Woolley & Wallis by Jamm Design Ltd

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

Clarice Cliff, Art Deco & Design Wednesday 29th March 2017

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

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

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ARMS & ARMOUR, MEDALS & COINS AND MILITARIA Ned Cowell Gemma Bush

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ASIAN ART John Axford MRICS ASFAV Alex Aguilar Doméracki Freya Yuan Marta Olszewska

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ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham

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FURNITURE, WORKS OF ART & CLOCKS Mark Richards Jim Gale Suzy Becsy

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JEWELLERY Jonathan Edwards FGAA Marielle Whiting FGA

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PAINTINGS Victor Fauvelle Jo Butler

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

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MARKETING Tamzin Corbett

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ACCOUNTS Janice Clift (Office Manager)

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GENERAL OFFICE Sharon Ringwood Pauline Jones Nicola Young Amanda Lawrence Kirstie Tapper

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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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COMPANY SECRETARY James Macarthur CA

SILVER Rupert Slingsby Lucy Chalmers

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TRIBAL ART & ANTIQUITIES Will Hobbs Gemma Bush

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: 01722 424500 • www.woolleyandwallis.co.uk

424599

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CLARICE CLIFF, ART DECO & DESIGN Wednesday 29th March 2017 at 10.30am VIEWING TIMES Saturday 25th March Monday 27th March Tuesday 28th March Wednesday 29th March

10.00am – 1.00pm 10.00am – 4.00pm 10.00am – 4.00pm 9.00am – 10.30am

ENQUIRIES

Michael Jeffery 01722 424505 mj@woolleyandwallis.co.uk

COLLECTION OF LOTS

Zoe Smith 01722 424505 zs@woolleyandwallis.co.uk

Please contact the department to arrange collection in advance.

Please note that all lots will be cleared from our Castle Street Saleroom on Friday 31st March. Furniture will be removed to our Old Sarum warehouse for collection, with all remainder lots cleared to our Salt Lane office. Lots will be available for collection from Monday 3rd April.

Our Old Sarum Warehouse address details and map are at the back of this catalogue. All accounts to be settled prior to collection. 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. Lots marked with a ‡ symbol which sell for more than 1000 are subject to the levy, payable by the bidder. Please refer to page 107 for full details. BUYER’S PREMIUM Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%. TELEPHONE BIDDING Please note that requests for telephone bids cannot be accepted after 5pm on Tuesday 28th March. LIVE BIDDING ILLUSTRATIONS Front cover: Lot 2 Back cover: Lot 319 detail Inside cover: Lot 395 detail Catalogue £12.00 (£15.00 by post)

www.the-saleroom.com Please register by 5pm on Tuesday 28th March. Please note there is a 3% +VAT surcharge for using this service.

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

CLARICE CLIFF

1. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre Conical tea set for four, painted in colours, comprising large teapot and cover, milk-jug, sugar basin and cover, four cups and saucers, printed factory marks, old restoration, 14.5cm. high £300-500

2. ‘Circle Tree’ a Clarice Cliff Fantasque Bizarre Stamford teapot and cover, sold with a copy of The Best of Clarice Cliff a book by Sevi Guatelli and Leonard Griffin, painted in colours printed factory marks, 12cm. high (2) £800-1,200 Literature Sevi Guatelli & Leonard Griffin The Best of Clarice Cliff, Best 50, page 81 this actual teapot illustrated.

3. ‘Kew’ a Clarice Cliff Bizarre large clog, painted in colours impressed marks, 13.5cm. long. £300-500

3 both sides

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4. ‘Red Trees and House’ a Clarice Cliff Fantasque Bizarre side plate, painted in colours inside red and black bands, printed factory marks, 17.5cm. diam. £150-200 This plate has the impressed 1930 date.

5. ‘Summerhouse’ a Clarice Cliff Fantasque Bizarre tea plate, painted in colours inside red and black bands, printed factory mark, 15cm. diam. £150-250

6. ‘Orange Trees and House’ a Clarice Cliff Fantasque Bizarre milk-jug, painted in colours, and another Clarice Cliff Nuage Conical milk-jug printed factory mark, 6.5cm. high, (2) £150-200

7. ‘Melon’ a Clarice Cliff Fantasque Bizarre milk-jug, painted in colours, and another Clarice Cliff Original Bizarre milk-jug painted with green and orange diamonds, printed factory marks, 6.5cm. high, (2) £150-200

8. ‘Blue Crocus’ a Clarice Cliff Bizarre Globe teacup and saucer, painted in colours, printed factory marks, 14cm. diam. (saucer) (2) £150-250

8 9

9. ‘Crocus’ a Clarice Cliff Athens teapot and cover, painted in colours above brown and green bands, printed factory mark, professional restoration to rim of teapot, 14cm. high £120-150

10. A Clarice Cliff Bizarre dessert and dinner service, painted with yellow, orange, red and black bands, comprising, serving bowl and six dessert bowls, two Odilon tureen and covers, sauce boat, one serving platter, four dinner and entree plates and five side plates printed factory marks, 35cm. wide (platter) (26) £120-180

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

11. ‘Autumn’ a Clarice Cliff Fantasque Bizarre wall plaque, painted in colours inside a coral red band, printed factory marks, 34cm. diam. £1,000-1,500

12 12 mark

12. ‘Idyll’ a Clarice Cliff Bizarre vase, probably painted as a sample, painted in colours between yellow, green and red bands, printed factory marks, large painted S mark, 14.5cm. high. £150-250

13. ‘Idyll’ a Clarice Cliff Bizarre Conical bowl, painted internally with a frieze, the four triangular feet with details, in colours printed £200-300 factory mark, 15cm. diam.

13 detail

14. ‘Gay Day’ a rare Clarice Cliff miniature bowl, painted in colours, the interior banded yellow, black and brown printed Lawleys mark, painted Gay Day, fine hairline 7.5cm. diam. £200-300

14 mark

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16 both sides 15. ‘Dutch Man & Woman’ a pair of Royal Staffordshire figures designed by Clarice Cliff, model no.425 and 426, painted in colours printed factory marks, professional restoration to ankles of one, 20cm. high £200-300 Literature Clarice Cliff Christie’s South Kensington, 9th October 2005 lot 15 for a comparable pair of figures. 16. ‘Age of Jazz’ a modern Wedgwood table centrepiece originally designed by Clarice Cliff, modelled as a dancing couple, in colours printed marks, 20.5cm. high £150-200

17. ‘Poplar’ a Clarice Cliff Bizarre side plate, octagonal form, painted in colours inside a green band, and a Clarice Cliff Seven Colour Secrets side plate, printed factory marks, professional restoration to rims, 14.5cm. diam. (2) £150-250 The Poplar plate has the impressed 1932 date. 18. ‘Secrets’ a Clarice Cliff Fantasque Bizarre Athens teapot and cover, painted in colours, the cover banded in green and yellow, printed factory £150-250 marks, 15cm. high 19. ‘Secrets’ a Clarice Cliff Bizarre Biarritz plate, painted in colours to the well and rim, printed factory marks, 18.5cm. wide £200-300

20. ‘Art in Industry’ a Clarice Cliff Bizarre plate designed by Billie Walters, printed and painted with a deer stag running past a stylised tree, in black, grey and white, printed factory mark, 20cm. diam. £100-150 This plate was designed for the Artists in Industry exhibition held in 1934. 21. ‘White Rose’ a Foley bone china Art in Industry part tea set designed by Graham Sutherland, model V.626, comprising, three tea cups, a saucer and five side plates, printed in black and green with rose motif to the well of the tea cup and centre of plates, printed and painted factory marks, facsimile signature, fine hairline to one cup, 16cm. diam (9) £150-200

20 21

Literature Graham Sutherland The Tate Gallery, 19th May-4th July 1982, page 66 catalogue number 27 for the original design, page 67 catalogue number 28 for a comparable part service in this design illustrated.

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

ART DECO CERAMICS 22. ‘Dulcinea’ HN.1419 a Royal Doulton porcelain figure designed by L. Harradine, painted in colours, ‘Marietta’ HN.1361 and ‘Childhood Days’ two Doulton figures and Penelope a Royal Crown Derby figure, printed and painted marks, Dulcinea repair to hat and hairline to base, hairline to Marietta, 15.5cm. wide. (4) £200-300

23. A Royal Doulton Sung vase designed by Charles Noke, slender, shouldered form, painted with a mountainous landscape, with tall trees in the foreground, in shades of blue on a rich flambe red ground printed factory mark, painted Sung and Noke signature, 28cm. high £300-400 24. A Royal Doulton Sung pottery floating bowl designed by Charles Noke, internally decorated with a simple cloud motif in red flambe on speckled dark blue and green ground, the exterior running and mottled dark blue printed factory £120-180 mark, professional spray to interior, 28cm. diam. 25. A Carter Stabler & Adams Poole Pottery charger probably designed by Truda Adams, pattern OT, painted with flowers and foliage in shades of purple, yellow blue and green on an off white ground, impressed and painted marks, 38cm. diam. £200-300

26. An early Carter Stabler & Adams Poole Pottery charger, pattern JM, painted to the well with a band of stylised flowers and foliage, in colours on an off white ground, the rim with purple, blue, yellow and green bands impressed and painted marks, 38.5cm. diam. £200-300 27. Love Birds an unusual Carters Poole Pottery tile probably designed by John Adams, modelled in relief perched on an oak bough, painted in shades of blue and green on a cream ground, unmarked, small glaze chip, 15cm. square £150-250 Literature Leslie Hayward & Paul Atterbury Poole Pottery, Richard Dennis Publications, page 51 for two examples of a book end variation of this design.

28 27

28. A Poole Pottery model of a comical hare designed by Marjorie Drawbell, covered in an Apple Green glaze, impressed marks, 16.5cm. high £150-200 29. Buster Boy a Hammersmith Bridge stoneware figure by Phoebe Stabler, dated 1913, modelled, glazed in colours on a buff ground, TheTitbit a pottery figure by G. Wallers and a collection of items, incised Phoebe Stabler 1913 to side and Hammersmith Bridge impressed mark to base, 18cm. high (12) £150-200 Literature Leslie Hayward and Paul Atterbury Poole Pottery Richard Dennis Publications, page 41 for an example of this design made at Carter, Stabler & Adams, Poole Pottery.

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30. An Art Nouveau T.A Simpson Co. tubelined tile designed by Charlotte Rhead, square section, decorated with a hooded, maiden portrait, in shades of green, blue, brown and yellow, and another Art Nouveau tubelined tile, framed unmarked, 15.5cm. square, (2) £150-250 Literature Chris Blanchett 20th Century British Tiles, Schiffer, page 528 for a comparable tile.

31. An Art Deco Crown Devon wall plaque, model M.35, printed and painted in colours and gilt on a mottled orange ground with stylised flowers and foliage, two other Crown Devon wall plaques and a single handled vase printed and painted marks, hairline to rim of one, 30.5cm. diam. (4) £120-180

Literature Andrew Casey Art Deco Ceramics in Britain ACC books, page 167 plate 19.5 for a comparable wall plaque illustrated.

32. A Crown Devon model of a woman probably designed by Kathleen Parsons, model no.224, modelled standing in a long floral dress and green headscarf, painted in shades of green, yellow and purple, printed mark, impressed model number, 24cm. high. £120-180

Literature Susan Hill Crown Devon Jazz Publications, page 169 for an example of this figure illustrated.

33. A Carlton Ware musical tankard, printed in colours with a crinoline lady, and two Carlton Ware drinking tankards entitled Dreamer and A Dorset Litany, printed factory marks, 15.5cm. high, (3) £150-250

33 34. A set of six bisque porcelain sporting figures designed by John Hassall, comprising footballer, tennis player, horse rider, cricketer, and two boxers, all with articulated heads, in card box, unsigned, 8cm. high (6) £250-350

35. A Carlton Ware Armand Lustre vase and cover, shouldered form, printed and painted with birds perched on a prunus bough, highlighted in gilt on a mottled pale blue lustre ground, and a Carlton Ware Armand Lustre solifleur vase, printed factory mark, professional restoration to vase and cover, 24cm. high (2) £150-250

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36 detail

36. A Carlton Ware Turkish pedestal bowl and stand, pattern no.3071, printed in gilt and painted in enamels on a mottled blue ground, with stylised flowers, and a Carlton Ware Chinese Figures pedestal bowl pattern no.3199 printed and painted marks, 25cm. diam. (3) £150-250

37. An Art Deco Carlton Ware Handcraft single handled vase, pattern no.3448, painted with flowers and foliage in buff, red, green and blue on a cream ground, highlighted in gilt, printed and painted marks, 17.5cm. high £120-180

38. A Carlton Ware Jazz Stitch vase, pattern no. 3655, printed and painted with a geometric design in yellow, orange and black on a mottled orange lustre ground, printed and painted marks, 26.5cm. high £150-200

39. A large Art Deco Carlton Ware Comet ginger jar and cover, pattern no.3387, printed and enamelled in colours and gilt on a mottled orange ground with geometric flower panels, printed and painted factory marks, 26cm. high £500-1,000

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40. A Wedgwood Pottery Zodiac box and cover designed by Arnold Machin, the cover modelled in low relief, covered in a pale blue glaze, a Veronese bowl and tazza, two plates, a bowl and a teapot and cover, impressed and printed marks, minor chips to cover, 13cm. wide (7) £100-200 Provenance Private collection of Wedgwood Pottery.

40A 40

40A. A Wedgwood Pottery bowl by Norman Wilson, footed, the flaring bowl glazed with brown aventurine to the interior, the exterior gloss black and a Wedgwood tray by Norman Wilson, brown with tan and grey exterior impressed marks, impressed NW 16cm. diam. (2) £100-200 Provenance Private collection of Wedgwood Pottery. Literature Maureen Batkin, Wedgwood Ceramics 1846-1959, Richard Dennis Publications, page 224 Colour plate LI this actual bowl illustrated.

41. A Wedgwood Pottery vase designed by Keith Murray, ribbed, flaring cylindrical form, covered in a matt white glaze, a Wedgwood blue basalt vase with cut decoration, a Langley Ware vase and white ceramic model of a Rhino, a Denby Danesby Ware vase, a jardiniere and three items of Poole Pottery, printed factory marks and KM monogram, 18.5cm. high (9) £120-180 42. A Wedgwood earthenware Matt Green vase designed by Keith Murray, ribbed ovoid form with collar neck, covered in a matt green glaze printed factory mark and facsimile signature, 15.5cm. high £120-180

43 42

Literature Andrew Casey, 20th Century Ceramic Designers in Britain, ACC books, page 192 catalogue number 210 for a comparable example in Straw Yellow. 43. A Wedgwood Pottery vase designed by Keith Murray, shape no. 3805, shouldered form with incised horizontal bands, glazed pale matt blue, printed factory mark, KM monogram, minor professional restoration to base rim, 28cm. high £150-250 44. A Wedgwood Pottery vase designed by Keith Murray, model no.3820, compressed, shouldered form, covered in a Moonstone matt white glaze, impressed, printed marks and facsimile signature, 17cm. high £150-200

45 44

45. A rare Wedgwood brown basalt vase designed by Keith Murray, model no.3868, barrel form, with incised bands, and a Wedgwood black basalt bowl designed by Keith Murray, impressed and printed marks, printed facsimile signature, vase professionally restored, 15.5cm. high, (2). £150-250

46. A Wedgwood Pottery vase designed by Keith Murray, model no.4323, ovoid, ribbed form, covered in a matt green glaze, a Wedgwood Matt Straw Tobacco jar and cover designed by Keith Murray model no.3865, a set of seven Keith Murray matt green plates, a jug, two Susie Cooper studio vases and three other items, printed factory marks, KM monogram, 13cm. high (15) £150-200

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47. A Wedgwood Pottery vase designed by Keith Murray, model no.4318, ribbed cylindrical form, covered in a matt green glaze, and two Wedgwood Pottery table lamps designed by Keith Murray, printed factory marks, KM monogram, hairline to top rim of vase, 16cm. high, (3) £150-200 48. A Wedgwood Pottery vase designed by Keith Murray, model no.3801, ovoid with collar neck and incised bands, covered in a Matt Straw glaze, and two Wedgwood footed bowls designed by Keith Murray printed factory marks, facsimile signature, £150-200 16cm. high, (3)

49. A Wedgwood Pottery vase designed by Keith Murray, model no.3765 , ovoid ribbed form, covered in a Moonstone matt white glaze, another smaller and another Wedgwood vase designed by Keith Murray model no.3801, printed factory marks, KM monogram, 19cm. high, (3) £150-200

50. A Wedgwood Fairyland Lustre ‘Argus Pheasant’ bowl designed by Daisy Makeig-Jones, pattern no.5486, printed and enamelled in colours and gilt on a powder blue lustre ground printed and painted marks, 23cm. diam. £500-1,000 Literature Una Des Fontaines Wedgwood Fairyland Lustre, page 257 plate 69 for this design illustrated. 51. A Wedgwood Dragon lustre bowl designed by Daisy Makeig-Jones, printed with ferocious dragons in gold on a pearl blue lustre ground, the interior with smaller dragons on a white ground, £50-100 printed and painted marks, 20cm. diam.

