, moulded in low relief and pierced with flowers, glazed in colours on a turquoise ground, a Phoenix Ronda ware plate painted with birds, a Carltonware vase, a modern Poole Studio charger by Janice Tchalenko and a collection of ceramics printed mark, Christie’s lot label, 34cm. diam. (a lot) £100-150 Provenance Clarice Cliff Christie’s South Kensington, 24th May 1996 lot 111. 41. A Howson’s Pottery vase, dated 1912, lobed shouldered form covered in a veined flambe glaze, another Howson’s Pottery flambe solifleur vase and two other vases incised Howson’s and date 25cm. high (4) £100-150 42. A rare Buller’s high-fired porcelain solifleur vase, covered in a streaked flambe and purple glaze over grey, another similar and two smaller Buller’s solifleur vases, printed Buller’s England mark to main vase and the two smaller vases 17.5cm. high (4) £100-200 43. A Hancock & Sons Morrisware vase by George Cartlidge, pattern no. C17-3, swollen cylindrical form, tubeline decorated with thistle flowers in red and green on a streaked green ground printed marks, painted facsimile signature, paper collection label, 30.5cm. high £400-600 Provenance The Harriman Judd Collection, Sotheby’s Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 97 figure 263 for examples of this shape.

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ROYAL DOULTON 44. An unusual Royal Doulton Flambe vase, waisted, shouldered form, covered in a streaked blue glaze over white a smaller Royal Doulton solifleur Flambe vase covered in a white crystalline glaze, and a modern Royal Doulton limited edition Chengdu bowl printed £80-120 marks, vase 11.5cm. high (3) 44

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45. A Royal Doulton Chang bowl probably by Charles Noke, grey veined glaze covered in a running volcanic white glaze with green splashes, printed Royal Doulton mark, 9.5cm. diam. £100-200

46. A Royal Doulton Chinese Jade scent bottle by Charles Noke, flattened ovoid covered in a green veined thick white glaze printed Royal Doulton mark, painted Chinese Jade and facsimile signature Noke, 8cm. high £300-500

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47. A Royal Doulton Flambe vase, enamelled in turquoise with ferocious dragon amidst clouds, on a flambe ground, with gilt highlights, impressed Royal Doulton Flambe mark, professionally restored, 21.5cm. high £100-200

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48. A Doulton Lambeth Faience vase by Fanny Stable, dated 1881, shouldered form painted with panels of prunus in colours on simulated woven ground, another Doulton Lambeth Faience vase and six other Doulton items impressed and painted marks, restoration 23cm. high (8) £100-150

49. A Doulton Lambeth Faience moonflask, flattened disk for on four feet, painted with wild rose, in colours on a yellow ground impressed mark, printed mark and painted artist cipher, one foot professionally restored, 23.5cm. high £100-200

50. A Doulton Lambeth Faience moonflask by Eliza L Hubert, flattened disk form four feet, painted with fruiting blackberry fronds to both sides, in colours on a graduated yellow to brown ground impressed and printed marks, painted artist cipher, restored neck and feet 36.5cm. high £100-200

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Literature Desmond Eyles & Louise Irvine The Doulton Lambeth Wares, Richard Dennis Publications, page 145 for comparable moonflasks


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CONTINENTAL CERAMICS

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51. An A. Janin & Guerineau Art Nouveau dish, elliptical form, modelled in low relief with a maiden by lily pads, covered in a green iridescent glaze impressed factory mark, professional restoration and minor glaze frits, 33cm. wide £100-200 52. A Delphin Massier Vallauris jardiniere, ovoid with collar rim, painted with seagulls above waves in blue and white, painted marks, signed Max 26cm.high £50-100 53. A terracotta model of a panther cast from a model by Thomas Francois Cartier, modelled snarling on a rocky outcrop, cast facsimile signature and foundry marks, 54cm. wide £100-200

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Thomas Francois Cartier (1879-1943) 54. A rare Weller Pottery Lasa Ware lustre vase, possibly designed by John Lessell, swollen cylindrical form, decorated with trees in a landscape setting with large clouds in the distance, in golden lustres fine scratched signature 29cm. high £100-200

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55. A Pierrefonds high-fired stoneware vase, shape no.603, shouldered form with collar neck, covered in a claret crystalline glaze with blue splashes to the shoulder, another smaller, a Rambervillers tall vase covered in a purple, blue and grey high-fired glaze, a Sarreguemines pale green lustre solifleur vase, and four other items, impressed marks, 21.5cm. high (8)) £100-150 56. A Jerome Massier Vallauris pottery vase, compressed form with swollen neck, painted with flower stems in gilt on a deep red ground, and five other vases painted and impressed marks, small glaze chip to top rim, 15.5cm. high (6) £100-200

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57. A Rookwood Pottery vase, shouldered form, model no.6319D, covered in a flambe graduated to brown glaze with aventurine inclusions, a Sevres hexagonal bowl on wooded foot, and a collection of continental ceramics impressed mark, shape and XXXII date, 12cm. high (a lot) £100-150

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58. A Bing & Grondahl flambe stoneware vase by G Mee, shouldered form, covered in a streaked high-fired glaze, another Bing & Grondahl flambe vase, A Lachenal plate, ten Royal Copenhagen Faience items and a Danish vase impressed marks, one copenhagen dish damaged 15cm. high (14) £100-150 59. A pottery jardiniere and stand probably continental, modelled in relief and covered in a red flambe glaze unsigned 73cm. high (2) £50-100 60. A Royal Bonn Vienna Old Dutch solifleur vase, painted with flowers in a Persian palette, and two other Royal Bonn vases printed marks, 28cm. high £100-200 Provenance 20th Century Design, Woolley and Wallis, 9th October 2013 lot 1437 (solifleur vase)

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BERNARD MOORE POTTERY 61. Two Crown Ducal Spectria flambe models of oriental figures, each covered in a rich red glaze, another Crown Ducal model of a grotesque, two E R Wilkes flambe vases and a small collection of flambe ware printed marks, 11.5cm. high (14) £100-200

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62. A Bernard Moore vase by John Adams, dated 1910, shouldered, cylindrical form, painted with a bird perched in fruiting grape vine, in red flambe on a white ground painted Bernard Moore, 1910, artist monogram 23cm. high £100-200

63. A Bernard Moore vase, ovoid with collar rim, painted ears of corn in ruby lustre painted Bernard Moore 10.5cm. high £100-150

64. A Bernard Moore vase by Hilda Lindop, shouldered cylindrical form, painted with scaly fish swimming in turbulent water painted Bernard Moore, artist monogram 23cm. high £100-200

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65. A Bernard Moore vase by Evelyn Hope Beardmore, shouldered bottle form with tall, swollen cylindrical neck, painted with a frieze of flying birds before scrolling foliage, in red flambe, painted Bernard Moore and painted artist monogram 23cm. high £100-200

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66. A Bernard Moore vase by Evelyn Hope Beardmore (1886-1972), ovoid with swollen cylindrical neck, painted with a frieze of rabbits inside scrolling foliage, in flambe red painted Bernard Moore and artist monogram, small frit chip to foot rim, 24.5cm. high £100-200


67. A Bernard Moore vase by Cicely Jackson, shouldered, flaring cylindrical form, painted with scrolling flower stems and Japanese mon below Greek Key border, in red flambe painted Bernard Moore and CJ monogram 23cm. high £100-200

68. A Bernard Moore Gu vase, shape no. 1167, covered in a streaked blue and gold lustre glaze over flambe Bernard Moore £100-200 mark, 22cm. high

69. A Bernard Moore vase by R R Tomlinson, dated 1908, flaring, shouldered cylindrical vase, painted with a pair of foxes before formal trees, a bird watching on, in shades of flambe red on a cream ground painted Bernard Moore artist monogram , dated 08, 24.5cm. high £100-200

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70. A Bernard Moore bottle vase, ovoid with solifleur neck, decorated with prunus flowers, the neck with simple leaf design, in red flambe, another Bernard Moore flambe vase and a miniature vase Bernard Moore mark, painted HB monogram, main has professionally restored neck, 16cm. high (3) £100-200

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71. A Bernard Moore vase, shouldered, tapering, cylindrical form, painted with a band of scrolling foliage, in red flambe on a deep ground, and another vase painted with arched design, highlighted in gilt Bernard Moore mark, JC monogram to first 15.5cm. high (2) £100-150

72. A Bernard Moore gourd vase, covered in a thick grey glaze, another Bernard Moore solifleur porcelain vase covered in a sand glaze, and a small Bernard Moore square box printed Bernard Moore, small glaze frit, 7cm. high (3) £100-150

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73. A Bernard Moore high-fired porcelain vase, shouldered, baluster form, white, covered in a running, red flambe glaze with green spots, painted Bernard Moore 13.5cm. high £100-200 Literature Aileen Dawson Bernard Moore, Master Potter 1850-1935, Richard Dennis, page 28 plate II for comparable examples. 72 73

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74. A Bernard Moore double gourd vase, enamelled with a ferocious dragons flying amidst clouds, in turquoise and cream on a flambe ground, highlighted in gilt, and another near pair decorated with clouds on a flambe ground first with Bernard Moore mark, second has etched BM monogram, professionally restored neck to first 14cm. high (2) £100-200 75. A Bernard Moore flambe bowl by R R Tomlinson, painted to the well with a winged heraldic lion passant, incised border with inscription, glazed in rich flambe, the exterior with a frieze of winged lion Bernard £100-200 Moore mark, painted monogram 19.5cm. diam.

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76. A Bernard Moore porcelain ginger jar and cover, painted with fish swimming amidst waterweed in golden lustre on a deep flambe red and blue ground printed Bernard Moore mark, cover professionally restored, 12cm. high £400-600 77. A rare Bernard Moore porcelain ginger jar and cover, covered in a golden aventurine glaze, printed Bernard Moore mark, 12cm. high (2) £100-200 Literature Bernard Moore Master Potter 1851-1935,, Victoria & Albert Museum, 1983, page 71 catalogue number 71 for a comparable example.

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78. A Bernard Moore porcelain vase, solifleur form, painted with a long boat rowing in choppy seas, in colours and red flambe, highlighted in gilt on a sand flambe ground printed Bernard Moore mark, 20cm. high £500-800 Literature Bernard Moore Master Potter 1850-1935, Victoria & Albert Museum, this shape with the simple wave design illustrated page 11 catalogue number 38. Aileen Dawson Bernard Moore Richard Dennis, this design illustrated on 4 comparable pieces page 72 plate XII. 79. A Bernard Moore porcelain ginger jar and cover, painted with bats flying in starry night sky, in golden lustre on a deep black and blue flambe ground printed Bernard Moore mark, 16cm. high £1,500-2,000 Literature Aileen Dawson Bernard Moore Master Potter 1850-1935, Richard Dennis, page 60 figure 37 for a comparable bat ginger jar and cover illustrated.