51 50

CONTINENTAL CERAMICS

52. A pair of Ernst Wahliss pottery vases, model no.9979, urn shaped, square section printed and painted with stylised floral panels, in colours on a blue foliate ground, highlighted in gilt, printed and incised marks, professional restoration to bases, 33cm. high, (2) £250-350 53. An unusual Longwy pottery bust of a woman, modelled with downcast look, wearing floral headband and dress enamelled in pink, green, orange and blue on a cream ground stamped marks to base, Les Bleus de Louviere, 27cm. high £200-300

52 53

54. A Keralouve La Louviere vase, shouldered, cylindrical form, enamelled with a frieze of blue comical cats below a band of Greek Key decoration, enamelled in shades of blue, pale green and black on a crackled white ground, printed factory marks, 28.5cm. high £200-300 55. An unusual Boch Freres Keramis stoneware vase, compressed ovoid form with ribs, painted with flowers and foliage in black and yellow on a pink lustre glaze, impressed mark and painted BFK 73, 16cm. high £150-200

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56. An Iznik style wall charger probably by Boch Freres Keramis, enamelled to the well with a stylised bird in a bough, the rim with stylised flowers, in shades of blue, turquoise, green and rust on a cream ground, impressed Schultz, chip to rim, 38cm. diam. £300-500 57. A pottery model of a young girl with flowers designed by Alexandre Kelety, modelled standing holding a bunch of flowers, on stepped square base, glazed in colours impressed Kelety signature to base, £120-180 24cm. high 58. A Charles Greber ceramic bud vase, five square section vase stems on cruciform base with trellis panels, glazed blue graduating to cream partially concealed signature to base, 16cm. high £100-150

57 56

59. A Bauhaus Hamelner Topferei vase designed by Gertrud Kraut and painted design by Anni Rawitzer, the ovoid body with tall flaring neck, applied with two strap handles, painted with a geometric design in blue and ochre on a crackled cream ground impressed mark to base, chips to foot rim, 40cm. high £150-200 The H.T. Hamelner Topferei pottery was founded in Hameln, Germany in 1922 by Gertrud Kraut and Dr Georg Rawitzer - who were both members of the Deutsche Werkbund. This vase was designed in 1924 and made circa 1930. 60. A Hael Werkstatten Modernist pottery tea set designed by Grete Heymann Lobenstein, comprising teapot and cover, milk-jug, sugar basin and cover, three cups, saucers and side plates, conical form set with pastille handles, covered in a speckled beige glaze stamped marks and GHL monogram, 36cm wide. (teapot) (12) £200-400

58 59

Literature Deutscher Werkbund to Bauhaus, Sotheby’s New York, December 14th 2007 lot 77 and 78 for examples of this design illustrated. Alastair Duncan Modernism: Modernist Design 1880-1940, ACC books, page 169 for a comparable service. 61. An Art Deco Boulogne sur Seine pottery figure of a lady designed by Andre Fau and Marcel Guillard, modelled in a long flowing dress, glazed silver-grey highlighted in gilt, and a crackled glaze pottery model of a cat playing with a snail by Jacques Nam, impressed marks, professionally restored £150-200 neck, 32cm. high (2) 62. An Art Deco D’Argyl ceramic mantel clock case, the domed, rectangular form cast in low relief with lovers embracing, painted in colours on a cream ground, painted signature to base, 53cm. wide. £150-200

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63. An Armand Godard pottery model of a girl and two borzoi cast from a model by Marcel Guillard, modelled seated, her legs drawn up and holding a bowl, flanked by two attentive borzoi, cast indistinct signature for A Godard to base 52cm. wide. £500-800 64. A Marcel Guillard Art Deco vase by L Rossat, triangular section, cast in low relief to each side with a nude maiden holding a bird in her hand, in a formal garden setting, glazed mottled ochre and red on a buff ground impressed marks and facsimile signature 26cm. high £300-400 65. A Theodore Haviland model of a leaping exotic fish lamp base designed by Edouard-Marcel Sandoz, glazed fuchsia pink and highlighted in green on a white ground, and a Haviland parrot jug and cover designed by Edouard-Marcel Sandoz, printed factory £150-200 marks and facsimile signature, 19.5cm. high. (2) 66. A pottery figure group cast from a model by G Deblaize, on rectangular base, modelled as a reclining nude woman resting against a woman draped in a yellow cloak, glazed cream, yellow and black, signed in the base G Deblaize, 38cm. wide £200-300

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67. A Sitzendorf porcelain model of an exotic dancer, model no.13937, modelled wearing a green flamenco dress, in colours impressed marks, 30cm. high £600-700 68. A Goldscheider Pottery wall mask, model no. 1213, modelled as a stylised woman with brown curly hair, pierced elliptical eyes, glazed in colours impressed model no. minor professional restoration to curls, 27cm. long. £300-500 69. A Goldscheider Pottery model of a dancer designed by Josef Lorenzl, model no.5715, modelled holding the hem of her butterfly wing dress, glazed in colours impressed marks, facsimile signature to base, 39cm. high £3,000-3,500 Literature Ora Pinhas, Goldscheider, Richard Dennis Publication, page 106 this model illustrated.

70. A Goldscheider Pottery The Captured Bird sculpture designed by Josef Lorenzl, model no.5230, modelled with arms outstretched displaying her butterfly wing costume, glazed in colours impressed and printed marks, professional restoration 48cm. high £1,000-1,500 Literature Ora Pinhas Goldscheider Richard Dennis Publications, page 118 for comparable examples illustrated.

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70A

70A. Lenci Le Ceramiche Lenci a loose leaf advertising catalogue, with printed price list, in loose envelope cover, 24.5 x 17.5cm. £300-500 71. Albatros a Lenci Pottery Seagull wall plaque by Principessa Bona Sancipriano, modelled with one wing out-stretched, painted in colours impressed signature, painted Lenci marks, original paper label with price, minor glaze frits and repair to wing tip, 66.5cm. wide. £400-600 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C. page 132 catalogue number 109 for a comparable model. This figure was retailed for 200 Italian Lires.

72. Lucania a Lenci Pottery model of a woman and a goat designed by Abele Jacopi, painted in colours highlighted in gilt, painted marks, small glaze frit to goat’s ear, 45cm. high. £300-500 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C. page 228 catalogue number 754. 73. La Moglie del Soldato a Lenci Pottery model of a woman holding a young child designed by Helen Konig Scavini, painted in colours impressed Lenci mark, painted marks to base, repaired damages, 32.5cm. high £150-200 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C. page 221 catalogue number 708. 74. Targa Madonna della Quiete a Lenci Pottery plaque designed by Giovanni Grande, model no.437, modelled in low relief, glazed in colours, impressed signature Grande lower right, painted Lenci mark to reverse, small glaze chip to border, 30 x 32cm. £300-400 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C., page 191 catalogue number 514 for an example illustrated.

74 archive photo

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75. An unusual Lenci Pottery figure of a young girl probably designed by Sandro Vacchetti, modelled holding the hem of her skirt, her head cast down and wearing a green hat, a small bird perched on her open handbag, glazed in colours painted factory marks, old restoration to arm, 38cm. high ÂŁ1,500-2,000

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76 archive photo

76. Mama Sirena a rare Lenci pottery sculpture group designed by Helen Konig Scavini, model no.305, modelled as a mermaid and child riding a large tortoise, glazed in colours impressed number, painted marks, professional restoration, 31.5cm. high ÂŁ3,000-5,000 Literature Alfonso Panzetta Le Ceramiche Lenci, Umberto Allemandi & C. page 190 catalogue number 519 for an example illustrated.

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GLASS 77. A Schneider glass tazza, pale blue mottled glass graduating to aubergine well with rust-red spots, cased in clear, on applied aubergine glass foot, acid etched Schneider signature to underside of bowl, 32cm. diam. £150-250

78. A W.M.F Ikora glass bowl, low flaring form, pale yellow glass graduating to aubergine with white spider’s web striations, cased in clear, unmarked, 35cm. diam. £120-180

79. An unusual Monart glass vase, ovoid with collar neck, orange glass cased in clear with internal air bubbles, stress cracks to base, 16.5cm. high. £150-200

80. A Daum Nancy glass vase, slender form with knopped, flaring base, mottled orange and coral red glass, wheel cut Daum & Nancy top side of base, 45cm. high £150-200

81. An Art Deco frosted mirror glass tray the design attributed to Jean Luce, rectangular cast with central frosted rectangular recess and polished roundel, and another smaller with triangular design, unsigned, largest 54.5 x 33.5cm. (2) £200-300

82. An Art Deco frosted and polished glass tray the design attributed to Jean Luce, oval, cast in low relief, with panels, unsigned, 55cm. wide £150-200

82 83. A set of four Art Deco clear, frosted and mirrored glass wall sconce, the semicircular peach glass decorated with a naked dancing woman, the metal twin-light bracket with mirrored glass panel, unsigned, 36cm. wide. (4) £100-200

84. A Legras cameo glass vase, shouldered form, pale textured pink glass cased in purple, acid etched with columns of flowers and geometric motif, cameo signature 20cm. high £150-200

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85 86

LALIQUE GLASS 85. ‘Nemours’ no. 404 a modern Lalique clear and frosted glass bowl originally designed by Rene Lalique, with black enamel highlights, etched Lalique France to base, 25.5cm. diam. £150-200

86. ‘Helianthe’ no.3319 a Lalique clear and frosted glass bowl designed by Rene Lalique, green staining, stencil R. Lalique France, 35cm. diam. £300-500

This bowl was introduced in 1935.

87. ‘Rampillon’ no.991 a Lalique frosted opalescent vase designed by Rene Lalique, with blue staining, stencil R. Lalique to base rim, 13cm. high £800-1,000 This design was introduced in 1927.

88. ‘Malines’ no.957 a Lalique clear and frosted glass vase designed by Rene Lalique, with blue staining, impressed R Lalique and etched France, 12cm. high £300-500

89. ‘Malines’ no.957 a Lalique frosted opalescent glass vase designed by Rene Lalique, with blue staining, faint stencil mark R. £600-900 Lalique France to centre of base, 12cm. high

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90. ‘Piriac’ model no.1043 a Lalique frosted opalescent vase designed by Rene Lalique, stencil R. Lalique France to base rim, 18cm. high £800-1,200 This design was introduced in 1930.

91. ‘Faucon’ model no.1124 a Lalique clear and frosted glass car mascot designed by Rene Lalique, moulded R. Lalique, 15cm. high £1,200-1,800 This design was introduced in 1925.

92. Tete D’aigle no.1138 a clear and frosted glass car mascot designed by Rene Lalique, signed in the cast R Lalique France 12cm. high £1,200-1,600

93. ‘Beautreillis’ no.989 a Lalique opalescent clear and frosted glass vase designed by Rene Lalique, wheel cut R Lalique France no.989 to base, 14.5cm. high £700-900

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Each lot is subject to a Buyer’s Premium of 26.4% inclusive of VAT @ 20%

94. ‘Ecureuil’ no.315 a Lalique opalescent glass cendrier designed by Rene Lalique, stencil R Lalique France, 9.5cm. diam. £300-400 This design was introduced in 1931.

95. ‘Caravelle’ no.312 a Lalique clear glass cendrier designed by Rene Lalique, and two other ‘Caravelle’ clear and frosted glass cendrier designed by Rene Lalique, stencil R Lalique France, 9cm. diam. (3) £150-250

95 part

This design was introduced in 1930.

96. ‘Deux Zephyr’ a pair of smoked grey frosted glass cendrier designed by Rene Lalique, stencil R Lalique and moulded R Lalique marks, minor frits to rim, 7.8cm. diam. (2) £150-200

97. ‘Simone’ no.300 a Lalique grey frosted glass cendrier designed by Rene Lalique and two other ‘Simone’ clear and frosted glass cendrier designed by Rene Lalique, stencilled R Lalique France, 9.8cm. diam. (3) £150-200 This design was introduced in 1929.

98. ‘Dindon’ no.287 a Lalique yellow glass cendrier designed by Rene Lalique, etched R Lalique France 10cm. diam. £150-200

97 part

This design was introduced in 1925.

99. ‘Dindon’ no.287 a Lalique clear glass cendrier designed by Rene Lalique, etched R Lalique, 10.5cm. diam. £120-180 This design was introduced in 1925.

98 99

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100. ‘Louise’ no.301 a Lalique clear and frosted glass cendrier designed by Rene Lalique, with black enamel decoration and three other ‘Louise’ clear and frosted glass cendrier with black enamel decoration, one with sepia staining designed by Rene Lalique, moulded R Lalique France, 7.5cm. diam. (4) £150-250 This design was introduced in 1929.

100

101. ‘Grenade’ no.297 a Lalique clear and frosted glass cendrier designed by Rene Lalique and ‘Irene’ a frosted glass cendrier designed by Rene Lalique, etched R Lalique France 13.8cm. diam. (2) £150-250

101

This design was introduced in 1929.

102. ‘Tete de Lion’ a modern Lalique clear and frosted glass table lighter and two cendrier, and a Lalique ‘Gao’ cendrier, a Galleon cendrier and two other modern cendrier, etched Lalique France 14.8cm. diam. (7) £150-200

102 part

103. ‘Sainte-Odile’ a Lalique clear glass cendrier designed by Rene Lalique, moulded R. Lalique, 16cm. diam. £400-600 This design was introduced in 1936.

103

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DODO BURGNER ARTWORK

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Lots marked with a ‡ symbol may be subject to a Droite de Suite levy. Please refer to page 107 for full details.