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BY

RUSKIN POTTERY

WILLIAM HOWSON TAYLOR

80. A Ruskin Pottery stoneware vase by William Howson Taylor, with hammered copper rim and cover, painted with a band of fruiting grape vine in blue on a brown ground, and a Ruskin vase painted with grape vine motif painted scissor mark to both 12.5cm. diam. (2) £100-200 84

81. A Ruskin Pottery stoneware ginger jar and cover by William Howson Taylor, dated 1906, painted with a band of fruiting grape vine in apple green and mottled purple, and another Ruskin Pottery ginger jar and cover decorated with grape vine, glazed blue impressed Ruskin Smethwick mark and date, professionally restored cover to purple jar 10.5cm. high (2) £100-200 82. A Ruskin Pottery vase by William Howson Taylor, dated 1906, waisted cylindrical form, decorated with a frieze of berried ivy foliage to the shoulder, covered in a blue-green souffle glaze, a vase decorated with a band of flowering foliage on a blue souffle glaze, a green coffee can and saucer and a pink coffee can impressed marks and date marks to the vases, cups with painted scissor mark 18.5cm. high (5) £100-200 Literature Paul Atterbury and John Henson Ruskin Pottery, page 36 for comparable examples.

85 83. A Ruskin Pottery stoneware caddy by William Howson Taylor, dated 1922, covered in a blue lustre glaze, a Ruskin Pottery pierced ginger jar and cover covered in an orange lustre glaze, a Ruskin pearl lustre jar and cover, a vase similar and eleven other Ruskin Pottery items impressed marks and date 7.5cm. high (15) £100-200

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84. A Ruskin Pottery vase by William Howson Taylor, dated 1912, cylindrical form with everted rim, resist decorated with a band of fruiting grape vine, glazed mottled blue-green souffle, another decorated with a band of ivy, dated 1919, and another decorated with a band of flowers dated 1906 impressed marks, first with scissor mark, small bruise to foot rim of 3rd vase 24cm. high (3) £100-200 Provenance The Albert E Wade Collection: Part II, Sotheby’s 8th November 2002 lot 268 (third vase) 85. An early Ruskin Pottery vase by William HowsonTaylor, shouldered form with collar neck, decorated with a simple band of painted interlinked clover stems in pale blue on a pink souffle ground, and a pair of early Ruskin shouldered vases similar, main vase impressed WHT monogram and painted scissor mark, pair of vases impressed Taylor, 16cm. high (3) £100-200 86. A Ruskin Pottery egg shell bowl by William Howson Taylor, footed form, covered in a green tea dust glaze, and a Ruskin Pottery Elephant’s Foot vase covered in an apple green lustre glaze, dated 1922, impressed and printed Ruskin England 23.5cm. diam. (2) £100-150

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87. A Ruskin Pottery stoneware vase and cover by William Howson Taylor, baluster form, covered in a mottled green souffle glaze impressed Ruskin 21cm. high £100-200 87


88. A pair of Ruskin Pottery stoneware vases by William Howson Taylor, dated 1905, meiping form, painted to the shoulder with fruiting grape vine in green on a bright yellow ground, and a near pair of Ruskin vases painted with ivy on a yellow ground impressed Ruskin Smethwick mark and date and no.167, hairline crack to base rim of one, 20cm. high (4) £100-200 89. A tall Ruskin Pottery stoneware vase by William Howson Taylor, slender meiping form, covered in a lemon lustre glaze, and a Ruskin Pottery vase covered in a lavender lustre glaze impressed Ruskin England, purple vase restored top rim, 28.5cm. high (2) £100-200

88 89

90. A Ruskin Pottery stoneware tobacco jar and cover by William Howson Taylor, dated 1907, shouldered form, painted with a frieze of ivy leaf to both cover and rim, in white on a blue souffle glaze, and a Ruskin Pottery jar and cover covered in an orange lustre glaze, dated 1909, impressed Ruskin Pottery Smethwick roundel and date , hairline to rim of cover, 16cm. high (2) £100-200 91. A Ruskin Pottery stoneware vase by William Howson Taylor, shouldered, slightly swollen cylindrical form covered in a green tea dust glaze, a Ruskin Pottery vase covered in a deep blue glaze, and a taller vase dated 1926 impressed Ruskin England 21.5cm. high (3) £150-200

90

92. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1907, compressed body with tapering neck, covered in a purple souffle glaze, and another Ruskin Pottery shouldered vase dated 1911, impressed marks, date marks, hairline to top rim of 1911 vase, 22cm. high (2) £100-200

91

Provenance The Albert E Wade Collection, Sotheby’s London, 2002, lot 211 (1907 vase) 93. An unusual Ruskin Pottery vase by William Howson Taylor, dated 1925, ovoid with cylindrical neck and flaring rim, covered in a rose lustre overlaid with blue ice glaze, and two Ruskin Pottery blue lustre glazed vases impressed Ruskin England and date 18cm. high (3) £100-200

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94. A Ruskin Pottery stoneware vase by William Howson Taylor, shouldered form, covered in a pink Hare’s fur souffle glaze, another Ruskin Pottery baluster vase and another Ruskin Pottery mottled crushed strawberry glaze vase main vase painted scissor mark, others impressed marks, 21cm. high (3) £100-200 95. A Ruskin Pottery Elephant’s Foot vase by William Howson Taylor, dated 1916, covered in a streaked crushed strawberry lustre glaze, 25.5cm. high £100-150 94

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‡ 96. A pair of Ruskin Pottery covered pots by William Howson Taylor, covered in a pale blue lustre glaze, A Ruskin scent bottle with metal mount and ivory stopper covered in a pale blue lustre glaze, a Ruskin Ginger jar and cover painted with a floral frieze and five other Ruskin Pottery lustre items, impressed Ruskin England 6cm. high (9) £100-200 97. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1919, shouldered cylindrical form with everted rim, covered in a deep purple lustre glaze, a Ruskin Meiping covered in an orange lustre vase and two other lustre vases, impressed Ruskin England and date 25cm. high (4) £100-200

96

98. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1930, shouldered form with everted rim, covered in an apple green lustre glaze impressed Ruskin England and date, 25.5cm. high £100-150 97

98

99. A Ruskin Pottery stoneware vase by William Howson Taylor, compressed form with cylindrical neck, covered in a streaked blue matt crystalline glaze, and a stand impressed Ruskin England 21cm. high (2) £100-150 100. A large Ruskin Pottery stoneware lamp base by William Howson Taylor, hexagonal section, covered in a graduated yellow to blue crystalline glaze, and two other Ruskin Pottery lamp bases impressed Ruskin marks, remains of paper label 28cm. high (3) £100-150

99

101. A Ruskin Pottery stoneware Elephant’s Foot vase by William Howson Taylor, covered in a pale blue, yellow and sand streaked glaze, and three other Ruskin Pottery vases impressed Ruskin England 20cm. high (4) £100-150

100

102. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1927, compressed form with a tapering neck, moulded in low relief with a band of flowers and foliage, covered in a pale blue curdled glaze, and a Ruskin Pottery bowl, painted with a frieze of fruiting vine impressed Ruskin Pottery and date, bowl painted scissor mark, 14cm. high (2) £100-200

102 101

103. A Ruskin Pottery stoneware solifleur vase by William Howson Taylor, dated 1922, covered in a matt blue hare’s fur glaze, another Ruskin Pottery sky blue vase and fifteen other Ruskin Pottery items impressed Ruskin Pottery and date, yellow vase restored neck 19.5cm. high (17) £100-150 104. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1915, meiping form, covered in a mottled pink souffle glaze impressed Ruskin England and date 24cm. high £100-150

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105. A Ruskin Pottery high-fired stoneware miniature vase by William Howson Taylor, ovoid with tapering neck, covered in a mottled sang de boeuf glaze with green spots impressed Ruskin, 4cm. high £300-500 Literature Paul Atterbury and John Henson Ruskin Pottery Baxendale Press, page 112 for comparable miniature vases 106. A Ruskin Pottery high-fired stoneware miniature vase by William Howson Taylor, ovoid with three lug handles to the rim, sang de boeuf with lavender trails and mint-green spots impressed Ruskin England mark 3.5cm. high £300-500

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107

Literature Paul Atterbury and John Henson Ruskin Pottery Baxendale Press, page 112 for comparable miniature vases 107. A Ruskin Pottery high-fired stoneware miniature vase by William Howson Taylor, dated 1908, ovoid with flaring cylindrical neck, covered in a mottled red sang de boeuf glaze with lavender and mint green impressed Ruskin Pottery and date 7.5cm. high £300-500 108. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1909, ovoid with flaring cylindrical neck, covered in lavender glaze with mint green spots to the shoulder, impressed Ruskin Pottery West Smethwick and date, hairline crack 7.5cm. high £300-500 109. A Ruskin Pottery stoneware vase by William Howson Taylor, shouldered, flaring cylindrical form, covered in a streaked blue and yellow souffle glaze, internally decorated with lavender souffle glaze impressed WHT monogram mark 26cm. high £100-200 Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale Press, page 90 for a vase decorated with a similar technique. 110. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1923, covered in a red flambe glaze with grey patches and rims, and a fissured glaze patch to side impressed Ruskin England and date 1923, 25cm. high £300-500

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110

111. Three Ruskin Pottery stoneware tiles by William Howson Taylor, each covered in a deep green-blue souffle glaze, splashed with purple and blue moulded Taylor West Smethwick to reverse, 15.5cm. square (3) £300-500 Provenance The Albert E Wade Collection, Sotheby’s 2nd May 2002 lot 227 (originally 4 in the lot) Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 33 for a group of tiles illustrated which includes one of the tiles in this lot. 111

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112. An early Ruskin Pottery high-fired bowl by William Howson Taylor, on tocky body, shouldered form, covered in a flambe glaze with lavender shoulder and £100-200 mint green spots impressed Taylor, 18.5cm. diam. 113. A Ruskin Pottery high-fired stoneware bowl on three feet by William Howson Taylor, dated 1927, the exterior modelled in low relief with flowerhead motif, covered in a mottled grey glaze, the interior glazed flambe and lavender £100-200 impressed Ruskin England and date 24.5cm. diam. 114. A Ruskin Pottery high-fired egg shell bowl by William Howson Taylor, dated 1924, covered in a streaked red flambe glaze, another Ruskin Pottery bowl covered in a pitted lavender glaze, and two miniature Ruskin bowls one high-fired the other lustre impressed Ruskin England and date 12.5cm. diam. (4) £100-200

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115. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1926, shape 261, shouldered form covered in a leopard skin mottled flambe glaze, impressed Ruskin England and date, Ferneyhough and Taylor Made exhibition paper labels, 21.5cm. high £400-500 Provenance W Howson Taylor Collection; Ferneyhough Collection; Albert E Wade Collection The Albert E Wade Collection part I, Three Artist Potters, Sotheby’s 2nd May 2002, lot 370 Exhibited Taylor Made Birmingham City Museum and Art Gallery, 1976 no.260b Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale, page 107 this actual vase illustrated. 116. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1928, cylindrical form with flaring rim, covered in a running Leopard Skin blue and purple glaze on a sand and yellow ground impressed Ruskin England and date 14.5cm. high £300-500 117. A Ruskin Pottery high-fired stoneware small baluster vase by William Howson Taylor, dated 1905, purple glaze covered in a fissured green and white glaze impressed Ruskin mark, dated 1905, paper label 10.5cm. high £600-1,000

116

Provenance The Albert E Wade Collection Part I Three Artist Potters, Sotheby’s 2nd May 2002 lot 249. 118. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, compressed form with everted rim, covered in a green and purple reticulated glaze on an ivory ground impressed WHT monogram 19cm. diam. £200-300

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119. A Ruskin Pottery high-fired stoneware vase and stand by William Howson Taylor, vase dated 1906, waisted cylindrical form, with everted rim, white glaze covered in purple and lavender with mint green spots, the stand with white glaze partially covered in a lavender impressed Ruskin Pottery and date, stand with paper collection label vase 24cm, high, and stand 32cm. high (2) £1,000-1,500 Provenance The Albert E Wade collection part II, Sotheby’s 8th November 2002, lot 426 for the stand. 119 two sides

120. A tall Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1921, slender, shouldered form with everted rim, covered in a pale pink and blue glaze, over grey, with bright turquoise spots impressed Ruskin England and date 30.5cm. high £600-1,000

120

121. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1908, compressed body with long neck and everted, flaring rim, covered in a streaked blue and purple souffle glaze impressed mark and date mark, 15cm. high £100-200

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122. A large Ruskin Pottery Souffle glazed pendant in wirework frame, by William Howson Taylor, in the form of a stylised flower bud, lavender and blue glaze, and three pewter mounted boxes set with stoneware medallions impressed Ruskin 9cm. high (4) £100-150

123. A Ruskin Pottery stoneware inkwell by William Howson Taylor, dated 1909, shape 19, covered in a pink souffle glaze impressed Ruskin Pottery date and Patent, 4.5cm. high 100-150 122

123

Literature Paul Atterbury and John Henson, Ruskin Pottery, Richard Dennis, page 34 for an identical example with a cover illustrated.

124. A Ruskin Pottery high-fired stoneware bowl by William Howson Taylor, footed form, covered in a purple flambe glaze with mint green spots, the interior with lavender and mint spots apparently unsigned 22cm. diam. £100-150

125. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, circular section on four feet with pierced decoration and incised band of stylised foliage, covered in a grey under light flambe and green spots impressed Ruskin England 12.5cm. high, 8.5cm. diam. vase aperture £100-200

124

126. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, pierced form covered in a red flambe and lavender glaze over grey impressed Ruskin England mark, Albert Wade paper label, small chip to top rim, 14.5cm. high £200-300 Provenance Albert E Wade Collection part II, Sotheby’s 8th November 2002 lot 426 (part) 125

126 127. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, circular on three feet, with crenellated rim, covered in flambe and lavender over a grey glaze impressed Ruskin England, professionally restored 14cm. wide, 11cm. diam. aperture £50-100

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128

128. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, octagonal form, sang de boeuf glaze over grey with mint spots impressed Ruskin England, 16.5cm. diam. 7.5cm. vase diameter £150-200

129. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, circular on four flaring feet, covered in a sang de boeuf glaze speckled with lavender, impressed Ruskin England, original paper label 11.5cm. wide, stand aperture 7cm. diam. £200-300 129 label

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130. A large Ruskin Pottery high-fired stoneware vase by William Howson Taylor, shouldered form with tapering neck, covered in a sang de boeuf glaze speckled with lavender and mint green impressed Ruskin England, glaze fault to base rim, 39cm. high £1,000-2,000 Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 130 for a comparable vase, the shape introduced in the 1920s. It is thought this was Nick’s first Ruskin vase, the vase that started the collection.

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132 131

133 131. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, circular section, white glaze covered in flambe with lavender highlights impressed Ruskin England, 6cm. high, 16.5cm. diam. vase aperture £100-200 132. A Ruskin high-fired stoneware stand by William Howson Taylor, dated 1926, octagonal section, covered in a sang de boeuf glaze with mint green spots impressed Ruskin England and date 18cm. wide, 7.3cm vase diameter £150-250

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135

133. A large Ruskin Pottery high-fired stoneware stand by William Howson Taylor, circular, glazed in flambe and lavender over grey, impressed Ruskin England, repaired damages, 26cm. diam. £100-200 Provenance Christie’s South Kensington, 5th February 2002 lot 40 134. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, on four feet, circular base, covered in a pale blue and purple glaze impressed Ruskin 15.5cm. wide, stand aperture 12.5cm. diam. £200-300 135. A Ruskin Pottery high-fired stoneware stand by William Howson Taylor, dated 1926, pierced, square section, impressed Ruskin England and date marks, hairline to top rim, 15.5cm. square, 6.5cm. high, aperture 10cm. diam. £100-200 136. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1922, shouldered cylindrical form, covered in a grey flambe glaze, impressed Ruskin England date 1922, 17cm. high £100-200

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137

Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 96 for two examples glazed in the grey flambe glaze. 137. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1925, slender, swollen cylindrical form, silver grey glaze with lavender and mint green splashes, impressed Ruskin England 1925 16.5cm. high £150-250 138. An early Ruskin Pottery stoneware vase by William Howson Taylor, dated 1905, shape 100, meiping form, covered in a running turquoise glaze over sage green, with signs of crystalline to the shoulder, impressed Ruskin Smethwick roundel, date and 255 15.5cm. high £100-200

139 138

Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale, page 60 for this shape illustrated in a green flambe glaze also dated 1905. 139. A Ruskin Potter high-fired stoneware vase by William Howson Taylor, dated 1922, ovoid with everted collar rim, covered in a curdled sky blue and lavender glaze over white impressed Ruskin England and date 15cm. high £200-300 140. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, compressed form with everted neck, streaked lavender glaze over ivory white with mint green spots, impressed WHT monogram 8cm. high £300-500 141. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, compressed ovoid form with cylindrical neck, white glaze with green spots and lavender and purple streaks applied Ruskin paper label, 10cm. high £150-200

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142. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, shouldered cylindrical from, covered in a fissured purple and lavender glaze over Ivory White glaze impressed Ruskin England and date, painted 106, 20.5cm. high £300-500

143. A large Ruskin Pottery high-fired stoneware vase and stand by William Howson Taylor, vase dated 1927, tapering cylindrical form with everted rim, modelled in low relief with a meandering flower stem, glazed lavender and sang de boeuf over ivory white with intense green spots vase impressed Ruskin England and date, stand impressed Ruskin England, stand with four restored chips to rim 28cm. high £600-1,000

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143

Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 130 for a comparable vase with the moulded decoration, glazed ivory, illustrated.

144. A Ruskin Pottery high-fired vase by William Howson Taylor, compressed form with tall flaring neck, covered in a mottled mint green glaze and black, over ivory white with some lavender highlights feint Ruskin Smethwick roundel mark 14.5cm. high £250-350

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Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale Press, page 108 for a vase decorated in a comparable glaze.

145. A Ruskin high-fired stoneware vase by William Howson Taylor, shouldered form, mint green over pink with green speckling impressed Ruskin mark and Howson Taylor monogram 10.5cm. high £200-400

146. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1910, mei ping form (shape 353), off-white glaze partially covered in a red flambe running glaze turning to lavender, the shoulder with mint green speckles, impressed Ruskin Pottery and date, 28.5cm. high £1,000-2,000 Provenance N. Chamberlain Collection Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale Press, page 63 for a comparable vase also dated 1910. 146

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147. A Ruskin Pottery high-fired stoneware bowl by William Howson Taylor, dated 1916, covered in a rich flambe glaze with lavender patches impressed Ruskin England and date 25cm. diam. £100-200

148. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, compressed form with cylindrical neck, covered in a flambe red glaze with splashes of white to the foot impressed WHT monogram 10cm. high £100-150

147

149. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1933, single-handled form, covered in a streaked flambe glaze over white, with lavender and mint green spots impressed Ruskin 1933 21.5cm. high £200-300

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149

150. A Ruskin Pottery high-fired stoneware jug by William Howson Taylor, shouldered form, white covered in a sang de boeuf glaze with lavender and mint spots impressed Ruskin England 11.5cm. high £100-200 Literature Paul Atterbury and John Howson, Ruskin Pottery Baxendale Press, page 112 for an example of this jug with a cover.

151. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, shouldered form, covered in a running flambe glaze over silver with lavender patch and mint-green spots impressed Ruskin, professional restoration to base rim 20.5cm. high £100-200

150 151

152. A Ruskin Pottery high-fired stoneware perfume bottle by William Howson Taylor, shouldered cylindrical form, sang de boeuf with lavender and mint spots, and another Ruskin scent bottle, impressed Ruskin England, second bottle with chip to neck, both missing covers, 10.5cm. high (2) £100-200 Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale Press, page 131 for a collection of scent bottles illustrated.

153. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, ovoid with cylindrical neck, covered in a fissured lavender and flambe glaze over white impressed Ruskin and date, three fine stress lines to base rim, 17cm. high £200-300

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154. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, shouldered form with flaring neck, covered in a rich sang de boeuf fissured glaze over ivory white impressed Ruskin England and date 17.5cm. high £250-350 155. A small Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1921, ovoid body with cylindrical neck and everted rim, covered in a flambe glaze with blue and grey spots impressed Ruskin England and date 10cm. high £100-150 Provenance The Albert E Wade Collection part II, Sotheby’s 8th November 2002 lot 411

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155

156. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1933, ovoid with cylindrical neck, covered in a streaked red flambe glaze over white, with black spots impressed Ruskin England and date 17.5cm. high £150-200 157. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, ovoid with tall, flaring cylindrical neck, covered in a fissured flambe, lavender and grey glaze over white impressed Ruskin England date 15.5cm. high £150-250 158. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, shouldered form, covered in a deep sang de boeuf glaze over white, with lavender splashes impressed Ruskin England and date 1920 20.5cm. high £200-300

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157

159. A rare early Ruskin Pottery high-fired vase by William Howson Taylor, dated 1908, waisted cylindrical form, covered in a deep sang de boeuf mottled glaze, with lavender and green on an ivory ground, impressed Ruskin Pottery date 1908, paper collection labels 20cm. high £300-500 Provenance Ferneyhough Collection The Albert E Wade Collection, part I Three Artist Potters, Sotheby’s 2nd May 2002 lot 261. 160. A Ruskin Pottery high-fired stoneware small Elephant’s Foot vase by William Howson Taylor, cylindrical with swollen body, sang de boeuf over grey with green spots impressed Ruskin England 10cm. high £100-150

158

159

161. A Ruskin Pottery high-fired stoneware Elephant’s Foot vase by William Howson Taylor, dated 1911, covered in a running blue-lavender glaze over purple, partially fissured, impressed Ruskin Pottery, dated 1911, small bruise to foot rim, 21cm. high £200-300 Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale Press, page 59 for three similar elephant’s foot vases with fissured glazes. 160

161

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162. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1905, shape 193, shouldered baluster form, covered with a fissured sang de boeuf and lavender glaze over ivory, with lavender spots impressed Ruskin Pottery Smethwick mark, date and No.200, 16.5cm. high £800-1,200 Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 60 for a comparable vase, shape 193, purchased by the Victoria & Albert museum in 1906. 162

163. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1933, carafe form, white glaze with mottled lavender and sang de boeuf patches and mint green spots impressed Ruskin England 1933, professionally restored neck, 23cm. high £200-300

163

164. An early Ruskin Pottery stoneware vase by William Howson Taylor, dated 1905, shouldered form covered with a black cherry fissured glaze, over ochre impressed Ruskin Pottery West Smethwick mark, date 1905 and painted scissor mark, Albert Wade paper label 27cm. high £800-1,000 Provenance The Albert E Wade Collection, Part I, Three Artist Potters Sotheby’s 2nd May 2002 lot 288. Literature Paul Atterbury and John Henson Ruskin Pottery Baxendale Press page 61 this vase illustrated.