‡ 104. Dorte Clara Dodo Burgner, (1907-1998) Girl in a Blue Dress and Woman with a Shawl pencil and inks, highlighted with silver unsigned 50 x 23cm. (image), (2) £150-250

‡ 105. Dorte Clara Dodo Burgner, (1907-1998) Two Women Dancing, charcoal and watercolour on paper, mounted indistinct signature, 43 x 30cm (image) £150-250

104

‡ 106. Dorte Clara Dodo Burgner, (1907-1998) Girl in a Silver Dress pen and ink on paper fashion study, laid down on paper, mounted signed in ink lower left 25 x 15cm (image) £120-180

105

106 ‡ 107. Dorte Clara Dodo Burgner, (1907-1998) Woman with an Ostrich Feather Fan, watercolour on paper, signed in pencil lower right (losses) 49 x 36cm. (sheet) £120-180

‡ 108. Dorte Clara Dodo Burgner, (1907-1998) Rettet Die Jugend, (Saves Youth) watercolour on paper poster design unsigned 35.5 x 28cm (sheet) £150-250

107

108

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‡ 109. Dorte Clara Dodo Burgner, (1907-1998) Three Models at a Fashion Show, pen and ink on card with white highlights, and two publishers printed proof reductions for this design, signed lower right DoDo and annotated in pencil to the reverse 28.5 x 28cm (image), 46.5 x 32.5cm (sheet) (3) £600-800

The surviving proof reductions would have been used to show the artist what the image would look like on a smaller scale.

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Lots marked with a ‡ symbol may be subject to a Droite de Suite levy. Please refer to page 107 for full details.

‡ 110. Dorte Clara Dodo Burgner, (1907-1998) Girl in a Yellow Cloak pencil and watercolour on paper unsigned 60 x 39.5cm. (sheet) £120-180

‡ 111. Dorte Clara Dodo Burgner, (1907-1998) Nude Woman Holding a Bowl, watercolour and pencil on paper, signed in ink top right 30 x 22cm. (image) £120-180

110 ‡ 112. Dorte Clara Dodo Burgner, (1907-1998) Woman in a Floral Dress an ink on card fashion design, unsigned, 51 x 36.5cm. (sheet) £120-180

111

112

‡ 113. Dorte Clara Dodo Burgner, (1907-1998) Study for two Nude Women coloured ink on paper, the reverse with a pencil design unsigned 36.5 x 29.5cm. (sheet) £120-180

113 front & back

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WORKS ON PAPER 114. Louis Icart (1888-1950) Le Sofa, E.118, (1937) drypoint and etching, framed, signed in pencil and numbered E.118, impressed windmill seal mark and printed marks, 97 x 67cm (frame) £1,000-1,500 Literature Michael Schnessel, Icart, Schiffer, page 54 figure 55 for an example illustrated. 115. Louis Icart (1888-1950) Lady of the Camelias, 1927 drypoint and etching in colours on paper, framed signed and numbered in pencil, blind stamp, 52cm. wide (image) £500-700 Literature S Michael Schnessel Icart, Schiffer books, page 60 figure 62 this design illustrated 116. Louis Icart (1888-1950) Love Letters, 1926 drypoint and etching in colours, on paper, framed signed and numbered in pencil, blind stamp 47cm. wide. (image) £500-700

114

‡ 117. Armand Bouten (1893-1965) Danse, pencil and watercolour on paper, framed signed lower left and titled lower right in ink, 28 x 17cm. (image) £150-200 Provenance The Piccadilly Gallery S J Kennedy

115

117

116

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118. A collection of twenty five volumes of The Studio and The Studio Yearbook, comprising, Special Summer 1901, The Studio Yearbooks 1911-1912, 1913-1914, 1915-1917, Yearbooks 1906, 1907, 1908, 1909, 1910, 1918,1919, 1920, 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928, 1929,1930, 1933, 1934, 1937, (25 volumes) £500-800

118 part

119. Asprey an advertising catalogue, hard backed with faux crocodile skin boards, illustrated price guide in colour and black and white, with sections on luggage, toilet table sets, pens, card cases, lighters and vanity cases, undated, and five Studio Yearbooks, 1943-48, 1949, 1951-52, 1952-53 and 195455, (6) £150-250

119

120. G Cazenove Lady Playing Tennis, and Lady in a Slip two pencil drawings, framed both signed G Cazanove, Paris 1927, 39 x 29cm. (2) £200-300

120

121. R Genet Projet Pour Chambre a Coucher, an Art Deco pen and ink wash design on paper, framed and a watercolour and ink on paper by Joan M Cleburne, framed signed R Genet lower right, 59x44cm. (2) £100-200

121

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122

122. ‘Contempo - This American Tempo’ by John and Ruth Vassos, E P Dutton & Company, New York, 1929 £150-200

123. Rudolf Koppitz (1884-1936) Bewegungs Studie published by The Royal Photographic Society Collection magazine supplement, first published June 1931, framed, stamped label to reverse, signed in the print lower left, 23 x 16.5cm. £300-400 This image was printed by the Royal Photographic Society in June 1931 as part of a portfolio of six photogravures. Bewegungs Studie (Study of Movement) by Koppitz uses dancers from the Vienna State Opera and was photographed in 1925.

124. Francesco Fabragas Smoking El Papel de Fumar lithograph printed in colours, framed signed top left in the print, 64 x 44cm. (image)

123

£150-200

124

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125 126

127

FURNITURE 125. An Art Deco marquetry wall mirror probably Bath Cabinet Makers, octagonal form, the narrow border inset with diamond repeat geometric pattern unsigned, 86 x 57cm wide. £250-350

126. A pair of Heal’s style oak bookcase cupboards, each with two door compartment and fixed shelf, unsigned, (one darker stained), 107cm. long, 33cm deep, 83cm. high, (2) £300-500

128 127. An Art Deco veneered cocktail cabinet and occasional table, possibly Bowman Brothers, octagonal section with angled hinged-door compartments fitted for glasses, central shelf arrangement, 65cm. high, 68cm wide. £100-150

128. A pair of Art Deco style table lamps on painted wooden pedestals, the patinated metal lamps of pierced urn shape, the square pedestals with carved foliate decoration, painted gilt, unsigned, 145cm. high (total), 64cm. high (plinths) (4) £120-180

129. A pair of Art Deco satin-birch pedestal cabinets, elliptical section, with curved hinged door fronts, shelved interior, unsigned, 148cm. high, 65cm. wide (2) £150-250

129

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130

131 130. An Art Deco mahogany armchair, upholstered in salmon pink stripe velvet, and another near pair covered in a red velvet upholstery unsigned, 86 and 90cm. high (2) £150-250

131. An English Art Deco walnut veneer cocktail cabinet, the top cabinet with hinged doors, internally set with mirrored glass, the lower section with glazed slide shelf and hinged cupboard doors, with cream bakelite handles, unsigned, 168cm. high, 92cm wide, £300-400 44cm. deep.

132 132. An Italian Art Deco burr-walnut sideboard, two cupboards flanking central column of five drawers, with black ebonised wood top, set with chrome and glass handles, unsigned, 105cm. high, 181cm. wide, 59cm. deep. £300-400

133. An Epstein style Art Deco style burrwalnut dining table, on two curved legs, 201 x 90cm £200-300

133

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134. A Modernist chrome uplighter, on stepped square base, and a pair of modern chrome and glass lights, unsigned, 175cm. high, (3) £120-180

135. An Art Deco veneer occasional table, on four turned legs, circular top with simple marquetry tracery decoration, on flaring square base, unsigned, 69cm. high, 64cm. diam. £120-180

136. An Art Deco burr-walnut occasional table, the square plinth supporting four turned pedestal legs and circular top, unsigned, 75cm. high, 65cm. diam. £120-180

134

137. A pair of Modern Art Deco style leather tub chairs, each covered in a dark brown leather, 69cm. high (2) £100-200

138. A modern Cassina LC2 chrome metal two seat sofa originally designed by Le Courbusier, with dark blue padded cushions, 165cm. long, 72cm. deep. £200-300

135

137

136

138

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139. An Epstein style Art Deco inlaid walnut veneer dining table, the chamfered rectangular top inlaid with ebonised wood and ivory border detail, on stepped central plinth, 136 x 81cm. (top) £150-250

140. A marble topped mahogany pedestal, tapering rectangular form, 107cm. high £120-180

139 141. An Art Deco bronze wall clock, hexagonal stepped frame, the wooden dial set with bronze Arabic numerals, electric £200-300 movement, 35cm. wide.

142. An Ekco M23/RS2 bakelite radio designed by J K White, designed 1932, the brown bakelite Odeon case, applied Ekco label to reverse, 40cm. high £120-150

143. A French Modernist chrome and frosted glass table lamp, in the manner of DIM, the flat J shaped panel supporting cylindrical frosted glass shade and three disk supports, on rectangular base unsigned 33.5cm. high £200-300

140

141

142

143

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METAL WARE & WORKS OF ART 144. A pair of Art Deco silvered metal wall applique in the manner of Albert Cheuret, each modelled as a bird flying before a cornucopia, with later glass shades unmarked, 24cm. deep, 23cm. high (2) £100-150

144 part

145

145. An A.E. Jones electroplated metal twin-handled bowl, the handles cast with scrolling foliage, with rope border, stamped marks, 20.5cm. diam. £100-150 146. A set of twelve silver and enamel glass markers, retailed by Daniel Todd & Son, Glasgow, each modelled as a single flower stem, enamelled in colours, in presentation case, stamped marks, stamped AS Birmingham 1930, 12mm high. £150-200

147. The Lucky Pig, an A. Barrett & Sons ivory model of a sleeping pig, modelled lying on its side, etched A Barrett & Sons Piccadilly rd 434873, number, 5cm. wide £150-200 The design (rd 434873) was registered in 1904.

146

147

148. An Art Deco cream enamelled minaudiere, rectangular, hinged case set with blue paste jewels, silk handle, internally fitted with mirror and four rectangular compartments with cream enamel hinged covers, unmarked, 18.5 x 12.5cm. £200-300 149. A continental silver minaudiere imported and retailed by Asprey, rectangular, hinged cover set with mirror to interior, the base with three hinged cover compartments and four open compartments, and en suite comb, the exterior with engine turned panels, the cover and release set with blue paste stones, a Gwenda Compact decorated with a crinoline lady, and a collection of seven compacts and a lighter mainly with faux shagreen decoration, stamped marks, Asprey, London Foreign, £250-350 1927, 14.5 x 10cm. (10)

148 open & closed

149 open & closed

149 part

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150

151

150. An Art Deco continental silver and enamel mantel clock, model no.58843, the octagonal face and sides enamelled coral red, the dial enamelled in black with Arabic figures, with Swiss movement, engine-turned stem and hinged back, on stepped black slate base, stamped marks, HASK (?)Geneve, 0935, stamped import marks, GS (George Stockwell), London, 1929, 18cm. high £800-1,200

151. A matched pair of silver three branch candelabra designed by Harold Stabler, by Mappin & Webb and the Northern Goldsmith’s Company, 1934 and 1936, swollen gadrooned stems and arms, with flaring cylindrical sconce, stamped makers marks, Birmingham 1934 and 1936, 30cm. high, (2) £1,500-2,000

152. A Henry Howell & co ebony and phenol resin YZ Pelican and patinated copper novelty pipe bowl, the circular tray with bird perched on the rim, stamped YZ mark to side of figure, 18cm. high £150-200

152

This YZ Pelican bird was illustrated in Motor Commerce 23rd October 1926 without the bowl as a car mascot.

153. A pair of carved amber erotic ashtrays, retailed by Kaldenberg & Son New York, shaped rectangular form, carved with a naked maiden lying in the bowl, the figure with bronze patination applied paper retailers label, 8.5cm. long, (2). £500-800

153

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154

155

156

SCULPTURE 154. A patinated bronze double inkwell, originally mounted with a bronze by Joe Descomps, the faceted urn shape wells with hinged covers, central column with cast mask detailing, 26cm. high £100-200 155. A patinated bronze figural lamp base, modelled as a kneeling woman her arm upraised to hold the pink glass globe shade and fittings, on grey alabaster base, 43cm. high £120-180 156. Victor Joseph Ghislain Demanet (1895-1964) Le Carrier or Le Marteleur a patinated bronze model of a worker, bare chested about to raise a claw hammer, signed in the cast Demanet, 67cm. high £500-800 157. Louis De Monard (1873-1939) Centaur and Wild Boar, verdi gris patinated bronze signed in the cast to the base L De Monard, A Rudier Foundry mark, 59cm. high, 61cm. wide £800-1,200

157

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159

158

158. A patinated metal wall mask in the manner of Josef Lorenzl, covered in a silvered patination, and a pottery wall mask of a stylised woman, pencil marks to metal mask, 18.5cm. high (2) £150-200

159. Diana a patinated bronze figure cast from a model by Marcel Bouraine, modelled balancing on one leg firing an arrow from her long bow, covered in a verdi gris patination, and a patinated bronze model of pan playing his pipes, £200-300 unsigned, lacking base, 25cm. high (2).

161

160

160. An Art Deco cold painted bronze model of a dancer modelled balanced on one leg her arms raised up, alabaster base, indistinct signature cast in base, 28cm. high £50-100

161. A patinated bronze model of a Victorian child cast from a model by Professor Poertzel, modelled in top hat and tails, holding a card and a bouquet of flowers, on black marble base, and a bronze and ivory model of a young girl in short-dungarees cast from a model by Grundmann, signed in the cast 17.5cm. high (Poertzel), (2) £200-300

162. Dancer of the Ganges (Chain Dancer) a patinated bronze model of a dancer cast from a model by Demetre Chiparus, on flaring square section veined marble base, etched Chiparus to base top 29cm. high £3,000-4,000 Literature Alberto Shayo Chiparus Master of Art Deco, ACC Art Books, page 104 plate 31 for an example of this figure in bronze and ivory.

162

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163

164

163. A patinated bronze model of a dancer cast from a model by Josef Lorenzl, modelled standing on one foot, her arms raised out, holding a drape, covered in a verdi gris patination, on flaring square veined onyx base, signed in the cast Lorenzl, 20cm. high. ÂŁ150-200

164. A cold painted bronze figure of a couple in eighteenth century dress cast from a model by Josef Lorenzl, on veined brown onyx elliptical base, signed in the cast Lorenzl, 20.5cm. high ÂŁ700-1,000

165. A patinated bronze and ivory dancer cast and carved from a model by Josef Lorenzl, modelled on one foot, her arms drawn up to her chest, on waisted green veined onyx base, signed in the cast Lorenzl Made in Austria, 20cm. high ÂŁ800-1,200

165

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166. Skater a bronze and ivory figure cast and carved from a model by Ferdinand Preiss, model no.1149, on rectangular section green veined onyx and black base, incised F Preiss to base, losses to her right hand, chips to base, 33.5cm. high £3,000-5,000 Literature Alberto Shayo Ferdinand Preiss, Art Deco Sculptor, Antique Collector’s Club, page 151 this model illustrated.

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167. Indiscreet a bronze and ivory figure cast and carved from a model by Demetre Chiparus, on octagonal brown striated base, signed to the base Chiparus, loses to her right hand, chips to base, 44cm. high £5,000-10,000 Literature Alberto Shayo, Chiparus Master of Art Deco, Antique Collector’s Club, page 85 catalogue no.12.

167

168. Woman Contemplating a miniature carved ivory figure by Ferdinand Preiss, on green onyx base, unsigned 5.5cm. high £500-800

168

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169. Shimmer a bronze and ivory figure cast and carved from a model by Demetre Chiparus, on stepped red veined marble base, unsigned, two toes chipped off, minor chips to base, 38cm. high ÂŁ15,000-20,000 Literature Alberto Shayo Chiparus Master of Art Deco, page 166 an example of this figure illustrated.