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165. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1908, baluster form covered in an off white glaze with sang de boeuf bands and mint green speckles impressed Ruskin Pottery West Smethwick mark, and date 22cm. high £500-800

mark

165

166. A Good Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1915, ovoid with cylindrical neck with everted rim, covered in a splashed turquoise and purple glaze over silver grey ground impressed Ruskin England and date marks, paper label 25cm. high £300-500 Provenance Florence Howson Taylor, thence by descent

166

167. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, the ovoid body with cylindrical neck and everted rim, covered in a sang de boeuf and lavender glaze over ivory white, with mint green spots feint Ruskin Pottery Smethwick roundel to the base concealed by glaze 15cm. high £200-400

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168. A Ruskin Pottery high-fired stoneware egg-shell bowl by William Howson Taylor, the exterior decorated with mottled sage and flambe over a grey glaze, the interior mint green with black spots, on modern hardwood stand, and another early Tocky body egg shell bowl main bowl unsigned, Albert wade paper label, small frit chip to foot, second bowl with scissor mark £150-200 15cm. diam. (2) 168 169

Provenance The Albert E Wade Collection Part II, Sotheby's, 8th November 2002 lot 289 (main bowl) 169. A Ruskin Pottery vase by William Howson Taylor, dated 1933, ovoid with broad cylindrical neck and everted rim, covered in a clouded lavender streaked glaze with blue patches impressed Ruskin England, date and incised facsimile Howson Taylor signature 14cm. high £100-200 170. An early Ruskin Pottery vase by William Howson Taylor, ovoid with waisted cylindrical neck, covered in a rich blue glaze impressed WHT monogram 25cm. high £100-150

171 170

171. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1922, ovoid with tall flaring neck, covered in a lavender and pale blue glaze, with mint green spots, impressed Ruskin England date 1922, 17cm. high £200-300 172. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1917, ovoid form, covered in a rich red flambe glaze with lavender streaking and mint speckles, impressed Ruskin West Smethwick mark, dated mark, 16cm. high £300-500 173. A rare Ruskin Pottery high-fired stoneware lamp base by William Howson Taylor, the hexagonal base tapering to a cylindrical stem, mottled red flambe glaze with lavender to the base, with green speckles impressed Ruskin England 28.5cm. high £100-200

172

173

174. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1933, shouldered form with single-handle, covered in a running flambe glaze with lavender and green glaze impressed Ruskin England and date 19cm. high £200-300 175. A Ruskin Pottery high-fired stoneware pot pourri with plated rim and cover by William Howson Taylor, dated 1911, pierced to the shoulder with flowerhead aperture, covered in a green, lavender and sang de boeuf glaze on an ivory ground impressed Ruskin and date 8.5cm. high £100-200

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174

175


176. A Ruskin Pottery stoneware perfume bottle and stopper by William Howson Taylor, dated 1927, covered in a mottled green matt glaze impressed Ruskin England £100-200 and date 15cm. high (2)

177. A Rare Ruskin Pottery high-fired stoneware scent bottle, stopper and stand by William Howson Taylor, dated 1907, silver grey glaze covered with mottled sang de boeuf glaze and mint green spots impressed Ruskin England and date 18.5cm. high (3) £1,000-1,500

176

177

Literature Paul Atterbury and John Henson, Ruskin Pottery, Richard Dennis Publications, page 131 for comparable scent bottles.

178. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1907, shouldered cylindrical form, covered in a purple glaze with streaked blue and lavender and green spotting, impressed Ruskin West Smethwick mark, dated 1907, 22.5cm. high £400-600

179. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1905, meiping form, lavender flambe glaze covered in mint speckles, the shoulder with white patches impressed Ruskin Pottery West Smethwick mark, date partially obscured 19.5cm. high £700-1,000

178

179

180. A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1933, white glaze covered in a running red flambe and lavender glaze with mint green spots impressed Ruskin England and date 22.5cm. high £400-600

180

31


181. A large Ruskin Pottery stoneware vase by William Howson Taylor, dated 1922, shouldered form, covered in a white glaze with red flambe splashed band impressed Ruskin England and date 37cm. high £800-1,200 Literature Paul Atterbury and John Henson, Ruskin Pottery, Baxendale Press, page 110 for comparable glazes, page 115 for a period photograph of a near identical vase given (as part of a group of Ruskin Pottery) by William Howson Taylor to the Birmingham Art Gallery, 1926.

181

182. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1932, tapering cylindrical form with flaring neck, covered in a grey flambe glaze impressed Ruskin England and date, Ferneyhough paper label 28.5cm. high £1,000-2,000 Provenance Ferneyhough exhibition, 1981, catalogue number 10. Literature Paul Atterbury & John Henson, Ruskin Pottery, Baxendale Press, page 96 for two similar examples.

182

183. A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1907, shouldered low body with waisted cylindrical neck, covered in a speckled and running green flambe glaze impressed Ruskin West Smethwick mark, dated 1907 26.5cm. high £500-800 Literature Paul Atterbury and John Henson Ruskin Pottery, Baxendale Press, page 58 for three comparable green flambe vases.

32

183


33


184

PILKINGTON’S LANCASTRIAN POTTERY 184. A Pilkington’s Lancastrian tile designed by Lewis F Day, modelled in low relief with a flower design in green and blue on a cream ground, and two other tiles attributed to Lewis F Day and three ruby lustre tiles probably Maw & Co, all framed 15.5cm. square (6) £100-200

185

Literature Joan Maria Hansen Lewis Foreman Day (1845-1910) Unity in Design & Industry Antique Collecting Club, page 188 figure 6.34 a and b this design illustrated. This design was shown at the Wolverhampton Exhibition of 1902.

185. A Pilkington’s tile, modelled in low relief and painted with a lion rampant on a heraldic shield, inside scrolling foliate border, in shades of blue, ruby and golden lustre, in later ebonised wood frame impressed P to back 15.5cm. square £150-200 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 36 for two related tiles which were exhibited in a fireplace at the 1908 FrancoBritish Exhibition.

186. A Pilkington’s tile designed by J. Henry Sellers, modelled in low relief with a lion rampant, in golden lustre in a blue lustre ground, framed, and another Pilkington’s Lancastrian tile modelled in low relief with foliage 15.5cm. square (2) £200-300 Literature A J Cross Pilkington's Royal Lancastrian Pottery & Tiles, Richard Dennis, page 36 plate 38a for this tile design which was used in a fireplace as the centrepiece of the Pilkington's stand at the Franco-British Exhibition in 1908.

34

186

The Studio Yearbook, 1908, the fireplace featuring this tile design illustrated page 31.


The Studio, 1911

187. A large Pilkington’s Lancastrian ginger jar and cover by Richard Joyce, dated 1911, modelled in low relief with scaly fish swimming in turbulent waters in ruby and golden lustre on a green lustre ground impressed mark, painted artist cipher, painted date mark, 1911, cover restored, 23cm. high (2) £1,500-2,000 Literature A J Cross, Pilkington's Royal Lancastrian Pottery and Tiles, Richard Dennis, page 34 plate XIX for a comparable vase and cover by Joyce dated 1914 with similar fish decoration , held in the collection of Manchester City Art Gallery. The Studio Yearbook, 1911, two comparable examples illustrated, page 132 and colour plate page 133 entitled The Green Sea.

35


188. A Pilkington’s Lancastrian vase, dated 1909, compressed form, the fluted body covered in a fiery crystalline aventurine glaze impressed mark and date code IX, £100-200 17cm. high

188

189

189. A Pilkington’s Lancastrian vase, dated 1910, shouldered form with cylindrical neck, covered in a ruby flambe lustrous glaze with feathered white decoration, and three other Pilkington’s vases with similar glaze experiments impressed marks, impressed X date mark, 20cm. high (4) £100-150 190. An early Pilkington’s Lancastrian vase, shouldered form, covered in a fiery crystalline glaze, a Pilkington’s Royal Lancastrian vase modelled in low relief with fish a Pilkington’s Royal Lancastrian plate modelled in low relief with a flowerhead design, and a green crystalline vase incised P mark 9cm. high (4) £100-150

190

191

191. A Pilkington’s Lancastrian vase, dated 1909, compressed ovoid form with swollen neck, covered in a curdled blue glaze, and two Pilkington’s Lancastrian solifleur vases decorated with experimental glazes, a tall Royal Lancastrian vase and a matt glaze vase, impressed marks, small bruise to curdled vase 11cm. high (5) £100-200 192. A Pilkington’s Lancastrian vase, shouldered form, modelled in low relief with foliate sprays, covered in a red lustre glaze, and five other Pilkington’s vases covered in red glaze impressed marks, 18.5cm. high (6) £150-250 193. A Pilkington’s Lancastrian vase dated 1909, shape no.2819, compressed form with moulded design, covered in a red flambe lustre glaze, a Pilkington’s Lancastrian twin-handled vase a Pilkington’s vase glazed green and a matt glaze tazza impressed marks, date code, 18cm. high (4) £100-200

192

193

194

36

195

194. A Pilkington’s Royal Lancastrian vase by William S. Mycock, dated 1929, shouldered form, painted with panels of scrolling foliage in blue on a turquoise ground, another Pilkington’s vase modelled in low relief with a leaping scaly fish, two other Pilkington’s vases and a Denby matt glaze vase impressed mark and incised monogram 25cm. high (5) £100-200 195. A Pilkington’s Lancastrian Pottery vase by Richard Joyce, modelled in low relief with fish swimming amongst waterweed, covered in a streaked red lustre glaze, and another Pilkington’s vase modelled in low relief with leaping Ibex, covered in a streaked flambe red and lavender glaze impressed mark, painted artist cipher, 17cm. high (2) £100-200


196. A Pilkington’s Lancastrian twinhandled vase by Gordon M. Forsyth, dated 1910, shouldered form, painted with a lion rampant to both sides, between panels of heart-shaped flowers and foliage, in ruby and gold lustre on a blue ground, the neck inscribed Festina Lente, impressed mark, painted artist cipher and date code, £700-1,000 24cm. high

mark 197. A Pilkington’s Lancastrian vase by Gordon M. Forsyth, dated 1908, shouldered form, painted with a band of heraldic Lion Passant, between Tudor rose and heartshaped foliate borders, in red and golden lustre on a pale blue ground impressed marks, painted artist cipher and date code 19.5cm. high £700-1,000

198. A Pilkington’s Lancastrian vase designed by Walter Crane painted by William S. Mycock, dated 1911, shape 2469, painted with a frieze of lion Passant, above heart shaped foliage and Tudor rose motif in bronze lustre on red and green lustre, with modern wooden stand, impressed marks, painted artist ciphers and date code 13cm. high £400-600

196

197

Provenance Bill Coles collection Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 9 plate III for a comparable example illustrated. A Catalogue of the Lancastrian Pottery at Manchester City Art Galleries, catalogue number 186 for a comparable piece. This design, also known as the Lion Bowl, painted by Richard Joyce was exhibited at the Franco British Exhibition in 1908. 198

37


199. A Pilkington’s Lancastrian vase by Annie Burton, shouldered, tapering cylindrical form, painted with berried foliage in copper and yellow lustre on a mottled red ground impressed mark, painted artist monogram 10cm. high £100-200 Provenance British Art Pottery, Woolley and Wallis, 11th December 2013 lot 99, private collection.