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DESIGN 171

170

CERAMICS

172

170. Wedgwood Designs by Keith Murray, a contemporary illustrated catalogue published by Wedgwood, Wedgwood Ceramics 1846-1959, Richard Dennis Gallery, The Swedish ExhibitionDorland House an Architectural Review, 1931, two Bullers catalogues, 1977, The Martin Brothers Potters, Richard Dennis Gallery, 1978 catalogue with price list and three other Richard Dennis Gallery catalogues, (9) £100-200 171. Three Wedgwood Japoniste tiles, square section, each printed with a Mikado geisha in central roundel, inside geometric scroll border, enamelled in colours, two with ebonised wood frames, impressed marks to reverse, hairline to one, 15.5cm. square, (3) £150-250 Literature Maureen Batkin, Wedgwood Ceramics 18461959, page 108 colour plate XLII for a set. 172. King Edward VII, Queen Alexandra, and Joseph Chamberlain Three Craven Dunnill & Co portrait tiles, each covered in a purple monochrome glaze, frame impressed marks, 10.5 x 7.5cm. square (3) £120-180

173 173. Four early Minton tiles the design attributed to A.W.N. Pugin, slip painted with foliate roundels and ogee panels, in yellow on terracotta, and four encaustic tiles designed by A.W.N Pugin, impressed marks, chips, 15cm. square (8) £150-250 174. A Minton rectangular tile plaque the design attributed to Henry Stacey Marks, printed and painted with children on an adventure, glazed in colours, framed unmarked, signed MR to front, 58 x 21.5cm. high £150-250 Literature Fired Earth 1000 Years of Tiles in Europe, TACS, catalogue number 182 for a comparable tile The Labours of the Months designed by Stacey Marks.

174

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175. A Minton & Hollins Art Nouveau tile, moulded in low relief with stylised flower stem glazed yellow and green on a bottle green ground, two other Minton & Hollins Art Nouveau tiles similar, eight other Art Nouveau tiles and four Art Nouveau spacer tiles, impressed marks, 15.5cm. square (15) £150-250

175

176. A Burmantofts Faience pottery tile, square, decorated in low relief with a crane wading by tall grasses, glazed midnight blue, a Minton’s Odysseus and the Syrens tile designed by John Moyr Smith, a Minton’s encaustic tile designed by A W N Pugin, an E Smith & Co tile printed with an Aesthetic Movement crane catching a fish, and a collection of tiles, impressed marks, minor damages, (a lot) £200-400 Literature Minton Tiles 1835-1935, Stoke on Trent City Museum & Art Gallery, 1984, page 21 catalogue number 28 for the Minton tile.

176

177. A set of four Minton’s encaustic Medieval tiles, diamond shape, decorated with the four evangelists, inside shaped foliate panels, framed, and four other Medieval encaustic tiles, probably Minton’s depicting crusader knight on horseback, two seated kings and two musicians marks concealed by framing, 45cm. square (5) £300-500 Literature Minton Tiles 1835-1935, Stoke on Trent City Museum & Art Gallery, 1984, page 20 catalogue number 9 for a comparable knight tile and page 22 catalogue number 40 for St John tile.

177

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178. An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1875, ovoid with waisted neck and applied angular handles, incised with stylised foliage panels, in green and blue on a buff ground, incised R W Martin London 11-75, chip out of top rim, 13cm. high £120-180

179. A Doulton Lambeth stoneware vase by Ethel Beard, flaring cylindrical form, cast in low relief with flag iris, glazed in shades of blue, green and white impressed marks, incised EB monogram, 37cm. high £120-180

178

179

180. A Doulton Lambeth Faience pottery floor vase, tall, slender baluster form, painted with flowers in autumnal colours on a pale blue ground, impressed and printed factory marks, 67cm. high £300-500

181. A tall Royal Doulton stoneware baluster vase by Florence Barlow, dated 1884, pate sur pate decorated with finches flying amidst tall grasses, with panels of foliage in applied bead borders, between two incised foliage borders, in green and white on a buff ground, impressed marks, incised FEB monogram, professional restoration to foot, 36.5cm. high £300-500

181

182. A Royal Doulton porcelain vase painted by Edward Raby, compressed form, with everted neck, the body painted with rose flowers in shades of pink, white and green on a salmon pink ground, printed factory mark signed A Raby to side of vase, 15.5cm. high £150-200

180

183. A large Ewenny Pottery model of a cat, modelled seated, with incised features, covered in a speckled green glaze unmarked, minor glaze loss, 38.5cm. high £300-400

182

183

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185 184

184. A pair of Copeland Spode chargers, printed and painted with medieval feast scenes, one depicting the arrival of the boar’s head, the other a monk testing ale in a drinking horn, in colours various impressed and printed marks, 36.5cm. diam. (2) £150-200 185. A pair of Aesthetic Movement Royal Worcester tea cups and saucers, fluted form, the cup modelled in low relief with frogs holding spears and looking up at a tree, the saucer a snake catching and swallowing a frog, whilst other frogs escape, the well modelled as a pond, in gold and bronze glazes on an ivory ground, printed marks, one cup smashed and re-stuck, 16.5cm. diam. (saucers) (4) £150-250

186

Literature Charlotte Gere & Michael Whiteway 19th Century Design from Pugin to Mackintosh, page 174 plate 217 for three vases with similar decoration. Royal Worcester won a gold medal for its ceramic display at the 1878 Paris Exposition, with particular praise lavished on its Japanese style raised decoration in gold and bronze. 186. A pair of Davenport pottery wine coolers, swollen barrel form, cast in low relief with fruiting grape vine panels, the rim cast with two Bacchanalian mask handles, and another pair of Wedgwood terracotta wine coolers cast with grape vine panels and handles, impressed marks, chips, 24cm. high (4) £120-180

187

187. A Pilkington’s Royal Lancastrian vase, shape no.2822, swollen, fluted form, covered in a curdled matt green glaze, another Pilkington’s twin-handled vase shape no.2805 glazed green and two other vases, impressed factory marks, 23.5cm. high, (4) £150-200 188. A Pilkington’s Royal Lancastrian vase by and E.T.Radford, ovoid with collar rim, painted with simple foliate design in grey and turquoise, three other Pilkington’s vases and two Pilkington’s Royal Lancastrian plates by Gladys Rodgers, impressed and incised marks, painted artist cipher, 22cm. high, (6) £150-200 189. An unusual Fulham Pottery wall flower vase designed by Constance Spry, model no.CS85, modelled in low relief with drape motif, glazed mint green, and another Fulham Pottery wall vase, impressed and incised marks, 42cm. wide, (2) £120-180

188 part

189

190. A C.H. Brannam pottery model of a comical cat, probably retailed by Liberty & Co, modelled seated wearing a bow tie, glazed in shades of blue, applied glass eyes, another Brannam comical cat and a Brannam dish modelled as a woman in traditional dress holding a basket, impressed and incised marks, restored neck and £120-180 bowtie to smaller cat, 25cm. high (largest cat), (3) 191. A Compton Pottery Dolphin electric lamp base, modelled as three classical dolphins, painted in shades of green, blue and ochre unmarked, minor frits, 22cm. high £100-200 Literature Hilary Calvert Compton Pottery, Watts Gallery publication, page 36 for a comparable example illustrated.

190

191

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192. Cleopatra a Minton’s pottery wall plaque, painted with a portrait in blue and yellow on a cream ground, another portrait plaque of a scholar by the same artist, a portrait plaque by Edith Maplestone, framed, and two others impressed marks, painted EHW monogram, 29.5cm. diam. (5) £200-300 193. A Minton majolica jug with hinged cover, model no.1231, modelled in relief with medieval dancing figures, glazed in colours, with pewter mounts and hinge, the cover set with jester finial, and a pottery model of a comical frog, impressed marks, repair to cover, 33cm. high (2) £120-150 194. A large Longpark Motto ware teapot and cover, inscribed Youll ave a cup a Jay now waantee, slip decorated with stylised flowers in colours printed factory mark, 35cm. wide. £150-200

192

195. A small Sunflower Pottery vase by Sir Edmund Elton, swollen form with three pinched rims, slip decorated with simple flower repeat in red and blue on a streaked red and blue ground, painted Elton, minor glaze loss to top rim, 13cm. wide. £120-180 196. A Minton’s Secessionist toilet set designed by John Wadsworth and Leon Solon, tubeline decorated with fruit and foliage in colours on a vivid yellow ground, comprising two candlesticks, toothbrush holder, soap dish and cover printed £100-150 factory marks, 16cm. high (5).

193

197. A Minton Pottery Secessionist jardiniere designed by Leon Solon and John Wadsworth, ovoid with collar rim, cast in low relief with stylised carnation flowers in salmon pink, red, blue and green on a cream ground impressed and printed factory marks, star crack to base, 26cm. high £150-200

194

198. A Minton’s Pottery Secessionist jardiniere designed by Leon Solon and John Wadsworth, decorated in low relief with Poppy flowerheads in salmon pink, red and yellow on a green ground, printed factory mark, 27cm. high £200-400

196

195

199. A Carlton Ware Guinness advertising bar figure, modelled as a toucan perched beside a pint of Guinness, in colours, the base inscribed If he can say as you can Guinness is good for you, in black and red, printed factory marks, to base, 22cm. high £150-250

197

198

199

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201

202

200 200. A Richard Parkinson Pottery cockerel designed by Susan Parkinson, model no.23, resist decorated in blue on a white ground, impressed marks to base, 30.5cm. high £250-350 Literature Carol Cashmore & Tim Smith-Vincent Susan Parkinson and the Richard Parkinson Pottery page 23 for a comparable example illustrated. 201. A Richard Parkinson Pottery dish designed by Susan Parkinson, diamond section decorated in resist with a stylised bull, in blue on a white ground, and a small Parkinson Pottery mouse, impressed mark to dish, 13cm. wide, (2) £120-180 202. A Richard Parkinson Pottery owl designed by Susan Parkinson, resist decorated in blue on a white ground, impressed marks, to foot, 21.5cm. high £150-250

203 204 part

Literature Carol Cashmore & Tim Smith Vincent Susan Parkinson & The Richard Parkinson Pottery, page 22 for a comparable owl illustrated. 203. A Poole Pottery Delphis charger by Jean Millership, shape no.5, painted with three abstract roundels in blue black and turquoise on a vivid red ground printed and painted factory marks, 36.5cm. diam. £120-150 Literature Leslie Hayward and Paul Atterbury Poole Pottery, Richard Dennis Publications, page 123 this actual charger illustrated. 204. A Poole Pottery Aegean wall charger by Diana Davis, designed by Carole Holden, resist decorated with a galleon at full sail, in shades of orange on a brown ground, two Poole Delphis plates shape no.3, a dish and a modern Poole Studio vase by Alan White, printed and painted marks, 35cm. diam. (5). £150-200

205 both sides

206

205. A Troika pottery Double Base vase by Avril Bennet, waisted form, modelled in low relief with geometric panels, in blue and ochre on a buff ground painted monogram and £200-300 monogram, 35cm. high 206. Zebra a Dennis China Works limited edition vase designed by Sally Tuffin, dated 1999, shouldered, cylindrical form, painted in shades of black and white, impressed and painted marks, light star crack to base, 23cm. high £150-200 207. Michael Caddy an eighteen tile panel depicting Brighton Pier, painted and scratched decoration, in colours, mounted in wood, scratched £200-300 signature and date 1959, 92 x 46cm.

207

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MORRIS WARE & THE COLLECTION OF TONY JOHNSON (PART II) George Cartlidge (1868-1961) Born in 1868 he trained at Hanley School of Art, staying and painting at the school until 1897 when he was apprenticed to Sherwin & Cotton Tile Works. Here he helped to develop a series of portrait tiles from photographs subjects included international politicians, military leaders, artists and religious figures. He experimented with the technique of Emaux Ombrants - a technique of flooding glaze onto a shallow relief design which created a smooth graduated tone giving a realistic ‘photographic’ quality to the design. In 1916 he moved to Sampson Hancocks designing a range of tubelined pottery proudly titled Morris Ware to the base. The range was released at the British Industries Fair in 1918 and competed commercially with the tubelined designs of Frederick Rhead, and William Moorcroft who had recently set up his own factory in Burslem.

Tony Johnson

208. Mr Thomas Hardy a J H Barratt & Co portrait tile designed by George Cartlidge, dated 1924, covered in a sepia glaze, framed in oak, impressed marks to reverse, GC monogram to front, 22.5 x 15cm. £120-180 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 82 catalogue number 222. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. George Cartlidge was Tony Johnson’s great uncle - who Tony unfortunately never met.

208

209

209. General Booth a Sherwin & Cotton portrait tile designed by George Cartlidge, depicting the founder of the Salvation Army, covered in a sepia monochrome glaze, framed, signed GC monogram bottom right, 22 x 14cm. £120-180 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 52 catalogue number 112 this tile illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 210. Bella a rare Sherwin & Cotton Maori portrait tile designed by George Cartlidge, covered in a sepia monochrome glaze, impressed marks, artist monogram to front, minor glaze frits, 23 x 15.5cm. £500-800 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 54 catalogue number 121 this tile illustrated.

210

Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 211. A pair of Sherwin & Cotton dog portrait tiles, each modelled in low relief with terrier portraits, covered in a green monochrome glaze, framed GC monogram to front, 15cm. square. £120-180 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 55 catalogue number 126 for comparable tiles. Provenance Tony Johnson

211

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

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212

213 212. A Hancock & Sons Morris Ware inkwell and cover designed by George Cartlidge, model no.C53-2, painted with panels of berried foliage, in purple and bottle green on a mottled green ground, and a Hancock & Sons Morris Ware pen tray, model no.C65-7, printed factory mark, painted facsimile signature, professional restoration to inkwell base, small chip to base of pen tray, 13cm. wide (2) £150-250 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 106 catalogue number 283 this design illustrated Provenance Tony Johnson

214

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 213. A Hancock & Sons Morris Ware bowl designed by George Cartlidge, model no.C16-27, tubeline decorated with fan flowers in red, green and bottle green on a blue ground, impressed and painted marks, professional restoration 24.5cm. diam. £150-200 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 96 catalogue number 262 this actual bowl illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 214. A Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C81-1, swollen base with tapering cylindrical neck, painted with flower sprays in purple, red and bottle green on a mottled green ground, printed factory mark, facsimile signature, chips to base rim, 31cm. high £200-300 Provenance Tony Johnson

215

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 215. A pair of Hancock & Sons Morris Ware vases designed by George Cartlidge, model no.C7-28, tapering cylindrical form decorated with tulip flowers in purple, green and red on a pale £200-400 green ground, printed factory mark, painted facsimile signature, 19.5cm. high Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 91 catalogue number 251 this design illustrated in three colour variations. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 216. A large Hancock & Sons Morris Ware candlestick designed by George Cartlidge, model no.C20-1, painted with bell flowers in purple and green on a mottled green ground, printed factory mark, 33cm. high £400-600 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 98 catalogue number 266 for this design illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

216

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217. A Hancock & Sons flower brick modelled as an exotic bird, glazed in vivid colours, and another Hancock & Sons Corona Ware bird flower brick decorated with lustre glazes, printed factory marks, 20cm. high (2) £50-100 Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

218. A Hancock & Sons Morris Ware ewer designed by George Cartlidge, model no. C76-1, painted with stylised flowers in green, blue and purple on a sand ground, and a Morris Ware solifleur vase, printed and painted marks, and facsimile signature, repaired handle to jug, 22cm. high. (2) £120-180

217

218

Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 303 for a comparable ewer. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

219. A pair of Hancock & Sons Morris Ware candlesticks designed by George Cartlidge, model no.C64-10, modelled in low relief with berried sprays in purple, bottle green and buff on a mottled green ground, printed factory mark, 22cm. high £500-600 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 109 catalogue number 289

219

Provenance Millennium Collection, Sylvia Powell Decorative Arts. Tony Johnson

220

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

220. A pair of Hancock & Sons Morris Ware solifleur vases designed by George Cartlidge, model no.C4-3, decorated with flower stems in purple and bottle green on a mottled green ground, printed factory marks, painted facsimile signature, 23cm. high £200-300 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 90 catalogue number 248.

222 221

Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

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221. A pair of Hancock & Sons Morris ware vases designed by George Cartlidge, model no. C10-13, tapering cylindrical form, tubeline decorated with carnation flower stems in bottle green and purple on a mottled green ground, printed factory marks, facsimile signature, 22cm. high £300-500 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 93 catalogue number 254 for this design illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 222. A Hancock & Sons Morris Ware flower bowl designed by George Cartlidge, model no.C19-28, slip decorated with a frieze of flowers to the shoulder, in shades of green and purple on a pale green ground, printed factory mark, facsimile signature, 28cm. diam. £150-200 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 98 catalogue number 265 this bowl illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

223

223. A Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C17-10, swollen cylindrical form, tubeline decorated with thistle flowers, in purple and green on a mottled blue ground, printed factory mark, painted facsimile signature, 30.5cm. high £500-1,000 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 97 catalogue number 263 this actual vase illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 224. A Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C17-2, cylindrical form with knopped neck, tubeline decorated with thistle flowers in purple on a streaked green and blue ground printed factory mark, painted facsimile signature, professional restoration to rims, 30cm. high. £300-500 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 97 catalogue number 263 for three comparable examples illustrated in different colour ways. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

224

225. A Hancock & Sons Morris Ware Pomander vase designed by George Cartlidge, C56-5, tapering, shouldered form, tubeline decorated with flowers with pierced centres inscribed Essences of Past Summers, in purple, yellow and green on a blue ground, printed factory mark, facsimile signature, missing cover, 19cm. high £300-500 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 107 catalogue number 284 for a comparable example. Provenance British Decorative Arts, Christie’s South Kensington, 26th October 2000, lot 82. Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

225

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226. A Hancock & Sons Morris Ware bowl designed by George Cartlidge, model no. C5-2, with inverted rim, slip decorated with flowers and foliage to the shoulder in pink, yellow and green on a streaked blue and green ground, and another bowl C5-13, painted marks and facsimile signature, 12.5cm. diam. (2) £150-200 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 90 catalogue number 249 these actual bowls illustrated.

226

Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 227. A Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C3.4, shouldered form, slip decorated with clover stems in purple and bottle green on a mottled green ground, printed factory mark, £150-200 facsimile signature, 18cm. high Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 89 catalogue number 247 Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 228. A Hancock & Son Morris Ware drum vase designed by George Cartlidge, model no. C13-3, cylindrical with knopped stem, slip decorated with stylised flowers in green and purple on a mottled green ground, printed factory mark, facsimile signature, 23cm. high. £700-900

227

Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 96 plate 261 for a comparable jardiniere illustrated. Provenance Frank R Marshall & Co Auctioneers 21st March 2006 lot 297. Tony Johnson

228

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 229. A Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C8-28, swollen form with tapering foot, decorated with flowers in green, brown, purple and red on a pale green ground, printed factory mark, facsimile signature, professional restoration to top rim, 17cm. high £150-200 Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 230. A Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C63-6 painted with carnations, in purple and green on a mottled blue ground printed factory mark facsimile signature 15cm. high £150-200 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 108 catalogue number 287 this actual vase illustrated.

229

Provenance Tony Johnson

230

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

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231. A large Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C28-27, ovoid with long cylindrical neck and everted rim, tubeline decorated with bell flowers in red, purple and green on a mottled pale blue ground, printed factory mark, painted facsimile signature, small chip to base rim, 36.5cm. high £500-1,000 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 101 catalogue number 269 for this actual vase illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 232. A large Hancock & Sons Morris Ware vase designed by George Cartlidge, model no.C28-1, ovoid with long cylindrical neck and everted rim, tubeline decorated with bell flowers in purple and green on a mottled green ground, printed factory mark, painted facsimile £500-1,000 signature, 36.5cm. high. Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 101 catalogue number 269 for this design in another colour-way. Provenance Millennium Collection, Sylvia Powell Decorative Arts. Tony Johnson

231

This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 233. A pair of Hancock & Sons Morris Ware bottle vases designed by George Cartlidge, model no.C72-1, painted with stylised flower panels in blue, red, purple and green on a bottle green ground, printed factory marks and facsimile signature, 29.5cm. high. £400-600 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 111 catalogue number 292 for this pair illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson. 234. A near pair of Hancock & Sons Morris Ware vases designed by George Cartlidge, model no.C79-1, swollen cylindrical form, tubeline decorated with floral design in blue, purple and red on a green ground, printed factory mark, professional restoration to one, 28cm. high £400-600 Literature Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 114 catalogue number 296 for one of these vases illustrated. Provenance Tony Johnson This lot is sold with a copy of The Morris Ware Tiles & Art of George Cartlidge, by Tony Johnson.

232

233

234

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MOORCROFT POTTERY 235. ‘Late Florian’ a Moorcroft Pottery plate designed by William Moorcroft, tubeline decorated in shades of green and blue on a celadon ground and ‘Gesso Faience’ an early James Macintyre & Co plate designed by William Moorcroft, two jugs and a chamberstick, impressed marks, painted green signature, hairline to rim, 22cm. diam. (5) £150-200

235

236. A Moorcroft Pottery vase designed by William Moorcroft, footed ovoid form, tubeline decorated with floral panel in colours on a powder blue ground, a Moorcroft bowl, a pair of James Macintyre & Co Aurelian Ware vestas and six other items, impressed marks painted green signature, 8.5cm. high (10) £150-200

236

237. ‘Pansy’ a Moorcroft Pottery plate designed by William Moorcroft, tubeline decorated with flowerheads in shades of pink, green and purple on a blue ground, impressed marks, painted green signature, 21cm. diam. £150-200

238. ‘Pomegranate’ a pair of Moorcroft Pottery candlesticks designed by William Moorcroft, painted with bands of pomegranate fruit and foliage of the sconce rim and base, impressed marks, professional restoration, 13cm. diam. (2) £200-300

239. Oberon a Moorcroft Pottery plate designed by Rachel Bishop, painted in colours, a Prairie Summer small vase, Pansy Parade miniature vase, Muscari Florian Ware vase, a vase decorated with a tortoiseshell butterfly, two plates, seven rectangular dishes and thirty-five pin dishes, impressed and painted marks, painted blue monogram, 26cm. diam. (49) £150-250

238 237

239

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240

241

240. ‘Tulip’ a James Macintyre & Co Florian Ware bowl designed by William Moorcroft, with fluted top rim, tubeline decorated with panels of flowers, in blue and green on a pale blue ground printed factory mark, painted green signature, 17.5cm. diam. £150-200

241. ‘Cornflower’ a James Macintyre & Co Florian Ware solifleur vase designed by William Moorcroft, with knopped neck, painted in shades of blue on a pale blue ground, printed factory mark, painted green signature, £200-300 professional restoration to neck, 28cm. high

242

242. Florian Ware an unusual James Macintyre & Son twin-handled coupe designed by William Moorcroft, tubeline decorated with flower sprays in colours on a pale celadon ground, highlighted in gilt, printed factory mark, painted green signature, 18cm. diam. £300-500

243. An unusual James Macintyre Florian Ware vase designed by William Moorcroft, shouldered form, slip decorated with tulip flowers in shades of yellow and green on a pale blue ground, printed factory marks, painted green signature, museum restoration to top rim, 21.5cm. high £500-700

243

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Lots marked with a ‡ symbol may be subject to a Droite de Suite levy. Please refer to page 107 for full details.

STUDIO POTTERY 244. A collection of thirteen studio pottery reference books, including; Lucie Rie by Houston/Cripps, Lucie Rie by Tony Birks, Hans Coper by Tony Birks, The Crafts in Britain by Tanya Harrod and Artist Potters in England by Muriel Rose, and a collection of Studio Pottery magazines, (13) £100-200

244

245

245. Henry Hammond (1914-1989) a stoneware footed bowl, cylindrical form, covered in an ash glaze, a Charles Vyse stoneware bowl, a Katherine PleydellBouverie stoneware bowl and a Bojewyan Pottery earthenware jug by Peter Smith, impressed seal mark, 21.5cm. diam. (4) £150-250 246. A G Hopkins a rare Lambeth stoneware vase, dated 1928, modelled as a gourd, glazed in celadon and rust colours incised signature and date 18cm. high £200-300

246 247

247. Seth Cardew (1934-2016) a Wenford Bridge water jug, incised with simple floral design and Water, a flower bowl by Seth Cardew and a stoneware vase with cut decoration by Svend Beyer, glazed to the shoulder with a wood-ash glaze, impressed seal marks, 15cm. high (3) £120-180

248. Jim Malone (born 1946) an Ainstable Pottery stoneware cut-sided tall ewer, covered to the foot with an ash glaze, impressed seal marks, 36.5cm. high £150-200

249 249. Jim Malone (born 1946) an Ainstable Pottery coffee set for six, comprising; coffee pot and cover and six tankard mugs, with simple incised column decoration, covered with a pale celadon glaze to the foot and painted dots, impressed £150-250 seal marks, 19cm. high (7)

248

250. Edwin Beer Fishley (1832-1911) a Castle Fremington Pottery Nautical jug, ovoid with applied scroll handle, incised, slip decoration of a galleon at full sail, compass and sun motif, incised E B Fishley Fremington, £1,000-1,500 North Devon 29.5cm. high Provenance Marianne Straub OBE, 1909-1992 (textile designer). Private collection

250 both sides

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251 252

‡ 251. Bernard Leach (1887-1979) a Leach Pottery stoneware vase, ovoid with cylindrical neck, impressed decoration, covered to the base with a tenmoku glaze, impressed seal marks, repaired chip to top rim, 13cm. high £150-250

‡ 252. Bernard Leach (1887-1979) a Leach Pottery stoneware Leaping Fish bottle vase, incised and painted with panels of leaping fish, in tenmoku on a grey ground two impressed seal marks, 32cm. high £3,000-5,000

Literature Bernard Leach Potter & Artists, Crafts Council, 1997 page 147 cat. no.172 for a painted version similar.

253

Bowie/Collector Sotheby’s London 10th November 2016, lot 1 for an identical vase.

253. Shoji Hamada (1894-1978) a slab built stoneware bottle, with tapering neck, covered with a rich tenmoku glaze and simple green brush design unsigned 20cm. high £1,000-1,200

‡ 254. William Bill Marshall (1923-2007) a large stoneware vase, with collar rim, covered in a transparent, running nuka glaze to the foot with patches of copper to the shoulder, with impressed trellis decoration to the shoulder, impressed WM seal to side of base, 40cm. high. £300-500

Provenance Sheila Harrison Fine Art, 1989

254

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255. William Bill Marshall (1923-2007) a Leach Pottery stoneware unomi, incised pattern, covered to the foot with a tenmoku glaze, and two footed stoneware unomi by Jim Malone, impressed seal marks, 8.5cm. high, (3) £150-200

255 256

256. Ray Finch (1914-2012) a Winchcombe Pottery charger, glazed rust red painted to the well with two stylised fish, impressed seal mark, 38cm. diam. £120-180

257. Mike Dodd (born 1943) a tall stoneware vase with knopped neck, covered in a thick ash glaze with incised decoration, impressed seal to base, 43cm. high £300-400

257

258

258. David Leach (1911-2005) a Lowerdown Pottery cut-sided earthenware vase, covered in a tin-glaze glaze, a small celadon glaze vase by David Leach, a pair of Lowerdown egg cups, and a John Leach ewer impressed seal marks, 13cm. high (5) £150-200

259

260

259. Ray Finch (1914-2012) a Winchcombe Pottery stoneware vase, shouldered form with knopped neck, glazed to the foot with ash glaze with simple combed decoration, a stoneware bowl and jug covered in a tenmoku glaze and a salt-glazed stoneware vase, impressed Winchcombe mark, 41cm. high (4) £120-180

260. Ray Finch (1914-2012) a Winchcombe Pottery charger, resist decorated with a simple brush design in ash over tenmoku, another Ray Finch charger and a deep bowl by Ray Finch impressed seal £150-200 mark, 34cm. diam. (3)

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261. Gwyn Hanssen Pigott (1935-2013) a footed stoneware bowl, with simple incised decorative band to the top rim exterior, covered in an ash glaze, another similar, a Nic Collins stoneware vase, a Phil Rogers stoneware vase and cover, and three other items unsigned, 14cm. diam. (7) £200-300 262. Richard Batterham (born 1936) a stoneware cut-sided vase, swollen form covered with a tenmoku glaze over ash, a stoneware storage jar and cover, another smaller and four various jugs unsigned, £150-200 19cm. high (7)

261 part

263. Richard Batterham (born 1936) a large stoneware platter, circular with impressed triangle repeat decoration inside rim, covered in a celadon glaze, and a Jane Hamlyn salt-glaze stoneware bowl, Batterham unsigned, 41cm. diam. (2) £120-180 Provenance The Craftsmen Potters Association for the large Jane Hamlyn tart plate. Private collection. 264. Antonin-Henri Bourbon a Bol Raku pottery unomi, with simple painted rust decoration, another with apple green glaze, three unomi by Dante Elsner, and two others unsigned (7) £120-180

262

Provenance Amalgam Gallery, the three Dante Elsner unomi Private collection. 265. Reiko Nagata a pair of stoneware plates, octagonal form, painted in blue with geometric cross motif, and three stem cups by Reiko Nagata, £150-250 unsigned, 29cm. wide (5).

263

Provenance St Ives Ceramics, St Ives Cornwall, 2011, purchased by the present vendor. 266. Ian Auld (1926-2000) a slab built stoneware vase, square section, with running glaze, two vases by Eileen Lewenstein and two other teapot forms by Ian Rylatt, impressed seal mark, 21cm. high, (5) £150-200

264

265 part 266

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Harry “Ray” Stone (1917-2005)

From the Ray Stone retrospective exhibition

STUDIO CERAMICS FROM THE COLLECTION OF

HARRY “RAY” STONE

‡ 267. Astrid Zydower (1930-2005) Lady on a Donkey, a terracotta maquette, unsigned, chips to her feet, 43cm. wide. £300-500

Provenance H.R Stone, thence by descent Literature Peter C Amsden Astrid Zydower ARCA MBE Her Life & Works, ASAT productions, page 116 for a Donkey figure produced as part of a Nativity made for St Paul’s Cathedral, 1975. Astrid studied at Sheffield School of Art from 1947-1952.