199

200

200. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1911, ovoid with collar rim, painted with a frieze of stylised trees, in golden lustre on a red and orange lustre ground impressed mark, painted artist cipher and date code 9.5cm. high £300-500

201. A Pilkington’s Royal Lancastrian vase by Richard Joyce, ovoid with everted collar rim, painted with scaly fish swimming amongst waterweed, painted in ruby and gold on a streaked green ground impressed marks, painted artist cipher, 11cm. high £300-500

201

202

202. A Pilkington’s Lancastrian vase by Annie Burton, shouldered form, painted with a frieze of flowers and foliage in ruby and ochre on a midnight blue ground impressed mark, painted B monogram 11cm. high £300-500

203. A Pilkington’s Royal Lancastrian vase by Richard Joyce, painted with ruby red flowers on scrolling golden foliage on a midnight blue ground impressed mark, painted artist cipher 12cm. high £100-200

203

204

204. A rare Pilkington’s Lancastrian vase by Annie Burton, dated 1908, ovoid with solifleur neck, painted with panels of flowers and scrolling foliage, in copper and ruby lustre on an orange and brown lustre ground impressed marks, impressed VIII date and painted cipher variant, professionally restored 19cm. high £100-200

205. A Pilkington’s Lancastrian vase by Charles Cundall, dated 1910, painted with rabbits amidst gnarled trees in golden lustre on a pale blue-green ground impressed marks, painted artist cipher and date code 15.5cm. high £400-600

206. A Pilkington’s Lancastrian vase by Charles Cundall, shouldered form, painted with panels of wild flowers in red and golden lustre on a deep blue lustre ground impressed marks, painted artist cipher and date code 14cm. high £300-500

38

205

206


207. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908 shouldered form painted with a frieze of lions between flowering trees in golden lustre on a red lustre ground impressed mark, painted cipher and date mark, impressed VIII date, 27.5cm. high £1,000-1,500

208. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1910, shouldered form, moulded with twin loop handles, painted with heraldic lion rampant before scrolling foliage, in copper and golden lustre on a bright orange ground impressed mark, painted artist cipher and date mark, 14.5cm. high £300-500

209. A Pilkington’s Lancastrian vase by William S. Mycock, dated 1922, shouldered form, painted with heraldic lion rampant shield, the reverse with helmet and shield, in gold and ruby lustre on a blue lustre ground impressed mark, painted cipher, dated, 23cm. high £800-1,200

207

210. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, shouldered form, painted with hummingbirds in copper lustre on a red flambe ground impressed mark and date code, painted artist cipher and date code a variant of 1908, 15cm. high £300-500 Provenance British Art Pottery Woolley and Wallis Auctioneer’s

209 208

211. A Pilkington’s Lancastrian vase by William S. Mycock, dated 1908, shape no.2364, ovoid with solifleur neck, painted with foliate sprays in ruby and copper lustre on a pale yellow lustre ground impressed marks, painted cipher and impressed VIII date, 17.5cm. high £300-500

212. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1907-8, ovoid with solifleur neck, painted with fish amongst waterweed, in shades of red and golden lustre on a blue ground, impressed marks, VII date mark, painted artist cipher and date code, 13cm. high £300-500

210 211

213. A Pilkington’s Lancastrian vase by Gordon M. Forsyth, dated 1912, shouldered cylindrical form, painted with Cypress trees between scrolling foliage in shades of copper lustre on an orange ground impressed marks, painted artist cipher and date code 15cm. high £300-400 Provenance Mellors & Kirk auctioneer’s 212

213

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214. A Pilkington’s Royal Lancastrian vase probably by Richard Joyce, ovoid with collar rim, painted with fish swimming amidst waterweed in red and bronze on a green lustre ground impressed marks, indistinct artist cipher, 10.5cm. high £300-500 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 61 plate XXXV for comparable fish vases by Richard Joyce. 214

215

215. A Pilkington’s Lancastrian vase by Gordon M. Forsyth, dated 1910, baluster form, painted with flower stems and scrolling foliage in red flambe on a grey ground, impressed mark, painted cipher and date code 19cm. high £200-400 216. A Pilkington’s Lancastrian vase by William S. Mycock, shape no.2767, slender, swollen cylindrical form painted with waterlily flowers in bronze lustre on a streaked red and green glaze impressed mark, painted monogram 13cm. high £100-200

216

217

217. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, swollen cylindrical form, painted with scaly fish swimming amidst seaweed, in golden lustre on a ruby ground impressed marks, impressed VII date mark, painted artist cipher and date code, tiny glaze frit to base rim,15.5cm. high £300-400 218. A Pilkington’s Lancastrian solifleur vase, dated 1911, shape 2581, slender bottle form, painted with fruiting grape vine in ruby and copper lustre on an orange ground impressed mark and date mark, 20cm. high £300-500

219

219. A Pilkington’s Lancastrian vase by Gordon M. Forsyth, dated 1915, ovoid form with solifleur neck, painted with stylised fleur de lys repeat in gold on a brown and orange streaked ground impressed mark, painted artist cipher and impressed date XII painted cockerel mark, small glaze frit to base rim, 19.5cm. high £100-200 220. A Pilkington’s Royal Lancastrian solifleur vase by Gladys Rodgers, compressed form with waisted cylindrical neck, painted with a frieze of radiating scroll panels, in ruby and orange lustre impressed marks, painted artist monogram 10.5cm. high £100-150

218

221. A Pilkington’s Lancastrian vase by Gladys Rodgers, ovoid with cylindrical neck, painted with fruiting grape vine in orange and golden lustre on a mottled red lustre ground impressed marks, painted artist cipher, professionally restored neck, 12.5cm. high £100-200

40

220

221


222. A Pilkington’s Lancastrian vase, dated 1909, shape no. 2801, compressed form with everted rim, modelled in low relief with heartshaped panels in golden lustre on a red lustre ground, the inner rim with golden lustre glaze, and another vase dated 1909, covered in a matt green glaze impressed marks and date, fine hairline to top rim,12cm. high (2) £150-250 Provenance Arts and Crafts Woolley and Wallis, 19th June 2013 lot 238 (red lustre vase)

222

British Art Pottery Woolley and Wallis, 11th December 2013 lot 137 (matt green vase, part lot) 223. A Pilkington’s Royal Lancastrian vase by William S. Mycock, dated 1916, twin-handled form, painted with flowers in dark green on an orange lustre ground impressed marks, painted artist cipher and date code, remains of Pilkington’s paper label, 19cm. high £150-200 224. A Pilkington’s Lancastrian vase by William S. Mycock, dated 1912, twin-handled form, painted with foliage panels in golden lustre on a yellow ground impressed marks, painted cipher and impressed date XII, 18cm. high £300-400 225. A Pilkington’s Lancastrian vase by Gordon M. Forsyth, dated 1913, shape 2363, shouldered form, painted with panels of lion Rampant, between Cypress tree columns, in golden lustre on a red lustre ground, with a blue lustre band to the base, 23cm. high £800-1,200

223

224

Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 57 colour plate XXXII for another, larger example of this lion by Forsyth illustrated. 226. A Pilkington’s Lancastrian vase by Gordon M. Forsyth, dated 1913, shouldered form with collar rim, painted with a frieze of lion passant, in golden lustre on a golden-lime green ground impressed mark, painted artist cipher, date code, professionally restored top rim, 14cm. high £300-400 227. A Pilkington’s Lancastrian vase by Annie Burton, shouldered form, painted with a band of fruiting grape vine, in ruby and golden lustre on a mottled blue and orange, impressed mark and date mark XII and painted artist cipher 14cm. high £200-300 225

226

228. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1915, ovoid with swollen neck, painted with medieval mounted huntsmen, between scrolling foliage and birds, in golden lustre on a red and brown streaked lustre ground impressed mark, painted artist cipher and date code 13cm. high £300-500 229. A Pilkington’s Lancastrian box and cover by Gladys Rodgers, the cover painted with a stylised flowerhead design in golden lustre on a red lustre ground painted artist cipher 16cm. diam. (2) £100-200 Provenance British Art Pottery Woolley and Wallis 11th December 2013, lot 83 from a Private collection of Pilkington’s Lancastrian Pottery. 230. A Pilkington’s Lancastrian bowl by Jessie Jones, flaring form, painted with stems of heart-shaped foliage, in golden lustre on a blue ground, the interior glazed gold impressed mark, painted artist cipher, small glaze chip to top rim, 10cm. diam. £100-150

227

228

229 230

41


231. A large Pilkington’s Lancastrian vase and cover by Gordon Forsyth, dated 1919, shape no.2229, shouldered form, painted with sprays of carnations and bell flowers below inscription Ave Maria Gratia Plena in golden lustre on a red lustre ground, impressed mark, painted artist cipher and date mark, hairline crack to cover, 44cm. £500-1,000 high (2)

232. A Pilkington’s Lancastrian vase by William S. Mycock, dated 1906, shouldered form, painted with a frieze of partridge, between bands of scallop, in golden lustre on a speckled blue ground impressed mark and date VI, painted artist cipher 17cm. high £500-1,000

231

Provenance British Art Pottery, Woolley and Wallis, 11th December 2013 lot 160.

233

232

233. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1917, shape 2651, ovoid form with everted rim, painted with deer amidst foliage borders, in silver lustre on a midnight blue ground impressed marks, painted artist cipher and date code 8.5cm. high £400-600

234. A Pilkington’s Lancastrian vase by Richard Joyce, dated 1908, shouldered form, painted with a frieze of prowling leopards, between scroll and wave borders, in red and golden lustre on a cream ground impressed mark and date code 17.5cm. high £800-1,200

42

234


235. A Pilkington’s Lancastrian vase by William S. Mycock, dated 1930, shouldered form with collar rim, painted with seagulls flying above waves in a dark gold and ruby lustre on a midnight blue lustre ground impressed mark, painted artist cipher and date mark for 1930, 33.5cm. high £1,000-2,000 Literature A J Cross Pilkington’s Royal Lancastrian Pottery and Tiles, Richard Dennis, page 69 plate 109 this vase illustrated. 235

236. A Pilkington’s Lancastrian vase by William S. Mycock, dated 1924, shouldered cylindrical form, painted with sprays of carnations in red and golden lustre on a mottled green lustre ground impressed mark, painted monogram and date, paper exhibition label no.17, 33.5cm. high £1,000-2,000

mark

236

43


237

STUDIO POTTERY 237. Sylvia Fox Strangeways two studio pottery tiles dated 1927 and 1928, one painted with a blossom tree, the other with a flower spray, in colours on a turquoise ground, Crazy Daisy a Harris G Strong tile panel, another Harris G Strong tile panel, framed, painted marks, date and SFS monogram, minor chips 15.5cm. square (4) £100-150 Catalogue notes Sylvia Fox Strangeways was a private pupil at the Leach Pottery in 1926.

239 238

‡ 238. Charles Vyse (1882-1971) a stoneware Chun glazed dish, covered in a lavender and blue glaze over grey, and a pair of terracotta busts possibly by Charles Vyse incised Charles Vyse Chelsea to dish, busts incised CV 16cm. diam. (3) £50-100 Literature Terence Cartlidge Charles & Nell Vyse, Richard Dennis and Ed Pascoe, page 51 for two bowls and a vase covered in comparable Chun glazes.

240 241

239. Henry & Denise Wren, attributed an unusual Oxshott Pottery vase, with applied handle, covered in a running blue and purple glaze over apple green, a small Oxshott jug, six Upchurch Pottery items and four other items incised Oxshott, 23cm. high (12) £100-200 240. Winchcombe Pottery a slip glazed earthenware jug, decorated with simple grass motif, two piecrust rimmed slipware dishes and a Leach Pottery vase decorated with an oak leaf motif impressed Winchcombe seal mark, 19.5cm. high (4) £50-100 ‡ 241. Seth Cardew (born 1934) a Wenford Bridge stoneware bowl, painted to the well with radiating scroll design in blue and brown on a grey ground, the exterior with simple wavy line design, impressed seal marks, 31cm. diam. £100-150 Provenance British Art Pottery, Woolley and Wallis 11th December 2014, lot 351

242

44

244

243

245

‡ 242. Clive Bowen (born 1943) a large wood-fired earthenware floor vase and cover, shouldered form with four loop handles, decorated with alternate panels of fish, shrimp and foliate spray, covered in a graduated brown to yellow glaze unsigned, small chip to side, 65cm. high (2) £100-200

246


mark ‡ 243. Phil Rogers (born 1951) a large stoneware bottle vase, with carved flutes to shoulder, covered to the foot with a speckled ash glaze impressed seal mark, 36cm. high £100-200 247

Literature Phil Rogers Tradition Renewed, Pucker Gallery, catalogue number 32 for a comparable bottle vase. ‡ 244. Jim Malone (born 1946) an Ainstable Pottery slab built vase, shouldered, footed form incised with simple stem design, the shoulder covered in an ash glaze, the body a tenmoku glaze to foot, impressed seal marks, exhibition number to base, 32cm. high £100-150 ‡ 245. Mike Dodd (born 1943) a cut-sided stoneware jar and cover, covered to the foot in an ash glaze impressed seal mark, 21.5cm. high (2) £50-100 Provenance British Art Pottery, Woolley and Wallis, 11th December 2013, lot 367. 246. Mike Dodd (born 1943) a slab-built stoneware vase, shouldered form with swollen, square section neck, incised with panels of grasses, covered to the foot with an ash glaze, a stoneware vase with fluted decoration, covered to the foot in a celadon glaze by Phil Rogers, a jug by Phil Rogers and two other vases impressed seal mark, 31cm. high (Mike Dodd vase), (5) £100-200

248

‡ 247. David Leach (1911-2005) a Lowerdown Pottery stoneware vase, shouldered drum form with cut decoration, glazed to the foot in speckled olive green and brown glaze impressed DL seal, 21cm. high £100-150 ‡ 248. Shoji Hamada (1894-1978) a stoneware incense burner, cauldron form with hatched decoration covered to the feet with a tenmoku glaze unsigned 10cm. high £400-600 Literature Shoji Hamada Master Potter, Lund Humphries, page 58 plates 27 and 28 for a two comparable incense burners.

mark 249

‡ 249. Edward Piper (1938-1990) a Ridge Pottery plate, painted with a seated female figure, in blue, green and ochre on a celadon ground impressed seal mark, painted EP monogram 26cm. diam. £100-150 ‡ 250. Richard Batterham, (born 1936) a large stoneware platter, decorated with a band of incised comb decoration under a pale celadon glaze 50cm. diam. £100-150 251. John Dunn (born 1944) a large raku charger, covered in a crackled cream lustre glaze to the front, four John Dunn bowls and a raku vase by another artist impressed seal mark, 57.5cm. diam. (6) £100-150 250

251

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‡ 252. Peter Lane (born 1932) a flaring conical porcelain bowl, covered in a celadon glaze, two other Peter Lane footed bowls and another bowl incised signature 23cm. diam. 11cm. high (4) £100-200 253. Mary Rich (born 1940) a porcelain teapot and cover, banded in blue and purple with gilt decoration with wicker handle, another Mary Rich teapot and cover, a David Leach Lowerdown Pottery teapot and cover, and four Lowerdown egg cups, impressed seal marks, 9.5cm. high (Mary Rich teapot), (7) £100-200

252

254. Joanna Constantinidies (1927-2000), attributed a stoneware deep sided bowl, covered in a mottled and pitted sand and rush glaze, and a Mashiko vase unsigned 15cm. high (2) £100-150 255. Jane Hamlyn (born 1940) a salt-glazed stoneware vase, shaped square section, a jug similar, a Geoffrey Whiting porcelain teapot and cover, a Geoffrey Whiting hare's fur stoneware teapot and cover, and a large collection of studio pottery impressed seal marks, 12cm. high (a lot) £100-150

253

Literature Geoffrey Whiting, Aberystwyth Arts Centre, touring exhibition 1989-1990, page 79 for a comparable teapot and cover.

255

254

256. John Dunn (born 1944) a large Raku pottery vase, elliptical form with spilt neck, glazed with brushed panels of sky blue on a splashed grey and white ground, another taller John Dunn vase, a John Wheeldon raku pottery vase and another vase painted signature John Dunn 32cm. high (5) £100-200 Provenance British Art Pottery Woolley and Wallis, 11th December 2013, lot 516, John Wheeldon vase and the Unomi. ‡ 257. Bernard Forrester (1908-1990) a porcelain vase, ovoid with cylindrical neck, incised with a frieze of fish in sand and blue on a buff ground, and two other Thomas Forrester vases painted F mark, 19cm. high (3) £100-150 ‡ 258. Bernard Forrester (1908-1990) a stoneware bowl, painted with a figure, pigeon and fish surrealist design, in colours, highlighted in gilt, and two other Thomas Forrester bowls, painted F mark 28cm. diam. (3) £100-200 ‡ 259. Tessa Fuchs (born 1936) a large flaring bowl, painted to the well with five swans flying above a meandering river, in colours, and a large Tessa Fuchs bowl painted with a landscape impressed TF seal mark, 41.5cm. diam. (2) £100-200

256

257 258

Literature Clarice Cliff, Art Deco & 20th Century Design, Woolley and Wallis, 9th March 2011, lot 1118 for a comparable swan bowl. 260. Mary Rich (born 1940) a porcelain bottle vase with everted rim, painted with a band of fleur de lys in chestnut on a white ground, another Mary Rich vase, and two Christine-Ann Richards covered vases, and three miniature vases, impressed seal marks, 18cm. high (7) £100-150

259

46

260

Provenance British Art Pottery, Woolley and Wallis, 11th December 2013 lot 489 (Christine-Ann Richards)


261

‡ 261. Rupert Spira (born 1960) a large flaring conical bowl, covered in a flambe red hare’s fur glaze, with pooled lavender and green to well, the running flambe to the exterior over matt black, impressed seal mark, 40cm. diam. £100-200

262

‡ 262. Rupert Spira (born 1960) a tall stoneware vase and cover, covered in a copper red glaze impressed seal mark, 29cm. high (2) £100-200 mark

‡ 263. Inger Rokkjaer (1934-2008) a raku footed bowl, faceted sides with crazed white glaze, the interior pale grey on black foot, impressed seal mark, gallery paper label 21cm. diam. £100-200

263

Provenance Gallery Besson

‡ 264. Dame Lucie Rie D.B.E (1902-1995) a porcelain prune pot, rounded, footed form with inverted top rim, covered in a running manganese glaze impressed seal mark, 13cm. high £800-1,200 Provenance Dame Lucie Rie, Sale of a Lifetime, Bonhams London 17th April 1997 lot 163

mark

Exhibited Issey Miyake meets Lucie Rie Tokyo and Osaka 1989, catalogue number 11. 264

47


266

265

267

268

‡ 265. Derek Davis (1926-2008) a stoneware footed vase, cylindrical form, covered in a running blue and flambe glaze, two other flambe vases, three vases and two dishes £100-150 painted Davis signature tallest vase 18.5cm. high (8) 269 ‡ 266. Alasdair Neil and Sally Macdonell a stoneware wall mask, modelled in relief and pierced, glazed in blue and brown, and another wall plaque modelled with a face in the sun, impressed ANM Bath, 34 x 24cm. (2) £50-100 ‡ 267. Abdo Nagi (1941-2001) a large flaring porcelain footed vase, covered in a green glaze, the rim highlighted in manganese, and another smaller covered in a bright blue glaze impressed seal mark, 16.5cm. high, 21cm. diam. (2) £200-400 268. Abdo Nagi (1941-2001) a stoneware bowl, footed form covered in a lustrous mushroom and blue glaze, with manganese rim, another Abdo Nagi bowl covered in a matt blue glaze, a Poh Chap Yeap vase and two other items impressed seal marks, 13.5cm. high, 17cm. diam. (5) £100-200 ‡ 269. Sutton Taylor (born 1943) an earthenware footed charger, decorated with abstract design in earth colours, and another Sutton Taylor bowl, and another impressed seal mark, 46cm. diam. (3) £100-200 ‡ 270. Chris Carter (born 1945) a tall stoneware vase, spiralling form, covered in a pitted pale blue and grey glaze impressed seal mark, 57cm. high £100-150 ‡ 271. Chris Carter (born 1945) a stoneware Totemic vase, covered in a pitted pale blue-green striped glaze, and a Chris Carter footed bowl with flutes to the interior, impressed seal mark, 27.5cm. high (2) £100-150