267

‡ 268. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery tin-glazed plate, dated 1979, painted and resist decorated with a central flower stem roundel, inside shell border, in shades of blue, purple and rust on a silver-grey ground painted artist mark, 27cm. diam. £300-400 Provenance H.R Stone, thence by descent

‡ 269. Alan Caiger-Smith MBE (born 1930) An Aldermaston Pottery tin-glazed charger, dated 1980, painted to the well and rim with simple brush design in red and copper lustre on a silvergrey ground painted monogram, painted date mark for 1980, 43.5cm. diam. £300-500

268

269

Provenance H.R Stone, thence by descent

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‡ 270. Joanna Constantinidis (1927-2000) An early pottery vase, swollen cylindrical form, decorated with a splashed tenmoku glaze to the foot, incised JC monogram, 15.5cm. high £200-300 Provenance H.R Stone, thence by descent ‡ 271. Joanna Constantinidis (1927-2000) a rare early plate, dated 1950, painted to the well with a sailing ship with three large dolphins, the rim with a band of geometric cloud and rain motif, impressed early seal mark and painted date 1950 32cm. diam. £300-500 Provenance H.R Stone, thence by descent

270

‡ 272. Joanna Constantinidis (1927-2000) a pair of porcelain tea cups and saucers, covered in a pale celadon glaze impressed seal marks, 9cm. high (4) £150-250

Provenance H.R Stone, thence by descent

271

Joanna Constantinidis studied at Sheffield College of Art between 1946-1949. ‡ 273. Joanna Constantinidis (1927-2000) a stoneware swollen cylindrical vase, elliptical section covered in a pitted bronze and sand glaze, impressed seal mark, 32cm. high £350-450

Provenance H.R Stone, thence by descent

272

Literature H R Stone taught at the Sheffield College of Art after World War II. In 1946 Joanna Constantinidis studied at the college, initially fine art but then she developed a passion for pottery transferring to this course for her intermediate exams. ‡ 274. Joanna Constantinidis (1927-2000) a small stoneware vase, sack form with elliptical serrated aperture, covered to the foot with a pale grey glaze with tan speckles, impressed seal mark, 10cm. high £150-250

Provenance H.R Stone, thence by descent

273 274

275. Harry Ray Stone (1917-2005) a tall stoneware vase, cylindrical with central ribbed, knopped stem, covered in a tenmoku glaze, impressed seal mark, 60cm. high £120-180 Provenance Estate of the artist. Harry Ray Stone Ray Stone was born in Ashbourne in June 1917 and from an early age knew he wanted to be an artist. He studied at Derby College of Art and in 1938 won a scholarship to Slade School of Art to study sculpture. Interrupted by war and service as a radio operator - he returned to London in 1946 to complete his diploma. After graduating he returned to Sheffield School of Art where he lectured in both sculpture and ceramics. It was here that he met, taught and supported students including Joanna Constantinidis (lot 270) whose brown vase stood on his desk as a pencil holder and (lot 267) the terracotta by Astrid Zydower which was saved from being destroyed when she moved to London to study at the Royal College of Art. 276. Harry Ray Stone (1917-2005) a tall stoneware vase, cylindrical with knopped body and flaring neck, covered in an ash glaze, and another tall vase by H.R. Stone, impressed seal mark, 57cm. high. (2) £120-180 Provenance Estate of the artist.

275

276

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277. Alan Caiger-Smith MBE (born 1930) an Aldermaston Pottery plate with fluted rim, painted with geometric flowers and foliage in ruby and grey on a blue ground, and a small albarello jar, painted marks and applied final exhibition label to plate 23cm. diam. (2) £150-200 Exhibited Aldermaston Pottery 1993 Final Exhibition, no.166

277

278. John Bedding (born 1947) a Gaolyard Pottery disc shaped pot, decorated with geometric patterns in browns on a cream ground, highlighted with green impressed seal marks, 33cm. diam. £150-250 Provenance John Bedding Past and Present 1970 to 2011, purchased by the present owner.

278

279. Marianne de Trey (1913-2016) A porcelain trial charger, painted with simple brush decoration in blue and red on a silvergrey ground, another circular painted with flowers, two pedestal bowls and a small vase impressed seal mark, and painted signature, one bowl glued, (5) £120-180

279

280. Marianne de Trey (1913-2016) Still life of a vase of flowers, oil on paper, framed and another collage by Marianne de Trey, signed in pencil lower right, 27.5 x 24.5cm (still life image), (2) £120-180 281. Alan Wallwork (born 1931) a split form vase, crescent form with pierced decoration and central aperture, glazed white, highlighted in blue, and two small segment vases by Alan Wallwork, incised marks, two manufacturing chips, 23.5cm. £150-200 wide. (3) 282. Alan Wallwork (born 1931) a stoneware split form vase, segment form with a row of small aperture, incised groove decoration, glazed in colours, another egg form vase by Alan Wallwork, a vase, jug and circular tile incised AW, 25cm. wide, (5) £150-200

280

281 282

282 detail

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‡ 283. Joanna Constantinidis (1927-2000) a porcelain vase, flaring cylindrical form with pale celadon glaze and trailed rust-brown impressed seal mark, 15cm. high £150-200

‡ 284. Ian Godfrey (1942-1992) a stoneware peep-hole bowl, internally modelled with a village and animals, unsigned, 21.5cm. diam. £150-250

283 284

‡ 285. Ewen Henderson (1934-2000) a stoneware unomi, covered in porcelain slips, the rim with pale blue glaze unsigned, 11cm. high. £150-200

Provenance Private collection

285

286

‡ 286. Ewen Henderson (1934-2000) a stoneware unomi with applied slips, unsigned 10.5cm. high £150-200

Provenance Private collection

‡ 287. Ewen Henderson (1934-2000) a vase with applied porcelain and stoneware slips, unsigned, 22cm. high £150-250

Literature Lucie Rie, Hans Coper, and their Pupils, Sainsbury Centre for Visual Arts, page 44 catalogue number 70 for a comparable vase illustrated.

287

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288. Janet Leach (1918-1997) a Leach Pottery stoneware footed vase, rectangular section, with brushed ash glaze decoration, and another smaller, impressed seal marks, 20.5cm. wide, (2) £150-200

288

289 289. Poh Chap Yeap (1927-2007) a porcelain bottle vase, swollen form, covered to the foot in a rich, dark tenmoku glaze, and a plate by Poh Chap Yeap covered in a deep green glaze with turquoise splashes, incised Yeap, fine hairline to plate, vase 14cm. high (2) £120-150

‡ 289A. Margaret O’Rorke (born 1938) a flaring porcelain bowl, covered in a pitted turquoise green glaze, unsigned 38cm. diam. £150-200

289A two views

Provenance Given to the vendor by the artist.

290. Carol McNicoll (born 1943) a split bowl, sgraffito decorated in shades of mushroom and pale blue on a white ground, a Dart Pottery jardiniere and small vase designed by Janice Tchalenko, two crystalline glaze porcelain boxes and covers by Stephen R Jones, two early Robin Welch cylinder vases and a collection of studio pottery incised signature, 20cm. wide (a lot) £120-180

290

‡ 291. Kate Malone (born 1959) Sliced Heart bowl, porcelain covered in a turquoise glaze with crystalline blue rim incised Kate Malone to base, 20cm. diam. £250-350

‡ 292. Kate Malone (born 1959) Sliced Heart Pillow, 2002, crystalline-glazed stoneware, incised Kate Malone, 28cm. diam. £400-500

291

292

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‡ 293. John Ward (born 1938) a hand built stoneware vase with pinched rim, the interior black and white bands, the exterior black, impressed seal mark, 11.5cm. high, 19.5cm. wide £150-200

293

‡ 294. John Ward (born 1938) a hand built stoneware tulip vase, covered in a matt white glaze with turquoise splashes, impressed seal mark to base 17.5cm. high £250-300 Provenance Amalgam Art Gallery, 1992 Private collection.

294

‡ 295. John Ward (born 1938) a hand built stoneware vase, elliptical section, glazed pale blue with rust patches, impressed seal mark, 14cm. high £150-200

295

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‡ 296. John Ward (born 1938) a hand-built stoneware vase, ovoid with tapering square neck, decorated with black and white irregular panels, impressed seal mark, 26cm. high £2,000-3,000

Provenance Contemporary Ceramics, Bonhams 19th July 2000 lot 149. Private collection

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‡ 297. Peter Hayes (born 1946) Large Raku Sack Form with keyhole, 2004 on polished slate base, etched signature and date, 69.5cm. high £500-800

297

‡ 298. Robin Welch (born 1936) a hand-built stoneware bowl, flaring, footed form, with painted panel decoration, the foot highlighted in pale blue, painted Robin Welch signature, exhibition paper label to side, 23cm. high. £120-180 Provenance purchased by the vendor, J.V.G. Mallet, circa 1984.

298

‡ 299. Dame Lucie Rie DBE (1902-1995) a stoneware pourer with pulled side handle, covered in an off white glaze, the interior pale celadon, impressed seal mark, 8.5cm. high £300-500

299

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‡ 300. Hans Coper (1921-1981) a stoneware thistle form vase, textured body with manganese and white slip highlights impressed seal mark, 15cm. high

Provenance Bought directly from Lucie Rie’s studio at Albion Mews circa 1958. Literature Tony Birks, Hans Coper, Collins, page 88 for a comparable, more streamlined form.

£3,000-5,000

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Margaret Pilkington, with the Lucie Rie bowl visible on the mantelpiece.

‡ 301. Dame Lucie Rie (1902-1995) a fine, early porcelain bowl, flaring footed form, glazed yellow to the foot and interior, with a broad band of manganese, sgraffito decorated with dots and borders, impressed seal mark, 7.5cm. high, 11cm. diam. £6,000-10,000

Literature John Houston Lucie Rie, Crafts Council, page 39 colour plate 9 for a comparable illustration. Tony Birks Lucie Rie Alphabooks, page 105 for a comparable stem bowl illustrated, circa 1957. Provenance Margaret Pilkington OBE, (1891-1974), curator of the Whitworth Art Gallery and wood engraver. Private Collection Margaret Pilkington was the daughter of Lawrence Pilkington the founder of the Pilkington Tile Company family. In 1913 she studied at the Slade before moving to the Central School to study wood engraving under Noel Rooke; and was encouraged and also advised by Lucien Pissarro.

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CONTINENTAL CERAMICS 302. Four pottery figures of Edwardian ladies, each modelled in elaborate finest dress, painted in colours, on circular socle base, unsigned, losses and repaired damages 33.5cm. high, (4). £150-200

302

303

303. A Della Robbia style architectural panel by Cantagalli, modelled in relief with the Madonna and Child, glazed in blue and white impressed cockerel roundel, chips and losses, 50cm. high, 53cm wide. £200-300 304. A small Berndt Friberg pottery bowl designed by Stig Lindberg, on shallow foot, the bowl covered with an olive green hare’s fur glaze, a Rorstrand bowl designed by Gunnar Nyland and seven pieces of studio pottery by Ben Owen, Phil Morgan, Kayo O’Young and others impressed and incised marks, 12cm. diam. (9). £100-200 Provenance A private collection of pottery.

304

305. A Juan Massier terracotta vase, swollen with tapering cylindrical neck, decorated in gilt with simple grasses, on an olive green ground, and a collection of Continental pottery impressed marks, chip to top rim, 17.5cm. high, (a lot) £120-180 306. A pair of Art Nouveau Brantjes Purmerend vases, compressed ovoid form with tapering cylindrical necks, painted with flowers and stylised foliage in shades of blue, green and aubergine highlighted with yellow, painted marks, chips, 22cm. £150-250 high, (2) 307. A Gouda Pottery Regina vase, shouldered form, painted with Art Nouveau flowers and foliage in colours on a cream ground, a dish, a vase and a circular box and cover similar, and three miniature Gouda items, four clogs, and six reference books on Gouda printed and painted marks, damages 26cm. wide (a lot) £50-150 308. Emmanuel Villanis (1858-1914) Nymphe, terracotta bust signed and titled in the cast, chips 49cm. high £200-300

305

309. An Art Nouveau Amphora Pottery vase, model no.3882, tapering cylindrical form with four angled handles and a pierced neck, decorated with seagulls outlined in black on a mint green ground, highlighted in gilt, impressed marks, 29cm. high £50-100

306

310. A Delphin Massier Vallauris pottery vase by J Niolett, ovoid with collar rim, painted with a path running through an autumnal wood scene, in naturalistic colours painted marks to base, signed to the side, hairline to rim, 11.5cm. high £150-250 311. A Lachenal Persian charger, painted with flower stems in shades of turquoise, red, green and black on a crazed white ground painted marks, 33.5cm. diam. £120-180

307

308

309

310

311

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312. A modern Lomonosov St Petersburg Suprematist teapot and four cups designed by Kazimir Malevich, originally designed in 1923, in fitted presentation case, stamped marks, 21cm. wide (teapot) £600-1,000

313. A Royal Copenhagen porcelain vase by Axel Salto, model no.21474, modelled cylindrical form, covered in a matt brown Sung glaze, printed and painted marks, impressed Salto mark, Royal Copenhagen £150-250 paper label, 9cm. high

312

313

314. A Villeroy & Boch tile designed by Otto Eckmann, square, printed in brown on a celadon ground with four radiating stylised fox head motifs, stamped marks, 15cm. square. £120-180 Literature Clarice Cliff, Art Deco & 20th Century Design, Woolley and Wallis Auctioneer’s, 14th April 2010, lot 1506 for a comparable tile.

315. A Karlsruhe terracotta wall tile, square section, cast in low relief with two fan-tailed fish swimming in an aquarium, glazed in colours, impressed Karlsruhe, painted M, small chip to back edge, 22 x 22.5cm. £150-200

314

315

316. A Vallauris tea set for six, painted and resist decorated with a nude woman feeding a dove, in turquoise and white on a black ground, comprising teapot and cover, milkjug, sugar basin and cover, six cups and saucers incised marks, SA monogram, tiny nicks to two cups, 20cm. high (15) £150-200

316 317. Five Primavera pottery plates designed by Colette Gueden, each printed and painted with a stylised female portrait, in colours painted marks, signed to reverse, one with CG monogram, hairline to one, 25cm. diam. (5) £200-300

318. A set of eight Fornasetti Oceanidi dishes designed by Pierro Fornasetti, each printed with figures in large shells, in black and white, highlighted in gilt on rim, original presentation case, printed factory marks, 10cm. diam. £200-300 Literature Patrick Mauriers Fornasetti Designer of Dreams, page 248 for four dinner plates in this design illustrated (designed in 1954).

317

318

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GLASS 319. An Arts and Crafts stained glass panel by Goddard and Gibbs designed by Arthur E Buss, the arched panel decorated with fish swimming in the sea, a ray swooping down to the sea bed of sand and shells, unsigned 120cm. high, 47.5cm. wide. £300-400 Provenance Design Woolley and Wallis 18th October 2016 for 2 en suite panels, one signed with the Arthur Buss rebus.