270

Literature Chris Carter, Hart Gallery, 2008, page 8 for two comparable forms. ‡ 272. Chris Carter (born 1945) a stoneware vase with twist, covered in a pitted ochre and pale green glaze, and another Chris Carter vase similar impressed CCP seal mark 30cm. high (2) £100-200 273. Chris Carter (born 1945) two early stoneware bowls, each of footed form, covered in an olive green glaze, another covered in a volcanic white glaze, another covered in a green glaze and a Tim Andrews raku bowl form impressed seal marks, 13.5cm. diam. (5) £100-200

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mark

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‡ 274. Peter Hayes (born 1946) a raku sack form vase, dated 1988, with solifleur aperture, impressed seal mark, incised Peter Hayes 88 19.5cm. high £100-200 ‡ 275. Peter Hayes (born 1946) a tall black raku sack form vase, with textured finish, impressed seal mark, minor professional restoration to the tiny neck aperture 41cm. high £100-200 Provenance 20th Century Design, Woolley and Wallis, 8th April 2009, lot 895 ‡ 276. Peter Hayes (born 1946) a tall raku standing form, with resin band, on square black stone base, 60cm. high £150-250

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Provenance British Art Pottery, Woolley and Wallis, 11th December 2012 lot 440 ‡ 277. Peter Hayes (born 1946) a white raku Cycladic form, dated 1990, on stepped slate base, incised Peter Hates 90, 38.5cm. high £150-250

275

‡ 278. Peter Hayes (born 1946) a white porcelain disk on split raku stand, mounted on slate base incised Peter Hayes to side 29cm. high £100-200 Provenance 20th Century Design Woolley and Wallis, 9th March 2011 lot 1164 ‡ 279. Peter Hayes (born 1946) a white bone china porcelain disk, on copper stand and slate pedestal unsigned 22.5cm. high £100-200 ‡ 280. Peter Hayes (born 1946) a raku sack form vase with keyhole, dated 2000, burnished brown glaze incised Peter Hayes 2000, minor frits to high points, 22cm. high £100-200 ‡ 281. Peter Hayes (born 1946) a raku keyhole sculpture, covered in a deep bronze glaze over red, on slate base incised Peter Hayes 23cm. high £100-200

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‡ 282. Peter Hayes (born 1946) a black raku bow sack form sculpture, dated 1991, inset with patinated copper disk, incised Peter Hayes 91 29cm. high £100-200 ‡ 283. Peter Hayes (born 1946) a tall white raku vase, dated 1989, sack form, with splits and textured decoration, incised Peter Hayes 89, exhibition number to base, 53cm. high £300-500 Provenance Mr K Taylor, private collection Clarice Cliff, Art Deco and 20th Century Design, Woolley and Wallis, 5th March 2014, lot 433 279

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‡ 284. John Ward (born 1938) a hand built stoneware tulip vase, glazed in blue and brown impressed seal mark, £100-200 21cm. high Sold with a letter from John Ward dated 1992 stating his intent to make this pot.

‡ 285. John Ward (born 1938) a hand built stoneware vase, elliptical form mottled blue and brown impressed seal mark, 17cm. high £200-300 284

285

‡ 286. John Ward (born 1938) a small hand built stoneware vase, white glazed with pale green stripes, and another internally decorated with stripes impressed JW seal mark 11cm. high (2) £150-200 Provenance British Art Pottery Woolley and Wallis Auctioneer’s 11th December 2013 lot 435. 286 287 ‡ 287. John Ward (born 1938) a hand built tulip pot, with fluted rim, white glazed mottled pale green and buff impressed seal mark, 13.5cm. high £100-200

288

‡ 288. John Ward (born 1938) a hand built stoneware vase with cut sided rim, glazed with abstract design in black and white impressed seal mark, 14.5cm. high £300-500

289

‡ 289. John Ward (born 1938) a hand built stoneware vase, glazed to the exterior with mint green striped on a white ground, the interior black impressed seal mark, 17cm. high £200-400

‡ 290. John Ward (born 1938) a hand built stoneware vase, asymmetric form glazed in black and white impressed seal mark, 25cm. high £250-350

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back


‡ 291. Tim Andrews (born 1960) a large raku Humbug vase, circular section with inverted rim, covered in a matt white glaze with black ribs and spots impressed £250-350 seal mark, 20cm. high Provenance Tim Andrews British Art Pottery Woolley and Wallis, 21st November 2007 lot 321

291 detail

‡ 292. Tim Andrews (born 1960) a large raku fired stoneware humbug vase, ovoid with solifleur neck, black and white strips with spots impressed seal mark, 24cm. high £250-350 Provenance Tim Andrews British Art Pottery Woolley and Wallis, 21st November 2007, lot 322 292

‡ 293. Tim Andrews (born 1960) a raku footed cup form, the pale pink/off white open bowl with black spot decoration, on black compressed foot, impressed seal mark, 31cm. high £150-250 Provenance British Art Pottery Woolley and Wallis, 11th December 2013 lot 526

293

‡ 294. Tim Andrews (born 1960) a raku solifleur vase, ovoid form with narrow aperture, matt pale pink with black spot decoration, another Tim Andrews cup form vase, and another Tim Andrews Raku vase impressed seal marks, 17cm. high (3) £100-200 294

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FURNITURE 295. An Italian gilt wood Florentine wall mirror, pierced square frame, a Regency pier mirror with clustered column and stiff leaf capitals and a pair of mirrors, Florentine mirror 57 x 64cm, Pier mirror 76 x 46cm. (4) £100-200

296. A Chippendale style gilt wood wall mirror, carved wood scroll and bird £100-150 decoration, 115 x 72cm.

295

‡ 297. A mahogany veneer banjo barometer by J Torrey & Co, Gloucester, with ebonised wood and ivory detailing 99cm. high £50-100

298. A George III mahogany side table, rectangular on slender legs, with frieze drawer and fret bracket supports, and another larger, both with brass furniture, 82 x 51cm top, 70cm high (largest), (2) £100-200

297

299. An oak wall mounted shelf, tapering form with three shelves, and an Arts and Crafts bookshelf 91cm high, 61cm. (2) £50-100

296

300. An ebonised wood rush seated Rossetti chair possibly retailed by Morris & Co, and a rush seated Sussex corner chair, chair 85cm. high, corner chair 67cm high (2) £100-200

299 298

Literature Linda Parry William Morris V&A exhibition catalogue, 1996, page 160 figure 74 for the original Sussex range by Morris & Co illustrated.

301. A pine Orkney chair possibly retailed by Liberty & Co, strung back and drop in seat, 83cm. high £100-200

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300

301


detail

302

302. A Liberty & Co oak sideboard, two cabinets flanking central aperture, below large copper panel by John Pearson, repousse hammered with a galleon at full sail and a fruiting orange tree motif, flanked by plane cylindrical columns and deep display shelf unsigned 177cm. wide, 187cm high £100-200

303. An English Art Nouveau mahogany display cabinet possibly by Shapland and Petter, central glazed velvet lined cabinet, over glazed twin-door compartment, with inlaid marquetry and mother of pearl flower stem decoration, on pierced legs, 197cm high, 139cm wide £300-500

303

Literature Daryl Bennett Shapland & Petter of Barnstaple, Museum of Barnstaple, 2005, plate 4.28 for a comparable display cabinet.

304. A Secessionist oak display cabinet and sideboard, inlaid with stylised floral stem, bevelled glass mirror back and brass furniture 120.5cm. wide, 216cm. high £100-200 304

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305. A stained oak shelf unit in the manner of Liberty & Co, and a freestanding bookshelf with pierced back and side panels, wall shelf 61cm. wide (2) £50-100

306. An Arts and Crafts brass wall sconce, probably Scottish, stamped in low relief with a sun motif, unsigned 28.9cm. high £50-100 305

307. A Scottish Arts and Crafts stained oak clock, with applied metal Arabic numerals, 173cm. high £50-100

308. An oak freestanding bookshelf possibly retailed by Liberty & Co, five shelves, the back with carved cut-out roundel, unmarked, 157cm. high, 96cm. wide £100-150 Provenance Arts and Crafts Woolley and Wallis, 20th June 2012 lot 573.

306

309. A painted oak Moorish table possibly retailed by Liberty & Co, octagonal section with arched legs, painted with waterlily flowers, and a table top cabinet painted with lily stem panels, table 57cm. high, cabinet 43cm. high (2) £100-150

307

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309

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310. A limed oak table possibly retailed by Heal’s, circular section top above T section support and twin book shelves £100-200 54cm. diam, 59cm. high

310

311. A large Heal’s oak bookcase sideboard, two two-door glazed cabinets over drawers and cupboards, inset Heal’s disk to one drawer 177cm. wide, 209cm. high £300-500 Literature Susanna Gooden A History of Heal's, page 47 for a three door version of this sideboard illustrated.

311

312. A Heal’s Modernist limed oak student bureau bookcase, and two limed oak Modernist book cases similar, inset Heal’s label to bureau 113cm. high, 92cm wide (3) £100-200

312

313. ‘Gloria in Excelsis’ a stencilled linen panel designed for a church, in the manner of Lewis F Day, printed with angel’s raising up the Latin inscription, amidst fruiting grape vine pomegranate, repeat, stencilled inscription to lower border Design for a Stencilled Hanging for Church Decoration, framed, and printed wallpaper design of fruiting swags 112 x 118 (2), swag design 75 x 59cm. (2) £100-200 313

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314

PAINTINGS & SCULPTURE 314. A large fibreglass panel, rectangular decorated in low relief with geometric design, and another smaller apparently unsigned 223 x 57cm. (2) £50-100 ‡ 315. John Sargent Male nude, 1931 terracotta coloured stoneware signed John Sargent 1931 fecit to reverse 53 x 42cm. £50-100 ‡ 316. David Bradford (born 1945) Tug Douglas fir signed in white pen 33cm high, 51cm wide £100-150

316 315

Provenance Modern British Art Woolley and Wallis, 26th November 2013 lot 127 317. Arthur Lee Walbank (1871-1940) The Thames Between Chiswick and Richmond, (Richmond Bridge) gouache on paper, framed unsigned 30 x 21.5cm (image) £100-150 Provenance purchased from the artist’s studio sale by repute

317

318

‡ 318. Moira Huntley (born 1932) Village Near Colne, Lancashire, 1996 watercolour and gouache on paper, framed signed lower right, titled on original label to reverse 34 x 35.5cm. (image) £100-200 Provenance Alresford Gallery, Leslie Gooday OBE Modern British Art, Woolley and Wallis, 26th November 2013, lot 15

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319. Richard Joyce (1873-1931), attributed At Llangoed, Beaumaris Mountains watercolour on paper, framed, Santa Maria della Salute Venice by Rowell Tyson R.B.A., and a collection of paintings by various artists signed R Joyce and titled in pencil, title on paper label to reverse 25 x 17cm (a lot) £100-200 319


321

320 ‡ 320. David Arbus Ca Rezzonico, Venice, 1998 watercolour on paper, framed, and St Paul’s Cathedral by David Arbus signed in ink 36.5 x 31cm. (2) £100-150 David Arbus played the Violin Coda on Baba O’Riley (Teenage Wasteland) by The Who in 1971.

‡ 321. Gordon Randall Thames Backwater at Shepperton (Desborough Channel), watercolour on paper, framed, another Canal landscape by Gordon Randall and two other watercolours by Gordon Randall, signed in ink 46 x 37cm. (Thames, image) (4) £100-200

322. Gordon Randall Marsh landscape, watercolour on paper, framed, another two watercolours by Gordon Randall and three unsigned watercolours three signed in ink 35 x 27 (marsh, image), (6) £100-200

322

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‡ 323. Barbara Walsham Levant Mine, Trewellard Cornwall watercolour on paper, framed, and six other watercolours by Barbara Walsham signed lower right, title to paper label on reverse 32 x 36.5cm. (7) £100-200 324 ‡ 324. Edwin Hunter Spanish Village, 1947 watercolour on paper, framed, and five other watercolours by Edwin Hunter signed lower right 36 x 25.5cm. (6) £100-200

‡ 325. Edwin Hunter La Rochelle watercolour on paper, framed, and five other watercolours by Edwin Hunter, signed lower right 43 x 35cm. (6) £100-150 325

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326 ‡ 326. David Risk Kennard (born 1953) Powerstock Village, circa 1990 oil on canvas, framed, and Powerstock Village and East Chelborough two other oils by David Risk Kennard, signed Kennard, one with artist paper label to reverse 39.5 x 29cm. (3) £100-200 ‡ 327. David Risk Kennard (born 1953) The Escarpment, Bele, Ethiopia, 1998 watercolour, inks and Gouache on paper, framed and The Library of Ephesus, Turkey, 1998, another watercolour, inks and gouache by David Risk Kennard signed lower left 46 x 36cm. (image) (2) £100-200

327

Provenance Grosvenor House, 1998 ‡ 328. Kyeld Hansen (Danish, born 1919) untitled abstract oil on canvas, framed, and another abstract by another hand signed and annotated to reverse 69 x 57cm (2) £100-200 Provenance exhibited Copenhagen, 1959, cat no.13

JOSEPH SEVIER

‡ 329. Joseph Sevier (born 1961) Field Near Sandwich, Kent oil on board, framed, Kephalonia, Mount Enos by Joseph Sevier and another oil landscape by Joseph Sevier signed Sevier lower left 29 x 20cm. (image), (3) £100-200 Provenance Montpelier Sandelson Gallery

328

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330

331

332

‡ 330. Joseph Sevier (born 1961) Still Life, 1995 oil on canvas board, with painted frame signed and dated to middie, paper exhibition label to reverse 44 x 35cm. (image). £100-200 Provenance The Discerning Eye

‡ 331. Joseph Sevier (born 1961) Still Leaf with Two Melons, 1998 oil on canvas, framed signed and dated, paper exhibition label to reverse 44 x 35cm. (image). £100-200 Provenance Catto Gallery, number 10796

‡ 332. Joseph Sevier (born 1961) Desert Canyon Plant, 1996 oil on canvas, painted frame signed and dated on a leaf, paper exhibition label to reverse 71 x 68cm. £200-300

333

Provenance Catto Gallery, number 8760

‡ 333. Joseph Sevier (born 1961) Datura, 1996 oil on canvas, framed signed and dated lower left, gallery label to reverse 59 x 49cm. £300-500 Provenance The Catto Gallery

‡ 334. Joseph Sevier (born 1961) Cerro Gordo, 1998 oil on canvas, framed signed and dated lower right, paper labels to reverse 101 x 91cm. £400-600 Exhibited The Hunting Art Prizes, 2001 334

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MICHAEL WARREN ‡ 335. Michael Warren (born 1942) Cranach watercolour on paper, framed, and another Michael Warren watercolour dated 1979, and two other watercolours by other artists signed and titled in pencil lower right £100-150 39 x 24.5cm. (4) ‡ 336. Michael Warren (born 1942) Constitution Arch (Wellington Arch), Hyde Park Corner, London, 1985 watercolour on paper, framed signed and dated in pencil lower right 53 x 30cm. (image) £100-150

335

‡ 337. Michael Warren (born 1942) The Drum Horse, The Life Guards - Household Cavalry, watercolour on paper, framed signed MW monogram lower right 35 x 25cm (image)

£100-150

‡ 338. Michael Warren (born 1942) Polo Players, watercolour on paper, framed, and another watercolour Polo Player by Michael Warren signed MW lower right corner 52 x 28cm (image), Polo Player 25.5 x 14cm. (2) £100-200 336

337

Provenance Market Street Gallery, (Polo Player) ‡ 339. Michael Warren (born 1942) Green Park, 1985 oil on board, framed, and another ‘Figures on a Park Bench’ by Michael Warren signed MW lower left 45.5 x 28.5cm (image) 36 x 29cm. (Park Bench), (2) £100-200 ‡ 340. Michael Warren (born 1942) The Round Pond - Kensington Gardens, 1987 oil on canvas, framed monogrammed MW lower right 76 x 63cm.

338

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339

340

£100-200


341 ‡ 341. Michael Warren (born 1942) The Serpentine - Hyde Park, 1987 oil on board, framed signed MW monogram lower right corner 99 x 47cm. (image) £300-500 ‡ 342. Michael Warren (born 1942) Walking by the Serpentine, 1986 oil on board, framed signed MW lower right corner 64 x 45cm. (image) £200-300

342

343

‡ 343. Michael Warren (born 1942) Sunbathing on the Serpentine, 1985 oil on board, framed signed MW lower right 56.5 x 45cm. (image) £200-300 ‡ 344. Michael Warren (born 1942) Wellington Square - King’s Road, 1989 oil on board, framed monogram MW bottom right corner 86.5 x 54cm (image) £200-300 ‡ 345. Michael Warren (born 1942) St Pauls from the South Bank, 1989 oil on board, framed signed monogram lower right 153 x 58.5cm. (image) £400-600

344

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Furniture & Works of Art Wednesday 25th March 2015

ENQUIRIES Mark Richards Tel: +44 (0)1722 411854 markrichards@woolleyandwallis.co.uk

A Victorian carved marble model of Daphne, by Marshall Wood, 1869. Provenance: The Property of a Nobleman. Estimate: ÂŁ3,000 - ÂŁ5,000


Clarice Cliff, Art Deco & 20th Century Design Wednesday 15th April 2015 Closing date for entries Wednesday 18th February

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

Five miniature Clarice Cliff vases, including ‘Tennis’. Estimate: £1,000 - £1,500


English & European Ceramics & Glass Tuesday 21st April 2015 Closing date for entries, Friday 6th March

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

A political firing glass, c.1763, engraved ‘Wilkes & Liberty No. 45’ relating to issue 45 of John Wilkes’ publication The North Briton in which his attack on King George III’s speech endorsing the Paris Peace Treaty led to his arrest for libel. Estimate: £1,500 - £2,000


20th Century & Contemporary Art Wednesday 3rd June 2015 Entries are now being accepted for this sale

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

Tom of Finland (Finnish 1920-1991) The Saddle Thief III Pencil, unframed 31.25 x 22.5cm With provenance Estimate: ÂŁ2,000 - ÂŁ3,000 One of 4 drawings from this series by this artist in the sale.


Auction Information OPENING HOURS Monday to Friday 9am – 5.30pm and 10am to 1pm on Saturdays. VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues. BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide permanent paddle numbers which can be used for any future sale, once registered. REGISTERING WITH US All first time buyers need to register with us. Once registration is complete you will be provided with a permanent paddle number which can be used in all future sales. To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on 01722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or fax or email copies. PLEASE NOTE: Registering with the-saleroom.com or through our website does not automatically register you with us. COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids. TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

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LIVE ONLINE BIDDING Live online bidding is now available for most of our auctions via the-saleroom.com, enabling you to take part in the bidding from anywhere in the world, live as it happens. To bid online you need to register at www.the-saleroom.com, subject to approval. There is a 3% charge for this service. In completing the bidder registration on www.the-saleroom.com and providing your credit card details and unless alternative arrangements are agreed with Woolley and Wallis Salisbury Salerooms Ltd, you: 1. authorise Woolley and Wallis Salisbury Salerooms Ltd, if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction via thesaleroom.com, and 2. confirm that you are authorised to provide these credit card details to Woolley and Wallis Salisbury Salerooms Ltd through www.the-saleroom.com and agree that Woolley and Wallis Salisbury Salerooms Ltd are entitled to permit the shipping of the goods to the card holder name and card holder address provided in fulfilment of the sale. CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true. SALE RESULTS These will be posted on our website shortly after the sale. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 22% + VAT on the first £500,000 of the hammer price and 12% + VAT thereafter.


PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released. The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €15,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present. Wire transfers should be sent to: Lloyds TSB, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Credit cards: Visa or Mastercard for which there is a 2% surcharge + VAT Debit cards: Delta, Switch, Connect Where practical, payment can be made and purchases collected during the auction. Please note that furniture and clock lots will normally remain in our salerooms for three working days following each sale, after which they will be removed to our store and arrangements for collection must be made in advance with the office. Storage charges will be levied on all lots in the furniture and works of art and clock sales not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid. VAT Lots marked with an asterisk (*) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price. CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported. 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. 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). 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. 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).

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. 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. 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. 8. Electrical items. These are subject to detailed statutory safety controls. Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense. 9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request. 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.

Up to a maximum levy of €12,500

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

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

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


Valuations 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.

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.

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

LW AY W ES T IL

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WILTON & WARMINSTER

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CENTRAL CAR PARK

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MARLBOROUGH & SWINDON

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Westover Garage

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WOOLLEY & WALLIS Kia Motors

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

AMESBURY & MARLBOROUGH

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CASTLE RD A345

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LONDON, ANDOVER & WINCHESTER

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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.

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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 Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

ARN HAM A338 BOURNMOUTH & RINGWOOD D

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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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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 The Nick Rocke Collection

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 25th February 2015 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

Postcode Daytime telephone Email All accounts must be settled within 21 days. There is no surcharge for debit card payments, but for credit cards there will be a 2% (+VAT) surcharge. ID is required for all first time bidders.

Signature

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

www.wool leyand wal li s.co.uk


AUCTION CALENDAR 2015 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 – The Nick Rocke 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 – 20th Century & Contemporary Art 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 FURNITURE & WORKS OF ART 25th March 1st July Mark Richards +44 (0) 1722 411854 • markrichards@woolleyandwallis.co.uk SILVER 29th April – Fine Silver & Objects of Vertu 15th July Rupert Slingsby +44 (0) 1722 424501 • rupertslingsby@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lucychalmers@woolleyandwallis.co.uk JEWELLERY 30th April 16th July Jonathan Edwards +44 (0) 1722 424504 • jonathanedwards@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mariellewhiting@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


www.woolleyandwallis.co.uk

Profile for Jamm Design Ltd

Woolley & Wallis  

The Nick Rocke Collection of British Art Pottery | Wednesday 25th February 2015

Woolley & Wallis  

The Nick Rocke Collection of British Art Pottery | Wednesday 25th February 2015