320. A pair of wheel engraved glass vases probably English, each waisted form engraved stylised flowers on sinuous stems, unsigned, 30cm. high (2) £120-180

321. A large Webb Bronze glass vase, ovoid with applied loop handles, covered in an iridescent finish unsigned 30cm. high £150-200

322. A Webb Bronze vase the design attributed to Dr Christopher Dresser, ovoid with cylindrical neck, applied with a stylised glass face, with iridescent finish, and another Webb Bronze vase unsigned 13.5cm. high (2) £120-180

319

320

321

322

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323. A Louis Comfort Tiffany Favrile glass vase, ovoid with cylindrical neck and everted rim, surface decorated with green leaves on a golden iridescent etched to foot rim 4071 L C Tiffany Favrile 15.5cm. high £800-1,200

323

324. A Daum Nancy enamelled glass Winter landscape vase, tapering cylindrical form, enamelled with trees in a snowy landscape, signed Daum Nancy to base, 22cm. high £500-1,000

324

325. A Daum Nancy enamelled glass bowl, with pinched top rim, enamelled with marguerite flowers, cameo Daum Nancy signature, 15cm. diam. £1,000-1,500

325

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326. Six James Powell & Sons Whitefriars glasses designed by Philip Webb, clear glass, the swollen, faceted bowl on twisted stem, and five Champagne bowls unmarked, 12.5cm. high. (11) £120-180 Literature Lesley Jackson Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 97 plate 4 for the wine glass illustrated. The Champagne bowls are illustrated as a line drawing in Mrs Loftie’s The Dining Room, 1878, reproduced page 28 figure 71. 327. A Whitefriars Willow glass vase designed by Geoffrey Baxter, rectangular cast in low relief with geometric panel, unsigned, 27cm. high £150-200

326

Literature Lesley Jackson, Whitefriars Glass The Art of James Powell & Sons, Richard Dennis Publications, page 140 plate 161 for a comparable example. 328. A Whitefriars Glass Lilac cylinder vase designed by Geoffrey Baxter, tapering cylindrical form with cast decoration, a Kingfisher blue vase, and two other Whitefriars vases, unsigned, 19cm. high (4) £120-180

328

327

329

329. A Barovier & Toso glass paperweight, model no.20279, ovoid aventurine with orange zigzag lines, cased in clear, a Murano glass teardrop weight by Ferro, a Wedgwood glass paperweight designed by Ronald Stennett-Willson, a Caithness Cosmos limited edition paperweight and seven other paperweights including Mdina glass, applied paper label, 6.5cm. high (11) £150-200 330. A Caithness Spinaway glass paperweight, central large air bubble encircled with green and white swirls and small air bubbles, cased in clear, and a collection of fourteen paperweights, mainly Caithness, some boxed acid etched marks, 7cm. high (15) £120-180 331. A Mdina glass Lollipop vase, internally striped glass cased in clear on applied glass foot, a Mdina bottle vase, a Mdina vase with pulled ear handles and another Mdina vase etched mdina 23cm. high, (4) £120-180 332. A set of ten Jugendstil wine glasses, on tall stems, the faceted bowls graduating from a green rim to clear, unsigned, one repaired, 23cm. high (10) £150-200

330

331

332

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333. An Iittala cut glass leaf dish designed by Tapio Wirkkala, pulled, rounded form with line cut veins, etched Tapio Wirkkala Iittala to rim, 18.5cm. wide. £150-200

334. An Iittala glass vase designed by Tapio Wirkkala, with line cut decoration, a dish similar and a Kosta glass dish internally decorated with aubergine, incised marks, 10.5cm. high, (3) £120-180

333

334

335. A Hadeland glass Atlantic vase designed by Willy Johansson, moulded cylindrical form with everted top rim, thick clear glass with air bubble inclusions, etched Hadeland WJ mark, 26cm. high £120-180

336. A Hadeland glass bowl, dark smoked glass moulded with textured finish to exterior, and a collection of various glass including a Whitefriars ruby glass triangular dish, a frosted tree vase in the manner of Tapio Wirkkala unsigned, 27.5cm. diam. (a lot) £120-180

336 part

335 337. An Orrefors Graal vase by Eva Englund, dated 1986, pink glass internally decorated with blue striations, cased in clear, applied paper label, etched marks, signature and date 15.5cm. high £150-200

338. A Biot vase by Henry Navarre, mottled pink and white, cased in clear, etched marks, 21cm. high £120-180

339. Samuel J Herman (born 1936) A Rosenthal Studio Line limited edition glass vase designed by Sam Herman, opaque glass with blue and ochre decoration band, cased in clear, a Val St. Lambert vase by Sam Herman and a smaller Studio Line vase acid etched Rosenthal mark, 27/200 18.5cm. high (3) £100-200

337

338

339 part

340. A Kosta Boda vase by Bertil Vallien, shouldered form with tapering solifleur neck, covered in a purple lustre, another Bertil Vallien vase, two Kosta cubes by Vallien and a Rorstrand vase incised marks, 20cm. high (5). £120-180

340

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341. A Murano Seguso glass vase, tear drop form white glass with thick amber stripe, cased in clear, etched Seguso A.V and applied retail label, 36cm. high £120-180

342. A Murano glass vase by Franco Moretti, slender baluster form, pale blue graduating to a darker blue shoulder, applied with red glass flower stems, etched signature to base, 38cm. high £150-200

341 343. A Murano glass vase in the manner of Barovier & Toso, compressed, shouldered pale green glass internally decorated with swags and aventurine, cased in clear unsigned 19cm. high £150-200

344. A Salviati & Co glass model of a tortoise, pale blue glass with gold aventurine, cased in clear, a Murano Sommerso glass vase, a Kaj Franck glass shell dish, a Gusum studio glass vase by Milan Vobruba dated 1985, two Kosta glass fish designed by Vicke Lindstrand, streamlined form, internally decorated with air bubbles, and a collection of glass, smaller with etched signature 20 and 15.5cm. long (Kosta fish), a lot. £150-200

342 345. A Murano glass model of a duck possibly by Seguso, mottled green glass body with applied clear glass feet and clear glass bill with aventurine inclusions, a Murano glass bird sculpture, a Wedgwood curved glass fish sculpture designed by Ronald Stennett-Willson and a clear glass model of a lion, unmarked, 31cm wide (duck), (4) £120-180

343

344

345

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‡ 346. Peter Dreisler MBE (1936-2006) a pair of engraved glass goblets, dated 1971, each engraved with a simple wild flower stem, etched signature, date and number, 15cm. high (2) £200-300

346

‡ 347. Peter Dreisler MBE (1936-2006) An engraved glass goblet, dated 1972, the flaring conical body engraved with a trout leaping to catch a mayfly, etched signature and date to side, 15cm. high £200-300

347

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348. Naoko Sato (born 1964) Transition, 1999 kiln-cast, manipulated and polished glass, signed and dated to the rim, 31cm. wide, 21cm. high £600-1,000

348

‡ 349. Bruno Romanelli (born 1968) Chest Relic, 2002 kiln cast and polished glass, 28cm. high, 18.5cm. wide £1,000-2,000

349

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350

FURNITURE

350 detail

‡ 350. David Pye OBE (1914-1993) a Brazillian rosewood rectangular dish, with carved elliptical well, stamped D W Pye 854 to reverse, 33.5cm. wide £150-250

Sold under the Cities certificate for commercial activities. ‡ 351. Bert Marsh (1932-2011) a Cocobolo wood bowl, and another Cocobolo wood bowl by the artist, signed Bert Marsh to the base, 11.5cm. diam. (largest) (2) £120-180 ‡ 352. Richard La Trobe-Bateman (born 1938) an English oak dining table and eight chairs, the chairs commissioned in 1977, the table commissioned in 1985, the table with circular top on sleigh foot with square section cluster legs, the high-back chairs of slender slat construction with cane seats, signed and dated, table 142cm. diam, 71cm. high, chairs 135cm. high £1,500-2,000

351

Literature Crafts, no.20 May/June 1976 page 26-27 for comparable chairs illustrated.

352

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353

354

355

356

353. A pair of William Birch oak chairs, with turned front legs and back supports, three curved splats, 99cm. high (2) £150-200

354. An English mahogany arm chair, inlaid with mother of pearl and marquetry flower panels, with padded seat and back,107cm. high. £150-200 Provenance Antiques department, Liberty & Co 1993.

357

355. An Aesthetic Movement ebonised wood etagere, with pierced decorative rails and counterbalanced shelves, with mirror to back, 111cm. high, 57cm. deep £150-200

356. An Aesthetic Movement brass and patinated metal plant stand, the rectangular trough set with ten brass panels stamped in low relief with fruit and flower designs, 69cm. wide, 83cm. high £200-300

357. A Shapland & Petter style inlaid mahogany cabinet, with glazed coloured and leaded glass door, inside cabinet set with mirror back, the sides inlaid with marquetry Art Nouveau flower stems, unsigned, 149cm. high, 115cm. wide 39cm. deep £200-400

358. A Liberty & Co style oak hall stand, shaped, rectangular mirror back, with small key box, with pierced heart shaped panel decoration, set with two metal drip pans, unsigned, 201cm. high, 89cm. wide, 34cm. deep. £300-500

358

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359. A Barnsley Workshops walnut dining suite designed by Edward Barnsley, comprising large sideboard, table and eight chairs, the sideboard with four cupboards set below three drawers, the back shelves with two small hinged cupboards, the wishbone table with elliptical quartered veneer top, with simple boxwood inlay bands, two carvers and six chairs, variously stamped Barnsley, sideboard 214cm. wide, 214cm high table 230 x 108cm (top), 74cm. high chairs 84cm. high ÂŁ6,000-10,000 Provenance Made for a wedding present in 1971.

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360. A mahogany settee, slender curved legs supporting high back and arms, upholstered in pale silk, 108cm. high, 138cm. wide, 65cm deep £120-180

361. An Austrian copper and walnut occasional table, the patinated copper square base supporting, with four cluster pillar, the circular top with parquetry inlay 78cm. high, 80cm diam. £150-200

362. A carved oak abstract sculpture in the manner of Gertrude Hermes, abstract form with carved aperture, on rectangular oak base, unsigned, 52cm. wide, 19cm deep, £150-200 25.5cm. high

360 363. A mahogany veneered table in the manner of Gio Ponti, rectangular top on tapering legs, the top inlaid with fruitwood and birds eye maple Zodiac motif around central sunburst unsigned, 179 x 75cm. £150-250

364. A pair of enamelled metal floor lamps, probably American, enamelled mint green stem and conical shades, on flexipoise stems, 111cm. high (to the base of the flexi stem), (2) £150-250

361

362

363 top

363

364

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365. A pair of oak bedside cabinets the design attributed to Jules Leleu, each with single drawer, 55cm. high, 50cm. wide (2) £300-500 366. A Danish teak tray designed by Jens Quistgaard, pierced, twin-handled rectangular form, another smaller, an ice pail and cover with white plastic liner, a serving trolley, and a collection of Danish domestic ware including servers, cruet set and platters, unsigned 46cm. wide, (a lot) £100-200 367. A Fornasetti enamelled tin waste paper bin designed by Piero Fornasetti, drum form printed with signs of the zodiac in gold, on a celestial black ground, printed factory mark, 27.5cm. high £300-500

366 365

368. A brass and leather PK91 Propeller stool originally designed by Poul Kjaerholm, the cast brass X frame with brown leather slung seat, unsigned, 52cm. wide, 45cm. high £200-300 369. A Fritz Hansen Swan chair designed by Arne Jacobsen, designed for SAS Royal Hotel Copenhagen, 1958, black leather on aluminium cruciform base, applied FH label 76cm. high £300-500 Provenance Bukowskis Auctions April 2002, page 298 lot 839.

367

368

Private collection. Literature Charlotte & Peter Fiell 1000 Chairs, Taschen, page 287 for a later example of this chair illustrated. 370. A teak armchair probably Danish, with padded leather seat and back, 92cm. high £150-250 371. A set of six Ernest Race Ltd aluminium BA.3 chairs designed by Ernest Race, originally designed 1946, cast marks, 78cm. high. (6). £400-600 Literature Lesley Jackson Modern British Furniture, Designed since 1945, V&A, page 102 plate 107 for an example from the Victoria & Albert museum collection illustrated.

369

Charlotte & Peter Fiell, 1000 Chairs Taschen, page 205 for a comparable example

370

371

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WORKS ON PAPER 372. Viktor Deni (1893-1946) Sutochnaya Pogruzka (The Daily Load) lithographic poster on paper, originally printed in 1935, with colour vignette of the Kremlin and a pioneer activist controlling railway signals, framed and Peasant, The Polish Landlord wants to Enslave you, another lithographic poster, 46 x 37.5cm (image). (2) £150-200 Provenance The collection of John Newall Esq.

372

The poster depicts Lazar Kaganovich, probably the third most important figure in the Soviet leadership at the time, after Stalin and Molotov. 373. The Garden of Allah and Daybreak two House of Art colour prints by Maxfield Parrish, framed, Flower Studies an engraving on paper the design in the manner of Alphonse Mucha, and a landscape pastel on paper by H.W. Adams signed in the prints, 75.5 38cm (image), (4) £50-100 374. George Sheringham (1884-1937) Geometric Flower Panel watercolour and gold paint on black silk, framed signed lower left 90 x 29cm.

£200-300

375. Patten Wilson (1869-1934) A Love That Springs From Heart and Brain, 1901 pen and ink with wash on ordinary pasteboard, original illustration for ‘Voyage of the Ophir’ published in Pall Mall magazine, mounted signed and dated lower right, pencil title to reverse 22 x 14.5cm (image) £200-300

373

376. Angelo Jank (1868-1940) Mediklas, 1896 lithographic print in colours, framed signed A Jank lower right and dated 40 x 16cm. (image)

£200-300

Jank was a member of the Munich Secession from 1896 and provided illustrations for Jugend magazine - including the cover 19th September 1896. 377. Dorset : The Isle of Purbeck and Dorset: Tarrant to Blandford two books by Rena Gardiner, designed, drawn, printed and published by Rena Gardiner at the Workshops Press, 1969 and 1970, with a hand written compliments note from Rena Gardiner, 34 x 25.5cm. (3) £120-180

374

375

376 377

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378. Paul Berthon (1872-1909) Sa Tres Gracieuse Majeste La Reine Wilhelmine lithograph in colours, framed signed in the print top left corner, 38.5 x 36cm. £200-300

379. Salon Des Cent Exposition Eugene Grasset a Les Maitres de l’Affiche lithographic print, Pl.98, and thirteen other Les Maitres de l’Affiche lithographs including Rene Pean, Dudley Hardy, Henri Meunier, and Louise Stowell, embossed stamp, signed in the print, 40 x 29.5cm. (14) £300-500

380. Alphonse Mucha (1860-1939) Kapitola III, 1897 a colour lithograph, framed, and Slavia a lithographic print by Alphonse Mucha, framed, and Svantovit of Rgen, 19.5 x 15cm (image of Kapitola). (3) £100-150

378

379

381. Alphonse Mucha (1860-1939) Monaco - Monte Carlo a modern lithographic poster authorised by Jiri Mucha, framed, signed in pencil and numbered 250/350, 57 x 39cm (image) £500-700

382. Edwin La Dell (1914-1970) The Tower of London,1946, SP.6 a School Print, lithograph in colours, published by the Banyard Press, framed, and ‘Minnesota’ SP.23 a school print by Adolf Dehn and ‘Spanish Fishing Village’ a print by Peggy Wickham, signed and dated in the print, 68 x 42cm (3) £200-300

380

382 part

381

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Lots marked with a ‡ symbol may be subject to a Droite de Suite levy. Please refer to page 107 for full details.

‡ 383. Alec Macdonald GAvA (born 1954) Planes in Sicily acrylic on canvas, framed, painting depicting a Piper PA-31 Navajo aeroplane flying above Palermo airport before a rocky mountain, a Reims-Cessna plane on the runway, signed lower right 75 x 56cm. £150-200

Provenance commissioned by the vendor

383

‡ 384. Alec Macdonald GAvA (born 1954) Just The Ticket, acrylic on canvas, framed, a painting depicting an Air Fete with DG82a Tiger Moth and two Leyland Coaches, signed lower left 75 x 60cm. £150-200

384

LESLIE GOODAY OBE (1921-2013)

385. Leslie Gooday O.B.E. (1921-2013) Studio Shelf 5, acrylic on board, framed signed lower right, paper label to reverse 66 x 37.5cm. (image) £150-200

Provenance The estate of the Artist

385

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386. Leslie Gooday O.B.E. (1921-2013) Untitled Pear and Circle, acrylic on paper, framed signed lower right 30 x 30.5cm. (image) £120-180 Provenance The estate of the Artist 387. Leslie Gooday O.B.E. (1921-2013) Apple Pie, acrylic on board, framed signed lower right 30 x 22cm. £120-180 Provenance The estate of the Artist

386

387

388. Leslie Gooday O.B.E. (1921-2013) Mother and Child, acrylic on board, framed signed monogram top left 30 x 24.5cm (image) Provenance The estate of the Artist

£120-180

389. Leslie Gooday O.B.E (1921-2013) Moon Bowl and Key, acrylic on board, framed signed lower right, titled to reverse 489.5 x 26.5cm (image) £120-150 Provenance The estate of the Artist 390. Leslie Gooday O.B.E. (1921-2013) Concept 25, acrylic and collage on board, framed signed lower right, paper label to reverse 65 x 29cm (image) £150-200 Provenance The estate of the Artist 391. Leslie Gooday O.B.E. (1921-2013) Bellamines & Pears, acrylic on card, framed signed lower right 40 x 20cm (image) £80-120 Exhibited Llewellyn Alexander Fine Paintings.

388

389

Provenance The estate of the Artist

390

391

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TEXTILES

392

393

392. A collection of nine vintage aprons, and seventeen books on textile design, fashion, knitting and design, including; a book on aprons, Textiles of The Wiener Werkstatte, by Angela Volker, 20th Century Pattern Design, and Artists’ Textiles in Britain, by Lesley Jackson, and Seamless From Biba a Life of Design, by Barbara Hulanicki (26) £120-180

393. A collection of twenty vintage scarves, including Liberty, Richard Allen Jacqmar, and Monique Paris, (20) £150-250

394. Mezzanine a printed textile designed by Lucienne Day, retailed by Heal’s, printed in colours on a duck-egg blue ground, remains of bolt, signed to selvedge, 117cm. wide and a length of Meistersingers Sanderson screenprinted silk. (2) £100-200

394

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395. John Piper (1903-1992) Long Sutton, a limited edition wool tapestry, in colours signed lower right, 210 x 168cm.

ÂŁ3,000-5,000

Literature The screenprint by Piper depicting the same view of Long Sutton church, was produced in 1985 - Orde Levinson L.374.

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Lots marked with a ‡ symbol may be subject to a Droite de Suite levy. Please refer to page 107 for full details.

SCULPTURE & METAL WARE

‡ 396. David Rawnsley Maquette for a sculpture, 1964 terracotta with verdi gris patination signed and dated in the base 55cm. wide £300-400

396

397. An Art Nouveau spelter figural lamp base, cast in relief as two maidens, supporting beaded shade, unsigned, 35cm. high (base) £100-200

398

398. A novelty silver model of a skier, modelled with skis somewhat parallel, wearing number 1, on marble base, stamped 925 to bottom, indistinct signature, 16cm. high £150-200

397

399. A patinated bronze lamp the design attributed to Gustav Gurschner, slender flower stem rising to form a maiden, her arms outstretched to hold the conch shell shade and cable, unsigned, 37cm. high (2) £800-1,200

399

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400. A Hukin & Heath electroplated sweet meat dish in the manner of Dr Christopher Dresser, model no. 2961, the twincompartment dish with central loop handle, with serving spoon and pierced caster spoon, stamped marks, 16.5cm. wide (3) £120-180 401. A Hukin & Heath electroplated metal tray, model no.8247, circular with raised rim, stamped mark, 34.5cm. diam. £100-200 402. A pair of Gothic Revival brass candlesticks, turned and knopped central column on flaring base, the knop set with four clear glass panels, unmarked, 26cm. high (2) £120-180

401 400

403. A rectangular brass mirror or photo frame in the manner of Alexander Ritchie in Iona, rectangular, stamped with three sailing longboat roundels, over wood frame, unsigned 36 x 28.5cm. £150-200 404. An Aesthetic Movement ebonised wood mantel clock, rectangular form with galleried mantel, set with enamelled porcelain dial panel and smaller panels to front and sides decorated with fruiting foliage, Arabic numerals, unsigned, losses to gallery, 31cm. high £150-250 405. A Hart & Son Aesthetic Movement brass inkwell, the circular tray with pierced crenellated rim, decorated with foliate border, circular glass well with brass tapering cover and foliate finial, on three paw feet, with associated white-metal feather dip pen, unsigned, 18cm. high (2) £150-250

402

403

Provenance Roy Davids Private collection. The design is illustrated in the Hart & Sons Medieval Metal Workers catalogue, circa 1865. 406. A wrought iron mounted coal bin and cover, flaring cylindrical form with hammered finish, a large Arts and Crafts hammered brass charger in the style of Newlyn, square with raised rim, hammered to the well with a mythical European galleon, inside a border of scallop shells, and a pair of copper candlesticks in the style of W.A.S Benson, unsigned, 46cm. high, (4) £200-300

404

406

405

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407. A large patinated metal ceiling light, star shaped section, cast with simple foliate tracery and applied with alternate red and blue glass panels, unsigned, 86cm. wide, 32cm. high £150-250 408. A Gorham & Co mixed metal small tray, applied with a figure riding a water buffalo whilst playing a flute, riding past stylised prunus and pine sprays, stamped marks, 22.5cm. wide. £250-300

407 408

409. An Art Nouveau Kayserzinn pewter four piece tea set and tray designed by Hugo Leven and Hermann Fauser, comprising; teapot and hinged cover, hotware pot and hinged cover, milk-jug, sugar basin and cover, on elliptical tray stamped £600-800 Kayserzinn 53cm wide (tray) (5) 410. A Liberty & Co Cymric silver and enamel canister cover designed by Archibald Knox, the domed cover set with roundel cast in low relief with whiplash foliage, enamelled in red, green and blue, two Lalique clear and frosted glass stoppers and a pewter sconce, stamped marks, Birmingham worn date mark, 3.5cm. high (4) £150-200

409

410

411. A Liberty & Co Tudric Pewter and enamel mantle clock, model no.0367, the shaped front cast in low relief with foliate panels, set with green and blue enamel panel, the rectangular copper dial stamped in low relief with Arabic numerals, stamped marks, 16.5cm. high £1,500-2,000 412. An Alwyn Carr silver capstan inkwell, tapering circular form applied pen rest, hinged cover cast in low relief with coat of arms and rope border, engraved I was wrought for William Henry Graham in 1923, to rim, clear glass liner, stamped marks, AC London 1922, 15cm. diam. £1,500-2,000

411

412

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413. An Art Nouveau silvered metal hanging light, the curved branch with cast and pierced panels of stylised roses, on geometrically angled stems, with three domed light fitting terminals, and a pair of Modernist chrome ceiling lights, cluster form with alternate chrome ball and light bulb rods, unsigned, 52cm. wide (3) £150-250 Provenance From the collection of Sir Jeremy Lever.

413 414. A pair of Duchess of Sutherland Cripples Guild electroplated copper bowls, circular with deep rim, each cast to the well with fruiting grape vine, unsigned 30.5cm. diam. (2) £150-250

415. HRH The Prince of Wales and Lady Diana Spencer 1981 a silver commemorative Royal Wedding dish designed by Stuart Devlin, with pierced gilt rim, stamped marks, London 1981, 13.5cm. diam. £150-200

414

416. A Christofle Gallia electroplated Swan sauce boat and ladle designed by Christian Fjerdingstad, originally designed in 1933, modelled as a stylised bird, stamped Gallia marks to ladle and side of foot, 20cm. wide (bowl). (2). £150-200

415

416 417. A Bruno Wiskemann silver plated four piece tea service, comprising teapot with hinged cover, hot-water pot and hinged cover, sugar basin and hinged cover, milk-jug and sugar tongs stamped marks, 16cm. high £100-150 (hot-water), (5).

417 418. A Braun silver gilt table lighter designed by Stuart Devlin, drum form with pierced and textured case, and another Braun lighter with silver gilt textured finish, cast marks to base, 9cm. high (2). £150-200

419. A Rowenta silver gas lighter designed by Grant MacDonald, rounded triangular section, cast in low relief with geometric panels, a pair of stainless steel candlesticks, a Parker 61 fountain pen, a Waterman engine turned pen and ball pen set and six other pens or pencils, stamped hallmarks, GGM London 1973, cast marks and label to base,9.5cm. high (12). £150-200

418

419 part

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420. An Art Nouveau white metal hand mirror, triangular mirror with tapering handle, cast in relief with a child flanked by ivy leaves, stamped TC monogram 20cm. long £150-200

421. An Art Nouveau horn brooch by Gip, carved with a dragonfly, with some staining, signed Gip 6.5cm. wide £150-200

422. An Art Nouveau silver cane handle, modelled as a open-mouthed snake, entwined around the shaft, stamped marks, £300-500 12cm. wide.

420

Literature Victor Arwas Art Nouveau, Papadakis, page 428 for a pair of identical cane handles, circa 1915.

421

422

423. A James Fenton silver and enamel pendant necklace, diamond shape with drop, enamelled in shades of turquoise and blue stamped marks, Birmingham 1908, 4.5cm. long £150-200

424. A Smith & Ewan silver and enamel pendant necklace, cast in low relief with stylised foliage, enamelled in green, yellow and blue stamped marks, Birmingham 1908, 3.5cm. long £120-180

423

424

425. An Art Nouveau silver and enamel bar brooch, cast in low relief with heartshaped foliage and central roundel, enamelled turquoise and green indistinct stamped marks, 3.5cm. wide £120-180

426. A silver brooch in the manner of Dorrie Nossiter, circular, pierced foliate border set with stones, unsigned, 5.4cm. diam. £120-180

425

426

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428

429

427

427. A 9ct gold and amethyst set pendant and bar brooch, cast with foliate wirework design, indistinct marks, 4cm. long, (2) £180-220

428. A James Fenton silver and enamel bracelet, cast with alternate flower and geometric panels, enamelled in red, yellow and blue stamped marks, Birmingham 1908, 18.5cm. long £150-200

430 front

429. A Goldsmiths & Silversmiths Company Ltd silver and lilac enamel belt buckle, rounded, rectangular form with a border of lilac guilloché enamel, stamped marks, £120-180 London 1909, 8cm. wide

430. A Dunhill Aquarium table lighter designed by Margaret Bennett, the perspex panels reverse painted with a blue Japanese fighting fish and a Zebra fish, the reverse with a golden fish diving amidst waterweed, with silvered metal fittings, cast marks, 10cm. wide, 8cm high. £800-1,200 Provenance Removed from a West Country Manor House.

END OF SALE

430 back

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ARTS AND CRAFTS

Wednesday 21st June 2017 Closing date for entries 26th April

A repousse copper charger by John Pearson, dated 1898. Estimate: £800 - £1,200

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

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A PRIVATE COLLECTION OF BURMANTOFTS FAIENCE POTTERY Thursday 22nd June 2017

A fine Anglo Persian charger by Leonard King depicting Poseidon. Estimate: £2,000 - £3,000

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

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MEDALS, COINS, ARMS & ARMOUR Tuesday 28th March 2017

The Air Force Cross group of medals and Honourary Czechoslovak Observers Badge to night fighting specialist Sqn Ldr Harold Quittenden, A.F.C., R.A.F. Estimate: £1,500 - £2,000

ENQUIRIES Ned Cowell | Tel: +44 (0)1722 341469 | nc@woolleyandwallis.co.uk

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FURNITURE, WORKS OF ART & CLOCKS Wednesday 12th April 2017

A Napoleon III gilt, patinated bronze and marble clock garniture by Brulfer, Paris. Estimate: £2,000 - £3,000 ENQUIRIES Mark Richards | Tel: +44 (0)1722 411854 | mr@woolleyandwallis.co.uk

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FINE SILVER & VERTU

INCLUDING THE ARTHUR HOLDER COLLECTION PART III

Tuesday 25th & Wednesday 26th April 2017

Items from a private collection of caddy spoons. Estimates from £100 - £1,000

ENQUIRIES Rupert Slingsby | Tel: +44 (0)1722 424501 | rs@woolleyandwallis.co.uk Lucy Chalmers | Tel: +44 (0)1722 424594 | lc@woolleyandwallis.co.uk

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FINE JEWELLERY

Thursday 27th April 2017

A George III gem-set gold rivière necklace. Estimate: £25,000 - £35,000

ENQUIRIES Jonathan Edwards | +44 (0)1722 424504 | je@woolleyandwallis.co.uk Marielle Whiting | +44 (0)1722 424595 | mw@woolleyandwallis.co.uk

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ASIAN ART

Tuesday 16th May 2017

A large and imposing pair of Chinese famille verte Buddhist lion dogs, Kangxi 1662-1722. Estimate: £6,000 - £10,000

ENQUIRIES John Axford | Tel: +44 (0)1722 424506 | jea@woolleyandwallis.co.uk

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MODERN BRITISH & 20TH CENTURY ART Wednesday 7th June 2017

Entries are now being accepted for this sale

Geoffrey Dashwood (b.1947) Puffins, 1993 Signed and numbered 3/12 Bronze, 28cm high Estimate: £2,000 - £3,000 One of 10 lots by this artist ENQUIRIES Victor Fauvelle | Tel: +44 (0)1722 424503 | vf@woolleyandwallis.co.uk

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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.

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% + VAT 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. 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

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

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

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

106

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PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

CITES REGULATIONS Please note that lots marked may be subject to CITES Regulations when exported.

The following methods of payment may be made:

ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a ‡ symbol are potentially subject to a levy.

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 Bank plc, 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

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

Debit cards: Delta, Switch, Connect

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.

Where practical, payment can be made and purchases collected during the auction.

Please enquire for the accepted exchange rate on the day of the sale.

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.

Royalties for Droit de Suite are as follows:

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. LOT SYMBOLS VAT Lots marked with an dagger (†) are subject to VAT on the hammer price. Lots marked with an omega ( ) 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.

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 FIREARMS Lots marked Ƒ in the catalogue are subject to the UK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. Such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact Ned Cowell.

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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).

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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.

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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.

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

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below. Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expect or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainly as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

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

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person. 17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue. 20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect.

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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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

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

Valuations are a core part of our business and are usually carried out by a senior specialist or directors. Accuracy, speed and above all confidentiality are paramount. INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

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

Contact Christine Johnson 01722 424509 FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on 01722 424500.

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

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WOOLLEY & WALLIS

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

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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A345 Castle Rd

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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 STREET TO SALT LANE PEDESTRIAN ROUTE DRIVING ROUTE TO SALT LANE DRIVING ROUTE TO CASTLE ST.

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

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Registered in England No. 2998482

Salisbury Salerooms

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WOOLLEY & WALLIS

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

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street 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

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WOO L LE Y & WA L LI S Absentee Bid Form Clarice Cliff, Art Deco & Design

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Brief Decription

Price Excluding buyer’s premium & VAT

Wednesday 29th March 2017 Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Sale printed in the Catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed. Billing Name (please print)

Address

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

Signature

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

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www.woolleyandwallis.co.uk

Auction Calendar PAINTINGS 15th March 2017 – Old Masters, British & European Paintings 7th June 2017 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk ARMS & ARMOUR, MEDALS & COINS AND MILITARIA 28th March 2017 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk 20TH CENTURY DESIGN 29th March 2017 – Clarice Cliff, Art Deco & Design 21st June 2017 – Arts & Crafts 22nd June 2017 – A Private Collection of Burmantofts Pottery Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk FURNITURE, WORKS OF ART & CLOCKS 12th April 2017 Mark Richards +44 (0) 1722 411854 • mr@woolleyandwallis.co.uk SILVER 25th & 26th April 2017 – Fine Silver & Vertu Including The Arthur Holder Collection Part III Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JEWELLERY 27th April 2017 – Fine Jewellery Jonathan Edwards +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk ASIAN ART 16th May 2017 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk ENGLISH & EUROPEAN CERAMICS & GLASS 23rd May 2017 Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk TRIBAL ART & ANTIQUITIES 20th September 2017 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk